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




Fleetwood Mac – Blues Jam In Chicago (1969/2004)

FrontCover1.jpgBlues Jam at Chess/Fleetwood Mac In Chicago/Blues Jam In Chicago Vols. 1 & 2 was the result of a recording session in early 1969, at Chess Records in Chicago (home to Muddy Waters, Howlin’ Wolf, et al.) with Fleetwood Mac, then a young British blues band, and a number of famous Chicago Blues artists from whom they drew inspiration. (by wikipedia)

This set, recorded at Chess Record’s Ter-Mar complex in Chicago, pairs Peter Green’s Fleetwood Mac with some of the Windy City’s blues legends including Willie Dixon, Otis Spann, Buddy Guy, and David “Honeyboy” Edwards. Put together on short notice, and recorded in one day, the sessions have something of a ramshackle feel, but the energy of the performances transcends any shortcomings on this date. Dixon oversaw the proceedings, and can be heard during the between-song banter giving directions and chastising Walter “Shakey” Horton for missing his cues.


Since the Peter Green-led Fleetwood Mac was so directly influenced by Chicago blues, the session acts as a kind of stylistic homecoming for the band. Bassist John McVie and drummer Mick Fleetwood contribute driving rhythms while guitarists Danny Kirwan and Jeremy Spencer lend both rhythms and the occasional lead. Green’s stunningly fluid guitar work is at the fore, as usual. But the real treat is picking out the Chess players–Otis Spann’s piano on “I Got the Blues,” J.T. Brown’s tenor sax on Elmore James’s “I Can’t Hold Out,” or Guy and Edwards, who go toe-to-toe with Green on “Red Hot Jam,” one of the session’s indisputable highlights.


Like VOL. 1, BLUES JAM IN CHICAGO VOL. 2 documents collaborations between some of Chess Records’ most prominent bluesmen and the late-1960s version of Fleetwood Mac (the blues-rock power outfit, as opposed to the commercially successful soft-rock incarnation from the ’70s). Given that the Peter Green-led Fleetwood Mac was already deeply rooted in Chicago blues, the project proved to be a natural for the group, with Green’s blues-drenched leads and the chops of Mick Fleetwood (drums), John McVie (bass), Danny Kirwan and Jeremy Spencer (guitars) providing a perfect framework for contributions by Willie Dixon, Otis Spann, and David “Honeyboy” Edwards, among others.


Green and company bring an edge to the proceedings, playing with the kind of muscle and unbridled energy associated with rock music. Interestingly, VOL. 2 has greater variety in the lineup than VOL. 1, with Dixon substituting on bass for McVie on a number of tracks, along with much swapping of vocal duties. This last fact gives the second installment the edge over the first, with Edwards singing on his own tunes (“Honey Boy Blues” is a highlight), and the inimitable Spann singing “Someday Soon Baby” and “Hungry Country Girl.” This is one of the finer snapshots of British blues-rock meeting its source. (by allmusic)

This album is not only a highlight in the career of the early Fleetwood Mac, but in the history of Blues …


Alternate frontcover

Mick Fleetwood (drums)
Peter Green (vocals, guitar)
John McVie (bass)
Danny Kirwan (vocals, guitar)

Jeremy Spencer (vocals, guitar, slide guitar)
J. T. Brown (saxophone)
Willie Dixon (bass)
David “Honeyboy” Edwards (guitar)
Buddy Guy (guitar)
Walter “Shakey” Horton (harmonica)
S.P. Leary (drums)
Otis Spann (vocals, piano)



CD 1:
01. Watch Out (Green) 4.20
02. Ooh Baby (Burnett) 4.06
03. South Indiana (take 1) (Horton) 3.21
04. South Indiana (take 2) (Horton) 3.47
05. Last Night (Jacobs) 5.01
06. Red Hot Jam (take 1 with studio talk) (Green) 5.55
07. Red Hot Jam (take 2 – master version) (Green) 6.02
08. I’m Worried (Green) 3.47
09. I Held My Baby Last Night (James/Taub) 5.16
10. Madison Blues (James) 4.56
11. I Can’t Hold Out (James) 4.49
12. Bobby’s Rock (previously unreleased) (James) 4.00
13. I Need Your Love (John Jr.) 4.32
14. Horton’s Boogie Woogie (take 1 with studio chatter – previously unreleased) (Horton) 3.37
15. I Got The Blues (master version with previously unreleased false start) (Horton) 4.55

CD 2:
01. World’s In A Tangle (Rogers) 5.26
02. Talk With You (Kirwan) 3.28
03. Like It This Way (Kirwan) 4.25
04. Someday Soon Baby (Spann) 7.37
05. Hungry Country Girl (Spann) 5.47
06. Black Jack Blues (Brown) 5.08
07. Everyday I Have The Blues (Slim) 4.55
08. Rockin’ Boogie (Spencer) 3.58
09. My Baby’s Gone (Edwards) 4.04
10. Sugar Mama (take 1 – previously unreleased) (Traditional) 0.49
11. Sugar Mama” (take 2 – master version) (Traditional) 6.08
12. Homework (Clark/Perkins/Rush) 3.21
13. Honey Boy Blues (previously unreleased) (Edwards) 2.20
14. I Need Your Love (take 1 – previously unreleased) (Rogers) 2.15
15. Horton’s Boogie Woogie (take 2 – previously unreleased) (Horton) 3.40
16. Have A Good Time (previously unreleased) (Horton) 4.55
17. That’s Wrong (previously unreleased) (Horton) 4.13
18. Rock Me Baby (previously unreleased) (Jackson) 3.25




British Blues Review Nr. 1 (April 1988)

FrontCoverIn the 80´s the “British Blues Net” was founded by Robert Bravington and GrahamVickery (better known as Shakey Vick) Many years later the archives of the “British Blues Net” became a part of the “British Blues Archive”.
This archive includes the “British Blues Review”, the official journal of the “British Blues Net”.

The British Blues Archive (BBA) was set up by Peter Harvie and Stevie King in 2011 and is the only archive which concentrates upon British Blues, that great music that means so much to so many people.  The archive documents the history, musicians, the venues and the instruments that make up British Blues. Eventually everything will be on this website for everyone to see but it will take many years. We will get there with the help of fellow musicians and enthusiasts.

And here´s the very first issue auf the British Blues Review from April 1988.

For all enthusiast (like me), who live the British Blues Scene …













The backpage pages of this issue


Cyril Davies (feat. Alexis Korner) – The Legendary Cyril Davies Album (1970)

FrontCover1Cyril Davies (23 January 1932 – 7 January 1964) was an English blues musician, and one of the first blues harmonica players in England.

Born at St Mildred’s, 15 Hawthorn Drive, Willowbank, Denham, Buckinghamshire, he was the son of William Albert Davies, a labourer, and his wife Margaret Mary (née Jones). He had an elder brother named Glyn, and the family is believed to have come from Wales.

Cyril Davies began his career in the early 1950s first within Steve Lane’s Southern Stompers, then in 1955 formed an acoustic skiffle and blues group with Alexis Korner. He began as a banjo and 12-string guitar player before becoming a Chicago-style blues harmonica player after hearing Little Walter. Working by day as a panel beater, he ran an unsuccessful skiffle club before meeting Korner, then Davies and Korner opened a London Rhythm and Blues club “England’s Firstest and Bestest Skiffle Club”, later known as the “London Blues and Barrelhouse Club”. Popular with other musicians, the club hosted gigs by blues musicians such as Muddy Waters, Sonny Terry and Brownie McGhee and Memphis Slim.

During this period Davies and Korner worked as session musicians, and often backed Ottilie Patterson during her featured set with husband Chris Barber’s band, using amplified instruments for the first time – which did not go down well with their blues purist audience and many fellow musicians. After closing the blues club, Davies and Korner went their separate ways, and, influenced by Muddy Waters electric sound, Davies formed his own electric blues band.

In 1961, Chris Barber recruited Davies and Korner to play harmonica and electric guitar in accompanying Barber’s band regularly at its Wednesday and Friday night sets at the Marquee Club, a popular London jazz club. This opportunity granted Davies and Korner some exposure to the London music scene, but the duo wished to focus more on blues and R&B. The two decided to found their own rhythm and blues group and, in a show of support, Barber offered them the intermission slot at the Marquee on Wednesday nights.


Korner supplied musicians for the rhythm sections, and Davies recruited Art Wood and Long John Baldry to be the vocalists. They named the group Blues Incorporated, and their initial performances at the Marquee were very well received. However, they realized the need for additional performance opportunities and, since most jazz and folk clubs in London were wary of electric guitars, Davies and Korner decided to found their own club at which they could perform. In 1962 they founded the Ealing Club, which featured performances by both Blues Incorporated and other Trad jazz outfits popular in England at the time. The club proved to be a popular sensation in the burgeoning R&B scene, and attracted such far-flung admirers and future stars as Mick Jagger and Eric Burdon. Jagger was in the audience for the second night at the club and got up to sing “Got My Mojo Working”.


In June 1962 they recorded R&B from the Marquee,[4] actually recorded in Decca Records’ studio. After touring the UK and headlining a residency at the Marquee,[2] by October 1962 there was musical tension in the band as some members wanted to play crowd pleasers like Chuck Berry and Bo Diddley songs while Cyril Davies and others members were blues purists who wanted to play what they saw as only genuine Chicago-style R&B.[5][6] Following his departure from Blues Incorporated in October 1962, Davies then formed the Cyril Davies All-Stars[7] in November 1962 and recorded five tracks for Pye Records, who had announced an R&B label featuring music imported from Davies’ favourite Chicago musicians (“Country Line Special”, “Chicago Calling”, “Preaching the Blues”, “Sweet Mary” and “Someday Baby”). The original line-up was largely recruited from Screaming Lord Sutch’s Savages, and featured both Long John Baldry and Davies on vocals to give Davies room to play harmonica. The band, later known simply as the All-Stars was subject to frequent personnel changes.


After contracting pleurisy in 1963, Davies began to drink heavily to assuage the pain while undergoing a heavy touring schedule. He died in January 1964,[9] after collapsing during an engagement at a night club on Eel Pie Island, Twickenham in London.[10] The official cause of death was given as endocarditis,[11] although leukaemia is often quoted. The core band was taken over by Long John Baldry and formed the basis of his ‘Hoochie Coochie Men’.

In October 2014 the compilation entitled Preachin’ The Blues: The Cyril Davies Memorial Album was finally released on GVC Records (GVC2040) in Great Britain. (by wikipedia)

Early in the morning of January 8th, 1964, I received a telephone call from John Martin: “I’m sorry to be the one who has to tell you this, John, but Cyril died last night.” Cyril had been taken to hospital at six in the evening and within five hours was dead. I just could not believe it – he had been ill for some months, that I knew, but the suddenness of his death threw me. Some days before, as we were crossing the footbridge from our old stamping ground Eel Pie Island, he had said something that flashed back into my mind at that moment. “You know, John, I think this will be the last time I’ll walk on this bridge”.

As it happened, that particular evening at the Island was to be his last public appearance.


The first time I ever met Cyril Davies was a few weeks before the earliest tracks on this album were recorded. I was only a young kid just out of school at that time, just playing guitar and singing a little and very much in love with the blues. Although I had been listening to records by Bill Broonzy, and Muddy Waters among others since I was twelve, I had never heard English people playing and singing the blues until the evening I walked into the Roundhouse (the pub in Soho, not Arnold Wesker’s ex-railway turntable shed) and heard Cyril and Alexis Korner. I used to go every Thursday evening and they would invite me to join them on the piece of lino between the piano and the bar, which served as the bandstand, encouraging me in my desire to be part of the blues scene. Those were great days, because apart from Cyril, Alex and myself performing, there were visits to the club by Big Bill, Muddy, Memphis Slim, Otis Spann, Ramblin’ Jack Elliot and Derroll Adams and many more.

Of course, Cyril was better known then as a twelve-string guitarist than as a harmonica player. But later, in the days of the “Blues Incorporated” and the All Stars”, he never played guitar on stage, so naturally became absolutely identified with harmonica. I have always thought it a great pity that his guitar playing was never utilized on his recordings for Decca and Pye. However, this situation can now be rectified as we listen to this collection of memorable recordings thanks to Doug Dobell.


As I listen, I look back and think of the little black Alsatian Uschi (still alive and well and monstrous in Kent) that he gave me from the litter of his scrapyard watchdog Kim. The entire barful of dockers on Teesside for whom he bought drinks all night. The inimitable way he curbed a tribal civil war in the back of a Timpson’s coach outside Middlesbrough Infirmary. My sudden arrival back to sobriety one night in Burslem with a well-aimed harmonica hurled at my head from the stage. But there’s not enough room on this sleeve to tell it all. Perhaps Doug might let me record an album one day so that I can tell you the WHOLE story of the Legendary Cyril Davies. (by Long John Baldry, taken from the originaL liner notes)

It´s time to honour Cyril Davies, one of the first blues man in UK. Listn !


Cyril Davies (guitar, vocals, harmonica)
Jeff Bradford (mandolin, kazoo, guitar on 06. + 12.)
Mike Collins (washboard on 02., 10. + 11)
Alexis Korner (guitar, mandolin, vocals on 02., 03., 05., 08. – 11.
Terry Plant (bass on 02., 05., 10. + 11.)
Lisa Turner (banjo, vocals on 06 . + 12.)
Reg Turner (jug on 06. + 12.)


01 Leaving Blues (Ledbetter) 3.15
02- Roundhouse Stomp (Johnson) 2.53
03. Rotten Break (Taylor) 3.48
04. K.C. Moan (Blackman) 2.54
05. Skip To My Lou (Traditional) 1.54
06. It’s The Same Old Thing (Shade) 2.19
07. Alberta (Leadbelly) 2.43
08. Hesitation Blues (Handy) 2.29
09. Ella Speed (Traditional) 2.58
10. Good Morning (Leadbelly) 2.36
11. Boll Weevil (Brownwell) 3.25
12. Short Legs Shuffle (Bradford) 2.34




John Peel – Rock Family Trees – The British R&B Boom (TV rip) (1995)

FrontCoverWhat follows is, pretty much documentary called “The British R&B Boom” which was an episode in the TV series “Rock Family Trees”

The series originates from the work of a gentleman called Pete Frame who drew family trees of various bands/artists and were, as far as I can remember, first published in the late 70’s/80’s in the UK weekly music publication “Sounds” (now defunct).  All the TV documentaries were narrated by the respected English music broadcaster, John Peel.

This documentary (with lot´s of old TV nd concert clips and many interviews) exploring  all the stories that lie behind some of the best-known bands. In this edition, John Peel narrates the story of the British R&B boom, which included two of the biggest bands of the late 60s and early 70s, Cream and Led Zeppelin. This programme charts the careers of groups as diverse as the Yardbirds, John Mayall’s Bluesbreakers, Manfred Mann and Cream as they turned the blues into rock.

And here´s  this pretty good documentary about of the most important years of British Blues & Rock …





























Two legends: Pete Frame and John Peel


I got this very rare item from a serious record collector … I will call him Mister Sleeve … thanks a lot !