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

BackCover1

Personnel:
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)

BookletA

Tracklist:
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

CD1

*
**

More Pete York:
More

The Yardbirds – Reunion Concert (1992)

FrontCover1The Yardbirds’ LIVE REUNION is not what you might expect. None of the band’s famous guitarists-Eric Clapton, Jeff Beck, and Jimmy Page-are present for the proceedings. Neither is singer Keith Relf, who died in the mid-’70s. The only original Yardbirds featured are drummer Jim McCarty and guitarist Chris Dreja. They’re joined by newcomers “Detroit” John Idan (vocals/guitar) and Rod Demick (vocals/bass). While there is plenty of prime, live Yardbirds material out there dating from the band’s glory days-try CLAPTON’S CRADLE: THE EARLY YARDBIRDS RECORDINGS and THE ULTIMATE COLLECTION-LIVE REUNION is still recommended to longtime fans looking for newer, in-concert renditions of Yardbirds classics. (by AllMusic)

After being inducted into the Rock Hall of Fame, Jim McCarty, Chris Dreja and new member John Idan recorded this excellent live set. It’s better known as “The Yardbirds Reunion Concert” but even though it’s been retitled as “The Yardbirds Reunion Jam,” it’s still features the same terrific song selection. “Rack My Mind,”
“Sitting on Top of the World” and “Crying Out for Love,” a McCarty original, are among the stand-outs — with the latter song also being featured on their last comeback album, “Birdland.”

Yardbirds1992_02

In a nice touch, they open with “Back Where I Started,” which was on their first reunion release, the self-titled Box of Frogs (which featured guest, Jeff Beck). A mixture of their classic hits, new originals and blues standards, this live album is a must-have for fans. With Idan and McCarty currently in the studio with the brilliant 2017 band line-up and the two-CD “Yardbirds 68” remix of the Anderson Theater concert and collector favorites such as “Avron Knows” finally released in an approved version surpervised by Jimmy Page, McCarty and Dreja, this is a perfect time to snap up this archival gem. The Yardbirds never stopped making fine music and this one compares well with their best. The price of the MP3 is quite reasonable and we who don’t downland can hope a remastered version may surface in the future. (Uncle Mickey)

Yardbirds1992_01
THE YARDBIRDS are still the best blending of British Psychedelic Pop and good old American Blues. Submerged in the style that made them living legends, REUNION JAM is the epitome of what THE YARDBIRDS do best…ROCK and ROLL!
This collection of classic YARDBIRD’s sounds captures the essense of familarity with ecclectic authenticity. It showcases the talent and maturity of founding members, Jim McCarty and Chris Dreja, and their unique ability to withstand the rigors of performing in live venue. These masters do this with grace and ease, and the ultimate performance released in REUNION JAM is about as “good as it gets” (Kate Baley)

Boah …what a night, what a concert … Listen and enjoy !

BackCover1

Personnel:
Rod Demick (bass, vocals
Chris Dreja (guitar)
“Detroit” John Idan (guitar)
Jim McCarty (drums, vocals)

Alternate frontcover:
AlternateFrontCover

Tracklist:
01. Back Where I Started (Ricky Ricardo Rave-Up) (Dreja/Fiddler/McCarty/
Paul Samwell-Smith) 6.28
02. I’m Not Talking (Allison) 3.04
03. Heavy Weather (McCarthy/Ober) 2.34
04. Train Kept A Rolling (Bradshaw) 3.26
05. Crying Out For Love (McCarty)  4:33
06.  Heartful Of Soul (Gouldman) 2.43
07. Three Lane Highway (unknown) 3.26
08.  Ain’t Done Wrong (Relf) 3.34
09. Sitting On Top Of The World (Chatmon/Vinson) 5.37
10 Ain’t Got You (Carter) 2.11
11 Rack My Mind (Beck/Dreja/Relf/Samwell-Smith) 3.43
12. Ain’t Superstitious (Dixon) 3.51
13. Bad Boy (Bramlett/Clapton) 5.26
14. Dust My Broom (James) 5.28
15. Mr. You’re A Better Man Than I (M.Hugg/B.Hugg) 3.42
16. For Your Love (Gouldman) 4.19

CD1

*
**

Yardbirds2018

The Yardbirds in 2018

Graham Bond Organisation – The Sound Of 65 (1965)

FrontCover1.jpgThe Graham Bond Organisation were a British jazz/rhythm and blues group of the early 1960s consisting of Graham Bond (vocals, keyboards, alto-saxophone), Jack Bruce (bass), Ginger Baker (drums), Dick Heckstall-Smith (tenor/soprano saxophone) and John McLaughlin (guitar). They recorded several albums and further recordings were issued when the group’s members achieved fame in progressive rock and jazz fusion. The spelling of the band’s original name varied between releases, often depending on the intended audience. The British English spelled as “Organisation” or “ORGANisation” (Bond’s original plan), while in some other countries outside the UK spelled “Organization”.

At the start of the British rhythm and blues boom the Graham Bond Organisation earned a reputation for playing aggressive R & B with prominent jazz and blues. Bond was the primary songwriter but encouraged the other musicians to contribute material, including Dick Heckstall-Smith’s “Dick’s Instrumental” and Ginger Baker’s “Camels and Elephants”, in which the drummer explored ideas he eventually developed into his signature piece “Toad”. Jack Bruce’s harmonica-driven version of Peter Chatman’s “Train Time” would become a staple in Cream’s live performances.

GBO_01The first commercial recording by the original lineup of the Graham Bond Organisation was released under the name of singer Winston G. (real name Winston Gork). A protégé of expatriate Australian impresario Robert Stigwood, Winston had launched his career under the pseudonym “Johnny Apollo”. In early 1965 both Winston and the Graham Bond Organisation were part of Stigwood-promoted UK package tour headlined by Chuck Berry (on which Stigwood incurred heavy losses). Since they shared management, the Graham Bond Organisation backed Winston on the Parlophone single “Please Don’t Say” / “Like A Baby”; the A-side was credited “Arrangement directed by Graham Bond” and the B-side “Arrangement directed by Ginger Baker”.[1] The band signed for Decca Records who released their dynamic version of the Don Covay composition “Long Tall Shorty” in 1964, backed with “Long Legged Girl” (“Long Tall Shorty” had been popularised by US singer/organist Tommy Tucker). Their best-known single, and the second released under their own name, was “Tammy” (Jay Livingston/Ray Evans) / “Wade in the Water” (trad. arr. group), recorded on 4 January 1965 at Olympic Sound Studios, London (EMI Columbia DB 7471, 29 January 1965). The track also appeared on their debut album The Sound of 65 (EMI Columbia, March 1965).

In 1965 the band appeared as themselves in the film Gonks Go Beat, where they played two songs including “Harmonica”.

GBO_02

The band’s fourth 45 featured the single-only tracks “Lease on Love” / “My Heart’s in Little Pieces” (July 1965). The A-side is noteworthy for its pioneering use of the Mellotron, which Bond also played on several tracks on their second LP There’s A Bond Between Us (November 1965); the album also included studio versions of the two aforementioned instrumentals. The single and the album tracks are believed to be the first ‘popular’ recordings to feature the instrument, since “Lease on Love” appeared more than a year before the first UK chart hit to feature a Mellotron—Manfred Mann’s “Semi-Detached Suburban Mr. James” (October 1966)[2]—and at least 18 months before The Beatles made the Mellotron world-famous with “Strawberry Fields Forever” (January 1967).[3] The tracks recorded for the second album were also the last cut by the original Graham Bond Organisation lineup before Jack Bruce was fired in August 1965. On 7 August 1965 they played at the Richmond-on-Thames Jazz and Blues Festival which was televised on the Shindig TV show.

Janet GodfreyThe band gained minor attention after their ‘Waltz For a Pig’ (originally titled ‘Ode to a Toad’) was issued as the B-side of the Who’s 1966 single ‘Substitute’, which reached number 5 on the UK Singles Chart. The band was billed as ‘the Who Orchestra’ for this release and the track was written by Baker.

The group was plagued with problems because of substance abuse and Baker’s ongoing feud with Bruce. Retrospectives of Cream indicate that Bond deputised Baker to fire Bruce, who joined Manfred Mann for a short time until July 1966 when Baker formed Cream with Bruce and Eric Clapton. The group recorded “St. James’ Infirmary” without Bruce on 10 January 1966, which was released in the United States on the Ascot label and received indifferently. Another sideman was Mike Falana on trumpet.[5]

Bond reformed the Organisation with Jon Hiseman on drums. As a trio, Bond, Heckstall-Smith and Hiseman recorded the single “You’ve Gotta Have Love Babe” / “I Love You” (both by Graham Bond) on 18 January 1967 for Page One records.[5] Bond left for the USA, releasing two albums there in 1969 with well-known session players.[5] Hiseman and Heckstall-Smith would leave to join John Mayall & the Bluesbreakers for Bare Wires (recorded April 1968)[6] before forming Colosseum in the summer of 1968, with Tony Reeves on bass and Dave Greenslade keyboards.

The Graham Bond Organisation’s lack of commercial success, internal struggles and drug problems brought the band to an end in 1967, but its importance was soon recognised with the vogue for blues and progressive rock and the increased sales of albums. The double album Solid Bond, released by Warner Bros. Records in 1970, compiled live tracks recorded in 1963 by the Graham Bond Quartet (Bond, McLaughlin, Bruce and Baker) and a studio session from 1966 by the final trio version of the Graham Bond Organisation (Bond, Heckstall-Smith and Hiseman).

Single

Graham Bond reunited with his former bandmates in the early 1970s, playing with Ginger Baker’s Air Force and also spending a short time touring with Jack Bruce’s band. He subsequently signed a contract with Vertigo Records and was reportedly off drugs by this time, although he was becoming increasingly obsessed with black magic. Bond died in May 1974, when he was hit by a train at London’s Finsbury Park underground station.

The Sound of ’65 is the debut album by rhythm & blues/jazz group The Graham Bond Organisation and featuring its best-known line-up of Graham Bond on vocals, alto saxophone, Hammond B-3 organ and Mellotron, Jack Bruce on vocals, acoustic and electric basses and harmonica, Dick Heckstall-Smith on tenor and soprano saxophone and Ginger Baker on drums.

Melody Maker’s Chris Welch has suggested The Sound of ’65 “may have been the greatest album of the Sixties” and “one of the most exciting and influential of its time”[3] given the respect paid by luminaries like Steve Winwood and Bill Bruford. This album and the group’s second and last, There’s a Bond Between Us are now considered “essential listening for anyone who is seriously interested in either British blues, The Rolling Stones’ early sound, or the history of popular music, in England or America, during the late ’50s and early ’60s” and is also known among fans of Cream, which Bond’s rhythm section joined in the next year. (by wikipedia)

GBO_04

Although the Organization’s first album was recorded a mere year or two before Cream’s debut, it bears little resemblance to Cream’s pioneering hard blues-rock. Instead, it’s taut British R&B with a considerable jazz influence. That influence comes not so much from the rhythm section as saxophonist Dick Heckstall-Smith and lead singer/organist Bond himself. This LP is not as exciting or rock-oriented as those of contemporaries like the Rolling Stones or John Mayall, but is respectably gritty, mostly original material, with an occasionally nasty edge. There are some obscure treasures of the British R&B explosion to be found here, including the original version of “Train Time” (later performed by Cream), the thrilling bass runs on “Baby Be Good to Me,” and the group’s hardboiled rearrangements of such traditional standards as “Wade in the Water” and “Early in the Morning.” Even their blatant stab at commercialism (the ballad “Tammy”) has its charm. (by Richie Unterberger)

BackCover1.jpg

Personnel:
Ginger Baker (drums)
Graham Bond (organ, vocals, mellotron, saxophone)
Jack Bruce (bass, vocals, harmonica)
Dick Heckstall-Smith (saxophone)

GBO_03Tracklist:
01. Hoochie Koochie Man (Dixon) 3.14
02. Baby Make Love To Me (Godfrey/Baker/Bond/Bruce/Heckstall-Smith) 1.53
03. Neighbour, Neighbour (Valier) 2.40
04. Early In The Morning (Traditional) 1.51
05. Spanish Blues (Bond) 3.05
06. Oh Baby (Bond) 2.43
07. Little Girl (Bond) 2.16
08. I Want You (Bond) 1.46
09. Wade In The Water (Traditional) 2.42
10. Got My Mojo Working (Morganfield) 3.11
11. Train Time (Baker/Bond/Bruce/Heckstall-Smith) 2.24
12. Baby Be Good To Me (Godfrey/Baker/Bond/Bruce/Heckstall-Smith) 2.36
13. Half A Man (Bond) 2.06
14. Tammy (Livingston/Evans) 2.50

LabelB1.jpg

*
**

Ginger Baker
(19 August 1939 – 6 October 2019)

Graham Bond
(28 October 1937 – 8 May 1974)

Jack Bruce
(14 May 1943 – 25 October 2014)

Dick Heckstall-Smith
(26 September 1934 – 17 December 2004)

 

 

Cliff Bennett & The Rebel Rousers – Same (1965)

FrontCover1.jpgCliff Bennett and the Rebel Rousers are a 1960s British rhythm and blues, soul and beat group who had two Top 10 hits with “One Way Love” (#9 UK, 1964) and “Got to Get You into My Life” (No.6 UK, 1966).

Well-known members include Bennett himself (vocals, born Clifford Bennett, 4 June 1940, Slough, Berkshire, England) Chas Hodges (keyboards, bass, born Charles Nicholas Hodges, 28 December 1943, Edmonton, North London, England), Mick Burt (drums, born Michael William Burt, 23 August 1938, Middlesex, England) and Nicky Hopkins (piano, born Nicholas Christian Hopkins, 24 February 1944, Harlesden, North West London, England) and Maurice Groves , Birmingham

In 1957 Bennett formed the band the Rebel Rousers. They recorded several singles with record producer Joe Meek that were released by Parlophone. Bennett continued recording for Parlophone, issuing cover versions of “You’ve Really Got a Hold on Me” and “Got My Mojo Working”.

CliffBennettRebelRousers2

Brian Epstein became their manager in September 1964 and their seventh release, “One Way Love” (written by Bert Berns and Jerry Ragovoy under their pseudonyms Bert Russell and Norman Meade) b/w “Slow Down”, reached No. 9 in the British charts. Their next, “I’ll Take You Home” (written by Barry Mann and Cynthia Weil) b/w “Do You Love Him”, charted at No. 42. “Three Rooms With Running Water” (written by Jimmy Radcliffe and Bob Halley) did somewhat better. In early 1966, the band was the opening act for the Beatles on their final European tour. Bennett got the opportunity to hear the Paul McCartney song “Got to Get You into My Life”, which was used on the Revolver album but was never released as a single. Bennett recorded it, with his own composition “Baby Each Day” appearing on the B-side. McCartney was producer for the session. The record reached No. 6 on the British charts, becoming Bennett’s biggest ever hit.[1] Cliff returned to the songbook of McCartney / Lennon in 1968 when he recorded “Back in the USSR” as Cliff Bennett and his Band, a single on Parlophone but this failed to make any impression on the charts.

Single.jpg

Bennett went on to be part of Toe Fat, whilst Chas Hodges (keyboards) and Mick Burt became Chas & Dave with Dave Peacock. After Toe Fat disbanded, two of their members (Ken Hensley and Lee Kerslake) joined Uriah Heep, and Bennett was asked to join them but declined. He was also considered for the lead vocalist position in Blood, Sweat & SheetMusicTears when David Clayton-Thomas left in the early 1970s but once again turned the position down. He released a solo album, Rebellion in 1971 but he was not to rekindle his success of the previous decade. Between 1975 & 1976, he was the vocalist for a band called Shanghai, which released two albums, in 1974 and 1976; other members included, Mick Green (guitar), Chuck Bedford (vocals, harmonica, 1974–75), Pete Kircher (drums, vocals), Mike Le Main (bass, keyboards, 1974–75), Brian Alterman (guitar, 1975–76), Pat King (bass, 1975-76).

In the late 1970s, Bennett retired from the music industry to go into shipping, through which he made a considerable amount of money. In 1988, Mark Lundquist reformed the Rebel Rousers and toured as manager and band leader of Cliff and the band until 1996. More recently he has toured alongside Mike d’Abo, Chris Farlowe, Zoot Money, Maggie Bell, Screaming Lord Sutch, The Manfreds, Steve Ellis and New Amen Corner. (by wikipedia)

CliffBennettRebelRousers4

Cliff Bennett & the Rebel Rousers were a British soul combo that featured Bennett as pretty-boy soul singer with strong backing from the two saxes-guitar-organ-bass-drums lineup of the Rebel Rousers. Between 1964 and 1966, they cut these two albums for EMI, hooked up with Brian Epstein, and almost made it. In truth, they were a couple of years ahead of the curve, with Bennett possibly one of the few Brits who could tackle material by Marvin Gaye, Jimmy Reed, Smokey Robinson, Little Milton, and Curtis Mayfield without looking or sounding ridiculous in the process. The Rebel Rousers are a minimal — but deceptively fat and full sounding — sextet that makes these tracks come alive with stripped-down vitality. They make old soul tunes sound like Liverpool pop and pop throwaways sound like R&B rarities. This is one of the missing chapters in British rock that every fan ought to get around to sampling. (by Cub Koda)

BackCover1.jpg

Personnel:
Cliff Bennett (vocals)
Mick Burt (drums)
Maurice Groves (saxophone)
Sid Phillips (saxophone)
Bobby Thomson (bass)
Dave Wendells (guitar)
Roy Young (keyboards)

CliffBennettRebelRousers3

Tracklist:
01. I Can’t Stand It (McAllister) 4.06
02. Sweet And Lovely (Arnheim/Tobias/Lemare) 2.39
03. Make Yourself At Home (Sherman/Clare/Tobias) 1.58
04. You Really Got A Hold On Me (Robinson) 2.34
05. Ain’t That Lovin’ You Baby (Reed) 2.45
06. Sha La La (Taylor/Moseley) 2.06
07. One Way Love (Russell/Meade) 2.19
08. Steal Your Heart Away (Parker) 3.29
09. It’s All Right (Mayfield) 2.47
10. Beautiful Dreamer (Foster) 2.09
11. Mercy Mercy (Covay/Miller) 2.39
12. Talking About My Baby (Mayfield) 2.30
13. The Pick-Up (Twitty) 2.07

LabelA1

*
**

The Rolling Stones – Sydney (1966)

FrontCover1.jpgI was given this cassette of the 2UW 1966 Stones Sydney broadcast in 1972 (I was 16) by a chap only 4 years older than me who went on to be one of Australia’s leading music historians. Hadn’t seen him for years except on the telly /radio or on the rare occasion on the opposite side of a music venue. After The Monkees Sydney Opera House June 2019 concert I bumped into him in the foyer, re-introduced myself, we chatted, then shared a train ride home to my suburb where he had parked his car.

I took the opportunity to quiz him about the 2UW Broadcast cassette he had given me decades before. Such as, did he record it himself from the radio at the time? If not did someone else tape it, was my copy a dub from a cassette or reel to reel, did he have any idea when 2UW broadcast the show? I was dead set gobsmacked when he replied he couldn’t remember having this cassette & most likely it was his copy that he gave me.

So what do I have? Methinks i have either a 1st or 2nd generation. I’m sure this would have been aired on radio like the Melbourne 3UZ 1966 broadcast with advertisements / radio station ID, probably too hard to edit them out at the time of taping so possibly this cassette could be a dub from that but with the ads removed. What is present In track 12 Satisfaction at the 3.41 mark are 5 loud pips. I’ve been told that these could represent that it’s 5.00 PM at the time of this broadcast or the 5.00 PM news was coming up next.

RollingStones1966_02.jpg

The cassette also included two radio reports. The first of these is about the Stones arrival at Kingsford Smith Sydney Airport on the 16th February 1966. The second a short interview with the Stones in Sydney most likely before the 18th February shows. Unfortunately both are incomplete. Both conducted by Ward “Pally” Austin, a Sydney Radio 2UW DJ. In the 60’s he was probably Sydney’s most famous albeit notorious disc jockey. Ward also introduces the band at the concert.

The 2UW Feb 1966 interview with Mick Jagger and Brian Jones (I think Keith Richards is in there as well) cuts in after a discussion has already started regarding As Tears Go By. Jagger states he recorded it first before Marianne Faithful but his voice was deemed to be a bit camp so they decided to re record it again in a deeper voice.

RollingStones1966_03

Mick & Brian talk about engagements prior to marriage. Ward asks the boys what they’re going to do while in Sydney.
Jagger in an exaggerated Aussie accent talks about going down the beach, doing a bit of water skiing, watch the old sheila’s, sheilas being Australian slang for females, young or old. (The equivalent of the terms birds in the UK & broads in the USA.)

During the interview a voice comes on to tell us that at the time 2UW was one of Sydney’s lowest rated radio stations but they’d been building a new image of 24 hour nonstop teenage music. The voice continues that this has paid off because 2UW is now Sydney’s 3rd highest rated radio station & Ward is the top DJ.

RollingStones1966_04.jpg

In the 80’s I had a fling with a 2UW employee who when I asked if they had access to the station’s radio library, replied they did as it was part of the job. I asked if it they would be agreeable to conduct a search of the 2UW library for me looking for the broadcast, “no worries” was the reply. And if located could they one way or the other obtain a copy of it for me. They searched high & low but nowhere could they find the 1966 Broadcast nor could any documentation regarding the broadcast be found. Probably long ago wiped or discarded.

The broadcast does not feature the 1st song of the concert The Last Time, it starts with the 2nd song of the night Mercy Mercy. audiowhore & myself have tried to find the actual date of the broadcast but have been unsuccessful. But he did find a newspaper ad for the Brisbane 4BH Stones 1966 live broadcast aired on the 22nd February 1966, so perhaps the Sydney broadcast was aired the day after the show as well. Hopefully one day the Brisbane broadcast might magically surface just as the Melbourne 3UZ 1966 broadcast did decades later.

RollingStones1966_05.jpg

We couldn’t find any reviews of the Sydney 1966 concerts apart from a very brief show report in Go-Set magazine but I have the next best thing. Someone who not only attended this very show but took photographs as well. My friend Big Knob (Big from here on in) attended this concert as a 20 year old, not as a professional photographer but as a fan whose hobby / passion was photography.

Not even a year after attending this show he would be drafted into the Australian army & fighting in Vietnam. I asked him if in his days of being an audience member taking photographs at concerts (starting with The Beatles in 1964) was he hassled in any way for doing so. He replied no, it was the opposite, people would come up to him asking why was he was bothering to take photographs. He told me that if any newspaper photographer did bother to turn up to shoot a show, they would grab a few photos & then bugger off asap.

When audiowhore & myself searched newspaper articles regarding the Stones Australian 1966 tour we located a few pro-shot B/W Sydney photos but they hadn’t been reproduced in very good quality & in all honesty Big’s photos piss all over them & in colour too! It’s his photographs that he has so kindly allowed me to use for the artwork. The inside front cover photograph with Brian playing harmonica was taken during Not Fade Away. The back cover photograph with Brian sitting down playing the organ is That’s How Strong My Love Is.

RollingStones1966_06.jpg

The show was held in the Commemorative Auditorium which is one of the halls inside the Sydney Showgrounds complex, it’s only a hop, skip & jump from the Hordern Pavilion where I would see many groups in the early 70’s to late 80’s. In some of the photographs you can see in the background a stained glass window of a reversed map of Australia on which NSW is the only state coloured in & because this was the early show the sunlight is streaming through it. Of course outside the building the map was the correct way round.

The concert was advertised (as can be seen in the newspaper add on the Back Inside Cover artwork) with the band being on the Centre Revolving Stage, which Big informed me was transported over from the Sydney Stadium at Rushcutters Bay. This would have been a bit of a task to do so. This stage was not electric but hand cranked around by stage hands, with a few songs performed to the front, then cranked around to the right for the next couple of numbers & so on.

RollingStones1966_07In the artwork photographs you can notice that the reversed map of Australia appears in slightly different positions. The photograph of the Stones taken from the back that features on the back inner artwork was taken when the stage had revolved around. I asked Big if he had moved around to take that particular photograph, he replied that he’d taken all his photos basically staying in the same position.

Before Not Fade Away Jagger can be heard asking “Will you stop this thing this going round” referring to the stage. Apparently it was annoying him in some way. Big can’t remember if Jagger’s plea was granted but he does remember that the American singer P.J. Proby’s scarf was caught up in this stage the year before. Jagger says “Where are we?” followed by “Wait right there” & then something undecipherable in Satisfaction that could also be a another reference to the revolving stage.

Big definitely remembers the endless screaming of the sheilas, says it was just as loud as it was for the Beatles Sydney shows two years previously. He added that some brave girls would dash out of their seats, run past the cops to throw streamers at the stage, in the photographs some of these can be seen wrapped around various Stones & their instruments. I was aware that on this tour the Stones where supported by another UK band The Searchers plus New Zealand band Max Merritt & The Meteors but I was unaware until Big informed me that two Australian acts were also on the bill. They being Tony Barber and Steve & The Board.

Although this recording is certainly not Hi-Fi by any stretch I love hearing Brian’s contributions in this Sydney show. This live version of Satisfaction being my mid-60’s favourite version. Revisiting this show finds me wishing that one day soon hopefully the Stones From The Vaults series will release a Brian Jones era live concert instead of endless latter day releases that feature Ron Wood – the king of bum notes & out of tune solos.

RollingStones1966_08.jpg
Australian Women’s Weekly Magazine (February 23rd 1966)

I first traded this recording with Stones collectors in the late 70’s, but when I told people I had this recording I was asked a number of times how could I be sure this radio show was Sydney. Easy I wrote back – Ward Austin who can be heard introducing the show was a Sydney DJ plus Jagger himself can be heard shortly before Satisfaction starts saying “Thank you very much Sydney”. Although the word Sydney is not as loud as the preceding words because of background tuning, Jagger definitely says Sydney.

I’m sure it was one of my trades that became the source for it’s appearance on the Japanese Silver Bootleg VGP Label entitled He Is Not Dead because it has the same tape wobble in Get Off Of My Cloud plus the radio pips in Satisfaction. But Ward Austin’s concert introduction is missing and the two 2UW radio segments didn’t make it either. IMHO my original cassette version has slightly more definition & is somewhat superior than the VGP title & other CD-R versions I’ve heard.

Thanks to my old friend for the original cassette, Big Knob for his photographs & audiowhore for the 2019 transfer and mixing and last but not least Bobel. (by wazza50)

Recorded live at the Commemorative Auditorium, Sydney Showgrounds, Sydney, New South Wales, Australia; February 18, 1966 (1st show). Passable Sydney 2UW Radio broadcast (unknown airdate)

BackCover1.jpg

Personnel:
Mick Jagger (vocals, tambourine)
Brian Jones (guitar, organ, harmonica, background vocals)
Keith Richards (guitar, background vocals)
Charlie Watts (drums)
Bill Wyman (bass, background vocals)

RollingStones1966_01.jpg
Tracklist:
01. Stones Arrival At Sydney Airport 16th February 1966 #1 1:21
(Soundtrack From UK TV Report)
02. Stones Arrival At Sydney Airport 16th February 1966 #2 1:57
(Ward Austin 2UW Report – Cuts out / then 2UW Ward Austin Stones Interview – Start of interview missing)

03. Intro 0.29
04. Mercy, Mercy (Covay/Miller) 2.19
05. She Said Yeah (Christy/Jackson) 2.01
06. Play With Fire (Jagger/Richards) 2.20
07. Not Fade Away (Hardin/Petty)  2.16
08. Spider And The Fly (Jagger/Richards)  2:57
09. That’s How Strong My Love Is (Jamison) 2.09
10. Get Off Of My Cloud (Jagger/Richards) 3.06
11. 19th Nervous Breakdown (Jagger/Richards) 3.52
12. Satisfaction (Jagger/Richards) 5.03

KeithRichards.jpg

*
**

Thanks to wazza50 for sharing the show at Dime

Them – Here Comes The Night (1965)

FrontCover1This is the US version of the debut album of Them:

The Angry Young Them is the first album by the Northern Irish rock and roll group Them. The album was released in the UK in June 1965. The band’s lead singer and songwriter was Van Morrison. In the U.S., the album was released as Them with partly different tracks.

As with several Decca releases of the period, the name of the group was conspicuously absent from the front cover and on the back of the LP they were introduced as The Angry Young Them with an essay on this theme declaring: “These five young rebels are outrageously true to themselves. Defiant! Angry! Sad! They are honest to the point of insult!”
Release history

Six of the songs on the album were Morrison originals, including the famous garage band anthem “Gloria”. Another song on the album, “Mystic Eyes”, was a spontaneous creation that came out of the band just “busking around” in Morrison’s words and after seven minutes of instrumental playing he impulsively threw in the words of a song he had been working on.

Them01.jpg

The lengthy versions of “Gloria” that the band performed at the Maritime and the ten-minute recording of “Mystic Eyes” have never surfaced. All that is left of the “Mystic Eyes” performance is the little over 2​1⁄2 minutes on the album that remained after splicing out from the beginning and ending. “You Just Can’t Win” was a Dylan inspired song about a gold digger, set in specific places in London such as Camden Town. “Little Girl” was about a boy’s obsession with a fourteen-year-old school girl (an earlier take on Lord’s Taverners charity album had been deleted when a four-letter word was heard in the fade out at the end). “If You And I Could Be As Two” starts with a spoken introduction by Morrison with an aggressive Irish accent. Three Bert Berns originals were included and a cover of John Lee Hooker’s “Don’t Look Back” was considered by Morrison to be his finest vocal to date. (by wikipedia)

Them02.jpg

Decca’s willingness to release a full-length Them album was conditioned upon the breakthrough success of the band’s third single, “Here Comes the Night.” It was not, however, the practice in Britain at the time to put hit singles on albums, so this 14-track LP does not include that song. It does, however, contain six songs written by lead vocalist Van Morrison, including the immortal “Gloria” and “Mystic Eyes,” which became a chart single in the U.S., plus some well-played R&B covers. Because of an annotation on the back of the LP, this album is sometimes referred to as The Angry Young Them, although its official title is Them. (by William Ruhlmann)

Single.jpg

Personnel:
Peter Bardens (orgamn)
Billy Harrison (guitar)
Alan Henderson (bass)
John McAuley (drums, piano, harmonica)
Van Morrison (vocals, harmonica, saxophone)

BackCover1.jpg
Tracklist:
01. Here Comes The Night (Berns) 2.48
02. Mystic Eyes (Morrison) 2.44
03. Don’t Look Back (Hooker) 3.23
04. Little Girl (Morrison) 2.49
05. One Two Brown Eyes” (Morrison) 2.35
06. Gloria (Morrison) 2.39
07. One More Time (Morrison) 2.50
08. If You and I Could Be As Two (Morrison) 2.54
09. I Like It Like That (Morrison) 3.19
10. I’m Gonna Dress in Black (Gillon/Howe) 3.31
11. (Get Your Kicks On) Route 66 (Troup) 2.25
12. Go On Home Baby (Morrison) 2.34

LabelB1.jpg

*
**

Dr Feelgood – Mad Man Blues (1986)

FrontCover1.JPGDr. Feelgood are an English pub rock band formed in 1971. Hailing from Canvey Island, Essex, the group are best known for early singles such as “She Does It Right”, “Roxette”, “Back in the Night” and “Milk and Alcohol” . The group’s original distinctively British R&B sound was centred on Wilko Johnson’s choppy guitar style. Along with Johnson, the original band line-up included singer Lee Brilleaux and the rhythm section of John B. Sparks, known as “Sparko”, on bass guitar and John Martin, known as “The Big Figure”, on drums. Although their most commercially productive years were the early to mid-1970s, and in spite of Brilleaux’s death in 1994 of lymphoma, a version of the band (featuring none of the original members) continues to tour and record to this day. (by wikipedia)

1985 was bringing in some musical surprises, some of them good, some not so, but with the advent of the musical video, things were all about the “forward look,” so it goes without saying that many great rock n’ roll bands, bands who should have been receiving countless amounts of air time, saw none. You can count Dr. Feelgood in that category of “none,” and that’s a loss this world will never bounce back from.

There are people out there who are gonna tell you that Dr. Feelgood was a working man’s R&B, Rockin’ Blues band, and while that’s sort of true, it’s like saying that Gram Parsons was a working man. Gram wasn’t any more a working man then Dr. Feelgood, the Doctor [or should I say Doctors] had no choice, the music was in them, and if it didn’t get out, they were gonna explode … which is pretty much what happened whenever the took the stage. You need to feel this music, you need to turn the speakers up loud … that “Blown Away Guy” sitting in the Le Corbusier armed chair facing a JBL L100 speaker for the Maxell tape ad back in the 70’s, well hands down he was listin’ to Dr. Feelgood for sure.

Dr.Feelgood.jpg

Go ahead, dismiss this album if you wish, wave off this review if you must … but just for one minute, open any window in your house and take a listen to what’s blasting from mine, and you might just change your thinking. And that’s a fact, Jack! (streetmouse)

Lee Brilleaux and Dr. Feelgood sound positively revitalized on Mad Man Blues, a collection of raw versions of blues standards that is their best album since 1977’s Be Seeing You. (by Stephen Thomas Erlewine)

Front+BackCover

Alternate front + back cover

Personnel:
Lee Brilleaux (guitar, harmonica, slide-guitar, vocals)
Phil H. Mitchell (bass, vocals)
Kevin Morris (drums, percussion, background vocals)
Gordon Russell (guitar)

BackCover1.JPG

Tracklist:
01. Dust My Broom (James) 2.57
02. Something You Got (Cropper/Floyd) 2.40
03. Dimples (Hooker) 2.59
04. Living On The Highway (Nix/Russell) 3.37
05. Tore Down (King) 2.41
06. Mad Man Blues (Hooker) 2.25
07. I’ve Got News For You (Brilleaux/Morris/Russell/Vernon) 3.57
08. My Babe (Dixon) 2.23
09. Can’t Find The Lady (Wallis) 3.31
10. Rock Me Baby (Bihari/King) 4.30

LabelB1.JPG

*
**

Lee Brilleaux

Lee Brilleaux (born Lee John Collinson, 10 May 1952 – 7 April 1994)

The (Count) Bishops – Live (1979)

FrontCover1.JPGThe Count Bishops were a British rock band, formed in 1975 in London and which broke up in 1980. The Count Bishops had limited commercial success, but forged an important stylistic and chronological link between the root rhythm and blues band Dr. Feelgood and the proto punk sound of Eddie and the Hot Rods; together forming the foundation of the pub-rock scene, which influenced the emergence of punk rock. The group made history in England by releasing the first record from independent label Chiswick Records. They splintered following the death of guitarist Zenon DeFleur on 18 March 1979. (by wikipedia)

From the best looking rock band this side of The Motors . . . The Bishops’ particular variety of rowdy, rumbustious R&B has always functioned best live, which is why this album cuts their studio elpee to shreds fairly effortlessly.
About three quarters of the material has shown up on previous Bishops’ recordings (“Sometimes Good Guys Don’t Wear White”, “I Need You”, “Baby You’re Wrong”, “Takin’ It Easy” and the sublime “Train Train”) but all of ’em with the possible exception of “Train” sound a lot better here.

CountBishopsLive01.jpg

 
The whole thing’s topped off with a couple of comparative newies (“I Don’t Live It” and “Too Much Too Soon” composed by singer Dave Tice and rhythm guitarist Zenon De Fleur) and a sprinkling of revibes: (“Somebody’s Gonna Get Their Head Kicked In” from the repertoire of, believe it or not, Fleetwood Mac, though it must be said that Mac ain’t played that song for a while), Sonny Boy Williamson’s “Don’t Start Me Talkin'” and The Strangeloves’ “I Want Candy” (featuring – gulp – a drum solo).

Right now, The Bishops have a single – a revival of Sam And Dave’s classic “I Take What I Want” on Radio One’s playlist, plus another studio album lined up and ready for Chiswick to disgorge upon a suspecting public. If the world is once again ready for an enthusiastic and finely crafted brew of tough guy pop and drunken R&B, then they might as well get it from The Bishops as from anybody else, because in the two or three years that they’ve been going they’ve waved the flag for their kind of music as hard as anybody against both apathy and more restrictive types of New Wave mentality.
This album is as convincing a demonstration as could be required. Miss out and it’s your loss. (by Charles Shaar Murray in 1979)

In other words: one of the finest live albums from the second wave of British R & B and Beat … Listen and enjoy ! … we want the world, and we want it now !

CountBishops01.jpg

Personnel:
Paul Balbi (drums)
Zenon de Fleur (guitar)
Johnny Guitar (guitar)
Pat McMullan (bass)
Dave Tice (vocals)

BackCover1.JPG
Tracklist:
01. Too Much, Too Soon (Tice) 2.41
02. Till The End Of The Day (Davies) 2.07
03. Taking It Easy (Lewins) 3.02
04. Train, Train (de Fleur) 3.19
05. Someone’s Gonna Get Their Head Kicked In Tonight (Spencer) 2.38
06. Sometimes Good Guys Don’t Wear White (Cobb) 2.38
07. Don’t Start Me Talking (Raye) 2.26
08. Baby You’re Wrong (de Fleur) 2.30
09. I Don’t Like It (Tice/de Fleur) 2.05
10. (I Want) Candy (Berns/Feldman/Goldstein/Gottehrer) 3.43

LabelB1.JPG

*
**

Georgie Fame & The Blue Flames – Fame At Last (1964)

FrontCover1.jpgGeorgie Fame and the Blue Flames were a noted British rhythm and blues/soul, jazz, ska, pop group during the 1960s. They were also the backing band for Billy Fury. At the end of 1961, their piano player Georgie Fame took over as vocalist and they went on to enjoy great success without Fury. They were influenced by Jon Hendricks, Mose Allison and blues musicians such as Willie Mabon. The group found other influences in ska, which could be heard in Jamaican cafes in and around Ladbroke Grove frequented by the group’s Jamaican born trumpeter Eddie Thornton. During the group’s three-year residency at the Flamingo Club, Fame heard the latest jazz and blues from America, and it was Booker T. & the M.G.’s “Green Onions” which inspired him to take up playing Hammond organ with the band.

Colin Green and Georgie Fame (then known as Clive Powell) worked together in ‘Colin Green’s Beat Boys’, who had backed Gene Vincent and Eddie Cochran during UK tours. In 1961 piano player Fame, drummer Red Reece, bassist Tex Makins and Green were hired by Larry Parnes to back Billy Fury as the Blue Flames. Fury’s Manager dismissed them in February 1962 as he felt they were “too jazzy” and replaced them with The Tornados.

georgiefame01

In December 1961 Alan “Earl” Watson fronted The Blue Flames, playing tenor saxophone and singing. In May 1962 the group was augmented by Ghanaian percussionist Neeomi “Speedy” Acquaye and Green left the group. Fame took over as the lead vocalist, Green was replaced by Joe Moretti and in turn was later replaced by John McLaughlin. During that time Rod “Boots” Slade had taken over as bass player while Makins toured with Johnny Hallyday. Saxophonist Mick Eve joined the group during 1962 and eventually the line up was completed by Johnny Marshall.

McLaughlin departed in April 1963 when he joined The Graham Bond Organisation, leaving the group without a guitarist for eighteen months and during this period Rik Gunnell took over the management of the band. In September 1963, they recorded their debut album Rhythm And Blues at the Flamingo which was produced by Ian Samwell, engineered by Glyn Johns and released on the Columbia label.

GeorgieFame03.jpg

Rhythm And Blues at the Flamingo failed to enter the UK chart, as did the single ‘Do The Dog’ which was taken from this album and released in 1964. Two other singles ‘Do Re Mi’, and ‘Bend A Little’ were also released during 1964, achieving no commercial success.

In July 1964, Peter Coe replaced Marshall and was soon joined by baritone saxist Glenn Hughes and trumpet player Eddie “Tan-Tan” Thornton who had previously appeared occasionally with them and Green rejoined the group in October 1964.

Reece became ill in 1964 and was replaced by Tommy Frost. Jimmie Nicol spent a brief period as drummer, then left to replace Ringo Starr for 13 days on a Beatles tour. Phil Seamen and Micky Waller sat in for Nicol until Bill Eyden became the band’s full-time drummer in September 1964.

GeorgieFame04.jpg

In October 1964 the album Fame at Last reached No.15 in the U.K. album chart. The band’s version of the song “Yeh Yeh” was released as a single in the U.K. on 14 January 1965 and reached No.1 on the U.K. Singles Chart for two weeks (out of a total of twelve weeks on the chart).

The song “In The Meantime” was released as a single in February 1965 and reached the U.K. Top Twenty, however the band’s next two single releases were not chart entries. Success followed with Fame’s self penned song Get Away (released on 17 June 1966),[9] which climbed to the top of the UK chart for a solitary week in late-July. The song was originally written as a jingle for a television petrol advertisement (National filling stations). It was later used as the theme tune for a long-running travel and lifestyle show on Australian television called Getaway. The two subsequent singles, “Sunny” and “Sitting in the Park” reached chart positions of No.13 and No.12 respectively. After the album Sweet Thing (1966) was released, Fame signed to CBS and became a solo artist.

Eyden and Makins remained as the group’s rhythm section until they were replaced in December 1965 by Cliff Barton and Mitch Mitchell. That lineup recorded the album Sweet Things, then on 1 October 1966 Fame disbanded the Blue Flames to pursue a solo career. Within a week Mitchell had been selected over Aynsley Dunbar to be the third member of what would be dubbed The Jimi Hendrix Experience. (by wikipedia)

GeorgieFame02A.jpg

‘And here´s the second album of Georgie Fame & The Blue Flames:

Following on from the blazing live set that was his debut (listen here), Georgie Fame’s first studio album is one of those discs to which only one appellation can truly be applied — it’s dangerous. A blistering romp through Fame & His Blue Flames’ live repertoire of the day, fast and loose and driving, it captures one of Britain’s best-ever R&B troupes stepping so far beyond the customary precepts of the Beat Boom that, if you were to come to this record without knowing who it was, there’s no way you’d ever guess a bunch of (predominantly) Londoners were responsible. To pull out any highlights is to indicate that there are any corresponding low-lights — there aren’t. But a “Green Onions” so sweet that you can taste it captures the group in full flame, while Willie Dixon’s “I Love the Life I Live” has rarely sounded so supreme. Even the closing “I’m in the Mood for Love” — not a song one normally associates with heads-down blues boogie — is granted a cigarettes’n’alcohol ambience that could choke any passing puritan, and the whole disc adds up to one of the all-time great albums of its, or any other, R&B-blessed era. (by Dave Thompson)

SingleLabelA.jpg

Personnel:
Speedy Acquaye (percussion)
Peter Coe (saxophone)
Georgie Fame (organ, vocals)
Anthony Paul ‘Tex’ Makins (bass) 
Phil Seamen (drums)
Edward ‘Eddie’ Thornton (trumpet)

BackCover1.jpg

Tracklist:
01. Get On The Right Track, Baby (Turner) 2.52
02. Let The Sunshine In (Barberis/Weinstein/Randazzo) 2.38
03. The Monkey Time (Mayfield) 2.39
04. All About My Girl (McGriff) 4.27
05. Point Of No Return (Goffin/King) 2.26
06. Gimme That Wine (Hendricks) 3.06
07. Pink Champagne (Liggins) 3.51
08. Monkeying Around (Cropper/Bell) 2.12
09. Pride And Joy (Gaye/Whitfield/Stevenson) 2.24
10. Green Onions (Jackson/Jones/Steinberg/Cropper) 2.12
11. I Love The Life I Live (Dixon) 3.22
12. I’m In The Mood For Love (Moody’s Mood For Love) (Fields/McHugh) 4.23

LabelB1.jpg

*
**

GeorgieFame05.jpg

Georgie Fame … still alive and well …

Manfred Mann -The Manfred Mann Album (1964)

FrontCover1.jpgThe Manfred Mann Album is the debut American studio album by Manfred Mann, released in September 1964 on Ascot Records. It contains the hit single “Do Wah Diddy Diddy”, as well as covers of well-known R&B hits such as “Smokestack Lightning” by Howlin’ Wolf, “I’m Your Hoochie Coochie Man” by Muddy Waters, and “Down the Road Apiece” by Will Bradley. Modern reviews of the album are generally positive and consider The Manfred Mann Album an important piece during the heydey of the British Invasion.

The twelve tracks on the record include the group’s hit single “Do Wah Diddy Diddy”, which reached No. 1 on the Billboard Hot 100 chart, while the rest reflect on their love of R&B, including cover versions of Howlin’ Wolf’s “Smokestack Lightning”, Muddy Waters’ “Got My Mojo Working”, and Bo Diddley’s “Bring It to Jerome”. The album includes the Cannonball Adderley song “Sack O’ Woe”.

Eleven of the twelve tracks were taken from Manfred Mann’s debut British release, The Five Faces of Manfred Mann.

All of the songs were recorded 17 December 1963 – 22 June 1964 at EMI Studios, London, England. (by wikipedia)

ManfredMann01.jpg

Manfred Mann’s debut full-length U.S. platter was probably their strongest, and indeed one of the stronger British Invasion albums of the very competitive year of 1964. Besides the smash “Do Wah Diddy Diddy,” it contained a number of fine soul and R&B covers. Standouts were the versions of “Untie Me” and Ike & Tina Turner’s “It’s Gonna Work Out Fine,” as well as the strong pounding Paul Jones original, “Without You.” (by Richie Unterberger)

A real strong album from the very early days of British Beat and R & B !!!

ManfredMann02.jpg

Personnel:
Tom McGuinness (bass, background vocals)
Mike Hugg (drums, percussion, vibraphone)
Paul Jones (vocals, harmonica)
Manfred Mann (keyboards, background vocals)
Mike Vickers (guitar, saxophone, flute, background vocals)
+
Dave Richmond (bass on 12.)

BackCover1.jpg
Tracklist:
01. Do Wah Diddy Diddy (Greenwich/Barry) 2.24
02. Don’t Ask Me What I Say (Jones) 2.56
03. Sack O’ Woe (Arderley) 2.07
04. What You Gonna Do? (Jones/Mann) 2.34
05. I’m Your Hoochie Coochie Man (Dixon) 3.17
06. Smokestack Lightning (Burnett) 3.31
07. Got My Mojo Working (Morganfield) 3.10
08. It’s Gonna Work Out Fine (McCoy/McKinney/Seneca/Lee) 2.33
09. Down The Road Apiece (Raye) 2.24
10. Untie Me (South) 3.34
11. Bring It To Jerome (Greene) 3.24
12. Without You (Jones) 2.17

LabelB1.jpg

*
**