John Mayall – Same (Rare Italian Sampler) (1982)

FrontCover1John Mayall (born 29 November 1933), OBE, is the godfather of the British blues. A singer/songwriter and multi-instrumentalist, he has been a bandleader and recording artist since 1965. A generation older than most of his sidemen, Mayall was a mentor; his bands were both a lab and finishing school for iconic musicians — particularly guitarists. Eric Clapton, Peter Green, and Mick Taylor served, as did bassists Jack Bruce and John McVie and drummers Mick Fleetwood and Aynsley Dunbar, among dozens of others. Five of Mayall’s first seven albums, including 1966’s Blues Breakers with Eric Clapton, 1967’s A Hard Road, and 1969’s The Turning Point, all placed inside the British Top Ten. After emigrating to the U.S., Mayall cut several albums during the ’70s including Ten Years Are Gone and Jazz Blues Fusion, that showcased veteran blues and jazz players including Harvey Mandel, Jesse Ed Davis, Larry Taylor, and Blue Mitchell.


During the ’80s, Mayall sold out houses across the globe, recorded for several labels, and employed top-shelf guitar slingers including Walter Trout, Sonny Landreth, and Coco Montoya. Mayall issued a series of memorable recordings for Silvertone in the ’90s including Wake Up Call, Spinning Coin, and Blues for the Lost Days. He was appointed OBE (Order of the British Empire) by Queen Elizabeth II in 2005. In 2016, he was inducted into the Blues Hall of Fame. In 2019, age 85, Mayall issued Nobody Told Me, a diverse set that garnered massive acclaim for his choice of guests, including Joe Bonamassa. In 2021 Mayall announced his retirement from touring. In 2022, two months after his 88th birthday, he released the star-studded The Sun Is Shining Down. (by Thom Jurek)


And here´s a rare and pretty good sampler from Italy …

… his album is identical with the compilation “The World Of John Mayall Vol.2” (Decca) released in 1970.

But this version has a wonderful booklet (includin many informations about John Mayall, unfortunately only written in italian) with many great and rare pictures of John Mayall live – some of them from an Italy tour with John Mayall and Mick Taylor in 1982)


It´s time to discover one of the most important British Blues musician of all time !

Enjoy the Blues power of John Mayall !


John Mayall (vocals,guitar, harmonica, keyboards)
many, many studio musicians (I guess you know them all …)


01. Checkin’ Up On My Baby (Williamson) 4.00
02. Broken Wings (Mayall) 4.19
03. My Time After Awhile (Geddins/Badger) 5.13
04. Ready To Ride (Mayall) 3.34
05. Double Crossin’ Time (Mayall/Clapton) 3.05
06. Leaping Christine (Mayall) 2.26
07. Killing Time (Mayall) 4.48
08. Brand New Start (Mayall) 3.27
09. 2401 (Mayall) 3.47
10. Someday After A While (King/Thompson) 3.04
11. She Is Too Young (Mayall) 2.19
12. I Can Quit You Baby (Dixon) 4.34





More from John Mayall:

The official website:

Chicken Shack – Roadies Concerto (1981)

FrontCover1Chicken Shack are a British blues band, founded in the mid-1960s by Stan Webb (guitar and vocals), Andy Silvester (bass guitar), and Alan Morley (drums), who were later joined by Christine Perfect (later McVie) (vocals and keyboards) in 1967. Chicken Shack has performed with various line-ups, Stan Webb being the only constant member.

David ‘Rowdy’ Yeats and Andy Silvester had formed Sounds of Blue in 1964 as a Stourbridge-based rhythm and blues band. They invited Stan Webb, who was leaving local band The Shades 5, to join them. The band also included Christine Perfect and Chris Wood (later to join Traffic) amongst others in their line up. With a new line-up Chicken Shack was formed as a trio in 1965, naming themselves after Jimmy Smith’s Back at the Chicken Shack album. ‘Chicken shacks’ (open-air roadside chicken stands) had also been frequently mentioned in blues and R&B songs, as in Amos Milburn’s hit, “Chicken Shack Boogie”. Over the next few years the band had a residency at the Star-Club, Hamburg with Morley, then Al Sykes, Hughie Flint (who was John Mayall’s drummer when Eric Clapton was in the band) and later Dave Bidwell on drums.


They made their first UK appearance at the 1967 National Jazz and Blues Festival, Windsor and signed to Mike Vernon’s Blue Horizon record label in the same year;[1] releasing Forty Blue Fingers, Freshly Packed and Ready to Serve in early 1968. A mainstay of the British blues boom, and a regular at UK festivals (Stan Webb’s wandering through the crowd with a 200 ft extension to his guitar lead during the band’s set was a regular occurrence[citation needed]), Chicken Shack enjoyed some commercial success, with Christine Perfect voted Best Female Vocalist in the Melody Maker polls two years running. They had two minor hits with “I’d Rather Go Blind” (c/w “Night Life”), and “Tears in the Wind”, after which Perfect left the band in 1969 when she married John McVie of Fleetwood Mac. She was replaced by Paul Raymond from Plastic Penny.


After being dropped by Blue Horizon, pianist Paul Raymond, bassist Andy Silvester, and drummer Dave Bidwell all left in 1971 to join Savoy Brown.[1] At this point Webb reformed the band as a trio with John Glascock on bass and Paul Hancox on drums, and they recorded Imagination Lady. The line-up did not last; Glascock left to join Carmen, while Webb was recruited for Savoy Brown in 1974 and recorded the album Boogie Brothers with them.

Since 1977 Webb has revived the Chicken Shack name on a number of occasions, with a rotating membership of British blues musicians including, at various times, Paul Butler (ex-Jellybread, Keef Hartley Band)(guitar), Keef Hartley, ex-Ten Years After drummer Ric Lee and Miller Anderson, some of whom came and went several times. The band has remained popular as a live attraction in Europe throughout.

Webb remains as their only constant band member. (wikipedia)

Stan Webb02

And here´s a rare and pretty good live album, with an exceptional and unusual line-up (feat. Ric Lee on drums and Tony Ashton on organ).:

Chicken Shack in sensational line-up – their best ever live recording

In 1981 Stan Webb had possibly found the most prolific of all of his line-ups with basically an all-star line-up of bluesrock This ROADIES CONCERTO recording displays the mastery of this assembly of exceptional musicians – a gatheriing of the tribes! Rarely ever CICKEN SHACK played in such perfection.In this line-up they undertook a very successful toru of Europe, esp. Germany … they blew everybody’s mind! (

If you love the British Blues like I do … you should listen and enjoy !


Tony Ashton (keyboards)
Paul Butler (guitar, vocals)
Ric Lee (drums)
Alan Scott (bass)
Stan Webb (guitar, vocals)


01. Tell Me (Burnett) 5.07
02. Why I Sing The Blues (King/Clark) 2.03
03. Back Door Man (Dixon) 7.00
04. Black Night (Webb) 5.59
05. So Far Back (Webb) 6.38
06. The End (Prisoner) (Webb) 4.13
07. Poor Boy (Webb) 4.34
08. Shake Your Money Maker (James) 3.56
09. Hideaway (King) 1.15



More from Chicken Shack:

The Underdogs Blues Band – Same (1968)

FrontCover1Formed in New Zealand in the late 60s, this blues rock band started out in a similar vein to that which Cream and the Doors mined so successfully. The band grew out of a mid-60s meeting in Auckland of like-minded musicians, including guitarist and vocalist Archie Bowie, guitarists Tony Rawnsley and Harvey Mann, bass player Neil Edwards and drummer Barry Winfield. Known casually as the Magee Street Underdogs, the group underwent personnel changes over the next couple of years during which time they made some singles for Zodiac Records and appeared fleetingly on television’s C’mon. By 1967 the personnel had become vocalist Murray Grindley, guitarists Mann and Lou Rawnsley (brother of Tony), bass player Edwards and drummer Tony Walton. Mann’s departure (he did not like the orthodoxy required by television producers) led to an adjustment of the remaining band members. They made some more recordings, including the popular Sitting In The Rain EP and the Blues Band album, and also toured in a road show version of C’mon.

Now based in Wellington, and with more personnel changes, Edwards was replaced by Dave Orams who was in turn succeeded by George Barris, the band lasted only a few more months. This was 1968 and when the band re-formed later that year it had Grindley, Mann, Lou Rawnsley, and drummer Doug Thomas. The following year, by which time Chaz Burke-Kennedy had replaced Rawnsley, this line-up, too, folded. Through the 70s various combinations of former members and newcomers regrouped, sometimes using the name Underdogs, sometimes not. Most members played with other groups and some also formed and briefly led their own bands. Grindley in particular did well with some solo hits in the early 70s and also 1982’s ‘Shoop Shoop Diddy Wop Cumma Cumma Wang Dang’, as Monte Video, which was placed number 2 in New Zealand and number 11 in Australia. Some of the Underdogs’ early material was released on vinyl under different titles on obscure labels, but most of their recordings were reissued on CD in 2000. (by

The Underdogs Blues Band01

Here´s their debut album from 1968.

Lovers of John Mayall and his Bluesbreakers (note the Eric Clapton tribute paid on the sleeve of this album) will love this album. The Underdogs formed in 1964 and shared the scene with other greats from the country like The La de Da’s, The Action (NZ band, not to be confused with the UK mod godfathers) and The Pleazers. They spread the rhythm and blues word from their native Auckland through several 45s on the Zodiac label and went through a series of line-up changes prior to the release of their fabulous first long player.

The Underdogs Blues Band05

The Underdogs Blues Band LP shows the group’s appreciation for Mayall’s combo – just like The Bluesbreakers’ Crusade LP the Underdogs open their album with a cover of Albert King’s ‘Oh, Pretty Woman,’ one of three ‘Bluesbreakers’ songs covered on the LP. On this first long player the band storm into a world of guitar led rave-ups a la Yardbirds, organ blues grinders and even give a sight to what’s to come next with some incipient heavier sounds a la Cream. (Press release)

Indeed … one od finerst John Mayall cover bands in this time …anf these guys knows how to celebrate this very special British Blues style … listen to the guitar solo on “It´s Hurts Me Too” for example.

A great addition for collectors of the British Blues in the Sixites.


Neil Edwards (bass)
Murray Grindlay (vocals, harmonica)
Lou Rawnsley (guitar)
Tony Walton (drums)
unknown organ player

The Underdogs Blues Band04

01. Oh, Pretty Woman (Williams/King) 3.27
02. Snowy Wood (Mayall/Taylor) 3.07
03. Main Line Driver (Grindlay/Rawnsley) 2.18
04. Mary Anne (Grindlay/Rawnsley) 2.00
05. Pauline (Grindlay/Rawnsley) 3.08
06. Pretty Girls (Church/Williams) 2.35
07. Yonder Wall (Traditional) 3.46
08. All Your Love (Rush/Dixon) 3.40
09. Hey Gyp (Leitch) 2.52
10. It Hurts Me Too (London) 3.15
11. Rubber Duck (Green/Dunbar) 2.24



The Underdogs Blues Band03


John Mayall – Live At The BBC (2007)

FrontCover1On its own terms, most of this 14-track compilation of 1965-1967 recordings for BBC sessions (all but one of them dating from 1965-1967) is a worthwhile collection of supplementary work by John Mayall’s best Bluesbreakers lineups. If you’re a serious Mayall fan, however, be aware that you might have already bought this material in some form or another in the year or so previous to the release of this CD in early 2007. For the dozen 1965-1967 cuts all appear as bonus material on the 2006 U.K. expanded CD editions of the John Mayall Plays John Mayall, Bluesbreakers with Eric Clapton, and A Hard Road albums, all of which also include bonus tracks from non-LP singles, studio outtakes, and the like. If for some reason you do want to zero in on the BBC material exclusively, this has some decent live performances with both the Eric Clapton and Peter Green lineups of the Bluesbreakers. (The liner notes also admit it’s likely that the three tracks from October 25, 1965 feature not only Jack Bruce on bass during his brief Bluesbreakers stint, but also guitarist Jeff Kribit (sometimes spelled Geoff Krivit in other sources), who was in the group during a brief spell when Clapton left the band to go to Greece.)


The BBC takes here of songs that also appear on Mayall’s official ’60s releases aren’t as good as the studio versions (and are sometimes very similar), but are still well done, though on the five tracks on which Clapton appears, he doesn’t seem to be playing with as much fire as he was capable of mustering. Of special interest are a few songs that Mayall didn’t put on his official ’60s recordings in any form, including a cover of Willie Dixon and Sonny Boy Williamson’s “Bye Bye Bird” and (from the October 1965 session) two decent original Mayall compositions, “Cheating Woman” and “Nowhere to Turn.” Also note that while Mayall was leading the Peter Green version of the Bluesbreakers on the four songs from a January 23, 1967 session, it’s Mayall playing alone on one of these tracks, “No More Tears,” which would appear on his The Blues Alone LP. The two songs that end the CD are from an October 21, 1975 session, and are of far less interest than the other material, dating from a time where Mayall was a few years past his creative peak and leading a much less interesting band. (by Richie Unterberger)


Ronnie Barron (keyboards on 13. + 14.)
Jack Bruce (bass on 04., 05., 06.
Eric Clapton (guitar on 01., 02., 03., 07., 08.
Aynsley Dunbar (drums on 10., 11. + 12.)
Hughie Flint (drums on 01. – 12.)
Peter Green (guitar on 10., 11. + 12.)
Don “Sugarcane” Harris (violin on 13. + 14.)
Jeff Kirbit (guitar on 04., 05., 06
John Mayall (vocals, guitar, keyboards, harmonica)
Dee McKinnie (vocals on 13. + 14.)
John McVie (bass on 01., 02., 03., 07., 08., 10., 11.
Soko Richardson (drums on 13. + 14.)
Larry Taylor (bass on 13. + 14.)
Rick Vito (guitar on 13. + 14.)


01. Crawling Up A Hill (Mayall) 2.07
02. Crocodile Walk (Mayall)
03. Bye Bye Bird (Williamson/Dixon) 2.49
04. I´m Your Witchdoctor (Mayall) 2.11
05. Cheating Woman (Mayall) 2.03
06. Nowhere To Run (Mayall) 1.42
07. On Top Of The World (Mayall) 2.33
08. Key To Love (Mayall) 2.02
09. No More Tears (Mayall) 2.18
10. Riding On The L And N (Burley/Hampton) 2.19
11. Sitting In The Rain (Mayall) 2.53
12. Leaping Christine (Mayall) 1.55
13. So Much To Do (Mayall) 5.31
14. Taxman Blues (Mayall) 3.50



More from John Mayall:

Pete York – Superblues (1994)

FrontCover1Another very fine rarity from my archive … a Blues Session with Mr. Pete “Superdrumming” York:

The Blues has been a constant force in popular music for over eighty years. Out of the early ragtime and jazz recordings of the Twenties came hit sons which were often called blues-based, and out of the Rhythm and Blues scene in the Forties came the Rock n Roll wave of the Fifties.

The explosion of British groups in the Sixties laid the foundations for a Rock scene wich is still with us today.  The musicians and singers gatheredfor “Superblues” have a thoroughbackground in all forms of the Blues. Indeed many of them played with the old mastes and absorbed the simple truths about interpreting this deceptively simple music.

I first heard the blues as interpreted by people like Louis Armstrong and Billie Holiday in a relatively sophisticated band setting, whilst my old friend Spencer Davis was absorbing the guitar songs of Leadbelly and Big Bill Broonzy. Two sides of the same coin.

Pete York

Before the formation of the hit-making Spener Davis Group we played in a tradtional band performing all of what we heard. Our versions of these classic songs came out differently because we subconsciously added other influences which we had also absorbed. Our original recording of “Dimples” was our first single and begann to sell in 1964 untill a rival record company realised they had John Lee Hookers own version to release. At least we were Number 1 in Birmingham. (Pete York, taken from the original liner notes)

So … enjoy a very special night … check the line-up … and you´ll agree when I write A night the legends cam out toplay … and to celebrate the Brith Blues and Rhthm & Blues scene on the Sixites !

Recorded live at the Zelt Music Festival in Freiburg on 19th June 1991


Miller Anderson (guitst, vocals)
Tony Ashton (keyboards, vocals)
Wolfgang Dalheimer (keyboards)
Spencer Davis (guitar, vocals)
Chris Farlowe (vocals)
Bea Gebauer (vocals)
Eddie Hardin (keyboards, vocals)
Dick Morrissey (saxophone)
Gary Twigg (bass)
Harvey Weston (bass)
Roy Williams (trombone)
Pete York (drums, vocals)


01. High Heel Sneakers (Higginbotham) 6.30
02. Flip, Flop And Fly (Turner/Calhoun) 6.46
03. Parchman Farm (Allison) 5.44
04. Lover Man (Davis/Sherman/Ramirez) 5.04
05. Dimples (Bracken/Hooker) 3.00
06. Born Again (Davis/Dean) / Get Back (Lennon/McCartney) 7.35
07. Ain’t No Love (In The Heart Of The City) (Walsh/Price) 8.00
08. Never Too Old To Rock (East/Jupp) 6.31
09. Resurrection Shuffle (Ashton) 10.35
10. Out Of Time (Jagger/Richards) 5.34
11. Johnny B. Goode (Berry) 4.5362



More Pete York:

John Mayall – A Hard Road (1967)

FrontCover1A Hard Road is the third album (and second studio album) recorded by John Mayall & the Bluesbreakers, released in 1967. It features Peter Green on lead guitar, John McVie on bass, Aynsley Dunbar on drums and John Almond on saxophone. Tracks 5, 7 and 13 feature the horn section of Alan Skidmore and Ray Warleigh. Peter Green sings lead vocals on “You Don’t Love Me” and “The Same Way”.

The album reached #8 on the UK album charts which is Mayall’s third biggest chart next to Bare Wires and Bluesbreakers with Eric Clapton which reached #3 and #6, respectively.

The cover art and the original LP sleeve design are by Mayall. In 2003 and 2006 two different expanded versions of the album were released. (by wikipedia)

Eric Clapton is usually thought of as John Mayall’s most important right-hand man, but the case could also be made for his successor, Peter Green. The future Fleetwood Mac founder leaves a strong stamp on his only album with the Bluesbreakers, singing a few tracks and writing a couple, including the devastating instrumental “Supernatural.” JohnMayall01AGreen’s use of thick sustain on this track clearly pointed the way to his use of guitar riffs with elongated, slithery tones on Fleetwood Mac’s “Albatross” and “Black Magic Woman,” as well as anticipating some aspects of Carlos Santana’s style. Mayall acquits himself fairly well on this mostly original set (with occasional guest horns), though some of the material is fairly mundane. Highlights include the uncharacteristically rambunctious “Leaping Christine” and the cover of Freddie King’s “Someday After a While (You’ll Be Sorry).” (by Richie Unterberger)

Recorded in October and November of the previous year, A Hard Road was released on the Decca label in February 1967. In addition to the leader on vocals, guitar, harmonica, piano, and organ, Green on guitar, John McVie (soon to contribute the third syllable to Fleetwood Mac) on bass, either Hughie Flint or Aynsley Dunbar on drums, this version of the Bluesbreakers also packed brass in its pocket. John Almond and Alan Skidmore added sax while Ray Warleigh contributed ‘wind instruments’.

A Hard Road is a solid sixties British blues album. Mayall’s vocals were never the slam-you-against-the-wall kind, but he truly sings with character. Eight of the fourteen tracks are Mayall originals with Green getting onto the scoreboard with two songs. Indeed, where this LP really flies is when Peter Green steps forward, as on the instrumental number “The Stumble” and his own “The Super-Natural”, two highlights. The latter piece Peter Green 1967is worth the price of admission alone. In fact the sustained opening note of “The Super-Natural” is worth the entry fee.

I like the echoing “Another kind of love” (another Mayall why-doesn’t-she-behave-properly-and-love-me-the-way-I-deserve song) where the saxes sing in the background and Green soars in the foreground. The sinewy R&B of “Leaping Christine” is foot-tappingly energetic and another highlight. And any blues album containing a cover of Elmore James “Dust my blues” is OK by me. This Bluesbreakers version really pops; fast, driving, committed to an absence of dust.

The cover painting, a wintery portrait of the band by John Mayall himself, fits perfectly with a bluesy English February; moody and downbeat.

This is British blues played with respect for the sources but keen to differentiate. On A Hard Road John Mayall and his band mostly succeed. Less than compulsive, perhaps, yet an entertaining listen. (Vinyl Connection)


Aynsley Dunbar (drums)
Peter Green (guitar, vocals)
John Mayall (vocals, guitar, harmonica, keyboards)
John McVie (bass)
John Almond (saxophone)
Hughie Flint (drums)
Alan Skidmore (saxophone)
Ray Warleigh (wind instruments)


01. A Hard Road (Mayall) 3.11
02. It’s Over (Mayall) 2.51
03. You Don’t Love Me (Cobbs) 2.51
04. The Stumble (King/Thompson) 2.54
05. Another Kinda Love (Mayall) 3.07
06. Hit The Highway (Mayall) 2.18
07. Leaping Christine (Mayall) 2.24
08. Dust My Blues (James) 2.51
09. There’s Always Work (Mayall) 1.38
10. The Same Way (Green) 2.12
11. The Supernatural (Green) 2.55
12. Top Of The Hill (Mayall) 2.41
13. Someday After Awhile (You’ll Be Sorry) (Mayall) 3.02
14. Living Alone (Mayall) 2.24



Cuby & Blizzards – Groeten Uit Grollo (1967)

FrontCover1.jpgCuby + Blizzards, also known as Cuby & the Blizzards, were a Dutch blues group, founded in 1964 by vocalist Harry Muskee and guitarist Eelco Gelling. During the 1960s, the band’s mixture of sound, drawing upon a variety of genres which included blues and rock and roll, gave them a pioneering sound which was completely different from any other Dutch band in the same period. The spelling of the name varies, with ‘Cuby’ also written as ‘QB’ and the ampersand (&) also written as ‘and’ or ‘+’ and the ‘and’ sometimes left out. The spelling ‘Cuby + Blizzards’ was used on the first albums.

The band’s first single, a blues-based track bearing similarities to The Pretty Things output, was “Stumble and Fall” in 1965. From the start, they were a big hit in the Netherlands. In 1967 they toured with Van Morrison (after he had left Them), recorded an album, Praise the Blues with U.S. blues musician Eddie Boyd and scored a hit with “Window of My Eyes”. That year, John Mayall stayed at their farm and the next year they regularly played with the ‘king of British blues’ Alexis Korner, who is featured on their album Live in Düsseldorf (1968).


The line-up of the band changed regularly, but founders Harry Muskee and Eelco Gelling remained at the core of the band until 1976. Herman Brood was the pianist from early 1967 until mid-1969 (which kickstarted his career) and again in 1976. Also in 1976, Gelling left to join Golden Earring. Muskee then decided to drop the name C+B and to form the Harry Muskee Band. This band recorded one album before Muskee decided to leave the music business. In 1980 he formed the Muskee Gang with a line-up of Herman Deinum (bass guitar) and Hans la Faille (drums), who had both joined C+B in 1969, together with saxophonist Rudy van Dijk, Paul Smeenk (guitar) and Jeff Reynolds (trumpet).

In 1996 Cuby + Blizzards re-formed without Eelco Gelling, who was replaced by Erwin Java on guitar. In 2004 they went on a theater tour to honor John Lee Hooker. C+B came to an end when Harry Muskee died of cancer on 26 September 2011.

The band received an Edison award for their debut album Desolation. The song “Window of My Eyes” (a Top 10 hit in The Netherlands in 1968), was featured over the ending credits for the 2010 film The American. (by wikipedia)


It’s 1964, Britain has got the Stones, the Beatles, the Animals and a truckload of other “blues”-bands. And Holland? The Dutch just got themselves Cuby & The Blizzards. Unlike so many little white blues bands in the mid-sixties, these guys actually know their stuff. In a few years time, they don’t just rock the proverbial boat a bit, they actually matter. When Van Morrisson calls it quits with Them, they back him up until he manages to get his solo-career going. Sometime during 1967, Eddie Boyd is touring Holland and Western Europe, and ends up with John Mayall staying at Harry “Cuby” Muskee’s farm in Grollo. This resulted in the 1967 album “Praise The Blues”.
Their other 1967 release was “Groeten Uit Grollo” (“Greetings From Grollo”). The latter record kicks off with a strong, full sound of early blues-rock, firmly planted in the Chicago blues and more importantly, the sound of John Lee Hooker. But this act was more then just overdriven guitars and a big amp-stack, and they aren’t afraid to show it. The band is tight, experienced for its youth, and the musicianship displayed here is only hinting to the greatness to come over the next four decades.


Right from the moment the Blizzards were formed, they were a domestic hit, and this record shows very well why. These are white kids, grown up in relative security and wealth, yet they understand the blues the way John Mayall or Eric Clapton understand the blues. Subsequently, The Blizzards ended up being more or less to the Dutch blues scene what the Headhunters had been to the early post-war Chicago blues circuit. The music on this disc follows standard blues patterns, the chord changes are regular, the turn-arounds are basic and standard, but the entirety of its sound is something else.
Cuby can belt the blues, that’s obvious from the first cut.


The piano has a strong foundation in the band. Herman Brood (who was to go on to be one of the mainstays in Dutch pop-music and sadly committed suicide in 2001) knew his blues piano, and already shows that he could sing too.Cuby’s ability to write good lyrics shines through very strong here. His lyrics have hints towards the blues lyrics of the future, of today.From the first day on, Cuby & the Blizzards have drawn strongly on their main influence, the King of Boogie, John Lee Hooker. They honor him here with their own renditions of a couple of his sixties-cuts: “King Of The World” and “No Shoes”. Strictly speaking “Baby Please Don’t Go” could be in that list too, but to my ear they are tipping their hat to Lightnin’ Hopkins and Big Joe Williams more there then to Hooker. “The Big Bell” is of course an Eddie Boyd song.Cuby always has had his own philosophy of how to play John Lee Hooker’s work. He believes in giving it your own spin: you shouldn’t try to sound like the master, ‘cause you can’t. I’m not sure if I agree with him, but one thing I do know: Cuby’s renditions are certainly worthy. (


Herman Brood (keyboards, vocals)
Eelco Gelling (guitar)
Hans Kinds (guitar)
Willy Middel (bass)
Harry Muskee (vocals, harmonica)
Hans Waterman (drums)


01. Another Day, Another Road (Brood/Muskee) 1.54
02. The Big Bell (Boyd) 3.54
03. Somebody Will Know Someday (Gelling/Muskee) 6.56
04. So Many Roads (Muskee) 3.56
05. King Of The World (Hooker) 4.50
06. Baby Please Don’t Go (Williams) 1.41
07. No Shoes (Hooker) 4.35
08. Another Land (Gelling/Muskee) 4.35



Harry Muskee01
Harry “Cuby” Muskee (10 June 1941 – 26 September 2011)

Nine Below Zero – Don’t Point Your Finger (1981)

FrontCover1.JPGFor many discerning fans, Nine Below Zero far outpaced the Jam wannabes that doomed Britain’s so-called mod revival era. They even opened for the Who, whose favorite producer, Glyn Johns, oversaw this second A&M album. (Like other 1979-era revivalist bands, the group has re-formed on an intermittent basis.) Nine Below Zero show themselves as sharp players with plenty of hooks up their sleeves. Stix Burkey and Peter Clark whack out a disciplined rhythm attack without fussiness or flourishes, leaving the interplay to singer/harpist Mark Feltham and the main songwriter, lead guitarist Dennis “The Menace” Greaves. Greaves’ tunes successfully execute ’60s R&B toughness, yet are updated enough to grace a teen scooter fanatic’s good books. “One Way Street” is a punchy, doing-it-my-way anthem (“They told me to go by the book/But look at the time that it took”), while the roughhouse R&B of the title track and “Treat Her Right” come across like a speedier Yardbirds. The feel’s that close, but Greaves and cohorts have the skill to pull it off. The group expresses their bluesier side on “Ain’t Comin’ Back” and the slow-burning “Sugar Mama,” and also dips back into ’50s-style roots rave-ups with a credible cover of “Rockin’ Robin.”


“Helen”‘s trebly poppiness offers another nice diversion, being a working stiff’s plea to his anxious wife (“You’re the one I’m thinking of/When I come home late from my job”). An unpretentious sense of humor also makes itself heard on the title track and “Liquor Lover,” which chides a girlfriend who’s too fond of the fizzy stuff (which is reminiscent of how Rockpile sent up overeating on their own “Knife and Fork”). Greaves’ quest for authenticity occasionally falls flat; “Three Times Enough” is as barely disguised a rewrite of “The Train Kept a-Rollin'” as you’ll ever hear. However, the group’s enthusiasm is contagious in all the right places, as typified by its anthemic closer, “You Can’t Please All the People All the Time.” Don’t let the revivalist tag stop you from putting this album in your collection. (by Ralph Heibutzki)

Wow! What a great album by Nine Below Zero … from the third generation of British R & B / Blues … !!!


Stix Burkey (drums)
Peter Clark (bass)
Mark Feltham (harmonica, vocals)
Dennis Greaves (vocals, guitar)


01. One Way Street (Greaves) 3.42
02. Doghouse (Greaves/Turner) 2.20
03. Liquor Lover (Greaves/Turner) 2.50
04. Helen (Greaves) 3.40
05. Ain’t Comin’ Back (Greaves/Turner) 2.51
06. I Won’t Lie (Greaves) 3.40
07. Treat Her Right (Head) 2.22
08. Three Times Enough (Greaves/Burkey) 1.57
09. Sugar Mama (Burnett) 5.06
10. Don’t Point Your Finger At The Guitar Man (Greaves/Turner) 2.43
11. Rockin’ Robin (Thomas) 2.21
12. You Can’t Please All The People All The Time (Greaves) 5.18




This is another item from the great greygoose collection … thanks a lot !

John Mayall – Plays Mayall (1965)

FrontCover1.jpgJohn Mayall Plays John Mayall is the debut album by John Mayall & the Bluesbreakers, released in 1965, Decca LK 4680. This album was recorded live at Klooks Kleek on 7 December 1964. Roger Dean stated in an interview that they ran cables out of the window of the club to the Decca Studio about 100 yards away for this recording. (by wikipedia)

John Mayall’s debut album, recorded live in December 1964, is a little unjustly overlooked, as it was recorded shortly before the first of the famous guitarists schooled in the Bluesbreakers (Eric Clapton) joined the band. With Roger Dean on guitar (and the rhythm section who’d play on the Bluesbreakers with Eric Clapton album, bassist John McVie and drummer Hughie Flint), it has more of a rock/R&B feel, rather like the early Rolling Stones, than the purer bluesier material Mayall would usually stick to in his subsequent recordings. The record doesn’t suffer for this, however, moving along quite powerfully, and — unusually for a British R&B/blues band of the time — featuring almost nothing but original material, all penned by Mayall. Nigel Stanger’s saxophone adds interesting touches to a few tracks, the songs are quite good, and while Dean’s guitar and Mayall’s vocals aren’t on the same level as the best instrumentalists and singers in the British blues-rock movement, they’re satisfactory.


[The 2006 U.K. expanded CD edition added five enjoyable cuts that round up everything else recorded by the pre-Eric Clapton version of the Bluesbreakers, including the 1964 single “Crawling Up a Hill”/”Mr. James”; the early 1965 single “Crocodile Walk”/”Blues City Shakedown”; and the February 1965 outtake “My Baby Is Sweeter,” which first showed up on the early-’70s British compilation Thru the Years. “Crawling Up a Hill” and “Crocodile Walk” also appear on the original John Mayall Plays John Mayall album in live performances, but the bonus track versions are entirely different studio recordings done for those non-LP singles, and are pretty good as well.] (by Richie Unterberger)

This album was the start of one of the finest British blues musicians ever … Mr. John Mayall !


Roger Dean (guitar)
Hughie Flint (drums)
John Mayall (vocals, harmonica, keyboards, guitar)
John McVie (bass)
Nigel Stanger (saxophone)


01. Crawling Up A Hill (Mayall) 2.30
02. I Wanna Teach You Everything (Mayall) 3.17
03. When I’m Gone (Robinson) 3.27
04. I Need Your Love (Walter Spriggs/Willie Spriggs) 4.20
05. The Hoot Owl (Mayall) 2.39
06. R&B Time (including Night Train) (Forrest/Simpkins/Washington) + Lucille (Collins/Penniman) 2.24
07. Crocodile Walk (Mayall) 2.45
08. What’s The Matter With You (Mayall) 2.45
09. Doreen (Mayall) 3.08
10. Runaway (Mayall) 2.43
11. Heartache (Mayall) 3.17
12. Chicago Line (Mayall) 4.43
13. Crawling Up A Hill (Single A side, May 1964) (Mayall) 2.18
14. Mr. James (Single B side, May 1964) (Mayall) 2.52
15. Crocodile Walk (Single A side, April 1965) (Mayall) 2.16
16. Blues City Shakedown (Single B side, April 1965) (Mayall) 2.25
17. My Baby Is Sweeter (originally released on compilation ” Thru the Years ” in October 1971.) (Dixon) 3.00




More John Mayall

More John Mayall

Steamhammer – Same (Reflection) (1969)

LPFrontCover1.jpgSteamhammer was an English blues rock band from Worthing, England, whose origins were with the blues. The band was founded in 1968 by Martin Quittenton (guitar) and Kieran White (vocals, guitar, harmonica). The first stable line-up consisted of Quittenton, White, Martin Pugh (guitar), Steve Davy (bass), and Michael Rushton (drums).

The first version of Steamhammer acted as backing band for Freddie King on two of his tours of England between 1968–1969. Like many of their peers, the band experimented with instrumental passages, introspective lyrics, and ultrasonic guitar effects, along with folk, jazz and classical influences. After playing in English pubs in the late 1960s, Steamhammer’s self-titled album Steamhammer (aka Reflection) debuted on Columbia Records in 1968, featuring their single, “Junior’s Wailing,” and including covers of “You’ll Never Know” by B. B. King and “Twenty Four Hours” by Eddie Boyd as well as original songs by White, Quittenton, and Pugh. Session musicians Harold McNair (flute) and Pete Sears (piano) also played on the album. While the album was not commercially successful, the band’s sound became popular live, especially in West Germany. In the summer of 1969, Quittenton and Rushton left the band, and Steve Jolliffe (saxophone, flute) and Mick Bradley (drums) joined the band.


The second version of the band recorded the album Mk II, released in 1969. It consisted entirely of original songs, and the musical style had more jazz and progressive rock influences. Jolliffe left the band in 1970. The remaining band members recorded the album Mountains, which was released in 1970. This album included a cover of “Riding on the L & N” by Lionel Hampton and seven original songs.

In 1971, Davy left the band, and Louis Cennamo (bass) (formerly of the original line-up of Renaissance) was recruited as his replacement.[3][4] After a European tour in the summer of 1971, White left the band, and the remaining trio of Pugh, Bradley and Cennamo began recording a new album. This line-up, along with guest vocalist Garth Watt-Roy (of Fuzzy Duck), recorded the album “Speech” – which was released in 1972. It consisted of three long, mostly instrumental songs, in a heavier progressive-rock vein than the basic blues and jazz/folk influences of their previous albums. The genesis of Armageddon began with this final Steamhammer album, with production assistance by ex-Yardbird and Renaissance frontman, Keith Relf (who also contributed background vocals here – along with his sister, Jane Relf).


Bradley died of undiagnosed leukemia on 8 February 1972, aged 25. A memorial concert took place at London’s Marquee Club on 14 March that year, with appearances by fellow bands Atomic Rooster, Beggars Opera, If, and Gringo. Steamhammer carried on for a while with a new drummer, John Lingwood, and lead singer, Ian Ellis (ex-Clouds). The new line-up debuted at London’s Imperial College on 3 May, followed by a European tour in May and UK tour in June with American vocalist/guitarist Bruce Michael Paine replacing Ellis. In June 1973, it was announced that they would now perform as Axis, playing their first gig under that name at the Marquee on 15 June. Quittenton rejoined, but the band split towards the end of 1973.


Steamhammer (aka Reflection) was the debut album issued in 1969 by the British blues-rock band Steamhammer. Steamhammer was chosen as legendary blues guitarist Freddy King’s backing band whenever he toured England. The musicians in the band were Martin Quittenton (guitar), Kieran White (vocals, guitar, harmonica), Martin Pugh (guitar), Steve Davy (bass), and Michael Rushton (drums). The album includes classic blues numbers by B.B. King (“You’ll Never Know”) and Eddie Boyd (“Twenty-four Hours”), as well as compositions by band members White, Quittenton, and Pugh. The session musicians Harold McNair (flute) and Pete Sears (piano) also appear on the album.

Already in 1970 the song “Junior’s Wailing” was recorded by Status Quo on their album Ma Kelly’s Greasy Spoon. (by wikipedia)


Reflection is also-ran late-’60s British blues-rock, with more rock-oriented takes on the kind of approach used by heroes Freddie King and B.B. King. B.B. King’s “You’ll Never Know,” in fact, is covered here, though most of the material was penned by the band. Steamhammer doesn’t put much of an original spin on its sources, or on the British blues-rock form, though this is competent and does generally have a moodier, more downbeat feel than most of the band’s competition in the genre. The expressive qualities of Kieran White’s voice, though, are limited, as though he’s being pinched by something that keeps him from letting go too much. The best moments come when they venture just a little outside of the ordinary U.K. blues-rock model, particularly when Harold McNair adds some jazzy flute; “Down the Highway” sounds a little close to some of early Jethro Tull. Future Jefferson Starship member Pete Sears plays session piano. The 2002 CD reissue on Akarma adds two bonus tracks from 1969 singles, “Windmill” and “Autumn Song,” which are more explicit forays into the more melodic jazz-blues-rock direction mined by the likes of Jethro Tull, Colosseum, and Davy Graham in the late ’60s, again with prominent flute. (by Richie Unterberger)


I add three more songs, recorded live at the BBC Maida Vale Studio 4, London, UK; February 4, 1970 (“Rhythm & Blues” programme). This is a very good radio broadcast (mono). Broadcast on BBC World Service radio and presented by Alexis Korner !

In 1969 the British Blues boom was over, but Steamhammer was one of the last bands of this genre … and they was one of the finest bands of this boom … Listen carefully !

BBC Bootleg.jpg

Frontcover of the bootleg with the three BBC tracks

Steve Davy (bass)
Martin Pugh (lead guitar)
Martin Quittenton (guitar)
Michael Rushton (drums)
Kieran White (vocals, harmonica)
Mick Bradley (drums on 14. – 16.)
Harold McNair (flute)
Pete Sears (piano)


01. Water (Part One) (Quittenton/Pugh) 0.57
02. Junior’s Wailing (White/Pugh) 3.22
03. Lost You Too (Quittenton/White) 3.32
04. She Is The Fire (Quittenton/White) 3.31
05. You’ll Never Know (King) 3:27
06. Even The Clock (Quittenton/White/Graham) 4.12
07. Down The Highway (Quittenton/White) 4.34
08. On Your Road (White) 2.55
09. Twenty-Four Hours (Boyd) 7.32
10. When All Your Friends Are Gone (Quittenton/White) 3.53
11. Water (Part Two) (Quittenton/Pugh) 1.49
12. Windmill (Quittenton/White) 4.24
13. Autumn Song (White/Joliffe) 4.05
live at the BBC (recorded February 4, 1970)
14. Junior’s Wailing (White/Pugh) 2.38
15. On The Tide (unknown) 5.02
16. Another Travelling Tune (White/Pugh) 4.40