Tramline – Moves Of Vegetable Centuries (1969)

CDFrontCover1Michael Joseph Moody (born 30 August 1950) is an English guitarist, and a former member of the rock bands Juicy Lucy and Whitesnake. He was also a founder-member of Snafu. Together with his former Whitesnake colleague Bernie Marsden he founded the Moody Marsden Band, and later, The Snakes, having previously collaborated with unofficial 5th Status Quo member Bob Young in Young & Moody. Along with Marsden and ex-Whitesnake bassist, Neil Murray, he formed The Company of Snakes and M3 Classic Whitesnake with which they mainly performed early Whitesnake songs. From 2011 to 2015, Moody toured and recorded with Snakecharmer, a band he co-formed.

Besides this, Moody has also toured with Roger Chapman, Frankie Miller and Chris Farlowe. He has also performed live alongside the likes of Eric Clapton, Alvin Lee, Mick Taylor, Bruce Dickinson, Sam Brown, Gary Brooker, Suggs, Dennis Locorriere, Paul Jones, P. P. Arnold, James Hunter, Rick Wakeman, Jon Lord, Newton Faulkner, Uriah Heep, Alice Cooper, Mark King, Alfie Boe, Sandi Thom, Brian Auger, Paul Weller, Eric Bibb, Meat Loaf, Boy George, Elkie Brooks, Nona Hendryx, Mud Morganfield and one of his early guitar heroes, Duane Eddy.[citation needed] Since 2000 he has released several solo albums: I Eat Them For Breakfast (2000), Don’t Blame Me (2006), Acoustic Journeyman (2007) and Electric Journeyman (2009). A versatile guitarist, Moody has been an active session musician and his own website lists over 100 albums to which he has contributed musically. 2006 saw the release of the autobiographical Playing With Trumpets – A Rock ‘n’ Roll Apprenticeship, a memoir about his early days on the music scene. Another book of memoirs, Snakes and Ladders, was released in 2016. His library music has been featured on such TV programmes as Waking the Dead, Bo’ Selecta!, America’s Next Top Model, How to Look Good Naked, Top Gear, Horizon, Jersey Shore, Mad Men, Wife Swap and Paul Hollywood’s Bread.


While at school in Middlesbrough and attending private guitar lessons, Moody formed The Roadrunners with others from the area including Paul Rodgers (later of Free and Bad Company). They were subsequently joined by bass player Bruce Thomas, later to play with Elvis Costello and the Attractions. The band performed covers in local halls and clubs. By 1967 they had developed and outgrown the local music scene and turned professional, changing their name to The Wildflowers and subsequently moving to London. They had some success and undertook some touring, but relationships within the band frayed and they eventually split without making any recordings. Moody returned home to Middlesbrough where for a while he widened his musical horizons by taking classical guitar lessons. He also became increasingly interested in slide guitar techniques (a style he would later be closely associated with).


While living in Middlesbrough he was asked by local singer and entrepreneur John McCoy, to form a group which became Tramline. A deal for two albums was signed with Island Records, but by the time the second album was released the band had broken up. Moody joined Lucas and the professional Soul band Mike Cotton Sound who became Gene Pitney’s backing band for UK tours as well as others such as Paul Jones (by wikipedia)

The second and final set by the hot young blues band signed to Chris Blackwell’s Island Records back in 1969.

This album was produced by the late Guy Stevens and he suggested the unusual name, for which guitarist Micky Moody confesses he has no explanation. (Stevens had also suggested such names as Procol Harum and Mott The Hoople, and so ‘Moves Of Vegetable Centuries’ was just another flight of Stevens’ fancy!).

Muro do Classic Rock

The band was getting into its stride with the addition of sax player Ron Aspery and bass guitar virtuoso Colin Hodgkinson from progressive group Back Door.

They add a boost to such performances as the Tramline version of Traffic’s ‘Pearly Queen’ and the old Yardbirds’ favourite ‘I Wish You Would’. Here is R’n’B Sixties’ style with high energy and strong musicianship.

Micky Moody describes the evolution and ultimate fate of the band in his interview , making a splendid souvenir of a bye gone musical era. (by Green Brain)

35 minutes in length approximately. The sound is clean yet retains the warmth of the original release. The folded info sheet lists track info and personnel. There’s a synopsis of the group and the era when this album was recorded. The title of the album has mystified listeners since it’s original release-but the person responsible (producer Guy Stevens) has passed on-so we’ll probably never know.

This is the second (and last) album by TRAMLINE.The personnel has changed slightly since the first album. The band on this set is John McCoy-vocals and harmonica (uncredited),Terry Popple-drums,Mick Moody-guitar,and a new bass player,Colin Hodgkinson. On tracks 3,4,5,and 6 there are two sax players,who help fill in the sound. Someone named “Norman” plays piano occasionally,but his last name remains a mystery.

This album contains the song “Pearly Queen”,about as close to a hit as the group had. It rightfully received airplay,due in large part to Moody’s guitar playing. The track has a lot of energy,and its easy to see why it was popular during that time. If guitar playing is important to you,the track titled “Grunt” (actually “You Need Love”),is another fine number,with the piano and saxes lending good support to Moody’s guitar. Like the first album,there are some well known blues songs-“I Wish You Would” by Billy Boy Arnold,which is played and sung as a straight shuffle-style blues,and “Good Morning Little Schoolgirl” by Sonny Boy Williamson,which has McCoy’s imitation of Williamson’s vocal style. The track “Sweet Mary” (recorded by CYRIL DAVIES & THE ALL STARS) is a low down dirty blues,played with great feeling by one of the sax players,and also has some lovely piano fills,with Moody’s guitar playing some straight blues licks,along with a bit of slide guitar.

Micky Moody01

An interesting song is “You Better Run”, by two members of THE (YOUNG) RASCALS. The final tune,”Harriet’s Underground Railway”,an original refers to an underground railway for slaves during the Civil War. As is often the case,the music was laid down first,with the vocals put on later-after McCoy thought up some lyrics,which have nothing to do with the title.

Like the first album,this set is for people who like (relatively unknown) English blues bands from the late 60’s/early 70’s. This album is a bit more “together” than the first,but both sets have something to offer the listener (like me) who likes this era and style of music. Like the first album,this too has the feeling of it’s time and place. As I said about the first album,if you can remember record stores,this album gives the feeling of having been bought at your favorite store of the time,and then brought home and slipped onto the turntable. That’s not a bad thing because it shows this under-appreciated group made some good music,and was very much of it’s time and place-and if you like that era-you might like this band (by Stuart Jefferson)

And yes … Mick< Moody is one of my favourite guitr player and of course is Colin Hodgkinson one of the finest bass player ever.


Colin Hodgkinson (bass)
John McCoy (vocals)
Mick Moody (guitar)
Terry Popple (drums)
Ron Aspery (saxophone)
Iss Mate (saxophone)

01. Pearly Queen (Capaldi/Winwood) 3.39
02. Sweet Satisfaction (McCoy/Moody) 3.32
03. You Better Run (Brigati/Cavaliere) 2.17
04. Grunt (Moody) 7.11
05. Sweet Mary (Traditional) 6.24
06. I Wish You Would (Arnold) 5.20
07. Good Morning Little Schoolgirl (Williamson) 2.30
08. Harriet’s Underground Railway (McCoy/Moody) 3.55



Jack Green – Humanesque (1980)

FrontCover1Jack Green (born 12 March 1951 in Glasgow, Scotland) is a Scottish musician and songwriter.

Green played with T. Rex between 1973 and 1974, then with Pretty Things between 1974 and 1976, recording Silk Torpedo and Savage Eye. After Phil May walked out on the Pretty Things he carried on with Peter Tolson, Gordon Edwards and Skip Alan in Metropolis. He also was a member of Rainbow for three weeks in late 1978.

He launched a solo career with the album Humanesque in 1980, followed by Reverse Logic in 1981, Mystique in 1983 and Latest Game in 1986.

He joined with former T-Rex members Mickey Finn and Paul Fenton in Mickey_Finn’s_T-Rex (1997-1999).

Green is now living in Ryde, Isle of Wight, where he teaches guitar, and owns a budget film production company.

A new album The Party At The End Of The World is scheduled for release on 3rd February 2020. (by wikipedia)


Known to UK rock and pop fans through his involvement with the Pretty Things, Green relocated to Canada to build his solo career. Though now regularly consigned to the ‘where are they now?’ columns in the country of his birth, a sequence of albums for RCA Records in Canada have produced a cult following in that territory. Humanesque, which featured Ritchie Blackmore of Rainbow on one track, and Essential Logic are two collections that married melodious pop hooks with Green’s own rock guitar licks. Latest Game saw him move to FM/Revolver, but distribution of the record in the UK failed to excite much critical interest despite Green’s reputation and stature in Canada. (by

And Humanesque is Jack Green’s debut album. The track “I Call, No Answer” features Ritchie Blackmore of Deep Purple as a guest artist on lead guitar. (by wikipedia)


I’ve never heard of Jack Green before, but the albums looked like fun, and the date is 80, so these are most definitely going to be guitar driven singer/songwriter tunes, but how good will they be? I don’t know if they will lean toward new wave or Americana folk guitar. But I’m game to hope for the first. Just from the design from Humanesque, it looks angular and fun. I like his style on the back too.

“Murder” starts as a bass-heavy70’s rock song, like foreigner or something a bit smoky with a touch of danger. It is a good album starter, because the whole song feels like it is building to something, but it never quite gets there. So, in effect, it’s building up the rest of the album.
“So Much” is introduced with a new wave sounding organ and drums. The vocals make PromoPosterthe song feel like a Tom Petty track. But in the chorus, the vocals take on more of an Elvis Costello or Graham Parker feel. And the energetic vocal outburst of ‘alright’ reminds me of Mike Viola, but the comparison really ends there.
“Valentina” is a slower, smooth guitar ballad. The style of the slide guitar in short bursts; a technique not used as much anymore, dates the song, and gives it a bit of a confident and dangerous mood.
“Babe” simplistically bounces and rocks out from the get go with its use of complex but light guitar hook and simple drum beat. It is an immediately fun, catchy song, and then first small taste you get of the chorus solidifies the song as a rollicking pop song, very similar to Elvis Costello’s style. It is repetitive, but a fun melody is still a fun melody. The verse is just a build up to get to the exceptional chorus, which then becomes all you want to hear in a loop.
“Can’t Stand It” has an angry Bryan Adams-like presentation in the chorus. Again, the drums and instrumental usage is sparse, but efficient. The songs feel like they have a lot of empty space, which is actually a positive nod to the production, as the songs still feel complete.

“I Call, No Answer” continues with the smoky, mysterious and confident guitar play, and the vocals are no different in their urgency or Bryan Adams, “Run To You” tone.
“Life on the Line” slows the record down a bit with its reggae rhythm. It still has a solid JackGreen02electric guitar presence in the verse, but the tempo is relaxed, despite the high anxiety title. “’Bout the Girl” takes the stripped down guitar rock song to the extreme. It has a catchy upward tempo for the verse, and the chorus takes the opportunity to rock out a bit more, Big Star harmonic style.“Though It Was Easy” is a slower reflective song. It still feeds a bit of a punch with the parallel and layered bass and guitar, but the vocals give it that reminiscent feel. “Factory Girl” has a start stop guitar that makes me think of “867-5309/Jenny.” But there is not that much energy in the song. In fact, the tempo is much slower and the song struts along at its own, hurry-free pace.
“This Is Japan” ends the album as sparse and relaxed as the opening track offered an insurmountable build. After the title is spoke/sung, a tacky oriental keyboard plays in repeat a couple of times, and here and there throughout the slow struggling song. The song does finish off the album nicely though. (

In other words: Pretty good Power-Pop-Rock from this period.

And in 2020 he released another solo-album called “The Party At The End Of The World”.


Brian Chatton (keyboards)
Mel Collins (saxophone)
Andy Dalby (guitar)
Ian Ellis (bass)
Jack Green (guitar, vocals, bass)
Mac Poole (drums)
Pete Tolson (guitar)
Ritchie Blackmore (guitar on 06.)

01. Murder (Green/Adey) 3.19
02. So Much (Green/Adey) 4.50
03. Valentina (Green/Adey) 4.22
04. Babe (Green) 3.30
05. Can’t Stand It (Green/Adey) 3.36
06. I Call, No Answer (Green) 3.27
07. Life On The Line (Green/Adey) 4.03
08. ‘Bout That Girl (Green) 2.59
09. Thought It Was Easy (Jack Green/Jackie Green) 2.45
10. Factory Girl (Green/Adey) 2.54
11. This Is Japan (Green/Adey) 3.13




Jack Green in 2020


Big Brother and The Holding Company- The Lost Tapes (2008)

FrontCover1The Lost Tapes is a two disc compilation album by the San Francisco psychedelic-acid rock band, Big Brother and the Holding Company with Janis Joplin as their lead singer. The material featured here contains twelve previously unreleased Big Brother tracks from 1966 when Joplin first joined Big Brother up until before she left.

The second disc was originally released as a live album in 1966 entitled Live In San Francisco. (by wikipedia)

The Lost Tapes combines previously unreleased material with performances that have been floating around on bootlegs for years. Listening to these early live recordings from late 1966 and early 1967, it’s hard to imagine that this is the same band that would level the audience at the Monterey Pop Festival — alongside Jimi Hendrix and Otis Redding — and propel Janis Joplin into superstardom.


The 26 songs are a loose mix of originals from their self-titled Mainstream album, along with cover versions of “Amazing Grace,” “Hi Heel Sneakers,” “Let the Good Times Roll,” “I Know You Rider,” and “Moanin’ at Midnight.” By far, the oddest cover is “Faster Pussycat, Kill! Kill!,” which musically has absolutely nothing in common with the version performed in the Russ Meyer film by the Bostweeds. The rambling spoken intro is longer than the actual song itself! Very weird! This material is unquestionably sloppy and miles away from the slick soul-rock Joplin would perform with Full Tilt Boogie and the Kozmic Blues Band after leaving Big Brother in late 1968.


It’s also what makes this relic so charming; hearing a young Janis Joplin not burdened with being the star, but just another member of the band, relaxed and playful. Airline’s 2008 version of The Lost Tapes was licensed from Big Brother & the Holding Company, with 24-bit remastering and notes by drummer David Getz and guitarist Sam Andrew. (by Al Campbell)


Peter Albin (bass, vocals)
Sam Andrew (guitar)
David Getz (drums)
James Gurley (guitar)
Janis Joplin (vocals)


Recorded Live At The Matrix, San Francisco, 1967:
01. Bye, Bye Baby (St. John) 4.11
02. Great White Guru (unknown) 5.47
03. Women Is Losers (Joplin) 5.09
04. Oh My Soul (Penniman) 2.35
05. Amazing Grace (Traditional) 11.31
06. Caterpillar (Albin) 4.11
07- It’s A Deal (Andrew/Albin) 2.14
08. Hi Heel Sneakers (Higginbottam) 3.37
09. Faster Pussycat Kill Kill (unknown) 2.23
10. Turtle Blues (Joplin) 6.47
11. All Is Loneliness (Moondog) 9.05
12. Light Is Faster Than Sound (Albin) 6.27

Recorded Live At California Hall, San Francisco, 1966:
01. (Come On Baby) Let the Good Times Roll) (Goodman/Lee) 2.38
02. I Know You Rider (Traditional) 3.14
03. Moanin’ At Midnight (Burnett) 4.58
04. Hey Baby (Albin/Andrew/Getz/Gurley/Joplin) 2.51
05. Down On Me (Traditional) 2.46
06. Whisperman (Albin/Andrew/Getz/Gurley/Joplin) 1.46
07. Women Is Losers (Joplin) 3.48
08. Blow My Mind (McCracklin) 2.35
09. Oh My Soul (Penniman) 2.34
10. Ball And Chain (Thornton) 6.43
11. Coo-Coo (Traditional) 2.30
12. Gutra’s Garden Albin/Andrew/Getz/Gurley/Joplin) 4.37
13. Harry (Getz) 0.38
14. Hall Of The Mountain King (Grieg) 6.51





Growl – Same (1974)

FrontCover1Growl: Formed 1969, United States, Disbanded 1974. Produced by Robert Duffey on Frank Zappa and Herb Cohen’s label, a cross between rock and hard rock. Dennis Rodriguez, Harry Brender, Gene Lucero and Danny McBride were previously in Utopia (not the Todd Rundgren group)….~
Growl is an underestimated blues-inspired hard rock outfit from Los Angeles (?), which recorded its first album as Utopia* (Utopia) in 1969 (released on Kent in 1970; re-issued on vinyl and CD by Akarma). Original line-up of Utopia was: Harry Brander A.Brandis on guitar & vocals, Frank Krajnbrink on guitar, Gene Lucero on bass, Danny McBride on drums and Dennis Rodriguez – lead vocals and harmonica. Rodriguez also wrote most of Utopia’s original compositions. By 1974 Frank Krajbrink was replaced by Mark Small (guitars) and Richard Manuputi took over the vocals.


The band went to Paramount Studios to record new songs, so for the new album released in 1974 (on Discreet Records) they used 5 songs from “Utopia” and 5 new numbers, among them high-octane version of Paul Butterfield’s “Shake Your Money Maker”, classic “Hound Dog” and quite uninspiring version “I Just Want To Make Love To You” of Willie Dixon (many critics/reviewers mention live version by Foghat, which means that they don’t know the smashing performance by Mungo Jerry).The rest of the songs were written by Dennis Rodriguez (except Working Man credited to Richard Manuputi).
Although Growl doesn’t sound as innovative and original as the headliners of that kind of hard rock (ZZ Top or BTO), it’s a solid and tight band, very macho, which should have been great on stage. Maybe not a must, but I like it. This re-issue on Lion Records (Germany) is quite affordable. (

*This Utopia was not related/connected in any way to Todd Rundgren; the debut album was recorded in 1969, and not 1967…by. Golovanov Alexey…amazon….~


Harry “A.Brandis” Brender (guitar, background vocals)
Geno Lucero (bass)
Richard Manuputi (vocals)
Danny McBride (drums)
Dennis Rodriguez (guitar, vocals)
Mick Small (guitar)

Alternate frontcover:

01. Shake Your Money Maker (James) 3.19
02. Young & Crazy (Rodriguez) 2.13
03. I Wonder (Rodriguez) 3.27
04. Working Man (Manuputi) 4.32
05. Sadie (Rodriguez) 3.26
06. Hound Dog (Stoller/Leiber) 3.06
07. Take My Life (Rodriguez) 2.56
08. Things Ain’t Better (Rodriguez) 3.15
09. Who’s This Man (Rodriguez) 3.20
10. I Just Want To Make Love To You (Dixon) 3.02



UFO – Force It (1975)

FrontCover1UFO are an English rock band that was formed in London in 1968. They became a transitional group between early hard rock and heavy metal and the new wave of British heavy metal. The band’s current lineup includes vocalist Phil Mogg, lead guitarist Vinnie Moore, rhythm guitarist and keyboardist Neil Carter, bass guitarist Rob De Luca, and drummer Andy Parker. They have gone through several line-up changes, leaving Mogg as the only constant member, and had two hiatuses (1983–1984 and again from 1989 to 1991). The band are also notable for featuring former Scorpions guitarist and MSG founder Michael Schenker, who was a member of UFO from 1973 to 1978 and again, occasionally, between 1993 and 2003, when Moore replaced him. In May 2018, Mogg announced that he will retire from UFO after one last tour as a member of the band in 2019.

Over a career spanning 52 years, UFO have released 22 studio albums, 14 live recordings, 16 compilation albums and one album of cover songs. They achieved moderate success in the late 1970s and early 1980s with several albums and singles (including their 1979 live album Strangers in the Night) in the UK and US Top 40 charts, and have sold over 20 million records worldwide. Some of their best-known songs include “Doctor Doctor”, “Rock Bottom”, “Natural Thing”, “Lights Out”, “Too Hot to Handle” and “Only You Can Rock Me”. UFO are considered one of the greatest classic hard rock acts,[9] and often cited as one of the key influences on the 1980s and 1990s hard rock and heavy metal scenes. The band were ranked number 84 on VH1’s “100 Greatest Artists of Hard Rock”.

Force It is the fourth studio album by the British rock band UFO, released in 1975. It became their first album to chart in the United States.


The album was produced by Ten Years After bass player Leo Lyons. Another Ten Years After member, Chick Churchill, played keyboards, the first use of that instrument on a UFO record.

The somewhat controversial original cover was designed by Hipgnosis, as were almost all other UFO albums of the 1970s. The nudity on the cover verged on breaching decency standards and the genders of the couple in the bathtub were not known for several years. The models were later revealed to be Genesis P-Orridge and Cosey Fanni Tutti, both later of the influential industrial band Throbbing Gristle. The artwork was softened for the initial US release, making the couple in the bathtub transparent. The cover is a pun — there are multiple taps (British English) or “faucets” (US English) in the picture, which is a play on the album’s title. (by wikipedia)

The US frontcover:

Michael Schenker and Phil Mogg really started to find their groove as a songwriting team with their second album together (and fourth UFO release overall), Force It. In fact, the last remaining folk and space rock tendencies that had stolen much of Phenomenon’s thunder are summarily abandoned here, as the group launches itself wholeheartedly toward the hard rock direction that would make them stars. The first step is taken by Schenker, of course, who confidently establishes the aggressive, biting guitar tone that would define all the releases of the band’s glory years. “Let It Roll” and “Shoot Shoot” kick off the album in rousing fashion, and while holding them under a microscope might reveal them as rather disposable slabs of hard rock, they would remain concert favorites for the band nonetheless.


The punchy single “Love Lost Love” sounds tailor-made for the American market and acoustic ballad “High Flyer” is quite good, despite taking a dip in energy. But things only really start to gell on the album’s second half. Schenker and Mogg wheel out their most mature composition yet with the piano-led “Out in the Street,” whose softer sections truly highlight Mogg’s highly disciplined, understated vocal style and make the guitar player’s more restrained soloing all the more memorable. Schenker is soon back in charge, however, on the stuttering riffs and blistering fretboard work of “Mother Mary” and the downright vicious stop-start strut of “This Kids” — both UFO anthems. One of the band’s best albums, Force It will not disappoint lovers of ’70s English hard rock. (by Eduardo Rivadavia)


Phil Mogg (vocals)
Andy Parker (drums)
Michael Schenker (guitar)
Pete Way (bass)
Chick Churchill (keyboards(


01. Let It Roll (Schenker/Mogg) 3.57
02. Shoot Shoot (Schenker/Mogg/Way/Parker) 3.40
03. High Flyer (Schenker/Mogg) 4.09
04. Love Lost Love (Schenker/Mogg) 3.22
05. Out In The Street (Way/Mogg) 5.18
06. Mother Mary (Schenker/Mogg/Way/Parker) 3.50
07. Too Much Of Nothing (Way) 4.03
08. Dance Your Life Away (Schenker/Mogg) 3.35
09. This Kid’s (including “Between the Walls”) (Schenker/Mogg) 6.14
10. A Million Miles” (previously unreleased studio track) (SchenkerMogg) 4.49
11. Mother Mary (live) (Schenker/Mogg/Way/Parker) 4.05
12. Out In The Street (live) (Way/Mogg) 5.12
13. Shoot Shoot (live) (Schenker/Mogg/Way/Parker) 3.48
14. Let It Roll (live) (Schenker/Mogg) 5.00
15. This Kid’s (live) (Schenker/Mogg) 4.19



Another censored frontcover:

More from UFO:

Joe Cocker – Live At Woodstock (2009)

FrontCover1Live at Woodstock is a live album documenting Joe Cocker’s famous performance with The Grease Band at Woodstock Festival on 17 August 1969. It was released officially for the first time in 2009. (by wikipedia)

Issued in 2009, the 40th anniversary of Woodstock, the most famous rock music festival in history, Joe Cocker’s performance at the festival turns out to be one of the defining moments of his career thus far. Who knew? Cocker’s turn on the stage came on Sunday afternoon, August 17, 1969. He had issued his brilliant debut album, With a Little Help from My Friends, the previous February, and his sophomore follow-up — not as dynamic a recording but a more consistent one overall — would be issued in December.


Backed by the Grease Band (not to be confused with the vanguard U.S. outfit the Hampton Grease Band), his 11-song show included six cuts from the debut, two from his then upcoming album (including a dynamite cover of Bob Dylan’s “Dear Landlord” that opened the gig), a stellar reading of Ashford & Simpson’s “I Don’t Need No Doctor,” and “Something to Say,”an original that didn’t appear officially on one of his own sets until 1973.


From that opening Dylan cut throughout his 62-minute outing, Cocker never really let up in energy or graciousness toward the crowd. The ballads, such as “Do I Still Figure in Your Life,” are delivered with soul and as much fire as harder-driving rhythm & blues-inflected numbers such as “Feelin’ Alright” and “Hitchcock Railway.” The summation of the show is that utterly in-the-red performance of the Beatles’ “With a Little Help from My Friends,” well-known to fans of Cocker and the Woodstock musical and cinematic offerings. This is easily one of the finer offerings to come from the Woodstock anniversary recordings. While the documentation on the disc is rudimentary — such as who the backing vocalists in fact were — the sound is terrific. (by Thom Jurek)


Joe Cocker (vocals)
Henry McCullough (lead guitar, background vocls)
Neil Hubbard (guitar, background vocals)
Bruce Rowland (drums)
Alan Spenner (bass, background vocals)
Chris Stainton (keyboards, background vocals)


01. Dear Landlord (Dylan ) 8.42
02. Something’s Coming On (Cocker/Stanton) 4.04
03. Do I Still Figure In Your Life (Dello) 4.00
04. Feelin’ Alright (Mason) 5.24
05. Just Like A Woman (Dylan) 6.24
06. Let’s Go Get Stoned (Ashford/Simpson) 7.07
07. I Don’t Need No Doctor (Armstead/Ashford/Simpson) 12.14
08. I Shall Be Released (Dylan) 6.00
09. Hitchcock Railway (Dunn/McCashen) 5.51
10. Something To Say (Cocker/Nichols) 9.23
11. With A Little Help From My Friends (Lennon/McCartney) 8.07



More from Joe Cocker:

John Robert “Joe” Cocker (20 May 1944 – 22 December 2014)

Sam Brown – Stop ! (1988)

FrontCover1Samantha Brown (born 7 October 1964) is an English singer-songwriter, composer, multi-instrumentalist, arranger and record producer.

Brown is a ukulele player and was a blue-eyed soul and jazz singer. She came to prominence in the late 1980s as a solo artist, releasing six singles that entered the UK Singles Chart during the 1980s and 1990s. Her solo singles, sometimes dealing with lost love included “Stop!”, “This Feeling”, “Can I Get a Witness”, “Kissing Gate”, “With a Little Love” and “Just Good Friends”. She worked as a session backing vocalist, working with artists such as Gary Moore, George Harrison, Small Faces, Spandau Ballet, Adam Ant, Jon Lord (of Deep Purple), Pink Floyd (also David Gilmour), The Firm and Nick Cave.

Brown released her debut album Stop! in 1988. Since then, she has released five studio albums, one EP and three compilation albums, as well as three albums as part of the group Homespun, but lost her singing voice in 2007.

Samantha Brown was born on 7 October 1964, in Stratford, east London, England. She is the daughter of musician Joe Brown and session singer Vicki Brown. Brown’s first work in the music industry was in 1978 at the age of 14, when she sang backing vocals on the final studio album by the Small Faces, 78 in the Shade. She also worked as a backing vocalist with several other bands, including Spandau Ballet and with her mother on former Deep Purple keyboardist Jon Lord’s third solo album Before I Forget.


Brown signed a recording contract with A&M in 1986. Her most successful song with A&M was “Stop!”, released as a single in 1988. She issued an album of the same name that same year.[1] Other singles taken from the album included “Walking Back to Me”, “This Feeling” and her cover version of “Can I Get a Witness”. The album Stop! has sold over two and a half million copies worldwide,[2] doing particularly well in the UK and Australia. Brown’s second studio album, April Moon (1990), included two hit singles, “Kissing Gate” and “With a Little Love”. Three further singles were released from the album: “Mindworks”, “Once in Your Life” and “As One”. She also played the ukulele.

Brown’s third studio album, 43 Minutes…, was made around the same time that her mother was dying from breast cancer.A&M, Brown’s record label at the time, were not satisfied with the album and wanted some potential hit singles recorded and added to the track listing.[2] Brown, unwilling to compromise and after a protracted legal battle, bought back the master recordings of the album and released them in 1992 on her own label Pod Music, a year after the death of her mother. Few copies were initially released, although it was re-issued in 2004.

Brown provided backing vocals for Pink Floyd on their fourteenth studio album, The Division Bell, released in 1994 and accompanied them on their tour to promote the release.[2] Her involvement was documented on the following year’s Pink Floyd release, Pulse, in which she sang backing vocals and was the first lead vocalist on the song “The Great Gig in the Sky”. In 1995, she had a minor chart hit with a duet with fellow singer-songwriter Fish, entitled “Just Good Friends”. In 1997, Brown returned with her fourth studio album Box, released via the independent record label Demon Music Group. Tracks on this album included “Embrace the Darkness”, “Whisper” and “I Forgive You” which was co-written with Maria McKee. McKee’s version of the song originally appeared on her second album, You Gotta Sin to Get Saved.


In 2000, her fifth studio album ReBoot was released via another independent label, Mud Hut, and the single “In Light of All That’s Gone Before.” In 2003, Brown formed the band Homespun with Dave Rotheray,[1] releasing three albums. Brown also released several solo recordings in this period, including an EP, Ukulele and Voice.[1] In 2004, Jon Lord released Beyond the Notes, for which she wrote almost all the lyrics.[3] In late 2006, she undertook an extensive UK tour as special guest of her father, Joe Brown. The shows also included appearances by her brother, Pete Brown.

In 2007, seven years after her last album, Brown released Of the Moment. She also returned to the Top 10 of the UK Albums Chart in October 2007, when “Valentine Moon” was included on Jools Holland’s hit album Best of Friends.

That same year she lost her singing voice, and for as yet unknown reasons has not been able to sing since. In an interview from 2013 she explained that “I can’t get vocal cord closure and achieve the proper pitch simultaneously. It feels like there are some muscles that aren’t working.” After a cyst was found on her vocal cords, she had the cyst successfully removed, but problems with her voice persisted, leaving her unable to hold a note.


Brown currently runs the International Ukulele Club of Sonning Common, the North London Ukulele Collective and the People’s Ukulele Brigade (PUB).[5] Brown is also a patron of Tech Music Schools in London, made up of Vocaltech, Guitar-X, Keyboardtech and Drumtech.

As well as her solo career, Brown has had a successful career as a backing vocalist and collaborator with other artists. She has worked with the band Barclay James Harvest (1984), David Gilmour (David Gilmour in Concert) and Pink Floyd, Deep Purple (In Concert with The London Symphony Orchestra), Jon Lord, The Firm, Gary Moore, George Harrison and Nick Cave. She has often appeared as a member of Jools Holland’s Rhythm and Blues Orchestra and achieved further prominence with her 2002 performance at the Concert for George, which was a memorial to George Harrison on the first anniversary of his death,[6] where she sang “Horse to the Water”. This song is included in the film of the concert, not on the album. In 2002, she was a backing vocalist at Buckingham Palace at the Golden Jubilee of Elizabeth II’s concert, Party at the Palace.

In 2015, Brown started teaching backing vocals classes at the Academy of Contemporary Music (ACM) in Guildford, Surrey, a school for rock and pop musicians.


Stop! is the debut studio album by the English female singer-songwriter Sam Brown. It was originally released in June 1988, on the label A&M, and was distributed by Festival in Australia. Produced by Sam Brown, her brother Pete Brown, Pete Smith, Danny Schogger, and John Madden the album was recorded at the Power Plant, in London, England, with then-Pink Floyd member David Gilmour’s guitar parts on “This Feeling” and “I’ll Be In Love” being recorded at Greene Street Studios, in New York, United States. The track “Merry Go Round” has lyrics slightly adapted from W. H. Davies poem “Leisure”. The CD edition of the album includes cover versions of Marvin Gaye’s Can I Get a Witness and Ike & Tina Turner’s Nutbush City Limits.

On release, the album was received favorably by the majority of music critics. Brown’s most commercially successful solo album, it went on to peak at #4 on the UK Albums Chart and reached #13 on the Australian ARIA Charts. The album also reached the top ten in five other countries including Austria, the Netherlands, and New Zealand. The album launched three charting singles in the UK. “Stop!” peaked at #4 on the UK Singles Chart; “This Feeling” peaked at #91; “Can I Get a Witness” at #15. The album has sold over two and a half million copies worldwide.[3] The album was certified platinum by Music Canada. In the UK, it sold more than 100,000 copies and was certified gold by the BPI.( by wikipedia)


A fine debut, full of original songs with much more depth and things going on than your average pop record. A few songs like “This Feeling”, I’ll Be in Love” and “High as a Kite” may be slightly pedestrian, but there’s nothing here I would call filler. (by Kim Alsos)
Sam Brown is a Superb artist…and this album was her debut release from 1988, though it spawned a couple of top twenty hits she has spent little time in the charts since but continues to produce some great work.

She has a huge cult following and has become an artist on the fringe of the mainstream which is a place many artists chose to be, and I believe she may be one of them; here they do not have to bow and scrape to popular demands and the whims of record producers. Here they can work freely, develop a strong fan base and maintian robust artistic integrity.


“Stop!” is recognisable now because Jamelia released it last year for the film, “Bridget Jones the edge of reason”, but she has not even half the depth and richness of voice to belt the song out like Sam does on this original. It’s an oldy but a goody and a descriptive work in terms where British pop/soul was headed in the late 80’s before the manufactured craze took over. Listen “Stop!”, and you won’t stop with Sam Brown! (by S. Hebbron)


Jim Abbiss (steel-guitar)
Bob Andrews (organ)
Dave Bishop (drums)
Stuart Brooks (saxophone)
Joe Brown (guitar, mandolin)
Pete Brown (guitar, keyboards, percussion, background vocals)
Sam Brown (vocals, keyboards)
Ken Craddock (organ)
Danny Cummings (percussion)
Dinesh (percussion)
Paul Fishman (keybords)
David Gilmour (guitar, background vocals)
Gavin Harrison (drums, percussion)
Jakko M. Jakszyk (guitar, background vocals)
Roland Vaughan Kerridge (drums)
Jim Leverton (bass)
Ian Maidman (bass)
Kevin Mazpas (synthesizer)
Richard Newman (drums, background vocals)
Phil Palmer (guitar)
Ed Poole (bass)
Danny Schogger (keyboards)
Danny Thompson (bass)
background vocals:
Vicki Brown – Margo Buchanan – Amy Caine – Helen Chappelle – Philip Saatchi – Peter Smith – Billy Vanderpuye
horn section:
Jeff Daly (saxophone)
Christopher Dean (trombone)
Simon Gardner (trumpet)
David Hancock (trumpet)
John Huckridge (trumpet)
Rex O’Dell (trombone)
Chris Pyne (trombone)
Steve Sidwell (trumpet)
Peter Smith (trombone)
Stan Sulzmann (saxophone)
Jamie Talbot (saxophone)
Alan Wicham (trumpet)
string section:
Peter Esswood (cello)
Kate Musker (viola)
J. Stringle (cello)
Bobby Valentino (violin)
Mark Wazton (violin)

01.Walking Back To Me (Brown/Sutton) 3.44
02. Your Love Is All (Brown/Buchanan) 4.09
03. Stop! (Brown/Sutton/Brody) 4.56
04. It Makes Me Wonder (Brown/Buchanan) 4.36
05. This Feeling (Brown/Buchanan) 3.17
06. Tea (Brown) 0.45
07. Piece Of My Luck (Brown) 2.57
08. Ball And Chain (Brown/Schogger) 4.36
09. Wrap Me Up (Brown/Schogger) 3.13
10. I’ll Be In Love (Brown/Schogger) 5.16
11. Merry Go Round (S.Brown/V.Brown) 3.09
12. Sometimes You Just Don’t Know (Brown/Malloy/Brennan) 3.08
13. Can I Get A Witness (E.Holland/Dozier/B.Holland) 3.01
14. High As A Kite (Brown/Schogger) 3.26
15. Nutbush City Limits (Turner) 3.14