Oliver Nelson – More Blues And The Abstract Truth (1964)

FrontCover1.JPGMore Blues and the Abstract Truth is an album by American jazz composer, conductor and arranger Oliver Nelson featuring performances recorded in 1964 for the Impulse! label.

Unlike the original classic Blues and the Abstract Truth set from three years earlier, Oliver Nelson does not play on this album. He did contribute three of the eight originals and all of the arrangements but his decision not to play is disappointing. However there are some strong moments from such all-stars as trumpeter Thad Jones, altoist Phil Woods, baritonist Pepper Adams, pianist Roger Kellaway and guest tenor Ben Webster (who is on two songs). The emphasis is on blues-based pieces and there are some strong moments even if the date falls short of its predecessor. (by Scott Yanow)

Billed as a follow-up to Nelson’s 1961 triumph The Blues And The Abstract Truth, (Impulse A-5, including Bill Evans!), it doesn’t quite scale the same heights, but it is a thoroughly listenable offering, which has its moments (if not Stolen Moments). Ben Webster, Phil Woods, Thad Jones and Pepper Adams add their distinctive voices to the ensemble, with Nelson’s arranging skills well on display. Mixed in with the jazz heavyweights are relatively unknown and rising stars Roger Kellaway (piano) Phil Bodner (tenor) Daniel Moore (trumpet) together with the well-seasoned hands of Grady Tate and Richard Davis.

I’m not sure what “Abstract Truth” means in this context, but it sure sounds intellectually impressive, so let’s have more of it. Lights! Camera! Abstract Truth! ..and…Action!… (londonjazzcollector.wordpress.com

Recorded on November 10, 1964 (tracks 4 & 6-9) and
November 11, 1964 (tracks 1-3, 5 & 10).


Pepper Adams (saxophone)
Phil Bodner (saxophone, english horn)
Richard Davis (bass)
Thad Jones (trumpet)
Roger Kellaway (piano)
Grady Tate (drums)
Phil Woods (saxophone)
Danny Moore (trumpet on 01. + 05.)
Ben Webster (saxophone (on 04. + 07.)

Arranged & conducted by Oliver Nelson


01. Blues and the Abstract Truth (Nelson) 5.15
02. Blues O’Mighty (Hodges) 6.48
03. Theme From Mr. Broadway (Brubeck) 5.49
04. Midnight Blue (Hefti) 4.09
05. The Critic’s Choice (Nelson) 2.21
07. One For Bob (Nelson) 6.07
08. Blues For Mr. Broadway (Brubeck) 8.13
09. Goin’ To Chicago Blues (Basie/Rushing) 4.36



Oliver Nelson

Wayne Shorter – Juju (1964)

FrontCover1.jpgWayne Shorter (born August 25, 1933) is an American jazz saxophonist and composer.

Shorter came to wide prominence in the late 1950s as a member of, and eventually primary composer for Art Blakey’s Jazz Messengers. In the 1960s, he went on to join Miles Davis’s Second Great Quintet, and from there he co-founded the jazz fusion band Weather Report. He has recorded over 20 albums as a bandleader.

Many of Shorter’s compositions have become jazz standards, and his output has earned worldwide recognition, critical praise and various commendations. Shorter has won 11 Grammy Awards.[1] He has also received acclaim for his mastery of the soprano saxophone (after switching his focus from the tenor in the late 1960s), beginning an extended reign in 1970 as Down Beat’s annual poll-winner on that instrument, winning the critics’ poll for 10 consecutive years and the readers’ for 18. The New York Times described Shorter in 2008 as “probably jazz’s greatest living small-group composer and a contender for greatest living improviser.” In 2017, he was awarded the Polar Music Prize. (wikipedia)


Fulfilling the potential promised on his Blue Note debut, Night Dreamer, Wayne Shorter’s JuJu was the first great showcase for both his performance and compositional gifts. Early in his career as a leader, Shorter was criticized as a mere acolyte of John Coltrane, and his use of Coltrane’s rhythm section on his first two Blue Note albums only bolstered that criticism. The truth is, though, that Elvin Jones, Reggie Workman, and McCoy Tyner were the perfect musicians to back Shorter. Jones’ playing at the time was almost otherworldly. He seemed to channel the music through him when improvising and emit the perfect structure to hold it together. Workman too seemed to almost instinctively understand how to embellish Shorter’s compositions. McCoy Tyner’s role as one of the greatest jazz pianists of all time was played here as well, and his light touch and beautiful, joyful improvisations would make him a much better match for Shorter than Herbie Hancock would later prove to be. What really shines on JuJu is the songwriting. From the African-influenced title track (with its short, hypnotic, repetitive phrases) to the mesmerizing interplay between Tyner and Shorter on “Mahjong,” the album (which is all originals) blooms with ideas, pulling in a world of influences and releasing them again as a series of stunning, complete visions. (by Stacia Proefrock)


Elvin Jones (drums)
Wayne Shorter (saxophone)
McCoy Tyner (piano)
Reginald Workman (bass)

01. Juju 8.31
02. Deluge 6.52
03. House Of Jade 6.53
04. Mahjong 7.43
05. Yes Or No 6,38
06. Twelve More Bars To Go 5.31

Music composed by Wayne Shorter




Ian & Sylvia – Northern Journey (1964)

FrontCover1.jpgIan & Sylvia were a Canadian folk and country music duo which consisted of Ian and Sylvia Tyson, née Fricker. They began performing together in 1959, married in 1964, and divorced and stopped performing together in 1975.

Ian Tyson, CM, AOE was born in Victoria, British Columbia, in 1933. In his teens, he decided upon a career as a rodeo rider. Recovering from injuries sustained from a fall during the mid-1950s, he started learning guitar. In the late 1950s, he relocated to Toronto, aspiring to a career as a commercial artist. He also started playing clubs and coffeehouses in Toronto. By 1959 he was performing music as a full-time occupation.

Sylvia Tyson, née Fricker, CM, was born in Chatham, Ontario, in 1940. While still in her teens, she started frequenting the folk clubs of Toronto.

The two started performing together in Toronto in 1959. By 1962, they were living in New York City where they caught the attention of manager Albert Grossman, who managed Peter, Paul and Mary and would soon become Bob Dylan’s manager. Grossman secured them a contract with Vanguard Records and they released their first album late in the year.


Their first album, self-titled Ian & Sylvia, on Vanguard Records consists mainly of traditional songs.[5] There were British and Canadian folk songs, spiritual music, and a few blues songs thrown into the mix. The album was moderately successful and they made the list of performers for the 1963 Newport Folk Festival.

Four Strong Winds, their second album, was similar to the first, with the exception of the inclusion of the early Dylan composition, “Tomorrow is a Long Time”, and the title song “Four Strong Winds”, which was written by Ian Tyson. “Four Strong Winds” was a major hit in Canada and ensured their stardom.

Ian&Sylvia1.jpgThe two married in June 1964; they also released their third album, Northern Journey, that year. It included a blues song written by her, “You Were on My Mind”, which was subsequently recorded by both the California group We Five (a 1965 #1 on the Cashbox chart, #3 on the Billboard Hot 100) and British folk rock singer Crispian St. Peters (#36 in 1967).[8] A recording of “Four Strong Winds” by Bobby Bare made it to #3 on the country charts around that time.

On the Northern Journey album was the song “Someday Soon”, a composition by him that would rival “Four Strong Winds” in its popularity. (Both songs would eventually be recorded by dozens of singers.)

Their fourth album, Early Morning Rain, consisted in large part of new songs. They introduced the work of the couple’s fellow Canadian songwriter and performer Gordon Lightfoot through the title song and “(That’s What You Get) For Lovin’ Me”. They also recorded songs “Darcy Farrow” by Steve Gillette and Tom Campbell, being the first artists to record these three songs. Additionally, they recorded a number of their own compositions.

They performed at the 1965 Newport Folk Festival. Play One More, their offering of 1965, showed a move toward the electrified folk-like music that was becoming popular with groups like the Byrds and the Lovin’ Spoonful. The title tune used horns to evoke the mariachi style.

In 1967, they released two albums, one recorded for Vanguard, the other for MGM. These two efforts, So Much For Dreaming and Lovin’ Sound, were far less dynamic presentations. At this time they were doing a weekly TV program for the Canadian Broadcasting Corporation.


They relocated to Nashville, Tennessee, where they recorded two albums; one to fulfill the terms of their Vanguard contract, the other to supply MGM with a second (and last) album for that label. The albums can be defined as early country rock music; Nashville for Vanguard was cut in February 1968, one month before The Byrds’ Sweetheart of the Rodeo, widely considered the first collaboration of rock and Nashville players.[10] Three of Bob Dylan’s “Basement Tapes” songs are included on these albums; most of the rest were written by Ian or Sylvia.

In 1969, Ian & Sylvia formed the country rock group Great Speckled Bird. In addition to participating in the cross-Canada rock-and-roll rail tour Festival Express, they recorded a self-titled album for the short-lived Ampex label. Produced by Todd Rundgren, the record Ian&Sylvia3failed when Ampex was unable to establish widespread distribution. Thousands of copies never left the warehouse, and it has become a much sought-after collector’s item. Initially, the album artist was given as Great Speckled Bird but later copies had a sticker saying that it featured the duo.

Ian & Sylvia’s last two albums were recorded on Columbia Records. The first, 1971’s Ian and Sylvia, not to be confused with their 1962 release titled Ian & Sylvia, consists largely of mainstream country-flavored songs. This album was released on CD, with extra tracks, as The Beginning of the End in 1996. Their second Columbia record, 1972’s You Were On My Mind, featured a later incarnation of Great Speckled Bird. The songs range from hard country rock to middle-of-the-road country material. Neither of the Columbia albums sold well. They were eventually combined and released as 1974’s The Best of Ian and Sylvia.

In 1972, Ian & Sylvia performed the song “Let Her Alone” for Walt Disney Productions’ live-action drama Run, Cougar, Run. Ian also served as the film’s narrator.

By 1975, Ian & Sylvia had stopped performing together and soon afterwards were divorced.

Ian retreated to western Canada, returned to ranching, and focused on his solo career.

Ian&Sylvia4Sylvia wrote, performed, and involved herself in various projects. In recent years, she has been recording new material, working as a member of the group Quartette, and performing a one-woman show entitled River Road and Other Stories.

The duo’s son, Clay Tyson (Clayton Dawson Tyson, born 1966), is also a musician and recording artist.

In August 1986 a stellar cast of folk singers who had recorded or written their songs, including Gordon Lightfoot, Judy Collins, Murray McLauchlan and Emmylou Harris, was assembled in Ontario, Canada, for a reunion concert.

Ian & Sylvia sang their signature song, “Four Strong Winds”, at the 50th anniversary of the Mariposa Folk Festival on July 11, 2010, in Orillia, Ontario. (by wikipedia)

And here´s they third album:

The duo continue to fill out their sound on another collection of mostly traditional material, with John Herald (guitar), Monte Dunn (mandolin and guitar), and Eric Weissberg and Russ Savakus (bass) backing Ian & Sylvia’s own guitar and autoharp. The few originals stand out much more than the traditional updates on this LP; Tyson’s “Four Rode By” and “Some Day Soon” clearly point toward his future C&W/cowboy direction, and Fricker’s “You Were on My Mind” remains their best (and best-known) song. (by Richie Unterberger)


Some of the duo’s best moments, and some of their worst. Fricker’s “You Were On My Mind” is probably their best original: catchy folk-pop, it later became a hit single for We Five. Tyson’s two tunes – “Four Rode By” and “Some Day Soon” – are also memorable, and “Texas Rangers” is a stirring ballad with a dramatic a capella presentation. On the other hand, “Little Beggarman” is the sort of corny sing-a-long fluff that gave folk singers a bad name, and “Moonshine Can” isn’t much better. The one gospel song is overly familiar (“Swing Down Chariot”), and the narrative songs (“The Ghost Lover,” “Captain Woodstock’s Courtship”) are only intermittently captivating. (by Wilson & Allroys)


Sylvia (Tyson) Fricker (vocals)
Ian Tyson (guitar, vocals)
Monte Dunn (mandolin, guitar)
John Herald (guitar)
Russ Savakus (bass)
Eric Weissberg (bass)


01. You Were On My Mind (Fricker) 2.47
02. Moonshine Can (Traditional) 2.16
03. The Jealous Lover (Traditional) 2.55
04. Four Rode (Tyson) 2.42
05. Brave Wolfe (Traditional) 5.26
06. Nova Scotia Farewell (Traditional) 2.51
07. Some Day Soon (Tyson) 2.21
08. Little Beggarman (Makem) 2.23
09. Texas Rangers (Traditional) 3.27
10. The Ghost Lover (Traditional) 2.46
11. Captain Woodstock’s Courtship (Traditional) 2.56
12. Green Valley (Traditional) 4.03
13. Swing Down, Chariot (Traditional) 2.09


Stan Getz & Astrud Gilberto – Getz Au Go Go (1964)

LPFrontCover1Getz Au Go Go is a live album by American saxophonist Stan Getz and his quartet, featuring bossa nova singer Astrud Gilberto. It was recorded during two concerts in 1964 and released on Verve the same year as V6-8600. (by wikipedia)

Although the name Stan Getz (tenor sax) was initially synonymous with the West Coast cool scene during the mid-to-late 1950s, he likewise became a key component in the Bossa Nova craze of the early 1960s. Along with Astrud Gilberto (vocals), Getz scored a genre-defining hit with the “Girl From Ipanema,” extracted from the equally lauded Getz/Gilberto (1963). While that platter primarily consists of duets between Getz and João Gilberto (guitar/vocals), it was truly serendipity that teamed Getz with João’s wife Astrud, who claims to have never sung a note outside of her own home prior to the session that launched her career. Getz Au Go Go Featuring Astrud Gilberto (1964) was the second-to-last album that he would issue during his self-proclaimed “Bossa Nova Era” — the final being Getz/Gilberto #2 [Live] (1964) concert title from Carnegie Hall.


In many ways, that is a logical successor to this one, as both include the “New Stan Getz Quartet.” The band features a young Gary Burton (vibraphone), Kenny Burrell (guitar), Gene Cherico (bass), and Joe Hunt (drums). As is typical with jazz, there are a few personnel substitutions, with Helcio Milito (drums) and Chuck Israels (bass), respectively, filling in on nearly half the effort. As the name of the disc intimates, this recording hails from the venerable Greenwich Village venue, the Café Au Go Go, in mid-August of 1964 — AstrudGilbertotwo months after “Girl From Ipanema” became a Top Five pop single. However, the focus of Getz Au Go Go steers away from the Brazilian flavored fare, bringing Astrud Gilberto into the realm of a decidedly more North American style. That said, there are a few Antonio Carlos Jobim compositions — “Corcovado (Quiet Nights of Quiet Stars)” and “One Note Samba” — both of which would be considered as jazz standards in years to follow — as well as the lesser-circulated “Eu E Voce.” Getz and crew gather behind Richard Rodgers and Oscar Hammerstein’s “It Might as Well Be Spring,” and the scintillating instrumental “Summertime,” from Porgy & Bess. Other equally engaging cuts include affective vocal readings of “Only Trust Your Heart,” and the diminutive, yet catchy “Telephone Song.” There is also some great interaction between Getz and Burton on “Here’s to That Rainy Day.” Getz Au Go Go is highly recommended for all dimensions of jazz enthusiasts. (by Lindsay Planer)

Tracks 4–7, 9–10 recorded on May 22, 1964; tracks 1–3 and 8 on October 9, 1964.


Kenny Burrell (guitar)
Gary Burton (vibraphone)
Gene Cherico (bass)
Stan Getz (saxophone)
Astrud Gilberto (vocals)
Joe Hunt (drums)
Chuck Israels (bass on 04., 09. – 10.)
Helcio Milito (drums on 01. – 03, 08.)


01. Corcovado (Jobim) 2.52
02. It Might As Well Be Spring (Rodgers/Hammerstein II) 4.28
03. Eu e Voce (Lyra/de Moraes) 2.33
04. Summertime (G.Gershwin/I.Gershwin) 8.13
05. Only Trust Your Heart (Carter/Cahn) 4.35
06. The Singing Song (Burton) 3.44
07. The Telephone Song (Menescal/Bôscoli/Gimbel) 2.05
08. One Note Samba (Jobim/Mendonca) 3.12
09. Here’s That Rainy Day (van Heusen/Burke) .6.12
10. 6-Nix-Pix-Flix (Burton) 1.09



Buffy Sainte-Marie – It’s My Way! (1964)

LPFrontCover1It’s My Way! is the first album by folk singer Buffy Sainte-Marie. Though the album did not chart it proved influential in the folk community. It is most famous for two widely covered folk standards, “Universal Soldier” and “Cod’ine”, as well as “Now That the Buffalo’s Gone”, a lament about the continued confiscation of Indian lands, as evidenced by the building of the Kinzua Dam in about 1964. The cover features a mouthbow, which was to be a trademark of her sound on her first three albums.

Cod’ine was also lyrically altered by Janis Joplin and appears on This is Janis Joplin 1965.

In 2016, It’s My Way! was inducted by the Library of Congress into the National Recording Registry. (by wikipedia)


This is one of the most scathing topical folk albums ever made. Sainte-Marie sings in an emotional, vibrato-laden voice of war (“The Universal Soldier,” later a hit for Donovan), drugs (“Cod’ine”), sex (“The Incest Song”), and most telling, the mistreatment of Native Americans, of which Sainte-Marie is one (“Now That the Buffalo’s Gone”). Even decades later, the album’s power is moving and disturbing. (by William Ruhlmann)

Buffy is a master of capturing you in and holding you till shes done with you. You just can’t stop listening. Her music is hypnotic. Pure, unselfish, unashamed and poignant. No Sainte-Marie03one sings like her. She’s a jewel that changes the world without the world knowing it’s being redirected by her magic. Believe me, if she wasn’t there all this time, things would be so much worse all over the world. Music is magic and a talent this large is mystically infused into the cosmos which effect us all. Outragious! (Richard S. Lodato)

It’s My Way is both noteworthy for her 1960’s songs illustrating the plight of Native Americans, and as being highly talented innovator of western European folk tradition and one of the first cultural fusion musicians. Often accompanying herself on a bow-harp, at other times with rich instrumental backup, her music is sometimes eerie, always uncompromising. (by JE Farrow)

Buffy Sainte-Marie was blacklisted by Presidents Johnson and Nixon because of the power of her ability to move peoples’ hearts!


Buffy Sainte-Marie in 2018

Buffy Sainte-Marie (vocals, guitar)
Art Davis (bass on 01.)
Patrick Sky (guitar on 09.)

01. Now That The Buffalo’s Gone (Sainte-Marie) 2.51
02. The Old Man’s Lament (Sainte-Marie) 4.02
03. Ananias (Traditional) 2.40
04. Mayoo Sto Hoon (Sainte-Marie) 1.25
05. Cod’ine (Sainte-Marie) 5.07
06. Cripple Creek (Traditional) 1.50
07. The Universal Soldier (Sainte-Marie) 2.20
08. Babe In Arms (Sainte-Marie) 2.35
09. He Lived Alone In Town (Sainte-Marie) 4.42
10. You’re Gonna Need Somebody On Your Bond (Traditional) 2.50
11. The Incest Song (Sainte-Marie) 4.19
12. Eyes Of Amber (Sainte-Marie)  2.21
13. It’s My Way (Sainte-Marie) 3.33



He’s five foot-two, and he’s six feet-four,
He fights with missiles and with spears.
He’s all of thirty-one, and he’s only seventeen,
Been a soldier for a thousand years.

He’a a Catholic, a Hindu, an Atheist, a Jain,
A Buddhist and a Baptist and a Jew.
And he knows he shouldn’t kill,
And he knows he always will,
Kill you for me my friend and me for you.

And he’s fighting for Canada,
He’s fighting for France,
He’s fighting for the USA,
And he’s fighting for the Russians,
And he’s fighting for Japan,
And he thinks we’ll put an end to war this way.

And he’s fighting for Democracy,
He’s fighting for the Reds,
He says it’s for the peace of all.
He’s the one who must decide,
Who’s to live and who’s to die,
And he never sees the writing on the wall.

But without him,
How would Hitler have condemned them at Dachau?
Without him Caesar would have stood alone,
He’s the one who gives his body
As a weapon of the war,
And without him all this killing can’t go on.

He’s the Universal Soldier and he really is to blame,
His orders come from far away no more,
They come from here and there and you and me,
And brothers can’t you see,
This is not the way we put the end to war.


Still alive and well: Her website in 2019

Georgie Fame & The Blue Flames – Fame At Last (1964)

FrontCover1.jpgGeorgie Fame and the Blue Flames were a noted British rhythm and blues/soul, jazz, ska, pop group during the 1960s. They were also the backing band for Billy Fury. At the end of 1961, their piano player Georgie Fame took over as vocalist and they went on to enjoy great success without Fury. They were influenced by Jon Hendricks, Mose Allison and blues musicians such as Willie Mabon. The group found other influences in ska, which could be heard in Jamaican cafes in and around Ladbroke Grove frequented by the group’s Jamaican born trumpeter Eddie Thornton. During the group’s three-year residency at the Flamingo Club, Fame heard the latest jazz and blues from America, and it was Booker T. & the M.G.’s “Green Onions” which inspired him to take up playing Hammond organ with the band.

Colin Green and Georgie Fame (then known as Clive Powell) worked together in ‘Colin Green’s Beat Boys’, who had backed Gene Vincent and Eddie Cochran during UK tours. In 1961 piano player Fame, drummer Red Reece, bassist Tex Makins and Green were hired by Larry Parnes to back Billy Fury as the Blue Flames. Fury’s Manager dismissed them in February 1962 as he felt they were “too jazzy” and replaced them with The Tornados.


In December 1961 Alan “Earl” Watson fronted The Blue Flames, playing tenor saxophone and singing. In May 1962 the group was augmented by Ghanaian percussionist Neeomi “Speedy” Acquaye and Green left the group. Fame took over as the lead vocalist, Green was replaced by Joe Moretti and in turn was later replaced by John McLaughlin. During that time Rod “Boots” Slade had taken over as bass player while Makins toured with Johnny Hallyday. Saxophonist Mick Eve joined the group during 1962 and eventually the line up was completed by Johnny Marshall.

McLaughlin departed in April 1963 when he joined The Graham Bond Organisation, leaving the group without a guitarist for eighteen months and during this period Rik Gunnell took over the management of the band. In September 1963, they recorded their debut album Rhythm And Blues at the Flamingo which was produced by Ian Samwell, engineered by Glyn Johns and released on the Columbia label.


Rhythm And Blues at the Flamingo failed to enter the UK chart, as did the single ‘Do The Dog’ which was taken from this album and released in 1964. Two other singles ‘Do Re Mi’, and ‘Bend A Little’ were also released during 1964, achieving no commercial success.

In July 1964, Peter Coe replaced Marshall and was soon joined by baritone saxist Glenn Hughes and trumpet player Eddie “Tan-Tan” Thornton who had previously appeared occasionally with them and Green rejoined the group in October 1964.

Reece became ill in 1964 and was replaced by Tommy Frost. Jimmie Nicol spent a brief period as drummer, then left to replace Ringo Starr for 13 days on a Beatles tour. Phil Seamen and Micky Waller sat in for Nicol until Bill Eyden became the band’s full-time drummer in September 1964.


In October 1964 the album Fame at Last reached No.15 in the U.K. album chart. The band’s version of the song “Yeh Yeh” was released as a single in the U.K. on 14 January 1965 and reached No.1 on the U.K. Singles Chart for two weeks (out of a total of twelve weeks on the chart).

The song “In The Meantime” was released as a single in February 1965 and reached the U.K. Top Twenty, however the band’s next two single releases were not chart entries. Success followed with Fame’s self penned song Get Away (released on 17 June 1966),[9] which climbed to the top of the UK chart for a solitary week in late-July. The song was originally written as a jingle for a television petrol advertisement (National filling stations). It was later used as the theme tune for a long-running travel and lifestyle show on Australian television called Getaway. The two subsequent singles, “Sunny” and “Sitting in the Park” reached chart positions of No.13 and No.12 respectively. After the album Sweet Thing (1966) was released, Fame signed to CBS and became a solo artist.

Eyden and Makins remained as the group’s rhythm section until they were replaced in December 1965 by Cliff Barton and Mitch Mitchell. That lineup recorded the album Sweet Things, then on 1 October 1966 Fame disbanded the Blue Flames to pursue a solo career. Within a week Mitchell had been selected over Aynsley Dunbar to be the third member of what would be dubbed The Jimi Hendrix Experience. (by wikipedia)


‘And here´s the second album of Georgie Fame & The Blue Flames:

Following on from the blazing live set that was his debut (listen here), Georgie Fame’s first studio album is one of those discs to which only one appellation can truly be applied — it’s dangerous. A blistering romp through Fame & His Blue Flames’ live repertoire of the day, fast and loose and driving, it captures one of Britain’s best-ever R&B troupes stepping so far beyond the customary precepts of the Beat Boom that, if you were to come to this record without knowing who it was, there’s no way you’d ever guess a bunch of (predominantly) Londoners were responsible. To pull out any highlights is to indicate that there are any corresponding low-lights — there aren’t. But a “Green Onions” so sweet that you can taste it captures the group in full flame, while Willie Dixon’s “I Love the Life I Live” has rarely sounded so supreme. Even the closing “I’m in the Mood for Love” — not a song one normally associates with heads-down blues boogie — is granted a cigarettes’n’alcohol ambience that could choke any passing puritan, and the whole disc adds up to one of the all-time great albums of its, or any other, R&B-blessed era. (by Dave Thompson)


Speedy Acquaye (percussion)
Peter Coe (saxophone)
Georgie Fame (organ, vocals)
Anthony Paul ‘Tex’ Makins (bass) 
Phil Seamen (drums)
Edward ‘Eddie’ Thornton (trumpet)


01. Get On The Right Track, Baby (Turner) 2.52
02. Let The Sunshine In (Barberis/Weinstein/Randazzo) 2.38
03. The Monkey Time (Mayfield) 2.39
04. All About My Girl (McGriff) 4.27
05. Point Of No Return (Goffin/King) 2.26
06. Gimme That Wine (Hendricks) 3.06
07. Pink Champagne (Liggins) 3.51
08. Monkeying Around (Cropper/Bell) 2.12
09. Pride And Joy (Gaye/Whitfield/Stevenson) 2.24
10. Green Onions (Jackson/Jones/Steinberg/Cropper) 2.12
11. I Love The Life I Live (Dixon) 3.22
12. I’m In The Mood For Love (Moody’s Mood For Love) (Fields/McHugh) 4.23




Georgie Fame … still alive and well …

Glenn Yarbrough – One More Round (1964)

FrontCover1Glenn Robertson Yarbrough (January 12, 1930 – August 11, 2016) was an American folk singer and guitarist. He was the lead singer (tenor) with the Limeliters from 1959 to 1963. He also had a prolific solo career, recording on various labels.

Yarbrough was born in Milwaukee, Wisconsin to Bruce Yarbrough and Elizabeth Yarbrough (née Robertson). He grew up in New York City where he lived with his mother. After graduating from high school at St. Paul’s School in Maryland, he attended St. John’s College in Annapolis, Maryland; there he roomed with Jac Holzman and began performing after he and Holzman attended a concert by Woody Guthrie.

During the Korean War he served in the United States Army, first as a codebreaker then joined the entertainment corps performing in Korea and Japan. After military service, he moved to South Dakota, helped his father organize square dances, and started appearing on local television shows. By the mid-1950s, he started performing in clubs in Chicago, where he met club owner Albert Grossman and performers including Odetta and Shel Silverstein. One of Elektra Records’ first artists, he was one of the first singers to record the traditional “The House of the Rising Sun.”

In the late 1950s, Yarbrough moved to Aspen, Colorado, and ran a club, the Limelite. There he formed a folk group with Alex Hassilev and Louis Gottlieb, naming it after the club.


The group’s first album, Limeliters, was released in 1960 on Holzman’s Elektra label.[2] Yarbrough’s lyric tenor voice was well-regarded. Yarbrough left the Limeliters for a solo career in the mid-1960s. His most popular single, and the one for which he is most well-known today is “Baby the Rain Must Fall” (the theme tune from the film of the same name), which entered the Cashbox chart on March 27, 1965 and reached #12 pop and #2 easy listening. According to Chartmasters of Covington, Louisiana, the song was one of the all-time top 100 of the year.

Yarbrough provided vocals for the Rankin/Bass Productions animated versions of The Hobbit (1977) singing songs such as “The Greatest Adventure”, “The Road Goes Ever On” as well as The Return of the King (1980) singing “Frodo of the Nine Fingers” in addition to singing the title song in the 1966 holiday classic, The Christmas That Almost Wasn’t. Yarbrough also performed Utah Composer Michael McLean’s Forgotten Carols, creating a CD of the show as well as taking it on the road to local audiences in the 1990s.

There were several Limeliters reunion albums and tours, billed as Glenn Yarbrough and the Limeliters, from the early 1970s into the 1990s.


In 2016 (posthumously), the song “Everybody Wants to Go to Heaven”[5] was sampled for a song by Ice Cube, which can be heard in a trailer for the video game Mafia III.

Glenn Yarbrough was also an accomplished sailor who owned and lived aboard three different sailboats: Armorel, all teak and still in operation; Jubilee, which Yarbrough helped build, taking three years; and the Brass Dolphin a Chinese junk design, and has, according to Yarbrough, sailed around the world except for the Indian Ocean.

Yarbrough lost his ability to sing due to complications from throat surgery at the age of 80. In his last year or so of life, he suffered from dementia, chronic obstructive pulmonary disease and other health problems, and was cared for by his daughter Holly in Nashville, Tennessee. Holly recorded the album Annie Get Your Gun with her father in 1997.

Yarbrough died from complications of dementia in Nashville, Tennessee at the age of 86. (by wikipedia)

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Billboard, July 11, 1964

For his second RCA Victor long-player, former Limeliter Glenn Yarbrough is accompanied by conductor/arranger Perry Botkin Jr. on a dozen sides following closely in the style of his previous outing, Time to Move On (1963). Again, the vocalist lends his distinct tenor to a variety of selections — including a trio of Rod McKuen offerings and another three co-penned by Bob Gibson. Interestingly, the Gibson cuts are among the strong originals to be featured on his landmark Where I’m Bound (1964) album. There is an effervescence in Yarbrough’s lilting vibrato, whether featured in the gentle heartwarming lullaby “I Wonder,” the spirited Gibson/Shel Silverstein-written “Baby, I’m Gone Again,” or the good-time gospel “New ‘Frankie and Johnnie’ Song.” Both are augmented by some exceptional piano runs from an uncredited but aurally evident Floyd Cramer, who was not only a concurrent recording session contributor for RCA Victor, but a well-known performer in his own right.

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The title track — which should not be confused with the Kingston Trio song of the same name — is an upbeat and inspirational number, reinforcing the optimism in Yarbrough’s interpretive voice. The McKuen pieces are uniformly exceptional, revealing that a real connection existing between the composer and artist. Botkin’s light and affective score suits “Love’s Been Good to Me,” although it is the intimacy infused into “The Lovers” that is unquestionably a harbinger of Yarbrough and McKuen’s future collaborations, not to mention the unquestionable highlight of this collection. The closing “Cloudy Summer Afternoon” is a reworking of the Bud Dashiell and Travis Edmonson (aka Bud & Travis) tune, aptly capping off the LP and reconfirming Yarbrough’s link to more traditional folk and the late-’50s/early-’60s revival that brought the genre to new levels of popularity. (by Lindsay Planer)

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Glenn Yarbrough (vocals, piano, guitar)
some strings


01. The Way The World Would Be (Eisenhauer/Wagner) 2.14
02. I Wonder (Lane/Sarnoff) 2.47
03. Baby, I’m Gone Again (Gibson/Silverstein) 2.38
04. Ten O’Clock, All Is Well (The Town Crier’s Song) (Gibson/Camp) 2.38
05. Love’s Been Good To Me (McKuen) 3.04
06. Her Lover (Russell) 3.16
07. One More Round (Podell/Schorr) 2.50
08. The New “Frankie And Johnnie” Song (Gibson/Silverstein) 2.05
09. Isle In The Water (McKuen) 3.01
10. Rain Drops (Settle) 1.54
11. The Lovers (McKuen) 5.12
12. Cloudy Summer Afternoon (Edmonson) 2.22



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Glenn Robertson Yarbrough (January 12, 1930 – August 11, 2016)