Leon Russell – Leon Live (1973)

LPFrontCover1Leon Live would probably loom larger in the memories of more fans today if only it hadn’t come out after Joe Cocker’s Mad Dogs and Englishmen (which was almost more a showcase for Russell and his band than it was for Cocker) and The Concert for Bangladesh, which, between them, gave everyone a lengthy preview of Russell’s live act. On the other hand, it is 100 minutes of Russell’s concert work in one place, which is either very compelling or a little too intense for most peoples’ tastes.

Russell was the leading white practitioner of big band rock in the early 1970s, and his sound was something new for most of the listeners he attracted — the Rolling Stones may have brought aboard a horn section and pianist to their stage act, but Russell was the real article, leading an octet (complete with two pianists) and five backup singers, doing a descendant of 1950s-style R&B of a kind that had been banished from the airwaves since the early 1960s, apart from some one-off successes like John Fred & His Playboy Band.

Russell plays an authentic, classic New Orleans-style R&B, melded successfully to Bob Dylan’s “The Mighty Quinn” (in the “Mighty Quinn Medley”) and “Jumpin’ Jack Flash,” among other then-recent rock songs — mostly he animates his music and his singers and, from the sound of it, his audience for 11 minutes at a clip, with a sound that manages to be massive yet highly articulate, his band’s pounding, driving impact leaving lots of room for Don Preston’s and Joey Cooper’s guitars to cut through. Appearing at the height of Russell’s fame, this was originally a triple LP and one of the most successful of its era. (by Bruce Eder)

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Personnel:
Chuck Blackwell (drums)
Ambrose Campbell (percussion)
Joey Cooper (guitar, background vocals)
Patrick Henderson (piano, vocals)
Leon Russell vocals, piano)
Don Preston (guitar, vocals, background vocals)
Carl Radle (bass)
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background vocals:
Black Grass – Phylliss Lindsey

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Tracklist:
01. Mighty Quinn Medley 11.44
01.1. I’ll Take You There (Bell)
01.2. Idol With The Golden Head (Leiber/Stoller)
01.3. I Serve A Living Savior (Watson)
01.4. Mighty Quinn (Dylan)
02. Shoot Out On The Plantation (Russell) 4.51
03. Dixie Lullaby (Stainton/Russell) 3.07
04. Queen Of The Roller Derby (Russell) 1.53
05. Roll Away The Stone (Dempsey/Russell) 3.57
06. It’s Been A Long Time Baby (Hooker/Paub) 3.20
07. Great Day (Traditional) 3.08
08. Alcatraz (Russell) 4.19
09. Crystal Closet Queen (Russell) 6.33
10. Prince Of Peace (Dempsey/Russell) 4.27
11. Sweet Emily (Russell) 3.07
12. Stranger In A Strange Land (Russell) 4.57
13. Out In The Woods (Russell) 9.15
14. Some Day (Traditional) 3.19
15. Sweeping Through The City (Caeser) 2.29
16. Jumping Jack Flash / Youngblood Medley 16.09
16.1. Jumping Jack Flash (Jagger/Richards)
16.2.Youngblood (Pomus/Leiber/Stoller)
17. Of Thee I Sing / Yes I Am (Russell) 10.26
18. Delta Lady (Russell) 3.55
19. It’s All Over Now Baby Blue (Dylan) 6.39

 

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Leon Russell
Leon Russell (born Claude Russell Bridges) April 2, 1942 – November 13, 2016)

Procol Harum – Live At Stockholm (1971)

FrontCover1Stockholm 1971 Pre-FM Master is an interesting release. A fifty-five minute tape of this broadcast has been circulating for years, but this new source contains twenty more minutes of the show including “Shine On Brightly”, “In The Wee Small Hours Of Sixpence”, “Repent Walpurgis”, “Look To Your Soul” and “Grand Finale”, all of which have been absent. Along with all the songs being present, they are also placed now in the proper sequence.

This is the actual tape produced that night. It is in excellent stereo sound quality with no trace of radio broadcast effects that mar other recordings that come from the radio.

Also, the Folkets Hus is a small venue and the audience are very quiet and respectful throughout the entire performance so the bottom line is this is a pristine and very enjoyable recording.

This show occurs on their Scandinavian tour during October 1971 in support of their fifth LP Broken Barricades. The two dates following Stockholm were in Göteborg on October 17th and Oslo, Norway on October 18th.

Only two songs, “Power Failure” (with drum solo) and “Simple Sister”, are performed from the new album with the rest of the set list coming from their previous three.

Dave BallDave Ball (30 March 1950 – 1 April 2015)

David Ball was the new guitarist who replaced the recently departed Robin Trower and provides capable lines over the swirling organ and lyrical drums. The tape cuts right in with “Shine On Brightly”. “Pedal or skin…we’ll do a folk song” Gary Brooker says before “Magdalene (My Regal Zonophone)”.

He also calls for the wave sound effects saying, “give me some waves” before “A Salty Dog”. But the highlight is “Repent Walpurgis”, captured brilliantly on this recording. Stockholm comes packaged with the thick glossy paper inserts and it is great to see Siréne giving the band such a high-class production. (by collectorsmusicreviews.com)

What a great performance !!! One of the best Procol Harum bootlegs ever !!!

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Personnel:
Dave Ball (guitar)
Gary Brooker (piano, vocals)
Alan Cartwright (bass)
Chris Copping (organ)
Barrie James “B.J.” Wilson (drums)

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Tracklist:
01. Shine On Brightly 5.17
02. In The Wee Small Hours Of Sixpence 3.32
03. Still There’ll Be More 6.01
04. All This And More 4.34
05. Magdalene (My Regal Zonophone) 3.47
06. Quite Rightly So 6.31
07. Power Failure 5.46
08. Pilgrim’s Progress 5.06
09. Simple Sister 3.56
10. A Salty Dog 6.15
11. Repent Walpurgis 8.54
12. In The Autumn Of My Madness 5.44
13. Look To Your Soul 3.20
14. Grand Finale 4.17

Music Gary Brooker
Lyrics: Keith Reid

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Steve Marriott & The Packet Of Three – Dingwalls 6.7.84 (1991)

FrontCover1If you don’t mind hearing more rock than blues, pick up Steve Marriott – Dingwalls 6.7.84. It’s an outstanding Packet of Three set with much better recording and performances from around the same time. If you’re like me, you’ll love the entire CD. The blues tracks here are “Five Long Years”, the Ashford-Simpson-penned Ray Charles song “I Don’t Need No Doctor” and “Walkin’ the Dog” but Stevie’s rockers are great as well. (by William Sout)

This 1984 show at the North London club Dingwalls was originally broadcast live on the radio, featuring Marriott backed by his band Packet of Three; this performance has also been released under the titles of Dingwalls and Packet of Three: Live. This version has the advantage of liner notes detailing Marriott’s career. (Steve Huey)

Just like many nights at the Half Moon in Putney, this recording really captures the feel of Steve Marriott live. Although there is no Jerry Shirley on drums (as in some Packet of Three performances), this CD has a great R&B feel (soulful vocals and crunchy chords). Only regret is that there is no version of Afterglow, a highlight of most shows. (by an Amazon customer)

Listen to another album by one of my favorite musician of all time !

SteveMarriott

Personnel:
Fallon (drums)
Jim Leverton (bass, vocals on 03., background vocals)

Steve Marriott (guitar, vocals, harmonica)

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Tracklist:
01. What’cha Gonna Do About It? (Potter/Samwell) 4.17
02. Fool For A Pretty Face (Marriott/Shirley) 5.50
03. Shame On You (Cooley) 4.06
04. Bad Moon Rising (Fogerty) 6.32
05. The Cockney Rhyme (Traditional) 0.48
06. All Shook Up (Blackwell/Presley) 3.17
07. The Fixer (Marriott/Ridley/Shirley) 7.25
08. All Or Nothing (Marriott/Lane) 5.49
09. Five Long Years (Boyd) 7.43
10.  Thirty Days In The Hole (Marriott) 10.57
11. I Don’t Need No Doctor (Armstead/Ashford/Simpson) 12.47
12.  Big Train Stop At Memphis (Traditional) 5.25
13. Walkin’ the Dog (Thomas) 4.04
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Latin Quarter – Nothing Like Velevet (1990)

FrontCover1“This is not a “Best Of…” album. Although we have included tracks like “Radio Africa”, our main aim has been to provide songs or recordings that are not already available – and to do it in a way that shows a cross-section of our life as a band: studio recordings, bedroom demo recordings and some live recordings.

There was a temptations as we compiled the album, to go back and try and change some fo the tracks, to touch them up. But with small and easy exceptions, we’ve avoided that temptation. The bedroom demos remain the bedroom demos − cheap drum machines, microphone and all − and the live tracks … well we had a little choice. “See Him” and “Snow Blind” are exactly as they went to tape in Bochum, West Germany, sometime in February or March 1986. So yes, the voice on “Snow Blind” does only come up one side of the stereo, and no, there is no need to adjust your sets.” (taken from the original liner notes)

With three studio albums to its credit and a bona fide hit with “Radio Africa” (from Latin Quarter’s debut album, Modern Times), this politically minded worldly pop band decided to call it quits, leaving behind this compilation of oddities, rarities, unreleased demos, and re-recordings. For those looking for the hit, “Radio Africa” (album version) is here in all its splendor, but most of the remaining tracks are exclusive to this release.

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The ones that have been released elsewhere include the beautiful “The Colourscheme” (sung by Yona Dunsford), which was a B-side, and “The New Millionaires,” which is the same version as the one on their debut. Other songs from the debut (“Truth About John,” “America for Beginners,” “Toulouse”) are either in demo form or re-recordings, all equal to the passionate album versions. “See Him!,” “Snow Blind,” and “The Big Pool” are funky live tracks never released (or recorded?) in studio form. “February 1990,” “Pyramid Label,” and the title track are demos of songs never officially released.

“Dominion” is the German-language version of the “Swimming Against the Stream” album track. There are musical surprises around every corner, almost every one of them from the creative minds of vocalist/guitarist Steve Skaith and lyricist Mike Jones.

Packed with so much quality music unavailable elsewhere, this is the perfect introduction to Latin Quarter’s eclectic musical repertoire and the perfect rarities disc at the same time. Who woulda thunk it? (by Steve “Spaz” Schnee)

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Personnel:
Yona Dunsford (keyboards, vocals)
Greg Harewood (bass)
Steve Skaith (vocals, guitar)
Richard Wright (guitar)
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Darren Abraham (drums on 11., 15.)
Dave Charles (drums on 03., 09.)
Paulinho Da Costa (percussion on 07.)
Martin Ditcham (percussion on 13.)
Carol Douet (background vocals on 03., 08., 09., 11., 14. vocals on 06., 15., 16.,   percussion on 11.)
Steve Greetham (bass on 08.)
Steve Gregory (saxophone on 13.)
Steve Jeffries (keyboards on 06., 09., 14.)
Kate St John (saxophone on 04.)
Martin Lascelles (keyboards on 03., 09., 11., 15., 16.)
Ricky Stevens (drums on 06., 08., 14., 16.)
Paul Slowly (drums on 01.)

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Tracklist:
01. Truth About John (Recorded 1990) (Skaith) 3.41
02. Nothing Like Velvet (Demo Recording 1989) (Skaith) 3.29
03. See Him! (Live Recording 1986) (Harewood/Wright/Skaith/Dunsford) 3.56
04. February 1990 (Demo Recording 1990) (Skaith) 1.38
05. Race Me Down (Demo Recording 1988) (Skaith) 4.08
06. Toulouse (Skaith) 5.04
07. Dominion (German Lyrics) (Skaith)
08. Radio Africa (Keefe/Skaith) 3.53
09. Snow Blind (Live Recording 1986) (Keefe/Skaith) 3.41
10. The Colour Scheme (Skaith) 3.31
11. The Big Pool (Live Recording 1987) 4.24
12. It Makes My Heart Stop Speaking (Demo Recording 1988) (Skaith) 4.14
13. The New Millionaires (Jeffries/Skaith) 3.38
14. Pyramid Label (Skaith) 6.07
15. The Men Below (Skaith) 4.38
16. America For Beginners (Skaith) 8.07 (*)

All lyrics by Mike Jones
German lyrics on 07: Harry Gutowski

“See Him!” and “Snow Blind” were recorded live in Bochum, Germany 1986

 

(*) I dedicate this song to Ronald Trump !

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https://www.youtube.com/watch?v=pQXg0_3HdZM&spfreload=10

Black Sabbath – Montreux (1970)

FrontCover1When this new title was announced and a sample was posted online it became a must have, a very early soundboard recording from Sabbath. The No Label company has had some stellar releases and this one is no different. The recording is excellent sound board with virtually no hiss to speak of and all instruments are well balanced and to this reviewers ears easily the best sounding document to come from 1970.
Obviously there has to be cuts in the tape since five of the seven songs played are from the not yet released Paranoid record and the signature song, Black Sabbath, is not present but fear not listener there is much to be enjoyed here.
The recording begins with some audience noise and the sound of music being played over the sound system, this leads into some guitar tuning, drum checks, and bass check before Ozzy saying “we’d like to start of with a number of our new album, its a number entitled Paranoid”. The song is very close musically and lyrically to the recorded version. The vocals dominate the mix but is quickly corrected and from here on out the mix is perfect.

The next song is a classic, N.I.B. the song about Satan in love is well honed by their time on the road and does not have any kind of bass intro, the band just kicks into it. After Ozzy introduces the next song you can clear hear Bill Ward count in the intro to Behind The Wall Of Sleep. With a more jazzy feel and a little more improvisation than the originally recorded version bill gets a little longer drum fill and Ozzy says “smokin” and the band rolls into the really jazzy part, interesting to hear the band playing their roots.
The song ends kind of abruptly as Bill Ward has broken his bass drum petal and is fixing it, Iommi’s toys with song notes that sound like The Wall Of Sleep.and someone speaks into the mic in what sounds like French and Ozzy introduces Iron Man. Musically similar to the recorded version the difference hear is lyrically with the “Is he alive or dead” versus coming first. It is obvious there order of the lyrics is still being worked on some on different parts of the song some different.

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War Pigs is next and the beginning chords are just so heavy, the lyrics are the Walpurgis version about black masses that would be changed in favor of the war mongering lyrics. Interestingly enough its Ozzy’s tale of getting beat up by skin heads that is identical lyrically and musically to the recorded version.
Afterwards Ozzy can be heard saying good night and the crowd cheers for close to three minutes before Ozzy introduces another new song, Hand Of Doom and goes through some P.A. checks before Geezer can be heard playing the introductory bass notes. As with most of the other new tracks lyrically there are more differences and similarities but musically it is very close to the recorded, or soon to be, version. quiet them bombastic at its very best.
To have such and early show in this quality is a treat, we have an excellent performance from the band and since the band were in the stages of recording / preparing the material for what is arguably their most famous album make this a must have. From what I am told Bondage is also releasing the title and would not be surprised given its fantastic quality this is a title no fan of the band should be with out. The packaging is simple, great relevant art work in a slim line jewel case, get this title and do it justice by TURNING IT UP LOUD !

Recorded live at the Montreux Casino, Montreux, Switzerland – August 31st, 1970

BlackSabbathLive1970Personnel:
Geezer Butler (bass)
Tony Iommi (guitar)
Ozzy Osbourne (vocals)
Bill Ward (drums)

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Tracklist:
01. Intro 1.23
02  Paranoid 2.59
03  N.I.B. 5.54
04  Behind The Wall Of Sleep 6.04
05  Iron Man 6.24
06  War Pigs 7.44
07  Fairies Wear Boots 8.43
08  Hand Of Doom 8.31

All songs written by Geezer Butler – Tony Iommi – Ozzy Osbourne – Bill Ward

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One of the best Black Sabbath bootlegs ever !

 

Fields – Same (1971)

FrontCover1Fields was a progressive rock band formed in 1971 by Andrew McCulloch and Graham Field, and also containing Alan Barry. McCulloch had previously been a member of King Crimson, but left due to musical differences. Field had founded Rare Bird, and Barry was a member of Dowlands with Giles Brothers (1962-1963).

They only recorded one eponymous album in 1971, and one single from the album, “A Friend of Mine”, in 1973. According to Field, CBS management changed and “the new faces did not want to know us”, so the group disbanded. Field had the rights to the name Rare Bird, and returned to working in that area and in television themes. McCulloch went on to become a founder member of Greenslade. Barry went on to become a founder member of King Harry.

FrenchSingleFrench single

A trio formed from diverse musicians from other groups such as KING CRIMSON and RARE BIRD, which managed one sole album. FIELDS is named after Graham Field, founding member of RARE BIRD and was responsible for many of the better tracks of the first two albums. After his departure RARE BIRD will change sound rather drastically veering towards a faster tempo rock with funky grooves. As for FIELDS, this is a keyboard-led trio with bassist Alan Barry singing but also playing guitars (although very discreet) but also adding some Mellotron lines. Rounding up that trio is Andy Mc McCullough who had played on KC’s “Lizard” album and we will find him holding the drums stool for GREENSLADE later that year.
RARE BIRD fans and 70’s prog completist will enjoy FIELDS. (by Hugues Chantraine)
Quickly, Fields was Rare Bird’s main keyboard man Graham Field’s first (last?) post-Bird project. Bringing at least a little of the early Rare Bird vibe along for the ride, albeit with one keyboardist rather than two, bassist/guitarist/composer/vocalist Alan Barry and drummer Andy McCulloch (between stints in Crimson and Greenslade) shore up the incredibly full sound for a very unique and melodic prog album.

Field and McCulloch shine like you’d expect, but it’s Barry who impresses the most here. His pitch-perfect tenor sails over all these great songs and provides a real nice mechanism for exploiting these beautiful melodies. I’d love to know whatever became of Alan Barry after such a powerful performance here. Barry’s previous stints as session man for Gordon Haskell’s It Is and It Isn’t album and as part of one the Giles brothers’ pre-GG&F bands are pretty much all I can find on this guy’s skimpy resume.

Like another well known keyboard-based 3-piece band, Refugee, Fields only managed this one album before imploding. It’s been long out of print but worthy of a search for all keyboard-obsessed melodic, yet heavy prog nuts out there – you know who you are! (by Steven)

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Personnel:
Alan Barry (bass, guitar, vocals)
Graham Field (keyboards)
Andrew McCulloch (drums, percussion)

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Tracklist:
01. A Friend Of Mine (Field) 4.31
02. While The Sun Still Shines (Field) 3.18
03. Not So Good (Friend) 3.12
04. Three Minstrels (Barry/Field) 4.31
05. Slow Susan (Field) 3.46
06. Over And Over Again (Field) 5.55
07. Feeling Free (Field) 3:12
08. Fair-Haired Lady (Batty) 3.00
09. A Place To Lay My Head (Field) 4.25
10. The Eagle (Barry/Field) 5.24

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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)

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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

Personnel:
Duane Hitchings (organ)
Eddie Hoh (drums)
Harvey Mandel (guitar)
Art Stavro (bass)
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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.)

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Tracklist:

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

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