Harvey Mandel – Baby Batter (1971)

OriginalFrontCover1Along with Christo Redentor, his best album full of great instrumental guit man prowess. He really is an unheralded great guitar player, up there with the best. Harvey’s records may give us a good jumping off point, but his best work is probably captured in a live setting, where you can hear his amazing searing sound. A true instrumental guitarist, maybe he hasn’t found a voice like Bob Hite’s, from his days with Canned Heat , and the great work on albums like Future Blues . (by Oswego)

” Baby Batter ” is a very unheralded platter by a great lead guitarist. Harvey Mandel can pick it with most of the great guitar slingers of that era. This vinyl is full of real smooth cool jazz rock. The B side is the better side but the whole recording is top notch blues guitar. (by rod45)

Legendary unsung guitar hero, owner of a extremely personal technique, an instantly recognisable sound and highly influential on ANY guitar player in 70’s/80’s. Even if all his albums are patchy I’ve choose this one, for some reason my favourite Harvey Mandel LP. All three tracks in side B are simply unbeliable, full of crawling snakey Leslie-guitar solos. (by metaxa)

In other words: another milestone in the history of the great Harvey Mandel !


Alternate front + backcover

Colin Bailey (drums)
Big Black (percussion)
Paul Lagos (drums)
Harvey Mandel (guitar)
Mike Melvoin (keyboards)
Larry Taylor (bass)
Howard Wales (keyboards)
Sandra Crouch (tambourine on 01. + 02.)
Joe Picaro (percussion on 06.)
Emil Richards (percussion on 03. + 07.)


01. Baby Batter 3.45
02. Midnight Sun 6.15
03. One Way Street 4.20
04. Morton Grove MaMa 4.53
05. Freedom Ball 6.15
06. El Stinger 7.15
07. Hank The Ripper 5.11

All songs written by Harvey Mandel




Harvey Mandel – Righteous (1969)

FrontCover1Harvey Mandel (born March 11, 1945, in Detroit, Michigan, United States) is an American guitarist known for his innovative approach to electric guitar playing. A professional at twenty, he played with Charlie Musselwhite, Canned Heat, The Rolling Stones, and John Mayall before starting a solo career. Mandel is one of the first rock guitarists to use two-handed fretboard tapping. Mandel was born in Detroit, Michigan but grew up in Morton Grove, Illinois, a suburb of Chicago.
His first record was the album Stand Back! Here Comes Charley Musselwhite’s Southside Band in 1966 with Charlie Musselwhite. Described in 1997’s Legends of Rock Guitar as a “legendary” album, it was influential in bridging the gap between blues and rock and roll, with Mandel’s “relentless fuzztone, feedback-edged solos, and unusual syncopated phrasing.”

He relocated to the San Francisco Bay Area, performing often at a club called The Matrix, where local favorites like Jerry Garcia or Elvin Bishop would sit in and jam. He then met up with pioneering San Francisco disc jockey and producer Abe ‘Voco’ Kesh (Abe Keshishian), who signed Mandel to Philips Records and produced his first solo album, Cristo Redentor in 1968. Mandel recorded with Barry Goldberg on a bootleg from Cherry Records and recorded with Graham Bond. He cut two more solo LPs for Philips, Righteous (1969) and Games Guitars Play (1970), followed by three more solo albums for the independent record label Janus in the early 1970s, which included Baby Batter. (by Wikipedia)


And this is his second solo-album for Philips Records:

Not as consistent as his debut, due to the presence of a few pedestrian blues-rock numbers. The better tracks, though, show Mandel continuing to expand his horizons with imagination, particularly on the cuts with string and horn arrangements by noted jazz arranger Shorty Rogers. Harvey’s workout on Nat Adderley’s “Jive Samba” is probably his best solo performance, and an obvious touchstone for the Latin-rock hybrid of Carlos Santana (whose own debut came out the same year); on the other side of the coin, “Boo-Bee-Doo” is one of his sharpest and snazziest straight blues-rockers. (by Richie Unterberger)

As Mr. Ärmel wrote in this blog a year ago: “One of the most underrated guitar players ever.” …

HiteMandelHarvey Mandel with Bob Hite (Canned Heat), 1970

Duane Hitchings (organ)
Eddie Hoh (drums)
Harvey Mandel (guitar)
Art Stavro (bass)
John Audino (trumpet on 07.)
Mike Barone (trombone on 07.)
Buddy Childers (trumpet on 07.)
Gene Cipriano (saxophone on 07.)
Stan Fishelson (trumpet on 07.)
Victor Feldman (vibraphone on 07.)
Plas Johnson (saxophone on 07.)
Pete Jolly (piano)
Bob Jones (guitar on 02., 05. drums, vocals on 04. + 09.)
Richard Leith (trombone on 07.)
Lew McCreary (trombone on 07.)
Ollie Mitchell (trumpet on 07.)
Pete Myers (trombone on 07.)
Jack Nimitz (saxophone on 07.)
Earl Palmer (percussion on 02., drums on 07.)
Bill Perkins (saxophone on 07.)
Howard Roberts (guitar on 07.)
Ernie Watts (saxophone on 07.)
Bob West (bass on 07.)



01. Righteous (Mandel) 3.22
02. Jive Samba (Adderley) 5.56
03. Love Of Life (Mandel/Jones) 3.14
04. Poontang (Jones) 3.54
05. Just A Hair More (Mandel) 3.39
06. Summer Sequence (Burns) 4.12
07. Short’s Stuff (Rogers) 7.19
08. Boo-Bee-Doo (Hitchings) 3.55
09. Campus Blues (Mandel) 4.43


Harvey Mandel – Snakes And Stripes (1995)

FrontCover1Harvey Mandel, “The King Of Sustain”, has been cited as a major influence by many of today’s music superstars. The critics call him “an unsung hero,” “a hugely influential but almost forgotten giant of instrumental rock” and “the best known unknown in pop guitar.”

Known as “The Snake” and “The King of Sustai” because of his long, writhing guitar leadS, Mandel was one of the first rock guitarists to employ the two-handed fretboard tapping technique, and is internationally recognized as a major influence on those who followed.

“Snakes And Stripes” goes back to the twelve bar basics of Mandel’s complete mastery of the blues guitar, and simultaneously reestablishes is 3-D approach to changing instrumental effects. The six instrumental tracks show liquid direction and applied theory with intermittent supernova explosions of notes. “Future Blues” by Willie Brown and later reworked by Canned Heat is covered with a full horn section and female lead vocalist, and “Tears For Eric” employs many of the licks that led Barry Goldberg to give The Snake his nickname

Back to a more varied approach — encompassing Latin, funk, jazz-rock, and even country (“Country Rose”) — with nice results. Nine insturmentals and only two vocals (reprising Canned Heat’s “Future Blues” and Pure Food & Drug Act’s “My Soul’s on Fire”), handled by Lori Davidson, on this live-in-the-studio audiofile set. Mandel’s nod to B.B. King on “Mashed Potato Twist” is worth the price of admission. (by Dan Forte)


Mike Carabello (drums, percussion)
Lori Davidson (vocals)
Greg Errico (drums)
Tom Fugelstad (trumpet)
Tom Fugelstad (trumpet)
Karl Perazzo (percussion)
Tony “Macaroni” Lufrano (keyboards)
Harvey Mandel (guitar)
Michael Ray (fiddle)
Mike Rinta (trombone)
Bobby Strickland (flute, saxophone)
Squid Vicious (bass)


01. Under Fire (Mandel) 4.32
02. Future Blues (Hite/Mandel/Parra/Taylor/Wilson) 3.28
03. Tears For Eric (Mandel) 3.57
04. Poquito Dinero (Gross/Lufrano/Mandel) 5.20
05. Special Delivery  (Gross/Mandel) 2.37
06. Miami Rain (Mandel) 3.44
07. My Soul’s On Fire (Conte/Harris/Lagos/Mandel/Resnick) 4.55
08. Mashed Potato Twist (Davis/Josea) 2.28
09. Country Rose See (Mandel) 3.08
10. Bud Monster (Mandel) 4.30
11. United Snakes Of America  (Mandel/Scott/Lufrano/Strickland/Fuglestad/Rinta/Jensen)   6.44





Harvey Mandel – Games Guitar Play (1969)

FrontCover1Feeling that he needed a singer to compete commercially, Mandel decided to abandon his instrumental format, taking on multi-instrumentalist Russell Dashiel as lead vocalist for a good share of the tracks.

Alas, Dashiel was a mediocre singer who typified some of the lesser White blues-rock stylings of the period, and the material (with a higher percentage of blues and soul covers) was not up to the level of Mandel’s first two efforts, although Harvey’s playing remained accomplished and imaginative (as is evident on the original instrumental “Ridin’ High” and the cover of Horace Silver’s “Senor Blues”).

Indeed. not the best Harvey Mandel album but still a great album, because of his very special way to play the guitar.

Actually, all instrumentals on this album are pretty good … and even the songs with Russell Dashiel on vocals are not really bad.

Listen and enjoy !


Russell Dashiel (vocals, guitar, keyboards)
Eddie (Shades) Hoh (drums, üercussion)
Harvey Mandel (guitar)
Larry Taylor (bass)


01. Leavin’ Trunk (Estes) 6.30
02. Honky Tonk (Doggett/Shepard/Scot/Butler) 3.36
03. I Don’t Need No Doctor (Ashford/Simpson/Armstead) 3.50
04. Dry Your Eyes (Dashiel) 3.08
05. Ridin’ High (Mandel/Dashiel) 2.49
06. Capurange (Mussapere) 6.40
07. Senor Blues (Silver) 5.33
08. Games People Play (South) 4.45



Harvey Mandel – Get Off In Chicago (1971)

FrontCover1Harvey Mandel (born March 11, 1945, in Detroit, Michigan, United States) is an American guitarist known for his innovative approach to electric guitar playing. A professional at twenty, he played with Charlie Musselwhite, Canned Heat, The Rolling Stones, and John Mayall before starting a solo career. Mandel is one of the first rock guitarists to use two-handed fretboard tapping. (by wikipedi9

And this is Harvey’s first shot at producing, where he gathers local Chicago musicians together for an impromptu session of blues & rock.

Lineup“Harvey Mandel got 16 Chicago musicians together between gigs – whenever they could. They jammed, improvised, laid down vocals, and had a good time. They created this album of blues, jazz and rock in just three nights.”

Long time ago, musicians went in the studio, just to jam … this is one these fine jam session, led by one of the finest guitar we ever had: Harvey Mandel !

Harvey;Mandel+SugarCaneHarrisHarvey Mandel with Sugar Cane Harris, 1971

John Bishop (guitar)
Don Cody (bass)
Dave Cook (flute, keyboards)
Bobby Davis (drums)
Freddie Fox (vocals)
Vicki Hubly (vocals)
Phil Johnson (drums)
Rusty Jones (drums)
Ira Kart (keyboards)
Ken Little (bass, vocals)
Harvey Mandel (guitar)
Peter Milio (drums)
Craig Rasband (bass)
Judy Roberts (keyboards, vocals)
G.E. Stinson (guitar)
Nick Tountas (bass)
Norm Wagner (guitar)

01. Jellyroll (Mandel/Kart/Fox/Hubly) 3.52
02. High-Test Fish Line (Wagner/Little/Kart/Russ) 5.19
03. Local Days (Tountas) 3.34
04. Check Me Out (Mandel/Fox) 3.46
05. Highway Blues (Mandel/Cook/Stinson/Cody/Fox) 3.09
06. I’m A Lonely Man (Cook) 6.26
07. Sweet Lynda (Mandel) 3.06
08. Springfield Station Theme (Wagner/Little) 6.28
09. Race Track Daddy (Mandel) 5.52



Pure Food And Drug Act – Choice Cuts (1972)

FrontCover1Pure Food and Drug Act (listed in The All Music Guide to the Blues,the Guinness Encyclopedia of Popular Music ) was a band that was formed in the early 1970s by Don “Sugarcane” Harris. The band began with Paul Lagos on drums, Larry Taylor on bass and Randy Resnick on guitar. Resnick was at that time experimenting with a one and two handed tapping technique which later became a standard guitarist’s tool. The group played small rooms in the Los Angeles area, such as the Troubadour and the Ash Grove, for several months.

While the band was searching for a record deal, Larry Taylor allegedly began to tire of Don’s constant lateness and irresponsibility and decided to continue his career with John Mayall. At the same time, Harvey Mandel, a Mayall alumnus, was brought in to beef up the accompaniment and to stimulate record label interest, as he already had a following from his Chicago blues days. To replace Taylor on bass, a relative newcomer, Victor Conte, was recruited from Common Ground, a funk band in Fresno that Resnick had played in. Conte went on to play in Tower of Power and with Herbie Hancock in his Monster Band.

PureFood01Choice Cuts was the band’s only album, recorded live in Seattle in 1972, but it was mostly unsuccessful. Allegedly because of Don’s unreliable nature, the band rarely rehearsed. Live performances included extended solos and improvised ensemble sections, and one song would often last 20 minutes or more. Various line-up changes took place until the band broke up a few years after releasing its first album. (by wikipedia)

Mighty choice work from Pure Food & Drug Act – a studio supergroup with a heavy blues rock approach – thanks to heavy guitar from the great Harvey Mandel, and vocals and electric violin from Don Sugarcane Harris! The rest of the lineup is nice too – a quintet with Randy Resnick on rhythm guitar, Victor Conte on bass, and Paul Lagos on drums – but the real stars of the show are clearly Mandel and Harris, especially the former – as his presence here has a searing intensity that maybe even beats some of his own full albums of the time. Lots of long tracks… and yes it sounds ike a great jam session …

Victor Conte (bass)
Don “Sugarcane” Harris (violin, vocals)
Paul Lagos (drums, steel drums on 07.)
Harvey Mandel (guitar)
Randy Resnick (guitar)

01. Introduction: Jim’s Message (Luft) 1.43
02. My Soul’s On Fire (Harris/Mandel/Lagos/Conte) 4.11
03. ‘Till The Day I Die (Harris) 7.07
04. Eleanor Rigby (Lennon/McCartney) 11.47
05. A Little Soul Food (arris/Otis) 4.02
06. Do It Yourself (Harris/Otis) 20
07. Where’s My Sunshine? (Harris/Mandel/Lagos/Resnick/Conte) 8.54
08. What Comes Around Goes Around (Harris/Mandel/Lagos/Resnick/Conte) 4.20