Blood, Sweat & Tears – Blood, Sweat & Tears 3 (1970)

LPFrontCover1Blood, Sweat & Tears 3 is the third album by the band Blood, Sweat & Tears, released in 1970.Blood, Sweat & Tears 3 is the third album by the band Blood, Sweat & Tears, released in 1970.

After the huge success of their previous album, Blood, Sweat & Tears 3 was highly anticipated and it rose quickly to the top of the US album chart. It also yielded two hit singles: a cover of Carole King’s “Hi-De-Ho”, and “Lucretia MacEvil.” However, the album relied heavily on cover material and it received lukewarm reviews (this may also have been influenced by the band’s participation in an unpopular U.S. government-sponsored tour of Eastern Europe (by wikioedia)

Blood, Sweat & Tears had a hard act to follow in recording their third album. Nevertheless, BS&T constructed a convincing, if not quite as impressive, companion to their previous hit. David Clayton-Thomas remained an enthusiastic blues shouter, and the band still managed to put together lively arrangements, especially on the Top 40 hits “Hi-De-Ho” and “Lucretia Mac Evil.” Elsewhere, they re-created the previous album’s jazzing up of Laura Nyro (“He’s a Runner”) and Traffic (“40,000 Headmen”), although their pretentiousness, on the extended “Symphony/Sympathy for the Devil,” and their tendency to borrow other artists’ better-known material (James Taylor’s “Fire and Rain”) rather than generating more of their own, were warning signs for the future. In the meantime, BS&T 3 was another chart-topping gold hit. (by William Ruhlmann)


David Clayton-Thomas (vocals)
Bobby Colomby (drums, percussion, background vocals)
Jim Fielder (bass)
Dick Halligan (keyboards,  harpsichord, celeste, trombone, flute, horn, background vocals)
Jerry Hyman (trombone, recorder)
Steve Katz (guitar, vocals on 02., harmonica)
Fred Lipsius (saxophone, piano, backgtound vocals, music box)
Lew Soloff (trumpet, flugelhorn)
Chuck Winfield (trumpet, flugelhorn)


01. Hi-De-Ho (Goffin/King) 5.36
02. The Battle (Halligan/Katz) 2.53
03. Lucretia MacEvil (Clayton-Thomas) 3.04
04. Lucretia’s Reprise” (Blood, Sweat & Tears) – 2:35
05. Fire And Rain (Taylor) 4.03
06. Lonesome Suzie (Manuel) 4.36
07. Symphony For The Devil Halligan)/Sympathy For The Devil (Jagger/Richards) 7.50
08. He’s A Runner (Nyro) 4.15
09. Somethin’ Comin’ On (Cocker/Stainton) 5.33
10. 40,000 Headmen (Winwood/Capaldi) 4.41




Miles Davis – On The Corner (1972)

FrontCover1.jpgOn the Corner is a studio album by American jazz trumpeter Miles Davis. It was recorded in June and July 1972 and released later that year by Columbia Records. The album continued Davis’s exploration of jazz fusion, bringing together funk rhythms with the influence of experimental composer Karlheinz Stockhausen and free jazz saxophonist Ornette Coleman.On the Corner is a studio album by American jazz trumpeter Miles Davis. It was recorded in June and July 1972 and released later that year by Columbia Records. The album continued Davis’s exploration of jazz fusion, bringing together funk rhythms with the influence of experimental composer Karlheinz Stockhausen and free jazz saxophonist Ornette Coleman.
Recording sessions for the album featured a changing lineup of musicians including bassist Michael Henderson, guitarist John McLaughlin, and keyboardist Herbie Hancock, with Davis playing the electric organ more prominently than his trumpet. Various takes from the sessions were then spliced together using the tape editing techniques of producer Teo Macero. The album’s packaging did not credit any musicians, an attempt to make the instruments less discernible to critics. Its artwork features Corky McCoy’s cartoon designs of urban African-American characters.
On the Corner was in part an effort by Davis to reach a younger African American audience who had left jazz for funk and rock and roll. Instead, it became one of his worst-selling albums and was scorned by jazz critics at the time of its release. It would be Davis’s last studio album of the 1970s conceived as a complete work;


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subsequently, he recorded haphazardly and focused instead on live performance before temporarily retiring from music in 1975.
The critical standing of On the Corner has improved dramatically with the passage of time.[3] Many outside the jazz community later called it an innovative musical statement and forerunner to subsequent funk, jazz, post-punk, electronica, and hip hop. In 2007, On the Corner was reissued as part of the 6-disc box set The Complete On the Corner Sessions, joining previous multi-disc Davis reissues.

Following his turn to fusion in the late 1960s and the release of rock- and funk-influenced albums such as Bitches Brew (1970) and Jack Johnson (1970), Miles Davis received substantial criticism from the jazz community. Critics accused him of abandoning his talents and pandering to commercial trends, though his recent albums had been commercially unsuccessful by his standards. Other jazz contemporaries, such as Herbie Hancock, Cecil Taylor, and Gil Evans defended Davis; the latter stated that “jazz has always used the rhythm of the time, whatever people danced to”. In early 1972, Davis began conceiving On the Corner as an attempt to reconnect with the young African-American audience which had largely forsaken jazz for the groove-based music of Sly and the Family Stone and James Brown. In an interview with Melody Maker, Davis stated that
“I don’t care who buys the record so long as they get to the Black people so I will be remembered when I die. I’m not playing for any white people, man. I wanna hear a black guy say ‘Yeah, I dig Miles Davis.'”

Michael Henderson

Michael Henderson

Also cited as an influence by Davis was the work of experimental composer Karlheinz Stockhausen, in particular his forays into electronic music and tape manipulation. Davis was first introduced to Stockhausen’s work in 1972 by collaborator Paul Buckmaster, and the trumpeter reportedly kept a cassette recording of the 1966–67 Hymnen composition in his Lamborghini sports car. Some concepts from Stockhausen that appealed to Davis included the electronic sound processing found in Hymnen and the 1966 piece Telemusik, and the development of musical structures by expanding and minimizing processes based on preconceived principles—as featured in Plus-Minus and other Stockhausen works from the 1960s and early 1970s. Davis began to apply these ideas to his music by adding and taking away instrumentalists and other aural elements throughout a recording to create a progressively changing soundscape. Speaking about Stockhausen’s influence, Davis later wrote in his autobiography:

“I had always written in a circular way and through Stockhausen I could see that I didn’t want to ever play again from eight bars to eight bars, because I never end songs: they just keep going on. Through Stockhausen I understood music as a process of elimination and addition.”

The work of Buckmaster (who played electric cello on the album and contributed some arrangements) and the “harmolodics” of saxophonist Ornette Coleman would also be an influence on the album. In his biography, Davis later described On the Corner with the formula “Stockhausen plus funk plus Ornette Coleman.” Using this conceptual framework, Davis reconciled ideas from contemporary art music composition, jazz performance, and rhythm-based dance music.Recording and productionBassist Michael Henderson was a fixture throughout the recording sessions.
Recording sessions began in June 1972. Both sides of the record consisted of repetitive Miles Davis02drum and bass grooves based around a one-chord modal approach, with the final cut culled from hours of jams featuring changing personnel lineups underpinned by bassist Michael Henderson. Other musicians involved in the recording included guitarist John McLaughlin, drummers Jack DeJohnette and Billy Hart, and keyboardists Herbie Hancock and Chick Corea. On the Corner utilized three keyboardists like Bitches Brew while pairing Hart—who had played in Hancock’s Mwandishi-era band—with DeJohnette and two percussionists. Hancock’s reed player, Bennie Maupin, played bass clarinet and Dave Liebman was recruited as saxophonist. Jazz historian Robert Gluck later discussed the performance:
“The recording functions on two layers: a relatively static, dense thicket of rhythmic pulse provided by McLaughlin’s percussive guitar attack, the multiple percussionists, and Henderson’s funky bass lines, plus keyboard swirls on which the horn players solo. Segments of tabla and sitar provide a change of mood and pace. Aside from ‘Black Satin,’ most of the material consists of intense vamps and rhythmic layering.”

Compared to Davis’ previous recordings, On the Corner found the musician playing the trumpet scarcely, instead often playing keyboards. It also saw his producer, Teo Macero, employ cut-and-splice tape editing procedures (pioneered in the late 1960s on In a Silent Way) to combine various takes in creating a single cohesive work. which also allowed Macero and Davis to overdub and add effects. Some of the musicians expressed misgivings about the unconventional musical direction of the sessions: Liebman opined that “the music appeared to be pretty chaotic and disorganized,” while Buckmaster stated that “it was my least favorite Miles album.”Packaging and release
The album cover featured an illustration by cartoonist Corky McCoy depicting ghetto caricatures, including prostitutes, gays, activists, winos, and drug dealers. The packaging only featured one stylized photograph of Davis, and was originally released with no musician credits, leading to ongoing confusion about which musicians appeared on the album. Davis later admitted to doing this intentionally: “I didn’t put those names on On the Corner specially for that reason, so now the critics have to say, ‘What’s this instrument, and what’s this? … I’m not even gonna put my picture on albums anymore. Pictures are dead, man. You close your eyes and you’re there.”

Track Sheet

Track sheet

Upon its release, the album’s commercial success was as limited as that of Davis’s albums since Bitches Brew, topping the Billboard jazz chart but only peaking at #156 in the more heterogeneous Billboard 200. Paul Tingen wrote that “predictably, this impenetrable and almost tuneless concoction of avant-garde classical, free jazz, African, Indian and acid funk bombed spectacularly, leading to decades in the wilderness. As far as the jazzers were concerned, it completed Davis’s journey from icon to fallen idol.”[1]Reception and legacyInitial response
On the Corner was panned by most critics and contemporaries in jazz; according to Tingen, it became “the most vilified and controversial album in the history of jazz” only a few weeks after its release. Saxophonist Stan Getz proclaimed “that music is worthless. It means nothing; there is no form, no content, and it barely swings.” Jazz Journal critic Jon TShirtBrown wrote, “it sounds merely as if the band had selected a chord and decided to worry hell out of it for three-quarters of an hour,” concluding that “I’d like to think that nobody could be so easily pleased as to dig this record to any extent.” Eugene Chadbourne, writing for jazz magazine CODA, described it as “pure arrogance.” In his 1974 biography of Davis, critic Bill Coleman described the album as “an insult to the intellect of the people.” Rock journalist Robert Christgau later suggested that jazz critics were not receptive to On the Corner “because the improvisations are rhythmic rather than melodic” and Davis played the organ more than trumpet. Regarding the appeal its music had for rock critics, he praised “Black Satin” but expressed reservations about the absence of a “good” beat elsewhere on the album. In a positive review for Rolling Stone, Ralph J. Gleason found the music very “lyrical and rhythmic” while praising the dynamic stereo recording and calling Davis “a magician”. He concluded by saying “the impact of the whole is greater than the sum of any part.”

Miles Davis03

Despite remaining outside the purview of the mainstream jazz community, On the Corner has undergone a critical rehabilitation in recent years, with many critics outside jazz characterizing it as “a visionary musical statement that was way ahead of its time”. In 2014, Stereogum hailed it as “one of the greatest records of the 20th Century, and easily one of Miles Davis’ most astonishing achievements,” noting the album’s mix of “funk guitars, Indian percussion, dub production techniques, loops that predict hip hop.” According to Alternative Press, the “essential masterpiece” envisioned much of modern popular music, “representing the high water mark of [Davis’] experiments in the fusion of rock, funk, electronica and jazz”. Fact characterized the album as “a frenetic and punky record, radical in its use of studio technology,” adding that “the debt that the modern dance floor owes the pounding abstractions of On the Corner has yet to be fully understood.”  Writing for The Vinyl Factory, Anton Spice described it as “the great great grandfather of hip-hop, IDM, jungle, post-rock and other styles drawing meaning from repetition.”

In a positive review for The Wire, critic Mark Fisher wrote that “the passing of time often neutralises and naturalises sounds that were once experimental, but retrospection has not made On the Corner ‘s roiling, febrile, bilious stew any easier to digest.”[16] Stylus Magazine’s Chris Smith wrote that the record’s music anticipated musical principles that abandoned a focus on a single soloist in favor of collective playing: “At times harshly minimal, at others expansive and dense, it upset quite a few people. You could call it punk.” On the Corner was cited by SF Weekly as prefiguring subsequent funk, jazz, post-punk, electronica, and hip hop. According to AllMusic’s Thom Jurek, “the music on the album itself influenced – either positively or negatively – every single thing that came after it in jazz, rock, soul, funk, hip-hop, electronic and dance music, ambient music, and even popular world music, directly or indirectly.” BBC Music reviewer Chris Jones expressed the view that the music and production techniques of On the Corner “prefigured and in some cases gave birth to nu-jazz, jazz funk, experimental jazz, ambient and even world music.” Pitchfork described the album as “longing, passion and rage milked from the primal source and heading into the dark beyond.”
Fact named On the Corner the 11th best album of the 1970s, while Pitchfork named the album the 30th best album of that decade. (by wikipedia)

Miles Davis01

Don Alias (drums, percussion)
Khalil Balakrishna (sitar)
Chick Corea (keyboards)
Dave Creamer (guitar)
Miles Davis (trumpet)
Al Foster (drums)
Carlos Garnett (saxophone)
Herbie Hancock (keyboards)
Billy Hart (drums)
Michael Henderson (bass)
Jack DeJohnette (drums)
Cedric Lawson (organ)
Dave Liebman (saxophone)
Reggie Lucas (guitar)
Bennie Maupin (clarinet)
John McLaughlin (guitar)
James Mtume (percussion)
Badal Roy (tabla)
Collin Walcott (sitar)
Harold Ivory Williams (keyboards)


01. On The Corner/New York Girl/Thinkin’ One Thing And Doin’ Another/Vote For Miles 19.59
02. Black Satin 5.20
03. One And One 6.09
05. Helen Butte/Mr. Freedom X 23.18

All compositions written by Miles Davis



Motr Milrd Davis:


Return To Forever – Returns (2009)

FrontCover1.jpgReturns is a live album by the fusion band Return to Forever. Released in 2009, it is the first recording by the band after a hiatus of 32 years. A video recording of the band’s live performances from the “Returns” tour at Montreux, Switzerland and (bonus material) Clearwater, Florida was also released in 2009 by Eagle Rock Entertainment as Return to Forever – Returns: Live at Montreux 2008. (by wikipedia)

When Chick Corea reassembled the members of the most commercially successful version of his Return to Forever ensemble in 2008 and embarked on an extensive tour, it was the jazz fusion event of the year. Younger fans barely born when the ensemble’s high watermark, Romantic Warrior, was released in 1976 could finally see the group in the flesh. Based on this sizzling double-CD document culled from the tour’s highlights, 32 years didn’t dim the quartet’s enthusiasm or uncanny instrumental precision and interplay. It includes extended versions of half the tunes on Romantic Warrior, the title cut from No Mystery, and three selections from Where Have I Known You Before, with that disc’s “Song to the Pharaoh Kings” clocking in at a whopping 27 minutes. Corea keeps his synths reproducing the ’70s sounds of the original recordings, which is great for those who want to relive the albums, but brings a somewhat dated touch to much of this. In reality, there are very few bands in 2008 creating this space-progressive jazz-rock fusion, and certainly none with the fine-tuned talents of these guys.


Those chops are displayed early on a 13-minute version of “Vulcan Worlds” that can only be described as explosive — so much so that it elicits multiple rounds of rapturous applause as each member takes his turn in the spotlight. It’s especially exciting to hear guitarist Al di Meola once again shredding with his old band, since much of his recent material has been acoustic and world music-oriented. Stanley Clarke remains one of jazz’s finest bassists, grounding the sound but also taking dynamic solos that place his instrument in a lead guitar position. Hearing him trading frenzied, electrified licks with di Meola is one of the many pleasures of this reunion.


But the band is intent on showing its quieter side too, with individual and duo collaborations that are predominantly unplugged. First up, Corea and di Meola join forces on “Children’s Song #3,” then the guitarist romps on acoustic as the piece ends with Corea returning to join in on his famed “Spain.” Disc two tamps down the fireworks by featuring lengthy acoustic improvisational work from Corea, Clarke, and drummer Lenny White in that order, that provides a contrast, some might say breathing room, to the fiery group compositions, but also drag down the energy and slow the show’s momentum. For jazz students, this is a mini master class for each instrument, yet how often others will return to these sections that comprise nearly half an hour of the second platter’s running time is questionable. A 12-minute “bonus track” of “500 Miles High,” a song from Light as a Feather, the RTF album with an earlier version of the band that did not include di Meola or White, is tacked on to the second disc. The set closes with producer Sir George Martin presenting the BBC Lifetime Achievement Award to the band, Corea’s brief acceptance speech, and a short acoustic performance of “Romantic Warrior.” It should be noted that this album’s sleeve photos are from the associated DVD of the band’s Montreux 2008 set, but only one tune here was recorded at that performance. (by Hal Horowitz)


Stanley Clarke (bass)
Chick Corea (keyboards, synthesizer)
Al Di Meola (guitar)
Lenny White (drums)



CD 1:
01. Opening Prayer (Corea) 2.04
02. Hymn Of The Seventh Galaxy (Corea) 3.44
03. Vulcan Worlds (Clarke) 13.45
04. Sorceress (White) 11.22
05. Song To The Pharaoh Kings (Corea) 27.14
06. Al’s Solo, including (Corea, DiMeola, Piazzolla) 8.54
06.01. Children’s Song #3 (duet with Chick Corea) (Corea)
06.02. Passion Grace & Fire (Di Meola)
06.03. Mediterranean Sundance (Di Meola)
06.03. Café 1930 (Piazzolla)
06.04. Spain (duet with Chick Corea) (Corea)
07. No Mystery (Corea) 8.53

CD 2:
08. Friendship (Corea) /Solar (Davis) 8.53
09. Romantic Warrior (I) (Corea) 7.20
10. El Bayo de Negro (*) (Clarke) 11.26
11. Lineage (White) 7.39
12. Romantic Warrior (II) (Corea) 3.03
13. Duel Of The Jester And The Tyrant (Corea) 14.04
14. 500 Miles High (Corea) 12.48
15. BBC Lifetime Achievement Award to RTF as presented by Sir George Martin, including a performance of ‘Romantic Warrior’ (Corea) 8.20

(*) one of the finest bass solos ever !




Blood, Sweat & Tears – Jazzwoche Burghausen, Germany (2018)

FrontCover1.jpgBlood Sweat & Tears has set the high water mark for the worlds greatest musicians which is still true in the latest version of BS&T. It has now been 50 years since founding member (drummer) Bobby Colomby with an amazing Jazz background had a vision of fusing Jazz, Rock and Blues into one band. Over the years more than 175 musicians have flowed through the ranks of the various iterations of the BS&T. The most commercially successful version of the band was in fact, our second line-up. The current line up with Bo Bice at the helm on vocals is the most popular in recent years. As many promoters have said “it’s a show not to me missed.”

Colomby maintains ownership of the “Blood, Sweat & Tears” band name and, although he no longer plays with the band, he still oversees the musical direction of the band.

“I think of this band like baseball’s Yankees. When you’re at a Yankee game you’re not going to see Babe Ruth, Mickey Mantle or Lou Gehrig. What you do come to expect is a team of top-notch players upholding a tradition of winning. That’s the Yankee legacy. It’s what people expect from BS&T as well… brilliant musicians, singers, songs and arrangements.” – Bobby Colomby


If you liked BS&T back in the day, whichever version, listen to these guys. Bo Bice and all the band members sound very legit. Fine job, Bobby Colomby! It doesn’t sound like anything but a true version of the band. (by ScarRad)

Thanks to propylaen for sharing the HDTV webcast at Dime.

And I will present the concert as a TV rip verson very soon !

Recorded live at the 49. Internationale Jazzwoche. Wackerhalle, Burghausen, Germany; March 7, 2018. Very good audio (ripped from HDTV webcast).


Bo Bice (vocals)
Dylan Elise (drums)
Ric Fierabracci (bass, vocals)
Dave Gellis (guitar)
Ken Gioffre (saxophone, flute)
Brad Mason (trumpet, flugelhorn)
Glen McClelland (keyboards)
Mark Miller (trombone)
Jonathan Powell (trumpet)


01. Footprints (unknown) 4:16
02. Lucretia Mac Evil (Clayton-Thomas) 7.16
03. Hi De Ho (Goffin/King) 5.32
04. Go Down Gamblin’ (Clayton-Thomas) 5.12
05. Surreptitious (unknown) 5:57
06. I Love You More Than You’ll Ever Know (Kooper) 7.37
07. Snow Queen (Goffin/King) / Maiden Voyage (Hancock) 17.57
08. I Can’t Quit Her (Kooper/Levine) 3.35
09. Sometimes In Winter (Katz) 3.41
10. More And More (Smith/Juan) 4.10
11. Variations On A Theme By Erik Satie (Satie) 1.44
12. God Bless The Child (Holiday/Herzog) 7.14
13. And When I Die (Nyro) 6.33
14. Spinning Wheel (Clayton-Thomas) 3.22
15. Midnight Rider 5:47
16. You’ve Made Me So Very Happy (Gordy Jr/B.Holloway/P.Holloway/Wilson) 6.55




Burghausen (near Munich/Germany)

Electric Flag – A Long Time Comin’ (1968)

LPFrontCover1A Long Time Comin’ is the first album by American rock band the Electric Flag, released in 1968. The album has a mix of musical styles, including soul along with blues and rock, with a horn section.

It opens with an updated take on the Howlin’ Wolf blues classic “Killing Floor” and includes an adaptation of Sticks McGhee’s “Drinkin’ Wine, Spo-Dee-O-Dee” titled “Wine”. The album also contains “Groovin’ Is Easy” and “Over-Lovin’ You”, which had been released as a single in 1967.


It is widely seen as an ambitious debut album by music critics. The album was somewhat of a failure in the charts, much to the disappointment of Bloomfield, who had worked hard on the album.[citation needed] His disappointment was worsened by the success of the Al Kooper directed Super Session, which, featuring Bloomfield, charted much higher than A Long Time Comin’ despite only being recorded over a period of two days.


Writer Jeff Tamarkin says “ex Butterfield Band guitarist Mike Bloomfield, drummer Buddy Miles, and others put this soul-rock band together in 1967. This debut is a testament to their ability to catch fire and keep on burnin’.” That The Electric Flag do so well — they appeared at the Monterey International Pop Festival with the Blues Project, Paul Butterfield, and Janis Joplin, and all these groups had some musical connection to each other beyond that pivotal festival. A Long Time Comin’ is the “new soul” described appropriately enough by the late critic Lillian Roxon, and tunes like “She Should Have Just” and “Over-Lovin’ You” lean more towards the soul side than the pop so many radio listeners were attuned to back then. Nick Gravenites was too much of a purist to ride his blues on the Top 40 the way Felix Cavaliere gave us “Groovin’,” so Janis Joplin’s eventual replacement in Big Brother & the Holding Company, Gravenites, and this crew pour out “Groovin’ Is Easy” on this disc. It’s a classy production, intellectual ideas with lots of musical changes, a subdued version of what Joplin herself would give us on I Got Dem Ole Kozmic Blues Again, Mama two years later, with some of that album written by vocalist Gravenites.


Though launched after Al Kooper’s the Blues Project, A Long Time Comin’ itself influenced bands who would go on to sell more records. In the traditional “Wine,” it is proclaimed “you know Janis Joplin, she’ll tell you all about that wine, baby.” As good as the album is, though, the material is pretty much composed by Mike Bloomfield and Barry Goldberg, when they’re not covering Howlin’ Wolf’s “Killing Floor” and adding spoken-word news broadcasts to the mix. More contributions by Buddy Miles and Gravenites in the songwriting department would have been welcome here. The extended CD version has four additional tracks, Bobby Hebb’s “Sunny” and “Mystery,” both which appear on the self-titled Electric Flag outing which followed this LP, as well as other material which shows up on Old Glory: The Best of Electric Flag, released in 2000. “Sittin’ in Circles” opens like the Doors’ “Riders on the Storm,” the keyboards as well as the sound effects, and a hook of “hey little girl” which would resurface as the title of a Nick Gravenites tune on the aforementioned follow-up disc, where Gravenites and Miles did pick up the songwriting slack, Bloomfield having wandered off to Super Session with the Blues Project’s Al Kooper. Amazing stuff all in all, which could eventually comprise a boxed set of experimental blues rock from the mid- to late sixties. Either version of this recording, original vinyl or extended CD, is fun listening and a revelation. (by Joe Viglione)


Mike Bloomfield (guitar, vocals)
Barry Goldberg (keyboards)
Harvey Brooks (bass)
Marcus Doubleday (trumpet)
Michael Fonfara (keyboards)
Stemsy Hunter (saxophone)
Nick Gravenites (vocals, guitar)

Buddy Miles (drums, vocals)
Herb Rich (organ, vocals, saxophone, guitar)
Peter Strazza (saxophone)
Paul Beaver (keyboards, synthesizer)
John Court (percussion, vocals)
Joe Church (Percussion)
Cass Elliot (vocals on 02.)
Richie Havens (percussion, sitar)
Sivuca – guitar, percussion
Leo Daruczek – Charles McCracken – Bobby Notkoff – Julius Held

01. Killing Floor (Burnett) 4.11
02. Groovin’ Is Easy (Gravenites) 3.06
03. Over-Lovin’ You (Bloomfield/Goldberg) 2.21
04. Should Have Just (Polte) 5.03
05. Wine (Traditional) 3.15
06. Texas (Bloomfield/Miles) 4.49
07. Sittin´ In Circles (Goldberg) 3.54
08. You Don’t Realize (Bloomfield) 4.56
09. Another Country (Polte) 8.47
10. Easy Rider (Bloomfield) 0.53
11. Sunny (Hebb) 4.02
12. Mystery (Miles) 2.56
13. Look Into My Eyes (Brooks/Miles) 3.07





21st Century Schizoid Band – Official Bootleg Volume One (2002)


21st Century Schizoid Band were a King Crimson alumnus group formed in 2002.

The name derives from the famous song “21st Century Schizoid Man” from the first King Crimson album, In the Court of the Crimson King. The initial band featured Mel Collins on saxophones, flute and keyboards, Michael Giles on drums, Peter Giles on bass, Ian McDonald on alto saxophone, flute and keyboards, and Jakko Jakszyk on guitar and vocals. All but Jakszyk had previously been members of King Crimson in its early years. Ian Wallace, another former Crimson member from that same period, replaced Mike Giles in early 2003 after the band’s Japanese tour. Further international touring followed in 2003/04.

The band played live with sets concentrating on compositions from King Crimson’s first four albums and other works from the band members’ back catalogues, including McDonald and Giles. They have released four albums, mostly of live work but including newer and/or recent compositions, such as Ian McDonald’s “Let There Be Light” (from his solo album Driver’s Eyes) and “Catley’s Ashes,” a Jakszyk instrumental which later appeared on his solo album The Bruised Romantic Glee Club (2006).


The band has been inactive since 2004; with members based in different countries, touring proved to be logistically and financially difficult. The possibility of performing again in 2005 was considered following offers from festivals, possibly with Guy Evans (of Van der Graaf Generator) on drums to replace Wallace who had other commitments, but the idea was abandoned. Wallace’s death in February 2007 would seem to have closed the lid on the band for good.

Jakszyk and Collins went on to record as a trio with founding Crimson guitarist Robert Fripp (and with rhythmic support from fellow members Tony Levin and Gavin Harrison) on the Scarcity of Miracles album in 2011. This was followed in 2013 by the announcement of a new King Crimson formation including all five, plus two additional members. (by wikipedia)


The single-CD Official Bootleg, Vol. 1, available principally at the group’s shows and through their website, is comprised of the first official recordings by the 21st Century Schizoid Band. Cut immediately prior to their inaugural tour, it features the original lineup — Michael Giles, Peter Giles, Ian McDonald, Mel Collins, and Jakko Jakszyk — doing new versions of songs from across the King Crimson repertory, from 1969 through 1972. The renditions here are less bold than those the group would subsequently lay down, although McDonald, Collins, and the Giles brothers get into an interesting and entertaining funk-like groove in the last section of “Ladies of the Road,” and there are some interesting lyrical excursions on “Formentara Lady,” and they sound as though they’re having a good time doing finely articulated versions of “A Man and a City” and “Catfood.” “Court of the Crimson King” starts off as an instrumental, but the one new alumnus of the group, Jakko Jakszyk, acquits him well on the vocals when the verses get picked up in the second half, and the others provide surprisingly good backing vocals at this late date in their respective careers. The group’s later live performances on CD and DVD are intrinsically more interesting, but this release is not to be ignored. (by Bruce Eder)


Mel Collins (saxophone,, flute, Keyboards, Background vocals)
Michael Giles (drums)
Peter Giles (bass, background vocals)
Jakko Jakszyk (guitar, vocals)
Ian McDonald (saxophone, flute, Keyboards, background vocals)


01. A Man A City (Fripp/Sinfield/McDonald/Lake/Giles) 8.27
02. Catfood (Fripp/Sinfield/McDonald) 4.53
03. In The Court Of The Crimson King (McDonald/Sinfield) 7.28
04. Formentera Lady (Fripp/Sinfield) 12.45
05. Ladies Of The Road (Fripp/Sinfield) 7.17
06. I Talk To The Wind (McDonald/Sinfield) 5.25
07. 21st Century Schizoid Man (Fripp/McDonald/Lake/Giles/Sinfield) 7.38


Harvey Mandel – Planetary Warrior (1997)

FrontCover1Here´s another solo-album by the great Harvey Mandel, one of my favourite guitar players:

This is mostly blues rock guitar work. I would give it a higher marks, but the singing did not knock me out. However the last song on the Cd was
Fn’ funny. It was a discussion of popular candy. The descriptions of candy were erotic and could be a dialog about sex, not candy.
If your familiar with Harvey’s guitar playing, It usually is the highlight of his records. Because of the vocals, I will say it is not his best record, but rockin’enough to purchase if you are a fan. Harvey is a unsung guitar hero from the 1960’s through the present.I think it is time more people were aware of his ax work. (by Tyrone Rex)

A Great hard rocking piece from the older style of Harvey Mandel. Mainly instrumental – jam format. LOTS and LOTS of guitar! Some very psychedelic, processed sounds. Sounds like an updated version of “The Snake”. Last song a short vocal spoof on candy bars that has very suggestive lyrics. It’s actually hilarious and well thought out! (by Eileen Dickson)


I first heard this while at a public radio station in Alaska. I hadn’t heard from Harvey Mandel in years and I was happy to see he still had it. I hope your doing well in Crested Butte, Harvey. I guess you’ve gone back to the blues like all the old dudes do. I’ll miss your unique fusion of rock, blues and jazz. (by Peter W. Hall)

A Great hard rocking piece from the older style of Harvey Mandel. Mainly instrumental – jam format. LOTS and LOTS of guitar! Some very psychedelic, processed sounds. Sounds like an updated version of “The Snake”. Last song a short vocal spoof on candy bars that has very suggestive lyrics. It’s actually hilarious and well thought out! (by Greg Foley)


Artis Joyce (bass)
Harvey Mandel (guitar, vocals on 12.)
Bennie Murray (drums, percussion)
Sonny Reece (vocals)
Barry Goldberg (organ on 02. + 12.)
Steve Kimock (slide-guitar on 04. + 10.)
Annie Stocking (background vocals on 05.)
Squid Vicious (bass on 02. + 09.)
Howard Wales (piano on 01. + 10.)


01. Space Monkeys (Scott/Jensen/Gross/Mandel) 4.30
02. What Comes Around Goes Around (Harris/Mandel/Lagos/Resnick/Conte) 4.50
03. I Don’t Mind Being Wrong (Joyce/Murray/Mandel/Reece) 4.32
04. 90 In The ’53 (Lehrburger/Roberts) 3.41
05. Wall Banger (Mandel/Reece) 5.03
06. Rumble (Wray) 3.30
07. The Only One (Mandel/Reece) 4.05
08. Carne Del Serpiente (Joyce/Murray/Mandel) 5.50
09. Whinin’ Whiskey (Mandel/Reece) 4.36
10. Emerald Triangle (Mandel) 4.23
11. Planetary Warrior (Joyce/Murray/Mandel) 8.46
12. Candy Rapper (Bird/MacDonald) 2.09



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