Manitas de Plata – Same (1967)

FrontCover1.JPGManitas de Plata (born Ricardo Baliardo; 7 August 1921 – 5 November 2014) was a flamenco guitarist born in Southern France. Despite achieving worldwide fame, he was criticized for not following certain rhythmic rules (compás) that are traditional in flamenco.

Ricardo Baliardo was born in a gypsy caravan in Sète in southern France. He became famous by playing each year at the Saintes-Maries-de-la-Mer gypsy pilgrimage in Camargue, where he was recorded live by Deben Bhattacharya.

Manitas de Plata (“Little Hands of Silver” in Spanish) only agreed to play in public ten years after the death of Django Reinhardt, unanimously considered the king of gypsy guitarists. One of his recordings earned him a letter from Jean Cocteau acclaiming him as a creator.

Upon hearing him play at Arles in 1964, Pablo Picasso is said to have exclaimed “that man is of greater worth than I am!” and proceeded to draw on the guitar.

ManitasDePlata01Manitas de Plata garnered fame in the United States only after a photography exhibition in New York, organized by his friend Lucien Clergue. He had recorded his first official album in the chapel of Arles in France, in 1963, for the Phillips label. It was later re-released, in 1967, by the Connoisseur Society label and sold through the Book of the Month Club. This was a popular LP that brought him to the attention of an American audience. An American manager obtained a booking for him to play a concert in Carnegie Hall in New York on November 24, 1965.

He toured the world from 1967, and recorded discs. He played with the dancer Nina Corti. In 1968 he played at the Royal Variety Performance in London.

Manitas de Plata was the father of Jacques, Maurice, and Tonino Baliardo and uncle to Paul, François (Canut), Patchaï, Nicolas and André Reyes (the sons of his cousin, flamenco artist José Reyes (1928-1979), all members of the Catalan Rumba band Gipsy Kings. Australian multi-instrumentalist Chris Freeman, his student in 1971, acknowledged de Plata’s influence and teachings.

Manitas de Plata died in a retirement home in Montpellier on 6 November 2014. The cause of death was not disclosed, although it was reported that de Plata had been in poor health since suffering a severe heart attack in April 2013.

Many members of his own family were also well known flamenco musicians, including his younger brother Hippolyte Baliardo (1928-2009), and his eldest son Manero Baliardo (1940-2012). Another son, Bambo Baliardo, is still an active musician and performer as of 2015. (by wikipedia)

De Plata broke boundaries in traditional flamenco music and became one of the best-known gypsy guitarists—his atypical rhythm patterns were of particular influence upon the style. (by

And here´s one of his very early albums … And I´m really impressed by the intensity of his wonderful guitar playing.


Original front + bak cover

Manitas de Plata (guitar, vocals)


01. Theme Gitan 11.53
02. Espana Mia 3.11
03. Sol De Mi Tierra 3.53
04. Al Son De Mi Guitarra 3.21
05. Sentimiento 4.12
06. Asi Se Toca 2.04
07. Tierra Andaluza 1.50

Music and lyrics written by Manitas de Plata




Manitas de Plata (7 August 1921 – 5 November 2014)


Stan Kenton and His Orchestra – The World We Know (1967)

FrontCover1.jpgThe World We Know is an album by bandleader Stan Kenton recorded in 1967 by Capitol Records.

Remarkably, after over two decades as an active recording artist, Stan Kenton (piano/arranger) could still pull off efforts as interesting as World We Know (1968). Combining divergent reworkings of pop music standards with his own undeniably unique originals, Kenton applies his trademark intricate and individual harmonic phrasings. The consistent results bear out his ability to augment his highly stylized arrangements within a framework of familiarity. While there is no mistaking this platter for rock or even what would be considered as ‘pop’ circa 1968, Kenton’s adaptation of Bobby Hebb’s soulful “Sunny” is given a spry up-tempo demeanor, building from a bop-influenced piano line to a full-blown big band drill. Similarly, Neal Hefti’s “Girl Talk,” taken from the film Harlow (1965) , is also rerouted, bringing out the smouldering and scintillating melody as it perpetually yields to a brash and bouncy conclusion. Another mid-’60s soundtrack-derived side is “Man and a Woman,” from the Claude Lelouch film Un Homme et une Femme (1966), which has been turned around into an affective, if not somewhat darker piece. Kenton’s compositions present his own formidable talents with an equally broad spectrum of sonic techniques. At the heart of “Changing Times,” or the moody and romantic “Theme for Jo,” is Kenton’s uncanny marriage of memorable tunes and interpretive keyboard lines leading the larger ensemble through his voicings and contrasts in tempo. While enthusiasts of the artist’s work will undoubtedly be impressed, to modern ears the easy listening orchestration may seem heavy-handed, if not lackluster.  (by Lindsay Planer)

Stan Kenton

Jim Amlotte (trombone)
Don Bagley (bass on  01., 04-, 06., 07., 09. + 11.)
Dee Barton (drums)
Monty Budwig (bass on  02., 03., 05. 08. + 10.)
Bob Dahl (saxophone)
Jay Daversa (trumpet)
Graham Ellis (trombone, tuba)
Bill Fritz (saxophone, flute)
Stan Kenton (piano)
Jack Laubach (trumpet)
Carl Leach (trumpet)
John Mitchell (saxophone)
Clyde Raesinger (trumpet)
Ray Reed (saxophone, flute)
Alan Rowe (saxophone)
Tom Senff (trombone)
Dick Shearer (trombone)
Dalton Smith (trumpet)
Adolpho “Chino” Valdez (percussion)
Tom Whittaker (trombone)


01. Sunny (Hebb) 3.07
02. Imagine (Lai/Cahn) 3.03
03. A Man And A Woman (Lai/Cahn) 4.46
04. Theme For Jo (Kenton) 3.33
05. Interchange (Kenton) 3.03
06. Invitation (Kaper/Webster) 3.21
07. Girl Talk (Hefti/Troup) 4.36
08. The World We Know (Kaempfert/Rehbein/Sigman) 2.25
09. This Hotel (Keating/Quine) 2.35
10. Changing Times (Kenton) 3.30
11. Gloomy Sunday (Seress/Jávor/Lewis) 4.49



Baden Powell – Poema On Guitar (1968)

SabaFrontCover1Baden Powell de Aquino, usually known simply as Baden Powell (Portuguese: [ˈbadẽ ˈpaw]; 6 August 1937 – 26 September 2000), was one of the most prominent and celebrated Brazilian guitarists and guitar composers of his time. He combined classical techniques with popular harmony and swing. He performed in many styles, including bossa nova, samba, Brazilian jazz, Latin jazz and música popular brasileira. He performed on stage during most of his lifetime. (by wikipedia)

In 1967 Baden Powell recorded his first album in Germany:
Poema On Guitar. This was his second record on the German SABA label and again Joachim Ernst Behrend was the producer. What can be said about Tristeza on Guitar can be found on this record, too. Both are among his best instrumental recordings of the sixties.

After his appearance in the Berlin Jazz days on November 5th Joachim Ernst Behrend organised first class musicians for the recording sessions: Eberhard Weber on bass, Sidney Smith on flute and Charly Antolini on drums.
Baden Powell was so impressed with this rhythm group that he wanted to return to Germany to record more with them. But only in 1971 he recorded two albums with the well appreciated Eberhard Weber.


A possible interpretaion of this record can be done on the selection and order of the songs: it could be seen as personal reminiscence of Sylvia Telles, who died on December 17th 1966. Feitinha, the girl, followed by Dindi, dedicated to her, Consolacao, comfort and melancholy Tristeza e Solidao.

On the second side there are baroque elements combined with Jazz: Samba triste, BP’s first hit in Brazil and his opening piece in the Berlin Jazz days, Euridice, calling from the realm of the dead, All the things you are, in a very beautiful arrangement for accoustic guitar, and Reza, a prayer, sung in 1966 by Edu Lobo in the last tour with Sylvia Telles. (by

Enjoy this wonderful piece of music by the great Baden Powell !


Charlie Antolini (drums)
Baden Powell (guitar)
Sidney Smith (flute)
Eberhard Weber (bass)


01. Feitinha Pro Poeta (Powell/Freire) 5.58
02. Dindi (De Oliveira/Jobim) 3.05
03. Consolãcao (Powell/De Moraes) 6.12
04. Tristeza e Solidão (Powell/De Moraes) 2.19
05. Samba Triste (Powell/Blanco) 4.14
06. Euridice (from “Orfeo Negro”) (De Moraes) 4.04
07. All The Things You Are (Kern/Hammerstein II) 4.23
08. Reza (Lobo/Guerra) 3.50




Baden Powell (6 August 1937 – 26 September 2000)

The Blues Project – Live At Town Hall (1967)

FrontCover1.JPGThe Blues Project came together in NYC’s Greenwich Village in 1965. The original quintet was guitarists Danny Kalb and Steve Katz, bass and flautist Andy Kulberg, drummer Roy Blumenfeld and vocalist Tommy Flanders. Session musician Al Kooper joined after the band failed a COLUMBIA audition. Although his keyboard skills were limited, Kooper contributed respectable vocals and good original songs.

In 1966, they recorded “Live At Cafe Au Go Go” and “Projections” for the Verve Forecast label. By early ’67 when work began on “The Blues Project Live At Town Hall” (FT/FTS 3025), Kooper had left the group (Katz followed him later in the year).

There’s only one cut here actually recorded at Town Hall. The balance is other “live” a performances at Stony Brook College, plus studio tracks with added applause. Kooper’s “No Time Like the Right Time,” the group’s only charting single, is a studio take augmented with applause that’s reminiscent of the Animals. “Mean Old Southern” rolls as fast as an express train at full throttle. The extended “Flute Thing” opens with organ and flute playing in unison.

“I Can’t Keep From Crying” is a fairly standard rocker. “Love Will Endure” features Katz’s baritone vocal. It’s another simulated “live” recording. “Where There’s Smoke” is a decent Kooper leftover. The album closing “Wake Me, Shake Me” nicely illustrates how Blues Project sounded in-concert: tight, intense and improvisational. (by Annie Van Auken)


Released just after Al Kooper left the band, one imagines that neither he nor the other members of the group were pleased with this LP. According to Kooper, it was a pastiche of studio outtakes and a few live performances, and only one of the songs was actually recorded at New York City’s Town Hall. Anyway, this has a meandering, ten-minute “Flute Thing” and decent live versions of “Wake Me, Shake Me” and “I Can’t Keep from Crying” which, despite a somewhat rawer feel, are not necessary supplements to the fine studio takes. “Where There’s Smoke, There’s Fire” and the great “No Time Like the Right Time” had already been released as singles; to hear them without canned applause, you only need to turn to Rhino’s first-rate Best of the Blues Project instead. That compilation also contains the other cut of note on this album, an outtake-sounding cover of Patrick Sky’s “Love Will Endure.” (by Richie Unterberger)


Roy Blumenfeld (drums)
Danny Kalb (guitar, vocals)
Steve Katz (guitar)
Al Kooper (organ, vocals)
Andy Kulberg (bass)


01. Introduction / Electric Flute Thing (Kooper) 10.29
02. I Can’t Keep From Crying Sometimes (Johnson/Kooper) 5.35
03. Mean Old Southern (unknown) 2.39
04. No Time Like The Right Time (Kooper) 2.51
05. Love Will Endure ( Lynch/Sky) 2.26
06. Where There’s Smoke, There’s Fire (Kooper/Levine/Brass) 2.33
07. Whake Me Shake Me (Traditional) 8.37
08. Electric Flute Thing (Kooper) 10.29
09. Can’t Keep From Crying Sometimes (Johnson/Kooper) 5.35
10. Mean Old Southern (nknown) 2.39
11. No Time Like The Right Time (Kooper) 2.51
12. Love Will Endure (Lynch/Sky) 2.26
13. Where There’s Smoke, There’s Fire (Kooper/Levine/Brass) 2.33
14. Whake Me Shake Me (Traditional) 8.37
15. Lost In The Shuffle (McDuffy/Brien) 2.56
16. Gentle Dreams (Katz/Kulberg) 2.59

Tracks 8-16 Mono versions




Canned Heat – Los Angeles (1967)

FrontCover1.jpgRight damn fine SBD for a 1967 club tape, with a few spots o’ bother.
Warts: Repaired dullspots & dropouts but surely missed a few. Vocal mikes were too hot & probably not that great quality & sometimes a bit distorted, but painstakingly repaired it where possible. #04 had 4 tape chew glitches in middle – mostly fixed 2 & other 2 used split second patch (still audible but minimized) & another spot 1min before end only partially repaired, still has split second of hiss. #07 had many micro glitches now mostly fixed as are major mike distortion breakup glitches 2/3rds thru. Repaired/smoothed out between song splices. Removed overlapped (repeated) clapping segment after #09. #10 lessened worst mike distortion spots. #13 major mike distortion breakup glitches mostly fixed.
– In ‘67 it was essentially sets at the Grove, not shows. The club was rarely emptied between performances (info courtesy of Alan Bershaw).
– Early & Late “Show” attributions are guesses in some cases, related to announcements & Bokelman list.
– 1967 Ash Grove Canned Heat tapes exist from January 8,13,14,20 & March 29 so there are hours more!
– The same Mark Andes on bass who was a founding member of Spirit, Jo Jo Gunne & Firefall.
– Frank Cook was also the drummer & manager for early Pacific Gas & Electric (from 1967-1970).

This earliest Canned Heat live tape I found yet, was recorded in an unknown club and feature the original Canned Heat w/Frank Cook on Drums! Again the song-list here includes some tracks not available from any other known Canned Heat recording! Those of you who
downloaded in June my Canned Heat compilation “Tracks” already have nearly half of the tracks here, but these tracks were remastered in a different way from my own tape & here’s the complete performance, from a different source!

CANNED HEAT’s Club performance here is kind of rough and unpolished, but full of “Heat” and some tracks here are standing clearly in the tradition of the great “Blues Shouters” as Howlin Wolf or Big Joe Turner! The general quality is great, but on some tracks the Bear’s vocals are quite oversaturated! I did my best to polish this & also used the better channel (with less dropouts) of this mono sbd recording! (theultimatebootlegexperience7.blogspot)

Canned Heat1967_01

Mark Andes (bass)
Frank Cook (drums, vocals)
Bob Hite (harmonica, vocals)
Henry Vestine (guitar)
Alan Wilson (guitar, harmonica, vocals)


01. Alley Special (Holmes) 4.11
02. Big Road Blues (Wilson/Hite/Cook/Vestine/Taylor) 3.09
03. There Is Something On Your Mind (McNeely) 9.25
04. Dust My Broom (James) 5.12
05. 300 Pounds Of Heavenly Joy (Dixon) 4.01
06. Pet Cream Man (Hutto) 6.56
07. Bullfrog Blues (#1) (Harris) 3.21
08. E Shuffle (unknown) 5.29
09. Instrumental (unknon) 1.15
10. Madman Blues (Hooker) 4.14
11. Terraplane Blues (Johnson) 4.25
12. Rollin’ & Tumblin’ (Newbern) 4.48
Track 13. Bullfrog Blues (#2) (Harris) 5.44

Canned Heat1967_02


The Yardbirds – Little Games (1967)

FrontCover1Little Games is the fourth American album by English rock band the Yardbirds. Recorded and released in 1967, it was their first album recorded after becoming a quartet with Jimmy Page as the sole guitarist and Chris Dreja switching to bass. It was also the only Yardbirds album produced by Mickie Most.

Although the new lineup was becoming more experimental with longer, improvised concert performances, the Yardbirds’ record company brought in successful singles producer Most to coax out more commercial product. However, neither material that properly presented their new approach nor hit singles were forthcoming. Little Games became the Yardbirds’ final studio album, although Most continued to produce singles for the group. These were later collected and released with the original album along with outtakes and alternate mixes on an expanded edition titled Little Games Sessions & More in 1992.

ter the commercially and critically successful Yardbirds’ albums Having a Rave Up with The Yardbirds (1965) and Yardbirds/Over Under Sideways Down aka Roger the Engineer (1966), founding member and bassist/musical director Paul Samwell-Smith left the group to pursue a career as a record producer. He was replaced on bass by studio guitarist Jimmy Page, whom the Yardbirds had originally approached to replace Eric Clapton. Page’s position as bassist was temporary and within a short while he switched to second lead guitarist alongside Jeff Beck, with rhythm guitarist Chris Dreja taking over on bass. In 1966, the Beck/Page dual lead guitar line-up produced the psychedelic “Happenings Ten Years Time Ago”, “Psycho Daisies” and “Stroll On”, the updated remake of “The Train Kept A-Rollin'” for their appearance in Michelangelo Antonioni’s film Blow-Up. However, by the end of 1966, Beck was fired from the band due to an illness that was preventing him from playing gigs while on tour in the US, and they continued as a quartet with Page as the sole guitarist.


During 1966 and 1967, much of the rock audience began to shift interest from Top 40 singles to albums and concert presentations. During this period, the Yardbirds toured the US extensively, with frequent shows at popular counterculture venues such as the Fillmore. They became more experimental, with longer, improvised sets including light shows, film clips, and audio samples. Their material became more varied and introduced songs such as “Dazed and Confused”, the Jimmy Page solo-guitar piece “White Summer”, the Velvet Underground’s “I’m Waiting for the Man”, and extended medleys with re-worked versions of “I’m a Man” and “Smokestack Lightning”.

Despite this change in direction, Mickie Most, best known for producing hits for Herman’s Hermits and Donovan, was brought in by EMI as the Yardbirds’ new record producer. Most was not current with new music trends and although Page had worked earlier for Most as a session guitarist, he was reportedly displeased with Most taking on the production duties.[5][6] According to biographer Gregg Russo, “the upshot of Most’s involvement was that the Yardbirds’ stage personality ended up becoming vastly different than their recording persona”. (by wikipedia)


It’s a dreadfully unfashionable thing to say, but the day producer Mickie Most moved in on the Yardbirds was the day the Yardbirds’ own values moved out. The union was a lousy idea from the start. By 1966-1967, the Yardbirds had developed into quite an excellent experimental rock combo, marred only by an appalling lack of self-belief. Most, on the other hand, was pure pop personified — marred only by a monumental lack of taste. And when those two attributes collided, listeners got Little Games, the final Yardbirds album. Surprisingly, it really wasn’t a bad record. Plentiful outtakes from the sessions have surfaced, both officially and otherwise, theoretically rendering this particular package redundant. Yet if one was to be dreaming of the ultimate alternate version of Little Games, this could be it. Highlights on disc one include a playful “Little Games,” a smoldering, acoustic “White Summer,” and the masterful reverse tape take of “Tinker Tailor,” which so heavily predicts Hawkwind’s acid-drone “Paranoia” that it’s amazing that no one noticed before. It also blends nicely with “De Lane Lea Lee,” which Yardbirds03.jpgitself employed backward drums (oddly reversed on EMI’s Little Games Sessions & More package) and piano. Contrary to the sleeve, incidentally, the two versions of this song are not indexed separately. If disc one is simply a satisfactory roundup of the best of the Little Games outtakes, however, disc two is the trivia-hound’s paradise. It opens with 13 attempts at “You Stole My Love,” each one proof that the band would never come to grips with one of songwriter Graham Gouldman’s least-appreciated masterpieces (Keith Relf’s absence from the studio that day ensured they never got around to adding vocals to it either). When EMI came to add this track to the Little Games Sessions album, two separate takes — eight and 13 — were combined for the finished product. On this evidence, that was a very smart idea. From the same 1966 session, the piano/drum duet “LSD” is present in all three of the takes attempted. None of them, sadly, live up to the title’s promise, suggesting either that the band had some very mundane experiences with drugs, or that the song really was about money; in earlier, more naïve times, LSD was the standard abbreviation for pounds, shillings, and pence. And so on to an extended look at the creation of “Ten Little Indians,” a grueling marathon which replays 13 of the 14 generally complete takes which the band attempted, plus a 15th created with overdubs and the like. And is it surprising to learn that the development of what was otherwise a preposterous addition to the Yardbirds’ repertoire is, in fact, the most fascinating track on the entire album? Several guitar-heavy versions show Jimmy Page in a considerably more favorable light than his Yardbirds recordings normally allow, while other highlights include take ten, where the echo machine is switched on to devastating effect; take 11, which became the base for the finished version; and takes two and seven, which EMI combined for the Sessions album, but which actually sound better like this. Painfully protracted though it is, it’s this final track which makes disc two even worth looking at. But that is to damn it with faint praise. The truth is, combined with the best of disc one, Ten Little Indians, in all its multitudinous guises, offers a healthier picture of the latter-day Yardbirds than any other release on the market. Whoever would have thought it? (by Dave Thompson)


Chris Dreja (bass, background vocals)
Jim McCarty (drums, Percussion, background vocals)
Jimmy Page (guitar)
Keith Relf (vocals, harmonica, Percussion)
Bobby Grieg (drums on 01.)
John Paul Jones (bass on 07.)
Chris Karan (tabla on 03.)
Ian Stewart (piano on 06.)
Dougie Wright (drums on 01.)

01. Little Games (Spiro/Wainman) 2.28
02. Smile O Me (Deja/cCarty/Pge/elf 3.17
03. White Summer (Page) 3.56
04. Tinker, Tailor, Soldier, Sailor(Page/McCarty) 2.49
05. Glimpses (Dreja/McCarty/Page) 4.24
06. Drinking Muddy Water (Dreja/McCarty/Page/Relf) 2.53
07. No Excess Baggage (Atikins/D’Errico) 2.33
08. Stealing Stealing (Dreja/McCarty/Page/Relf) 2.24
09. Only The Black Rose (Relf) 2.52
10. Little Soldier Boy (McCarty/Page/Relf) 2.39



Brian Auger And The Trinity With Julie Driscoll – Open (1967)

LPFrontCover1.jpgFrom the outgrowth of Steampacket, a band that included not only Brian Auger and Julie Driscoll, but also a young Rod Stewart, came Auger and Driscoll’s collective effort that produced two albums. When Driscoll left in 1969 to pursue a solo career, Auger, drummer Clive Thacker, and bassist Dave Ambrose continued as Brian Auger & the Trinity. Open has been unfairly characterized as a kind of groove jazz rip, one that combines Wes Montgomery, Jimmy McGriff, and the rock sensibilities of the psychedelic era. Whatever. There are many tracks here, from deep grooved funky jazz to lilting ballads and greasy blues numbers and the skronky exotica number “Goodbye Jungle Telegraph.”

Auger may not have been as gifted an organist as Alan Price technically, but he could more than hold his own on the Hammond B-3 (as evidenced by the first two tracks here which are instrumentals, “In And Out” and “Isola Nate”). He was also able to pull more sounds out of the instrument than any of his peers. Auger wasn’t much of a vocalist, but he could dig deep and get the emotion out of a song — especially in a funky number like “Black Cat,” which featured a killer though uncredited studio horn section.


Driscoll’s contributions are all on the second half of the album, beginning with the shuffling choogle of Lowell Fulsom’s “Tramp,” continuing through a moving reading of Pops Staples’ “Why (Am I Treated So Bad),” two Auger originals, and concluding in a reading of Donovan’s “Season of the Witch” that single-handedly established her reputation as a vocalist of great interpretative ability and emotional dexterity. Almost eight minutes in length, it is the perfect interplay for the quartet with its dark, smoky swirling energy and extant soul groove, and capos the album on a high note, making it a delightful precursor to the classic Streetnoise which was to follow. (by Thom Jurek)


The debut LP from the team of Julie Driscoll (vocal) and Brian Auger & the Trinity’s (organ/vocals) — took less than six hours to complete. Under the care and watchful eye of legendary producer Giorgio Gomelsky, the ten performances were essentially cut live at Chappell Studios, London, in front of a small group of friends attending the sessions, who are audible between tracks. They took the novel approach of having Auger and company on one side, with Driscoll joining in for the second. An obvious influence on Auger’s keyboarding, if not choice for material, is the legendary Jimmy Smith (organ).


Auger commences his section with an inspired reading of Wes Montgomery’s limber “In and Out.” His ostentatious original rave-up “Black Cat” kicks off with a full frontal brass-fuelled blast, recalling the Miracles’ Motown classic “Going to a Go-Go” before Auger launches into his (thankfully) one-off vocal. Granted, his singing isn’t as incendiary as his playing, but it does give him the rare opportunity to pull double duty. For a direct contrast, the lovely and languid “Lament for Miss Baker” is a pining, introspective acoustic piano outing. While conspicuous when compared to the majority of Open, it is an apt illustration of Auger’s remarkable sensitivity and stylistic diversity. The tribal vibe of “Goodbye Jungle Telegraph” flows freely as the driving percussive rhythm is similar — if not a foreshadowing — of Ginger Baker’s excursions with Fela Kuti. Especially the definite undercurrents of the early-’60s Afro-Cuban pop scene.


Driscoll’s selections are observant of her distinct phrasing and full-bodied persona, ranging from the soulful lead on the remake of Lowell Fulson’s “Tramp” to the intricate jazz changes peppered throughout the unhurried “Why (Am I Treated So Bad).” She’s arguably at her peak, however, on the noir and trippy cover of Donovan’s “Season of the Witch.” More accurately, the pair are at their collective peak with an intensity that ebbs and flows over the simmering and meditative support. The four bonuses are of particular interest as they include a newly unearthed pulsating, up-tempo Felix Pappalardi composition titled “I’ve Gotta Go Now” circa 1967, as well as their incendiary overhaul of Bob Dylan’s “This Wheel’s on Fire” — which was a Top Five U.K. single — David Ackles’ lonesome “Road to Cairo” and the Franklin Sisters’ (as in Aretha, Carolyn and Erma) “Save Me.” The remastered audio bests all previous incarnations, while the dozen-panel liner insert contains lots of memorabilia eye candy surrounding an essay from Mojo Magazine’s Lois Wilson. (by Lindsay Planer)


David Ambrose (bass)
Brian Auger (keboards, vocals)
Gary Boyle (guitar)
Julie Driscoll (vocals)
Clive Thacker (drums)
unknown horn section


01. In And Out (Montgomery) 3.22
02. Isola Natale (Auger) 5.17
03. Black Cat (Auger) 3.25
04. Lament For Miss Baker (Auger) 2.41
05. Goodbye Jungle Telegraph (Auger) 6.20
06. Tramp (McCracklin/Fulsom) 4.16
07. Why (Am I Treated So Bad) (The Staple Singers) 3.38
08. A Kind Of Love In (Auger/Driscoll) 2.36
09. Break It Up (Auger/Sutton) 3.05
10. Season Of The Witch (Leitch) 8.00
11. I’ve Gotta Go Now (Pappalardi) 4.12
12 Save Me (Ousley/Franklin) 4.03
13 This Wheel’s On Fire (Dylan/Danko) 5.20
14 Road To Cairo (Ackles) 3.30




US front + back cover