Miller Anderson – Bright City (1971)

FrontCover1Miller Anderson (born 12 April 1945, Houston, Renfrewshire, Scotland) is a UK-based blues guitarist and singer. In the formative years of the 1960s, before either of them achieved significant success, he worked extensively with Ian Hunter in bands such as The Scenery and At Last The 1958 Rock ‘n’ Roll Show (later called Charlie Woolfe) and is referenced in the title track of Hunter’s 1976 album All American Alien Boy (“well I remember all the good times me and Miller enjoyed, up and down the M1 in some luminous yo-yo toy”). Anderson would later guest on two Hunter solo albums.

Apart from pursuing his own solo career, he was a member of the Keef Hartley Band. Other groups Anderson has been associated with are; the Spencer Davis Group, Broken Glass, The Dukes, Mountain, Savoy Brown, T.Rex and Chicken Shack. In early 2006, he joined The British Blues Quintet with Maggie Bell, Zoot Money, Colin Hodgkinson and Colin Allen.

Miller Anderson01In the Spring of 2016 Miller returned to the studio and in July 2016 released a new album, Through The Mill.. (by wikpedia)

Miller Anderson, the Scots born singer, guitarist, and songwriter, came to fame with the Keef Hartley band, which established him as a well respected frontman. He joined the band in 1968 and stayed with Hartley for some three years, during which time the\d hard, became However it seemed that Miller and Keel didn’t always get on too well and Miller left the band in 1971.

“Bright City” was Andersons first solo album for which he additionally wrote all the material. It was first released on Deram Records in 1971. The songs, including, Alice Mercy from(Whom It Max Concern)”. “The Age of Progress”, “Nothing In This World”, and “Bright City”, remind us what a line singer has been missing from mainstream rock these past few years.

Among those helping him out were Neil Hubbard (guitar), the late Gary Thain (bass), who later joined Uriah Heep, Mick Weaver, (sometimes known as Wynder K. Frogg) and Peter Dines, on keyboards. Session man Lynn Dobson from the Manfred Mann band played flute, while Eric Dillon was on drums. Producer Neil Slaven sat in on percussion. Adding backing vocals were Madeline Bell, Tracey Miller and Liza Strike. Thain, Dines, and Weaver all played on Keel Hartley’s albums, so Miller was using mostly familiar faces to present his own music to the world. But getting a “name” in the music biz is harder than it looks, and back in the early seventies at least, Keel Hartley still had the pulling power that Miller Anderson lacked on his own.

Miller Anderson02For a while Miller had his own band called Hemlock with James Leveron (bass) and Eric Dillon (drums). It was a struggle to establish themselves and they joined forces with Ken Simmonds and Stan Webb (ex-Chicken Shack), to form a new version of the Savoy Brown Blues Band which went on a brief tour of America in the Spring of 1974. In the same year, Anderson rejoined Keef Hartley and the\d a new band called Dog Soldier.

The group released only one album of the same name for United Artists, Anderson then teamed up with Man Nolan, in 1976, in what proved to be the last version of T.Rex, working alongside Dino Dines (keyboards), Herbie Flowers (bass), and Tony Newman (drums). T.Rex hit the road with the punk group The Damned on the “Dandy In the Underworld Tour” in 1977. Bolan was sadly killed in a car accident in 1977, and the- band broke up.

Miller carried on working and earned the respect, if not the fame and fortune, of his contemporaries, Today he continues to write and perform and reminds us of a regarding aspect of the thriving Seventies music scene that now seems like a bye gone age.

Look at the line-up .. a real good debut of a crimnally underrated musician !


Miller Anderson (guitar, vocals)
Harold Beckett (flugelhorn)
Eric Dillon (drums)
Peter Dines (keyboards)
Lyn Dobson (flute)
Gary Thain (bass)
Mick Weaver (keyboards, harpsichord, percussion)
background vocals:
Madeline Bell – Tracy Miller – Liza Strike
Neil Hubbard (guitar on 01. + 06.)


01. Alice Mercy (To Whom It May Concern) 6.44
02. The Age Of Progress 3.26
03. Nothing In This World 4.14
04. Bright City 3.04
05. Grey Broken Morning 4.25
06. High Tide, High Water 7.52
07. Shadows ‘Cross My Wall 6.02

All songs written by Miller Anderson






Nils Lofgren – Back It Up! – Live (An Authorised Bootleg) (1976)

FrontCover2Back It Up!! is a promotional “live” album from Nils Lofgren initially released 1975. The title of the original vinyl LP was Back It Up!! – Nils Lofgren Live – An Authorized Bootleg. Although the recording was officially released by A&M Records, the artwork was designed to give the appearance of a live bootleg recording, similar to Decca Records’ original vinyl release of the Who’s Live at Leeds in 1970, which was a legitimate live album designed to look like a bootleg. Back It Up!! was not officially available to the public until it was issued on CD in 2007, 32 years after its original release.

The songs were recorded at the Record Plant in Sausalito, California, on October 31, 1975, and primarily features material from Lofgren’s first solo album which had been released earlier in the year. At the time of the recording, Lofgren had recently signed with A&M and had just begun a solo career following the dissolution of his previous group, Grin. Despite its limited release, songs from Back It Up!! were featured on FM radio broadcasts during the 1970s and had been generally praised by the musical press as worthy of a proper release.

The CD re-release includes the same seven songs from the original vinyl release in 1975. An additional song, “Rock and Roll Crook”, was also performed at the concert (following “Goin’ Back”), but was not included on the 1975 vinyl release or the CD reissue. Currently, all of the songs from Back It Up!!, along with “Rock and Roll Crook”, are available as a digital download from the Wolfgang’s Vault website. (by wikipedia)


Finally available on wide release 32 years after it was a limited-edition, and much coveted, vinyl release sent to 1,000 radio stations and critics (each one with a sticker hand-glued to the cover), this 44-minute live radio station concert is half as long and more than twice as exciting as Nils Lofgren’s official live concert souvenir, 1977’s disappointing and bloated Night After Night. Al Kooper, who was then doing pre-production on Lofgren’s second solo effort, sits in on keyboards and the stripped-down band also featuring Nils’ brother Tommy on second guitar and a bassist and drummer keeps the sound lean and mean. There are only seven tracks, with five grabbed from Lofgren’s then recently released debut, along with two tunes from Grin, the band he recorded four albums with that also included his brother. In retrospect, the sound is a little dry and the 2007 CD reissue doesn’t remix it or add any additional tracks (there may not have been any), but this is nevertheless a classic album, arguably Lofgren’s finest, whose belated presence on CD is most welcome.


The singer and guitarist also plays decent piano on a stunning version of the Goffin & King nugget “Goin’ Back,” rearranged substantially from the Byrds’ more popular cover. The only real rockers are the opening title track and the closing “Beggar’s Day”; the latter tune, dedicated to Crazy Horse’s Danny Whitten (Lofgren was a member of that band for a brief period), is a highlight of Lofgren’s catalog. The rest display his pop roots that are often obscured on later discs where he flirted with R&B, disco, and hard rock to various degrees of success. Any Nils collection is unthinkable without this, so its appearance, even three decades after its original release, should be greeted with enthusiasm by anyone even vaguely interested in Lofgren’s career. (by Hal Horowitz)


CD front + back cover

Scotty Ball (bass)
Nils Lofgren (guitar, piano, vocals)
Tom Lofgren (guitar, background vocals)
Michael Zak (drums)
Al Kooper (pianoYear Of Rec)

01. Take You To The Movies Tonight (N.Lofgren) 1.01
02. Back It Up (N.Lofgren) 5.58
03. Keith Don’t Go (Ode to the Glimmer Twin) (N.Lofgren) 6.26
04. I Don’t Want To Know (N.Lofgren) 3.48
05. Nils talks to the audience 0.30
06. The Sun Hasn’t Set On This Boy (N.Lofgren) 3.13
07. Goin’ Back (Goffin/King) 6.03
08. Band intro 0.42
09. Like Rain (N.Lofgren) 5.49
10. Nils thanks crew 0.30
11. Beggar’s Day (N.Lofgren) 7.52
12. Soft Fun (N.Lofgren) 2.45





Big Country – Peace In Our Time (VHS rip) (1988)

FrontCover1.jpgIn 1988, the Iron Curtain still existed. In September of that year, Big Country became the first Western band to play live in the Soviet Union promoted by a private individual (not the state) and before the general paying public (not an invited audience). The band released their Top Five album Peace In Our Time in September of 1988 and, after launching the album at the Russian Embassy in London, took 286 people to Moscow. The concert was recorded …

… and released as a VHS video the same year.

I guess this concert was a real highlight in the history of Big Country.

Great concert, albeit a bit short. Pity we don’t get more songs, but the ones we are given look/sound great; some of them were not played frequently live. The guys sure look like they’re having a good time. (Giorgio)

And I miss the great “Fields Of Fire” …. but … we should be happy, that we can watch this band … live in Moscow … at a time the Iron Curtain still existed …

Recorded (on 1 October 1988) as part of the Big Country ‘Peace In Our Time’ World Tour
at Palace Of Sports, Moscow.

Music - Big Country - Moscow, USSR

Stuart Adamson (vocals, guitar)
Mark Brzezicki (drums)
Tony Butler (bass, background vocals)
Bruce Watson (guitar, vocals)

Film Director: Storm Thorgerson


01. Peace In Our Time (Adamson) 5.20
02. Look Away (Adamson) 4.22
03. Wonderland (Adamson/Brzezicki/Butler/Watson) 5.57
04. Broken Heart (Thirteen Valleys) (Adamson) 5.37
05. Steeltown (Adamson/Brzezicki/Butler/Watson) 6.12
06. River Of Hope (Adamson) 4.31
07. Thousand Yard Stare (Adamson/Watson) 4.50
08. King Of Emotion (Adamson) 6.02
09. Chance (Adamson/Brzezicki/Butler/Watson) 7.31
10. In A Big Country (Adamson/Brzezicki/Butler/Watson) 5.36
11. Peace In Our Time (VHS rip) (Full Concert) 57.33











Frontcover of the special press kit for the show in Moscow
(included in this presentation)



Who holds the money, who holds the need
Who holds the strings of misery or the purse of greed
And the gunmen reap while the gangsters sow
And law is cheap when the smugglers go

Give us peace in our time
While I have a life to live
Then I have no life to give
Give us peace in our time

In sun-kissed rooms in city slums
Minds are restless till the airmail comes
From the forest floor to the western mind
Like a chat show topic on a party line
And the hardest love of all is to forgive
As the world comes tumbling down

Give us peace in our time
While I have a life to live
Then I have no life to give
Give us peace in our time

Let all the rain come down on blind desire
Like a thundercloud that holds a prairie fire
I hear the blame and I see the cause
A stronger voice and a stronger law
But buyers buy and sellers sell
Public consumption of a private hell

Give us peace in our time
While I have a life to live
Then I have no life to give
Give us peace in our time

Margaret Becker – Immigrant´s Daughter (1989)

FrontCover1.JPGMargaret Becker (born July 17, 1959) is an American Christian rock singer, guitarist, and songwriter. She has had twenty-one No. 1 Christian radio hits, won four Dove Awards, and been nominated for four Grammy Awards.

Becker was born in Bay Shore, New York, raised in East Islip, New York, and began playing in coffeehouses while teaching music and taking opera lessons. Having graduated from James Madison University with a degree in communication, she moved to Nashville, Tennessee in 1985, and signed to Sparrow Records as a songwriter; soon after she toured with Rick Cua as a backup singer and sang on Steve Camp’s 1986 album One on One. The next year she landed a contract as a solo artist, and released her debut album, Never for Nothing. The single “Fight for God” was her first hit, and her second LP, The Reckoning, followed with two more hits, “Light in the Darkness” and “Find Me”.

Becker began working with producer Charlie Peacock starting with 1989’s Immigrant’s Daughter, and a string of successful albums followed, including a Spanish language LP. She won two Dove Awards in 1992, for Rock Album (Simple House) and Rock Song (“Simple House”). However, in the late 1980s and early 1990s, Becker occasionally MargaretBecker01encountered controversy in the world of Contemporary Christian music because she is a Roman Catholic; some Christian stores refused to carry her album, and her concert appearances were sometimes picketed. Although she was raised in Catholicism, Margaret currently attends a non-denominational church in Nashville, TN. After 1995’s Grace, Becker decided to take a sabbatical from the music industry; during this time she wrote a book entitled With New Eyes and wrote editorials for Campus Life magazine.

She left Sparrow Records in 2002 but has continued to record since then, both her own albums and for compilation albums. She appears on the albums Sisters (Warner Bros. Records, 1994), Listen to Our Hearts (Sparrow, 1998), Heaven and Earth (Sparrow, 1999), and the New Irish Hymns series (Kingsway Music), and is one of the members of the 1994 collaboration Ashton, Becker, and Denté. She co-wrote Bob Carlisle’s “Bridge Between Two Hearts”. Her second book, Growing Up Together, appeared in 2000; her third, With New Eyes, came out in 2004, and a fourth, Coming Up for Air, was published in 2006. In late 2007, Becker’s latest album, Air, was released.

Becker gives teaching seminars across the United States. She also produces records for other singers, and in 2006 she wrote a series of columns for CCM Magazine. Becker has also been active in supporting charities such as Habitat for Humanity, Compassion International, and World Vision.

Becker has been single for her entire life and currently lives in Nashville, Tennessee. (by wikipedia)

This was her first album with producer and keyboard player Charlie Peacock and it´s a real good opo album and hervoice is extremly strong ..  but … all these lyrics … influenced by various segments from the bible.

And because I don´t believe in God … all the lyrics have nothing to do with me … sorry folks !


Jimmy A (guitar)
Margaret Becker (guitar, vocals)
Charlie Peacock (keyboards, background vocals)
Roger Smith (organ)
Larry Tagg (bass)
Mike Urbano (drums)
background vocals:
Annie Stocking – Brent Bourgeois – Jeanie Tracy – Vince Ebo


01. Immigrant’s Daughter (Becker/Peacock) 4.24
02. This Is My Passion (Becker) 4.10
03. Stay Close To Me (Becker/Peacock) 3.15
04. The Hunger Stays (Becker/Peacock) 4.15
05. Just Come In (Becker) 4.32
06. Honesty (Becker/Ahlstrom/Demus) 3.47
07. Solomon’s Shoes (Becker/Peacock) 3.16
08. Laugh A Little (Becker/Peacock) 3.46
09. People Get Ready (Mayfield) 3.44



Hardin & York – Tomorrow Today (1969)

Hardin&YorkFrontCover1The unusual power duo of keyboardist/vocalist Eddie Hardin and drummer Pete York made a few albums in the late ’60s and early ’70s, and were aptly described as a cross between Traffic and Procol Harum. They leaned closer to Traffic than Procol Harum, with their blend of hard rock, soul, progressive, and jazz influences; the swirl and swell of Hardin’s Hammond organ; and Hardin’s Stevie Winwood-esque vocals. And they came by that Traffic influence honestly: York had played alongside Winwood in the Spencer Davis Group before Winwood formed Traffic, and Hardin joined the Spencer Davis Group on keyboards and vocals after Winwood’s departure.

Both Hardin and York left the Winwood-less Spencer Davis Group in October 1968, and teamed up shortly afterward to form a two-man group, with Hardin on vocals and Hammond C3 organ, and York on drums. The two-man band is unusual in rock to this day, and as far as two-person organ-drum combos go, the only other one of note from that period was used by Lee Michaels, the keyboardist who sometimes performed and recorded only using drummer Frosty for accompaniment. (A much more obscure one, Hanson & Karisson, were also active in Sweden around this time.) Hardin covered the bass parts with the left hand of his organ, and the result was actually a pretty full band sound for just the two members. However, on their three albums, the duo was sometimes augmented by horns, flute, guitar, backup female vocals, and other orchestration.


Although Hardin & York weren’t that big in the U.K. or U.S., they had more success on the European Continent, particularly in Germany, where they were big both on record and as a touring act. In fact, they were the last band to play the famous Star Club in Hamburg in 1970 before it closed and were popular enough to be honored by a bootleg recorded in Germany in the early ’70s. In 1971 each member started playing with their own bands as well (the Pete York Percussion Band and Hardin/Fenwick/Newman), occasionally playing in those bands on the same bill as live Hardin & York concerts.

Hardin & York’s third and final album, For the World (1971), put a greater emphasis on orchestration and slower tracks. One of the session musicians on that record, guitarist Ray Fenwick (who had also played with the Spencer Davis Group in the late ’60s), joined Hardin & York in mid-1972, at which point the act’s name changed to Hardin, York & Fenwick. In mid-1973, Hardin & York, or Hardin, York & Fenwick if you prefer, disbanded when Hardin and York joined a reunited version of the Spencer Davis Group. Both Hardin and York remained active as session musicians and support players to Deep Purple and solo projects, and Hardin & York reformed their duo act in 1999, primarily for the German audience.


Hardin & York’s debut album was quite competent yet derivative early progressive rock, and derivative of Traffic in particular. At least, however, it came by its influences quite honestly, Pete York having drummed behind Steve Winwood in the Spencer Davis Group, and Eddie Hardin having joined the Spencer Davis Group after Winwood left. And the duo does get quite a lot of sound out of their keyboards and drums, although they had plenty of backup from some session musicians. Hardin sings and writes uncannily like Winwood circa Traffic’s “Forty Thousand Headmen” period, but while that’s a good standard to shoot for, therein also lies the problem: it’s not quite as good as the Winwood-paced Traffic, and certainly not as original. All that noted, if you’re looking for something in the mold of Traffic-lite and keeping your expectations realistically modest, this is pretty decent stuff. It might be a tad more rooted in soul-pop than Traffic, but it doesn’t suffer for that. Hardin’s vocals are impressively rich and gritty, and his piano and organ quite skillful. (by Richie Unterberger)

On this album you cab hear some hightlights of the prog era …  listen to “”, “Candlelight” and “Mountains Of Sand” (this is a masterpiece !).


Eddie Hardin (keyboards, vocals)
Pete York (drums, percussion)
Vic Flick (guitar)
Herbie Flowers (bass)
Ron Hills (cornet)
Mike Hurst (guitar)
Rex Morrissey (saxophone)
Mel Thorpe (trombone, flute)
background vocals:
Sue + Sunny


01. Tomorrow Today (Hardin) 3.36
02. 100 Years From Now (Hardin) 2.44
03. I’m Lost (Hardin/Davis) 8.23
04. Drinking My Wine (Hardin) 4.45
05. Candlelight (Hardin) 4.37
06. Beautiful Day (Hardin) 2.32
07. Mountains Of Sand (Hardin/York) 6.45
08. Can’t Keep A Good Man Down (Hardin) 6.23
09. Listen Everyone (Hardin) 4.06
10. All I See Is You (Hardin) 3.23
11. Mullberry Place (Hardin) 4.30
12. Sunday Morning (Hardin) 3.35
13. Rock ‘N’ Roll Music(Berry) 3.52
14. Can’t Find My Way Home(Hardin) 2.37
15. Just A Case Of Time (Hardin) 4.22




My copy of this album was signed by Eddie Hardin & Pete York

Eddie Hardin.jpg

Eddie Hardin (19 February 1949 – 22 July 2015)

Traffic – Far From Home Tour (Giants Stadium – East Rutherford, NJ) (1994)

FrontCover1.jpgThe album “When the Eagle Flies,” released in 1974, was yet another Top Ten album in the USA, and moderately successful in the UK. However, a subsequent tour of the USA, while successful in terms of ticket sales,[9] was emotionally exhausting for the band. Capaldi later recalled “Rosko Gee and I were the only ones in anything like normal shape. Steve was having recurrent problems with the peritonitis, and Chris’s body was suffering from chemical warfare.”[10] Winwood ultimately passed his boiling point, walking off the stage in the middle of what would prove the band’s final show, in Chicago. The following day he left the tour without a word to anyone, leaving the rest of the band waiting for him at the venue for that night’s scheduled performance.[10] Feeling Winwood had been integral to Traffic’s music, the remaining members opted not to continue the band without him.

Traffic’s break-up was followed by two compilations from United Artists (Heavy Traffic and More Heavy Traffic), both of which only drew from the first half of their output.

Steve Winwood embarked on a solo career, while Rosko Gee and Rebop Kwaku Baah joined German band Can. Kwaku Baah died in 1983, and Capaldi dedicated his solo album Fierce Heart to his memory. Chris Wood also died that year from pneumonia.
Winwood and Capaldi, 1994


All the still living members of Traffic’s most recent lineup reunited in 1994 for a one-off tour, after a fan left a voice mail message at Bob Weir’s (of the Grateful Dead) hotel in Chicago during the 1992 “Scaring the Children” tour, and suggested it would be cool if Traffic toured with the (then Grateful) Dead. Traffic opened for the Grateful Dead during their summer tour. The flute/sax role on the tour was played by Randall Bramblett, who had worked extensively with Steve Winwood. Mike McEvoy joined the line up playing keyboards, guitar and viola, and Walfredo Reyes, Jr. played drums and percussion. Winwood and Capaldi recorded and released a new Traffic album, Far from Home, with no involvement from the other four members. It broke the top 40 in both the UK and USA. The Last Great Traffic Jam, a double live album and DVD released in 2005, documents the band’s 1994 reunion tour. (by wikipedia)

And here´s a souboard recording from theier 1994 tour … it must bei a real great tour !

Listen and enjoy !


Randall Bramblett (flute, saxophone, keyboards)
Jim Capaldi (drums, percussion, vocals)
Rosco Gee (bass)
Michael McEvoy (keyboards, guitar)
Walfredo Reyes, Jr. (percussion, drums)
Steve Winwood (vocals, guitar, keyboards)
Jerry Garcia (guitar on 11.)


01. Riding High (Winwood/Capaldi) 6.24
02. Some Kinda Woman (Winwood/Capaldi) 5.22
03. Medicated Goo (Miller/Winwood) 5.31
04. Mozambique (Winwood/Capaldi) 6.55
05. Rock And Roll Stew (Capaldi) 7.09
06. Rainmaker (Winwood/Capaldi) 7.59
07. Empty Pages (Winwood/Capaldi) 4.24
08. Low Spark Of High Heeled Boys (Winwood/Capaldi) 13.43
09. Light Up Or Leave Me Alone (Winwood/Capaldi) 13.19
10. John Barleycorn (Traditional) 7.54
11. Dear Mr. Fantasy (Winwood/Capaldi/Wood) 8.03



Juicy Lucy – Get A Whiff A This (1971)

FrontCover1Blues-rock band “Juicy Lucy” was founded in London in 1970 on the ruins of the American band “The misunderstood”, moved from California town of Riverside in the British capital in 1965.
Back in America, “The misunderstood” released on the label “Blues Sound” heels singles, starting with “You Do not Have To Go”. After the release of the single “I Can Take You To The Sun” band leader, vocalist Rick Brown raked into the army. Guitarist Tony Hill went into “Hightide”. The team was disbanded, but in 1969 the band back together. At that time, the composition was as follows: “oldies” Glenn Ross Campbell (guitar) and Guy Evans (drums), former lead singer of “Grease band” Steve Hord, guitarist Neil Hubbard (ex- “Graham Bond organisation”), bassist Nick Potter and former member of the “Bluesbreakers” John Mayall keyboardist Chris Mercer.
Revived team has released three singles, the latter, “Never Had A Girl (Like You Before)”, was released under the guise of a stupid long “The misunderstood featuring Glenn ‘Fernando’ Campbell”.
Juicy Lucy next year the team changed its name to “Juicy Lucy”. By the time Harry went to the “Van Der Graaf generator”. His place was taken by “vandergrafovets” Keith Ellis. In addition, the group has a new vocalist Ray Owen. The debut album “Juicy Lucy” took the 41 th position in the British charts, and the first single “Who Do You Love?” was also present in the charts. Owens briefly stayed in the team and soon left to organize his solo project “Ray Owen’s moon”, issued the 1971 self-titled album.

Paul Williams

The next singer “Juicy Lucy” was Paul Williams of “Blue whale”. But staff turnover has not ended, as soon piled up at the same time guitarist and drummer. For drums now sat Rod Coombs, and new guitarist Micky Moody became (ex- “Roadrunners” and “Tramline”).
After the release of their second album “Lie Back And Enjoy It” was a regular change in the composition – China Ellis took place former member of the “Fat mattress” Jim Leverton. The group slowly progressed, but still constant rearrangements hampered business. In 1971, the “Juicy Lucy” signed “Bronze Records”.

Micky Moody
Juicy LucyTogda as the team came keyboardist Gene Russell. After the release of their third album, “Get A Whiff Of This”, the band have Leverton, joined the “Hemlock”, and he was replaced by Andy Pyle (ex- “Savoy brown” and “Blodwyn pig”). Coombs also served on the side, in the “Steeler’s wheel”, replaced by Ron Berg. From the “old men” at that time were only Campbell and Mercer. In 1972 came the last album, “Pieces”. After his record Pyle decided to return to “Savoy brown”, taking with him Berg. Unable to endure the constant routine work “Juicy Lucy” ceased to exist. Williams then played in “Tempest”, Moody beat a bunch of different teams, starting with “Snafu” and ending with “Whitesnake”, Pyle “marked” Gary Moore in “Kinks” and “Wishbone Ash”.
In 1997, Moody’s re-assembled “Juicy Lucy” in Addiction with Paul Williams, Andy Pyle and drummer Henry Spinetti. As always, they played together for long, and at the end of the millennium, Ray Owen has once again revived “Lyuska.” This time he helped Glenn Campbell, Chris Mercer and Neil Hubbard. (by 60’s-70’s ROCK)

Glenn Campbell

Juicy Lucy’s third album in 18 months, and the third to draw as much attention for its artwork as its contents, would prove to be the band’s last. Although a fourth Juicy Lucy album would appear in 1972, not a single founding member was left on board. Get a Whiff of This itself was very much the son of its predecessor, still locked firmly into a country groove (the twanging “Mr. A. Jones,” the fast-pickin’ “Jessica”), but looking out toward more unexpected pastures.


The funky “Big Lil.” and the blistering antiwar anthem “Midnight Sun” were both strong inclusions, while a take on the Allmans’ “Midnight Rider” remains one of that particular anthem’s most dynamic revisions. Despite at least half an album’s worth of highlights, however, still there was nothing that really leaped out and grabbed the listener — and nothing that could ever displace the band’s debut from its sacred spot on the turntable, a fate that Glenn Campbell admitted he predicted when he conjured up that most distinctive title. It was his way of saying “the whole thing stinks.” (by Dave Thompson)

Chris Mercer.jpg

Glenn Campbell (steel-guitar)
Rod Coombes (drums)
Jim Leverton (bass)
Chris Mercer (saxophone, keyboards)
Micky Moody (guitar)
Paul Williams (vocals)


01. Mr. Skin (California) 3.46
02 Midnight Sun (Williams) 3.40
03. Midnight Rider (Allman) 3.16
04. Harvest (Darin) 4.19
05. Mr. A. Jones (Williams) 3.08
06. Sunday Morning (James/Williams) 3.52
07. Big Lil (Campbell/Coombes/Leverton/Mercer/Moody/Williams) 4.38
08. Jessica (Moody/Williams) 4.06
09. Future Days (James) 4.07