Hamilton Camp – Here’s To You (1968)

FrontCover1I guess he was more an actor than a musician_

Hamilton Camp (30 October 1934 – 2 October 2005) was a British actor and singer.

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Camp was born in London and was evacuated during World War II to the United States as a child with his mother and sister. He became a child actor in films and onstage. He originally performed under the names Robin Camp and Bob Camp, later changing his name to Hamilton after joining the Subud spiritual movement. For a few years, he billed himself as Hamid Hamilton Camp; in this period, he was leader of a group called Skymonters that released an album in 1973 on Elektra. The band consisted of himself (vocals, guitar), Lewis Arquette (vocals, comedy monologues), Lewis Ross (lead guitar), Jakub Ander (bass) and Rusdi Lane (percussionist & mime).

Herb Brown, Dick Rosmini, Bob Camp, Bob Gibson (live at Newport, 1960):
Hamilton Camp03 (Newport 1960)

Camp’s debut as a folk singer was at the Newport Folk Festival in 1960; and his first recording, with Bob Gibson, was Bob Gibson & Bob Camp at the Gate of Horn, from 1961.[1] Over the next four decades he maintained a dual career as a musician/songwriter and as an actor. Camp is probably best known, however, as the author of the song “Pride of Man”, which was recorded by a number of artists, notably Quicksilver Messenger Service, Gram Parsons, and Gordon Lightfoot, who included it as one of three songs by other songwriters on his first record.

An early Gibson & Camp gospel song, “You Can Tell the World” was the opening track on Simon & Garfunkel’s first album, Wednesday Morning, 3 A.M. As a singer, Camp had a minor hit with the song “Here’s to You,” which peaked at number 76 on the Billboard Hot 100 in 1968. In 1969 Camp formed a group called The True Brethren with Waqidi Falicoff (guitar, vocals), Raphael Grinage (cello) and Loren Pickford (flute and saxophone). The four later composed the incidental music for the Broadway show Paul Sills’ Story Theatre, which won two Tony awards and was nominated for best show in the 1971 awards.

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His voice work as “Elle” the robot policeman in the 1978 film Starcrash and a role in the 1976 Peter Bogdanovich film Nickelodeon. He also performed with the Chicago comedy troupe The Second City and the San Francisco satirical comedy troupe the Committee and appeared in a number of stage productions, including a 2004 production of A Midsummer Night’s Dream at the Hollywood Bowl.

His television work includes a supporting role on He & She, a sitcom starring Richard Benjamin and Paula Prentiss, which ran for one season in 1967–68. He guest-starred on television shows such as The Rat Patrol, The Monkees, M*A*S*H, Soap, The Mary Tyler Moore Show, The Twilight Zone, Starsky and Hutch, Cheers, The Andy Griffith Show, Bewitched, Gomer Pyle, U.S.M.C., Three’s Company and Lois & Clark: The New Adventures of Superman, as the older H. G. Wells. He appeared on two episodes of Star Trek: Deep Space Nine as Leck, a Ferengi and on one episode of Star Trek: Voyager as a Malon freighter pilot

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In 1977, Camp appeared in three episodes of The Feather and Father Gang. In the 1978 opening season of WKRP in Cincinnati, Camp guest-starred in the fifth episode as Del Murdock, owner of Del’s Stereo and Sound. He returned to WKRP as Johnny Fever’s ex-wife’s new fiancé. Also in 1978, he played Warren Beatty’s valet, Bentley, in Heaven Can Wait. In 1980, he appeared as a semi-regular on Too Close for Comfort as Arthur Wainwright, the adventurous, youth-oriented boss of Henry Rush, and on the FOX sitcom Titus (TV series) as Erin Fitzpatrick’s alcoholic father, Merritt. He played Bart Furley, brother of Don Knotts’ character Ralph Furley, on an episode of Three’s Company, “Furley vs. Furley”. He also voiced Professor Moriarty in the English dub of the anime series Sherlock Hound.

He was the voice of Fenton Crackshell, aka GizmoDuck, on the Disney animated series DuckTales and its spinoff Darkwing Duck. He played the role of old Malcolm Corley in LucasArts’ graphic adventure Full Throttle. He voiced the Prophet of Mercy in the 2004 video game Halo 2.

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He became Disney Studio’s new voice of Merlin, following the death of Karl Swenson. Camp also voiced for Hanna–Barbera; as Greedy Smurf and Harmony Smurf on The Smurfs series and all of HB’s Smurf television specials, Count Dracula in Scooby-Doo and the Reluctant Werewolf, Turk Tarpit in The Jetsons Meet the Flintstones, Mr. Gruber in Paddington Bear, The Grand Dozer on Potsworth & Co., several villains of the week from A Pup Named Scooby-Doo and Barney Rubble as a kid in The Flintstones Kids. Camp’s final work was on the film Hard Four in early 2005, as well as a musical album produced by James Lee Stanley called Sweet Joy, completed shortly before his death.

He married Rasjadah Lisa Jovita Cisz in 1961, and they had six children. His wife died in 2002.

Camp died of a heart attack on October 2, 2005, four weeks before his 71st birthday.[1] He was survived by his six children and thirteen grandchildren.[1] The causes of death were given by the coroner as cardiac tamponade, dissecting aortic haemorrhage, and atherosclerotic cardiovascular disease. (wikipedia)

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Like a lot of early-’60s folkies, Hamilton Camp got more rockin’ as the decade wore on, and on this 1967 album — with the aid of such all stars as Jerry Scheff, Van Dyke Parks, Hal Blaine, Earl Palmer, Bud Shank and producer Felix Pappalardi — he turns in what amounts to a lost sunshine pop classic! The hit title track is probably the best-known song, and reached #76 on the pop singles chart in 1968.


Indeed one of these lost and forgotten jewels of the Ameroican singer/wonwriter scene in the Sixties !

I add the Mountain version of the Pappalardi/Collins composition “Travelin’ In The Dark” … what a difference !


Hal Blaine (drums)
Hamilton Camp (vocals. guitar, harmoica)
Glen Hardin (piano)
Larry Knechtel (piano)
Earl C. Palmer (drums)
Van Dyke Parks (keyboards)
Dick Rosmini (guitar)
Jerry Scheff (bass, tuba)
Toxey Sewell (drums, percussion)
Bud Shank (flute)

Hamilton Camp in a scene from M*A*S*H (1972):
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01. Here’s To You (Camp) 2.19
02. Travelin’ In The Dark (Pappalardi/Collins) 2.38
03. Seven Circles (Camp) 2.26
04. A Lot Can Happen In A Day (Camp) 2.42
05. Lonely Place (Camp) 2.44
06. Love Is (Camp) 2.56
07. For My Loved Ones (Camp) 2.42
08. Flower And Flame (Camp) 3.01
09. Leavin’ Anyhow (Camp) 2.37
10. Garden Of Love (Camp) 3.25
11. Lisa (Camp) 2.14
12. Handwriting On The Wall (Pappalardi, Collins) 2.08
13. Travelin’ In The Dark (Mountain version) (Pappalardi/Collins)


On a night in the early summer of 1960, I wandered into the Cafe Wha? on Macdougal Street in Greenwich Village and heard a singer with an enormous voice in a small body. Hamilton Camp (Bob Camp then) had a voice that was high, resonant and clear. He used it to take “Kentucky Moonshiner” and blow the place down, myself included. Later, in conversation, he proved to be friendly, and hilarious, with a manic wit and a gift for mimicry that turned this Oklahoma boy around. He said he was leaving New York the next day to go to Chicago to sing with Bob Gibson. Later that summer he and Bob did a guest set at The Commons, down the block from the Care Wha? They were on their way to the Newport Folk Festival, where they were received like heroes. Ham and Bob sang a bunch of new stuff like, “You Can Tell the World,” “Well, Well, Well” and “The First Battalion’s Home.” My private thoughts were that I had an awful, awful lot of work to do.

Although more recently known as an actor, it’s memories like this from Tom Paxton that make it clear just how important a figure Hamilton Camp was in the then-burgeoning folk music scene. Hamilton passed away suddenly on October 2, 2005, less than a month before his 71st birthday.

A talented performer and passionate artist, Hamilton Camp juggled his twin loves of music and acting throughout his entire life and professional careers. His acting debut came at age 12 in 1946 with a role in the film Bedlam, with Boris Karloff, while his musical career didn’t really take off until 1960 when Albert Grossman brought him together with Bob Gibson. The two performed at the Newport Folk Festival that year and in April of 1961 they recorded the legendary Gibson and Camp at the Gate of Horn album.

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Byrds’ co-founder Roger McGuinn was at the Chicago club during the sessions for that recording:

“I loved the way Bob Camp sang with Bob Gibson. Their energy was truly amazing. Songs about the Civil War and the Wild West came to life before my eyes at the Gate of Horn in Chicago when I watched them perform … Camp’s harmonies were chilling. Gibson was a seasoned solo artist but with Camp by his side the combination was incredible!”

Extremely influential–their songs were covered by the likes of Ian and Sylvia, Peter Paul and Mary and Simon and Garfunkel–the duo was short lived as both went on to separate endeavors, with Hamilton concentrating on acting. They did reunite many times over the ensuing decades and released several recordings.

While he “concentrated on acting,” Hamilton still managed to find the time to pursue his musical career. In 1964 his solo debut, Paths of Victory was released and the next year he returned to Newport as a part of the New Folks concert. More solo albums followed in 1967, 1969, 1973 and 1999. His acting career might not hold as much relevance in these pages as his musical life, but it is surely no less impressive. His credits include film, Broadway, television and video game voice overs.

At 70, Hamilton Camp’s musical and acting careers were still going very strong. Steve Gillette shared a stage with him in January, 2005: “Hamilton was in great form, sang beautifully in that silvery elfin voice that had thrilled me on the old Gibson and Camp at the Gate of Horn album.” In the spring of this year, he finished work on the movie Hard Four and just before his passing, he completed a new CD with his son Ray.

Hamilton Camp’s joy of performance spanned two artistic worlds. Like thousands of fans and countless artistic peers, Roger McGuinn was inspired by Hamilton’s artistry in both of his chosen careers: “He was facile and full of life. There was always an impish glee under the surface of everything he did. I will miss him.” (by Tom Paxton; from Sing Out! v.49 #4 (Winter 2006)

The official website:

Jefferson Airplane – Surrealistic Pillow (1967)

LPFrontCover1Jefferson Airplane was an American rock band based in San Francisco, California, that became one of the pioneering bands of psychedelic rock. Formed in 1965, the group defined the San Francisco Sound and was the first from the Bay Area to achieve international commercial success. They were headliners at the Monterey Pop Festival (1967), Woodstock (1969), Altamont Free Concert (1969), and the first Isle of Wight Festival (1968) in England. Their 1967 break-out album Surrealistic Pillow was one of the most significant recordings of the Summer of Love. Two songs from that album, “Somebody to Love” and “White Rabbit”, are among Rolling Stone’s “500 Greatest Songs of All Time”.

The October 1966 to February 1970 lineup of Jefferson Airplane, consisting of Marty Balin (vocals), Paul Kantner (guitar, vocals), Grace Slick (vocals), Jorma Kaukonen (lead guitar, vocals), Jack Casady (bass), and Spencer Dryden (drums), was inducted into the Rock and Roll Hall of Fame in 1996. Marty Balin left the band in 1971. After 1972, Jefferson Airplane effectively split into two groups. Kaukonen and Casady moved on full-time to their own band, Hot Tuna. Slick, Kantner, and the remaining members of Jefferson Airplane recruited new members and regrouped as Jefferson Starship in 1974, with Marty Balin eventually joining them. Jefferson Airplane was presented with the Grammy Lifetime Achievement Award in 2016.

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Surrealistic Pillow is the second album by the American rock band Jefferson Airplane, released by RCA Victor on February 1, 1967. It is the first album by the band with vocalist Grace Slick and drummer Spencer Dryden. The album peaked at number three on the Billboard album chart and has been certified Platinum by the RIAA. The album is considered to be one of the quintessential works of the early psychedelic rock and 1960s counterculture eras.

“My Best Friend” was released as the first single in January 1967, but reached only #103 on the Billboard Bubbling Under chart. Two singles were released later in the year, “Somebody to Love” and “White Rabbit”, peaked respectively at number five and number eight on the Billboard Hot 100 chart and are the band’s only Top 40 hits on that chart.

“Today” was not released as a single but was played often on college radio and rock stations and remains one of their most popular songs. It was also recorded by jazz saxophonist Tom Scott for his 1967 album The Honeysuckle Breeze; this version was sampled in the song “They Reminisce Over You” by Pete Rock & C.L. Smooth.
The initial line-up fell apart, after Signe Toly Anderson was replaced by Grace Slick

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Original drummer Alexander “Skip” Spence had left the band in mid-1966. He was soon replaced by Dryden, an experienced Los Angeles jazz drummer and the half-nephew of Charlie Chaplin. New female vocalist Slick, formerly with another San Francisco rock band the Great Society, joined the Airplane in the fall of 1966. Slick, Dryden, male lead vocalist-guitarist-songwriter and former of band Marty Balin, guitarist-vocalist-songwriter Paul Kantner, lead guitarist (and occasional vocalist) Jorma Kaukonen, and bassist Jack Casady formed the core of the best-known line-up of the group, which remained stable until Dryden’s departure in early 1970.

Some controversy exists as to the role of Grateful Dead guitarist Jerry Garcia in the making of the album. His reputed presence on several tracks is denied by producer Rick Jarrard, but he is credited on the RCA label copy[12] and received credits on the Flight Log compilation and the Jefferson Airplane Loves You box set. In his sleeve notes for Early Flight, a 1974 compilation album of previously unreleased material, manager Bill Thompson writes only that Garcia was “listed as ‘spiritual advisor’ on the album cover [and] played one of the guitars” on “In The Morning,” a Kaukonen composition that was released on Early Flight and subsequently included on the 2003 reissue of Surrealistic Pillow. Garcia himself recalled in a mid-1967 interview that he played the high lead on “Today” in addition to playing guitar on two other songs (“Plastic Fantastic Lover” and “Comin’ Back to Me”) and rearranging “Somebody to Love.” He also played on “J.P.P. McStep B. Blues” (included on Early Flight and the 2003 reissue) and may have played on “How Do You Feel.” Kaukonen has opined that Garcia was essentially the producer who arranged the songs for the group. More recently, in his biography, he says, “I used to think about him as co-producer, but now that I really know what a producer is, the producer of that record was Rick Jarrard. Jerry was a combination arranger, musician, and sage counsel.” A comment by Garcia about the music being “as surrealistic as a pillow is soft” also reportedly inspired the album title.


Jefferson Airplane’s fusion of folk rock and psychedelia was original at the time, in line with musical developments pioneered by the Byrds, the Mamas & the Papas, Bob Dylan, the Yardbirds, and the Beatles, among other mid-1960s rock bands. Surrealistic Pillow was the first blockbuster psychedelic album by a band from San Francisco, announcing to the world the active bohemian scene that had developed there starting with the Beats during the 1950s, extending and changing through the 1960s into the Haight-Ashbury counterculture. Subsequent exposure generated by the Airplane and others wrought great changes to that counterculture, and by 1968 the ensuing national media attention had precipitated a very different San Francisco scene than had existed in 1966. San Francisco photographer Herb Greene photographed the band for the album’s cover art.

The album was originally released on LP record by RCA Victor in different stereo (LSP-3766) and mono (LPM-3766) editions. The stereo mixes include heavier use of reverberation effects than the mono. The mono version was deleted in the late 1960s and remained unavailable until 2001. The first United Kingdom release replaced some of the original songs with tracks from the group’s first US LP, Jefferson Airplane Takes Off.

Jefferson Airplane03In 2003, the album was ranked number 146 on Rolling Stone magazine’s list of the “500 Greatest Albums of All Time”,[23] maintaining the rating in a 2012 revised list, and dropping to number 471 in the 2020 revised list.[24][25] It was voted number 174 in Colin Larkin’s All Time Top 1000 Albums.[26]

In January 2017, “Somebody to Love” received a gold certification from the Recording Industry Association of America, while “White Rabbit” received a platinum certification.[7]

The first Compact Disc releases were in Japan in 1987 and the US in 1988. A 2001 re-issue by RCA was released as a limited edition gold CD and contained both the stereo and mono recordings. Both mixes were later included as part of the Ignition box set on a standard aluminum CD.

Another stereo reissue appeared on August 19, 2003, with six bonus tracks, including the mono A-sides of “Somebody to Love” and “White Rabbit”. The 2003 reissue was produced by Bob Irwin. (wikipedia)

Ad (Promo Poster)

The second album by Jefferson Airplane, Surrealistic Pillow was a groundbreaking piece of folk-rock-based psychedelia, and it hit like a shot heard round the world; where the later efforts from bands like the Grateful Dead, Quicksilver Messenger Service, and especially, the Charlatans, were initially not too much more than cult successes, Surrealistic Pillow rode the pop charts for most of 1967, soaring into that rarefied Top Five region occupied by the likes of the Beatles, the Rolling Stones, and so on, to which few American rock acts apart from the Byrds had been able to lay claim since 1964. And decades later the album still comes off as strong as any of those artists’ best work. From the Top Ten singles “White Rabbit” and “Somebody to Love” to the sublime “Embryonic Journey,” the sensibilities are fierce, the material manages to be both melodic and complex (and it rocks, too), and the performances, sparked by new member Grace Slick on most of the lead vocals, are inspired, helped along by Jerry Garcia (serving as spiritual and musical advisor and sometimes guitarist).

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Every song is a perfectly cut diamond, too perfect in the eyes of the bandmembers, who felt that following the direction of producer Rick Jarrard and working within three- and four-minute running times, and delivering carefully sung accompaniments and succinct solos, resulted in a record that didn’t represent their real sound. Regardless, they did wonderful things with the music within that framework, and the only pity is that RCA didn’t record for official release any of the group’s shows from the same era, when this material made up the bulk of their repertory. That way the live versions, with the band’s creativity unrestricted, could be compared and contrasted with the record. The songwriting was spread around between Marty Balin, Slick, Paul Kantner, and Jorma Kaukonen, and Slick and Balin (who never had a prettier song than “Today,” which he’d actually written for Tony Bennett) shared the vocals; the whole album was resplendent in a happy balance of all of these creative elements, before excessive experimentation (musical and chemical) began affecting the band’s ability to do a straightforward song. The group never made a better album, and few artists from the era ever did. (by Bruce Eder)


Marty Balin (guitar, vocals)
Jack Casady (bass guitar, guitar)
Spencer Dryden (drums, percussion)
Paul Kantner (guitar, vocals)
Jorma Kaukonen (lead guitar, vocals)
Grace Slick (vocals, keyboars, recorder)
Jerry Garcia (guitar on 04., 05., 11., 23. + 24.)Booklet07+08

01. She Has Funny Cars (Kaukonen/Balin) 3.09
02. Somebody To Love (D. Slick) 2.59
03. My Best Friend (Spence) 3.04
04. Today (Balin/Kantner) 3.01
05. Comin’ Back To Me (Balin) 5.23
06. 3/5 Of A Mile In 10 Seconds (Balin) 3.43
07. D.C.B.A.–25 (Kantner) 2.38
08. How Do You Feel (Mastin) 3.33
09. Embryonic Journey (Kaukonen) 1.54
10. White Rabbit (G.Slick) 2.33
11. Plastic Fantastic Lover (Balin) 2.39
mono versions:
12. – 22.
23. In The Morning (Kaukonen) 6.20
24. J.P.P. McStep B. Blues (Spence) 2.36z
25. Go To Her” (version two) (Kantner/Estes) 4.02
26. Come Back Baby (Traditional) 2.56




More from Jefferson Airplane:

The Beatles – Sgt. Pepper’s Lonely Hearts Club Band (1967)

FrontCover1Sgt. Pepper’s Lonely Hearts Club Band is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967,[nb 1] it spent 27 weeks at number one on the Record Retailer chart in the United Kingdom and 15 weeks at number one on the Billboard Top LPs chart in the United States. It was lauded by critics for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture. Its release was a defining moment in 1960s pop culture, heralding the Summer of Love, while the album’s reception achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form.

At the end of August 1966, the Beatles permanently retired from touring and pursued individual interests for the next three months. During a return flight to London in November, Paul McCartney had an idea for a song involving an Edwardian military band that formed the impetus of the Sgt. Pepper concept. Sessions began on 24 November at EMI Studios with compositions inspired by the Beatles’ youth, but after pressure from EMI, the songs “Strawberry Fields Forever” and “Penny Lane” were released as a double A-side single in February 1967 and left off the LP.

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The album was loosely conceptualised as a performance by the fictional Sgt. Pepper band, an idea that was conceived after recording the title track. A key work of British psychedelia, it incorporates a range of stylistic influences, including vaudeville, circus, music hall, avant-garde, and Western and Indian classical music. The band continued the technological experimentation marked by their previous album, Revolver, this time without an absolute deadline for completion. With producer George Martin and engineer Geoff Emerick, the group coloured much of the recordings with sound effects and tape manipulation, as exemplified on “Lucy in the Sky with Diamonds”, “Being for the Benefit of Mr. Kite!” and “A Day in the Life”. Recording was completed on 21 April. The cover, which depicts the Beatles posing in front of a tableau of celebrities and historical figures, was designed by the pop artists Peter Blake and Jann Haworth.

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Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era’s youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. It is considered one of the first art rock LPs, a progenitor to progressive rock, and the start of the album era. In 1968, it won four Grammy Awards, including Album of the Year, the first rock LP to receive this honour; in 2003 it was inducted into the National Recording Registry by the Library of Congress. It has topped several critics’ and listeners’ polls for the best album of all time, including those published by Rolling Stone magazine and in the book All Time Top 1000 Albums, and the UK’s “Music of the Millennium” poll. It remains one of the best-selling albums of all time and was still, in 2018, the UK’s best-selling studio album. More than 32 million copies had been sold worldwide as of 2011. (wikipedia)

Sgt. Pepper 50th anniversary billboard in London:

With Revolver, the Beatles made the Great Leap Forward, reaching a previously unheard-of level of sophistication and fearless experimentation. Sgt. Pepper, in many ways, refines that breakthrough, as the Beatles consciously synthesized such disparate influences as psychedelia, art-song, classical music, rock & roll, and music hall, often in the course of one song. Not once does the diversity seem forced — the genius of the record is how the vaudevillian “When I’m 64” seems like a logical extension of “Within You Without You” and how it provides a gateway to the chiming guitars of “Lovely Rita.” There’s no discounting the individual contributions of each member or their producer, George Martin, but the preponderance of whimsy and self-conscious art gives the impression that Paul McCartney is the leader of the Lonely Hearts Club Band.

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He dominates the album in terms of compositions, setting the tone for the album with his unabashed melodicism and deviously clever arrangements. In comparison, Lennon’s contributions seem fewer, and a couple of them are a little slight but his major statements are stunning. “With a Little Help From My Friends” is the ideal Ringo tune, a rolling, friendly pop song that hides genuine Lennon anguish, à la “Help!”; “Lucy in the Sky With Diamonds” remains one of the touchstones of British psychedelia; and he’s the mastermind behind the bulk of “A Day in the Life,” a haunting number that skillfully blends Lennon’s verse and chorus with McCartney’s bridge. It’s possible to argue that there are better Beatles albums, yet no album is as historically important as this. After Sgt. Pepper, there were no rules to follow — rock and pop bands could try anything, for better or worse. Ironically, few tried to achieve the sweeping, all-encompassing embrace of music as the Beatles did here. (by Stephen Thomas Erlewine)


George Harrison (guitar, harmonica, percussion, vocals on 08., background vocals)
John Lennon (guitar, vocals, pino, harmonica, sound effects, percussion)
Paul McCartney (bass, vocals, guitar, keyboards, soundeffects)
Ringo Starr (drums, percussion, vocls on 02., harmonica)
Neil Aspinall (tambura, harmonica)
Mal Evans (counting, harmonica)
George Martin (sound effects; harpsichord on 05., harmonium, lowrey organ, glockenspiel on 07., organ on 02.,piano on 04.+ 10.)
Sounds Inc. (saxophones, trombones and French horn on 11.)
french horns on 01.
Neill Sanders – James W. Buck – John Burden -Tony Randall
clarinet on 09.:
Robert Burns – Henry MacKenzie – Frank Reidy

… and many more …


01. Sgt. Peper’s Lonely Hearts Club Band  2.02
02. With A Little Help from My Friends 2.44
03. Lucy In The Sky With Diamonds 3.28
04. Getting Better 2.48
05. Fixing A Hole 2.36
06. She’s Leaving Home 3.35
07. Being For The Benefit Of Mr. Kite ! 2.37
08. Within You Without You 5.05
09. When I’m Sixty-Four  2.38
10. Lovely Rita 2.42
11. Good Morning Good Morning 2.41
12. Sgt. Pepper’s Lonely Hearts Club Band (Reprise) 1.19
13. A Day In The Life 5.34

All songs written by John Lennon & Paul McCartney
except 08., written by George Harrison.




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Who´s who on the frontcover (click on the pic):
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More from The Beatles:

The Moody Blues – Caught Live + 5 (1977)

FrontCover1The Moody Blues were an English rock band formed in Birmingham in 1964, initially consisting of keyboardist Mike Pinder, multi-instrumentalist Ray Thomas, guitarist Denny Laine, drummer Graeme Edge, and bassist Clint Warwick. The group came to prominence playing rhythm and blues music. They made some changes in musicians but settled on a line-up of Pinder, Thomas, Edge, guitarist Justin Hayward, and bassist John Lodge, who stayed together for most of the band’s “classic era” into the early 1970s.

Their second album, Days of Future Passed, which was released in 1967, was a fusion of rock with classical music which established the band as pioneers in the development of art rock and progressive rock. It has been described as a “landmark” and “one of the first successful concept albums”. The group toured extensively through the early 1970s, then took an extended hiatus from 1974 until 1977.

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Founder Mike Pinder left the group a year after they re-formed and was replaced by Swiss keyboardist Patrick Moraz in 1978. In the following decade they took on a more synth-pop sound and produced The Other Side of Life in 1986, which made them the first act to earn each of its first three top 10 singles in the United States in a different decade.[10] Health troubles led to a diminished role for founder Ray Thomas throughout the 1980s, though his musical contributions rebounded after Moraz departed in 1991. Thomas retired from the band in 2002.

The band’s last album was the Christmas album December (2003), after which they decided to forgo recording any further albums.However, they continued to tour throughout the 2000s and later reunited periodically for events, one-off concerts, short tours and cruises, until Edge’s retirement in 2018.

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The Moody Blues’ most successful singles include “Go Now”, “Nights in White Satin”, “Tuesday Afternoon”, “Question”, “Gemini Dream”, “The Voice” and “Your Wildest Dreams”. The band has sold 70 million albums worldwide, which includes 18 platinum and gold LPs. They were inducted into the Rock and Roll Hall of Fame in 2018.

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Caught Live + 5 is a live album by The Moody Blues, consisting of a 12 December 1969 live show at the Royal Albert Hall and five previously unreleased studio recordings from 1967 to 1968.

The band’s performance was a popular and critical success at the time. In his newspaper review of the event, music critic Jack Scott called the concert a “knockout victory for progressive pop,” having a “rich, full sound that combined sensitivity with sheer popular punch.”

… [B]eautifully controlled waves of volume kept excitement high … They’re not slaves to volume. Power was used judiciously with splendid effect, producing a clean-cut, undulating sound…

The “+5” studio tracks were re-released on their 1987 album Prelude.

The 8-track tape version of this album has the distinction of being one of the few 8-tracks that is arranged exactly like the album, with no song breaks.

While Caught Live + 5 managed to reach #26 during its American chart run, it missed the British listings completely, the first time this had occurred for The Moody Blues since their 1965 debut The Magnificent Moodies (although that album had reached number 5 on the NME album chart).

This is the first Moody Blues album since Days of Future Passed not to feature cover artwork by Philip Travers. Decca Records instead used British art design group Hipgnosis. (wikipedia)

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Due to interpersonal strife, the Moody Blues called it quits between 1972’s Seventh Sojourn and 1978’s Octave. Presumably attempting to satiate hungry Moodies fans, Threshold released this vintage concert recording from a 1969 Royal Albert Hall show. The band was young and at the peak of its popularity, and they sound full of promise and ambition. Most of the songs come from their classic concept album Days of Future Passed and its two successors. Having not yet settled into a more comfortable ballad mode, the group was at the peak of its psych/prog powers. Mike Pinder’s Mellotron is unleashed in all its faux-string section glory on “Tuesday Afternoon” and the evergreen “Nights in White Satin,” and Ray Thomas’ pixie-like flute presence colors pretty ballads such as “Are you Sitting Comfortably?” The most impressive thing about Caught Live + 5 is that the Moodies, whose reputation was made on their larger-than-life studio achievements, proved more than up to the task of reproducing these achievements live. As a bonus, there are five tracks included with Caught Live, studio rarities from the same time period. (by Rovi Staff)


Graeme Edge (drums, percussion)
ustin Hayward (vocals, guitar)
John Lodge (bass, background vocals)
Mike Pinder (mellotron, background vocals)
Ray Thomas (vocals, flute, harmonica, tambourine)


01. Gypsy (Of A Strange And Distant Time) (Hayward) 4.04
02.The Sunset (Pinder) 4.33
03. Dr. Livingstone, I Presume (Thomas) 3.23
04. Never Comes The Day (Hayward) 5.40
05. Peak Hour (John Lodge) 5.13
06. Tuesday Afternoon (Hayward) 4.51
07. Are You Sitting Comfortably? (Hayward/Thomas) 4.22
08. The Dream (Edge) 0.58
09. Have You Heard (Part 1) (Pinder) 1.22
10. The Voyage (Pinder) 3.37
11. Have You Heard (Part 2) (Pinder) 2.33
12. Nights In White Satin (Hayward) 5.56
13. Legend Of A Mind (Thomas) 7.05
14. Ride My See-Saw (Lodge) 4.30
15. Gimme A Little Somethin’ (Lodge) 3.13
16. Please Think About It (Pinder) 3.44
17. Long Summer Days (Hayward) 3.12
18. King And Queen (Hayward) 3.56
19. What Am I Doing Here? (Hayward) 3.34

Tracks 1–14 are live while tracks 15–19 are studio recordings.




More from The Moody Blues:

Sonny & Cher – The Beat Goes On + 3 (1967)

FrontCover1Sonny & Cher were an American pop duo of entertainers made up of husband and wife Sonny Bono and Cher in the 1960s and 1970s. The couple started their career in the mid-1960s as R&B backing singers for record producer Phil Spector.

The pair first achieved fame with two hit songs in 1965, “Baby Don’t Go” and “I Got You Babe”. Signing with Atco/Atlantic Records, they released three studio albums in the late 1960s, as well as the soundtrack recordings for two unsuccessful movies, Good Times and Chastity, with Cher contributing vocals to one cut, “Chastity’s Song (Band of Thieves)”. In 1972, after three years of silence, the couple returned to the studio and released two other albums under the MCA/Kapp Records label.

Sonny & Cher03

In the 1970s, they also positioned themselves as media personalities with two top ten TV shows in the US, The Sonny & Cher Comedy Hour and The Sonny & Cher Show. The couple’s career as a duo ended in 1975 following their divorce. In the decade they spent together, Sonny and Cher were nominated for two Grammy Awards and sold over 40 million records worldwide. Rolling Stone ranked them No. 18 on its list of the 20 Greatest Duos of All Time.

Performing under her first name, Cher went on to a highly successful career as a solo singer and actress, while Sonny Bono was eventually elected to Congress as a Republican U.S. Representative from California. The two performers were inducted to the Hollywood Walk of Fame in 1998, following Sonny’s death in a skiing accident. (wikipedia)

Sonny & Cher02

And here´s a nice French EP with thei hit “The Beat Goes” and three more tracks (taken from their album “In Case You´re In Love”

Sonny & Cher were a real beautiful pop duo … with lots of good songs.


Sonny Bono (vocals)
Cherilyn “Cher” Sarkisian (vocals)
a bunch of unknown studio musicians

Sonny & Cher01

01. Tjhe Beat Goes On 3.30
02. Love Don´t Come 3.00
03. Living For You 3.37
04. Monday 2.57

All songs written by Sonny Bono



More from Sonny & Cher:

The Byrds – Younger Than Yesterday (1967)

LPFrontCover1So you want to be a Rock N Roll star …

The Byrds  were an American rock band formed in Los Angeles, California in 1964. The band underwent multiple lineup changes throughout its existence, with frontman Roger McGuinn (known as Jim McGuinn until mid-1967) remaining the sole consistent member. Although they only managed to attain the huge commercial success of contemporaries like the Beatles, the Beach Boys, and the Rolling Stones for a short period in the mid-1960s, the Byrds are today considered by critics to be nearly as influential as those bands. Their signature blend of clear harmony singing and McGuinn’s jangly twelve-string Rickenbacker guitar was “absorbed into the vocabulary of rock” and has continued to be influential.

Initially, the band pioneered the musical genre of folk rock as a popular format in 1965, by melding the influence of the Beatles and other British Invasion bands with contemporary and traditional folk music on their first and second albums, and the hit singles “Mr. Tambourine Man” and “Turn! Turn! Turn!”. As the 1960s progressed, the band was influential in originating psychedelic rock and raga rock, with their song “Eight Miles High” and the albums Fifth Dimension (1966), Younger Than Yesterday (1967) and The Notorious Byrd Brothers (1968). They also played a pioneering role in the development of country rock, with the 1968 album Sweetheart of the Rodeo representing their fullest immersion into the genre.

The Byrds1965

The original five-piece lineup of the Byrds consisted of Jim McGuinn (lead guitar, vocals), Gene Clark (tambourine, vocals), David Crosby (rhythm guitar, vocals), Chris Hillman (bass guitar, vocals), and Michael Clarke (drums). This version of the band was relatively short-lived; by early 1966, Clark had left due to problems associated with anxiety and his increasing isolation within the group. The Byrds continued as a quartet until late 1967, when Crosby and Clarke also departed. McGuinn and Hillman decided to recruit new members, including country rock pioneer Gram Parsons, but by late 1968, Hillman and Parsons had also exited the band. McGuinn elected to rebuild the band’s membership; between 1968 and 1973, he helmed a new incarnation of the Byrds that featured guitarist Clarence White, among others. McGuinn disbanded the then-current lineup in early 1973 to make way for a reunion of the original quintet. The Byrds’ final album was released in March 1973, with the reunited group disbanding later that year.

The Byrds1967

Several former members of the band went on to successful careers of their own, either as solo artists or as members of such groups as Crosby, Stills, Nash & Young, the Flying Burrito Brothers and the Desert Rose Band. In 1991, the Byrds were inducted into the Rock and Roll Hall of Fame, an occasion that saw the five original members performing together for the last time. Gene Clark died of a heart attack later that year, while Michael Clarke died of liver failure in 1993. McGuinn, Crosby, and Hillman remain active.


Younger Than Yesterday is the fourth studio album by the American rock band the Byrds and was released on February 6, 1967 on Columbia Records (see 1967 in music). It saw the band continuing to integrate elements of psychedelia and jazz into their music, a process they had begun on their previous album, Fifth Dimension. In addition, the album captured the band and record producer Gary Usher experimenting with new musical textures, including brass instruments, reverse tape effects and an electronic oscillator.

The album also marked the emergence of the band’s bass player Chris Hillman as a talented songwriter and vocalist. Prior to Younger Than Yesterday, Hillman had only received one shared writing credit with the Byrds, but this album saw him credited as the sole composer of four songs and a co-writer of “So You Want to Be a Rock ‘n’ Roll Star”.[5] Byrds expert Tim Connors has remarked that two of Hillman’s compositions on Younger Than Yesterday exhibited country and western influences and thus can be seen as early indicators of the country rock experimentation that would feature—to a greater or lesser degree—on all of the Byrds’ subsequent albums.


Upon release, the album peaked at number 24 on the Billboard Top LPs chart and reached number 37 on the UK Albums Chart. It was preceded by the “So You Want to Be a Rock ‘n’ Roll Star” single in January 1967, which reached the Top 30 of the Billboard Hot 100.[10] Two additional singles taken from the album, “My Back Pages” and “Have You Seen Her Face”, were also moderately successful on the Billboard singles chart. However, none of the singles taken from the album charted in the United Kingdom. Music critics Richie Unterberger and David Fricke have both remarked that although it was largely overlooked by the public at the time of its release, the album’s critical standing has improved over the years and today Younger Than Yesterday is considered one of the Byrds’ best albums. The title of Younger Than Yesterday is derived from the lyrics of “My Back Pages”, a song written by Bob Dylan, which was covered on the album. (wikipedia)

AdYounger Than Yesterday was somewhat overlooked at the time of its release during an intensely competitive era that found the Byrds on a commercial downslide. Time, however, has shown it to be the most durable of the Byrds’ albums, with the exception of Mr. Tambourine Man. David Crosby, Roger McGuinn, and especially Chris Hillman come into their own as songwriters on an eclectic but focused set blending folk-rock, psychedelia, and early country-rock. The sardonic “So You Want to Be a Rock & Roll Star” was a terrific single; “My Back Pages,” also a small hit, was the last of their classic Dylan covers; “Thoughts and Words,” the flower-power anthem “Renaissance Fair,” “Have You Seen Her Face,” and the bluegrass-tinged “Time Between” are all among their best songs. The jazzy “Everybody’s Been Burned” may be Crosby’s best composition, although his “Mind Gardens” is one of his most excessive. (by Richie Unterberger)


Except the song “Mind Gardens”, this whole album is another flawless masterpiece by The Byrds. All the songs are hook filled and the whole album is very much in the vein of The Beatles’ Revolver – a lot of dreamy songs, backward guitars, avant garde instrumentation and Beatlesque harmonies especially the song “Have You Seen Her Face” – which is very Beatlesque. It also features their next best (after Mr Tambourine Man of course) Dylan cover – My Back Pages. Beautiful singing with jangly guitar tones make it a fresh listen even now. The confessional Everybody’s Been Burned is another major highlight. But still compared to their previous album, I would consider it a tad restrained – the previous album oozed freedom and experimentation where as this one sounds a little restrained overall. Nevertheless, it is a brilliant album and a great release for 1967, which also had so many other iconic albums. (Adithya Paikray)


Michael Clarke (drums)
David Crosby (guitar, vocals)
Chris Hillman (bass, vocals)
Jim McGuinn (vocals, guitar)
Vern Gosdin (guitar)
Hugh Masekela (horns)
Clarence White (guitar)


01. So You Want To Be A Rock ‘N’ Roll Star (McGuinn/Hillman) 2.06
02. Have You Seen Her Face (Hillman) 2.41
03. C.T.A. – 102 (McGuinn/Hippard) 2.28
04. Renaissance Fair (Crosby/McGuinn) 1.52
05. Time Between (Hillman) 1.55
06. Everybody’s Been Burned (Crosby) 3.06
07. Thoughts And Words (Hillman) 2.58
08. Mind Gardens (Crosby) 3.19
09. The Byrds My Back Pages (Dylan) 3.09
10. The Girl With No Name (Hillman) 1.50
11. Why (McGuinn/Crosby) 2.47
12 It Happens Each Day (Crosby) 2.46
13. Don’t Make Waves (McGuinn/Hillman) 1.38
14. My Back Pages (Alternate Version) (Dylan) 2.44
15. Mind Gardens (Alternate Version) (Crosby) 3.47
16. Lady Friend (Crosby) 7.40
17. Old John Robertson (Single Version) R. McGuinn, C. Hillman Rate



More from The Byrds:

So you want to be a rock ‘n’ roll star?
Then listen now to what I say
Just get an electric guitar
Then take some time and learn how to play

And with your hair swung right
And your pants too tight
It’s gonna be alright

Then it’s time to go downtown
Where the agent man won’t let you down
Sell your soul to the company
Who are waiting there to sell plasticware

And in a week or two
If you make the charts
The girls’ll tear you apart

The price you paid for your riches and fame
Was it all a strange game?
You’re a little insane

The money, the game and the public acclaim
Don’t forget what you are
You’re a rock ‘n’ roll star

Quincy Jones – In The Heat Of The Night (OST) (1967)

FrontCover1In the Heat of the Night is a 1967 American mystery drama film directed by Norman Jewison. It is based on John Ball’s 1965 novel of the same name and tells the story of Virgil Tibbs, a black police detective from Philadelphia, who becomes involved in a murder investigation in a small town in Mississippi. It stars Sidney Poitier and Rod Steiger, and was produced by Walter Mirisch. The screenplay was by Stirling Silliphant.

The film won five Academy Awards, including the 1967 awards for Best Picture and Rod Steiger for Best Actor.

The quote “They call me Mister Tibbs!” was listed as number 16 on the American Film Institute’s 100 Years…100 Movie Quotes, a list of top film quotes. In 2002, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”.

In 1966, a wealthy industrialist named Phillip Colbert has moved from Chicago to Sparta, Mississippi, to build a factory there. Late one night, police officer Sam Wood discovers Colbert’s murdered body lying in the street.


Chief Gillespie leads the investigation. A doctor estimates that Colbert had been dead for a few hours. At the train station, Wood finds a black man, Virgil Tibbs, and arrests him. Gillespie accuses Tibbs of the murder, and is embarrassed to learn Tibbs is a police officer from Philadelphia. Gillespie phones Tibbs’s chief, who informs Gillespie that Tibbs is a top homicide detective and recommends that he should assist the investigation. The idea does not appeal to either Gillespie or Tibbs, but for reasons of their own they reluctantly agree. Tibbs examines Colbert’s body and concludes the murder happened earlier than the doctor had estimated, that the killer was right-handed, and that the victim had been killed elsewhere and then moved to where the body was found.

Gillespie arrests another suspect, who protests his innocence. The police are planning to MoviePosterbeat him into confessing, but Tibbs reveals he is left-handed and has an alibi backed up by witnesses. Colbert’s widow is frustrated by the ineptitude of the police and impressed by Tibbs. She threatens to halt construction of the factory unless Tibbs leads the investigation, and the town’s leading citizens are forced to go along with her wish. The two policemen begin to respect each other as they are forced to work together.

Tibbs initially suspects plantation owner Endicott, a genteel racist and one of the most powerful individuals in town, who publicly opposed the new factory. When Tibbs interrogates Endicott, Endicott slaps him in the face and Tibbs slaps him back. Endicott sends a gang of thugs after Tibbs. Gillespie rescues Tibbs and tells him to leave town for his safety, but Tibbs is convinced he can solve the case.

Tibbs asks Wood to re-trace his car patrol route on the night of the murder, and Gillespie joins them. Tibbs reveals that Wood has changed the route of his patrol. Gillespie discovers that Wood made a sizable deposit into his bank account the day after the murder. He starts to suspect Wood and arrests him, despite Tibbs’s protests. Purdy, a hostile local, brings his 16-year-old sister Delores to the police station and files charges against Wood for getting her pregnant. Tibbs insists on being present when Delores is questioned. Purdy is offended that a black man was present at his sister’s questioning, and gathers a mob to attack Tibbs. Meanwhile, Tibbs tells Gillespie that the murder was committed at the site of the planned factory, which clears Wood of the murder charge, because he couldn’t have driven both his and Colbert’s cars back into town. Tibbs adds that he knows why Wood changed his route: at night Delores likes to display her naked body to whoever is outside, and Wood, who watches her while on duty, did not want Tibbs to see a white woman in the nude.


Tibbs visits a backstreet abortionist, who under pressure reveals that she is about to perform an abortion on Delores. Delores arrives, sees Tibbs, and runs away. Tibbs follows her and comes face to face with her armed boyfriend, Ralph, a cook from a local roadside diner. At that moment Purdy’s mob arrives on the scene and holds Tibbs at gunpoint. Tibbs shouts at Purdy to check Delores’ purse, that it contains money Ralph gave her for an abortion, which he got when he robbed and killed Colbert. Purdy grabs the purse and looks inside, and realizes Tibbs is right. Purdy confronts Ralph for getting his sister pregnant, and a startled Ralph shoots Purdy dead. Tibbs grabs Ralph’s gun, and just then Gillespie arrives on the scene. Ralph is arrested and confesses to Colbert’s murder: he had gone to ask Colbert for a job at the new factory, but ended up attacking him and taking his money. “That’s all. I didn’t mean to kill him,” are the final words of Ralph’s taped confession.

The final scene shows Tibbs boarding a train bound for Philadelphia, as Gillespie, having carried his suitcase, respectfully bids him farewell.


The film score was composed, arranged and conducted by Quincy Jones, and the soundtrack album was released on the United Artists label in 1967. The title song performed by Ray Charles, composed by Quincy Jones, with lyrics by Alan and Marilyn Bergman was released as a single by ABC Records and reached #33 on the Billboard Hot 100 chart and #21 on the Hot Rhythm & Blues Singles chart.

Quincy Jones01

AllMusic’s Steven McDonald said the soundtrack had “a tone of righteous fury woven throughout” and that “the intent behind In the Heat of the Night was to get a Southern, blues-inflected atmosphere to support the angry, anti-racist approach of the picture … although the cues from In the Heat of the Night show their age”. The Vinyl Factory said “this soundtrack to a film about racism in the South has a cool, decidedly Southern-fried sound with funk-bottomed bluesy touches, like on the strutting ‘Cotton Curtain’, the down ‘n’ dirty ‘Whipping Boy’ or the fat ‘n’ sassy ‘Chief’s Drive to Mayor'”.

What a great movie, what  great soundtrack !


The Quincy Jones Orchestra
Gil Bernal (vocals on 08.)
Clarke Boomer (vocals on 16.)
Ray Brown (bass)
Glen Campbell (vocals, banjo on 09.)
Ray Charles (vocals on 01., piano on 15.)
Don Elliott (human instrument)
Roland Kirk (flute)
Billy Preston (organ on 01.)
The Raelettes (background vocals on 01.)
Bobby Scott (tack piano)
Travis Lewis (vocals on 16.)

French frontcover:

01.In The Heat Of The Night 2.32
02. Peep-Freak Patrol Car 1.35
03. Cotton Curtain 2.41
04. Where Whitey Ain’t Around 1.28
05. Whipping Boy 1.30
06. No You Won’t 1.35
07. Nitty Gritty Time 2.07
08. It Sure Is Groovy! 2.34
09. Bowlegged Polly 2.03
10. Shag Bag, Hounds & Harvey 3.47
11. Chief’s Drive To Mayor 1.07
12. Give Me Until Morning 1.12
13. On Your Feet, Boy! 2.03
14. Blood & Roots 1.11
15. Mama Caleba’s Blues 5.33
16. Foul Owl 2.32

Music: Quincy Jones
Lyrics: Alan Bergman and Marilyn Bergman




Jimmy Bryant – The Fastest Guitar In The Country (1967)

FrontCover1Ivy J. Bryant, Jr. (March 5, 1925 – September 22, 1980), known as Jimmy Bryant, was an American country music guitarist.

Bryant was born in Moultrie, Georgia, the oldest of 12 children. During the Great Depression he played the fiddle on street corners to help the family buy food, pushed to do so by his father.

After being wounded in World War II, he began working seriously on his guitar playing, influenced heavily by Django Reinhardt. After the war, he returned to Moultrie, then moved to Los Angeles county where he worked in Western films and played music in bars around L.A.’s Skid Row, where he met pioneering pedal steel guitarist Speedy West. West, who joined Cliffie Stone’s popular Hometown Jamboree local radio and TV show, suggested Bryant be hired when the show’s original guitarist departed. That gave Bryant access to Capitol Records since Stone was a Capitol artist and talent scout.

In 1950 Tex Williams heard Bryant’s style and used him on his recording of “Wild Card”. In addition, Bryant and West played on the Tennessee Ernie Ford-Kay Starr hit “I’ll Never Be Free”, leading to both men being signed to Capitol as instrumentalists. Bryant and West became a team, working extensively with each other.

Jimmy Bryant01

Bryant was a difficult musician to work with. By 1955 he left Hometown Jamboree (retaining his friendship with West) and after various clashes with his Capitol producer Ken Nelson, the label dropped him in 1956. In 1957 Jimmy Bryant was a part of one of the first integrated television shows featuring popular radio and television star Jimmie Jackson who hosted the show along with black Jazz violinist and recording star, Stuff Smith and black jazz percussionist and recording star, George Jenkins. He continued working in Los Angeles and in the early 1960s he and his trio made an appearance in the Coleman Francis film The Skydivers.

During the 1960s he shifted into music production. Waylon Jennings made a hit of his song “Only Daddy That’ll Walk the Line”. He can also be heard playing fiddle on the Monkees’ “Sweet Young Thing”.[1] In the early 1970s Bryant ran a recording studio in Las Vegas, but finally relocated to Georgia before settling in Nashville in 1975, the same year he reunited with Speedy West for a reunion album produced by Nashville steel guitarist Pete Drake. Bryant played in Nashville bars and did some recording work but his personality did not mesh well with Nashville’s highly political music and recording industry. In 1978, in declining health, Bryant learned that he had lung cancer; he was a heavy smoker.

He died in Moultrie in September 1980 at the age of 55. (by wikipedia)

Jimmy Bryant03

And here´s a real great album:

Fretboard fanatics…fret no more! Here at last is the album that christened Jimmy Bryant with the distinct moniker of “Fastest Guitar in the Country.” After a run of success with steel guitarist Speedy West on Capitol Records, Jimmy Bryant signed a solo contract with Imperial Records in the mid ’60s. While Bryant’s recordings with West established him as a fretboard genius, it was the 1967 release of The Fastest Guitar in the Country that left the disc jockey world wondering if his lighting speed was legitimate. Naysayers were left in awe as they witnessed Bryant’s dizzying technique at a DJ convention in Nashville. Bryant’s frenzied fretboard flair is in full effect on his rendition of the classic “Sugar Foot Rag” and “Little Rock Getaway” bearing evidence as to why this is one of the most electrifying instrumental recordings of all time. This collection of jazz-fueled country pickin’ is the ultimate testament of Jimmy Bryant’s gift to the guitar world. (Promo text)

I’m a professional musician and music educator of many years. Although it’s not my chosen style of guitar playing, Jimmy’s a heck of a picker! (Zoko)

Believe me: Country music with lots of jazz influences (listen to Duke Ellingtons “Caravan”) … enjoy this very special album !


Jimmy Bryant (guitar, fiddle)
a bunch of unknown studio musicians

Jimmy Bryant04

01. Twelfth Street Rag (Bowman) 1.41
02. Little Rock Getaway (Sullivan/Sigman) 1.52
03. Caravan (Ellington/Tizol) 2.30
04. Down Yonder (Gilbert) 1.42
05. Georgia Boogie (Harris/Turner) 1.51
06. Orange Blossom Special (Rouse) 2,24
07. Tico-Tico (Abreu) 1.59
08. Indiana (Back Home Again In Indiana) (MacDonald/Hanley) 2.04
09. Ten Wheels (Harris/Turner) 1.49
10. Stumbling (Confrey) 1.58
11. Voxwagon (Harris/Turner) 1.52
12. Sugarfoot Rag (Garland/Vaughn) 1.29



Jimmy Bryant with the voxmobile:
Jimmy Bryant02


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

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

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

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


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


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


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


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

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





The Kinks – Live At Kelvin Hall (1967)

FrontCover1Live at Kelvin Hall is a 1967/68 live album by British rock group the Kinks. It was recorded at Kelvin Hall in Glasgow, Scotland, in early 1967. The album was released in August 1967 in the US (as The Live Kinks), and January 1968 in the UK. Live at Kelvin Hall received mixed reviews upon release, and sold poorly.

The album was first re-released on CD in 1987. In 1998, the album was reissued with both the mono and stereo mixes present. Unlike many albums in the Kinks catalogue which have received Deluxe Edition formats, Live At Kelvin Hall was passed on by Andrew Sandoval, who, at one point, attempted to remix the album. The mono mix was absent from the 2011 box set The Kinks In Mono, but was present in the 2005 box set The Pye Album Collection.

The Kinks played two sets in the Scene ’67 Theatre inside Kelvin Hall on 1 April 1967; one at 6:30 and the other at 9:30 pm, with the bands Sounds Incorporated and the Fortunes opening. The entire concert was recorded on a 4-track Pye Mobile Recording Unit owned by the group’s label, Pye Records. The Kinks’ set was the finale of a ten-day teen music-festival, sponsored by a local discotheque club and The Daily Record, a Glasgow newspaper.


On 3 April, post-production was underway for the scheduled live album. The group also took part in sessions to “enhance” the recordings—writer Andy Miller notes that …Kelvin Hall “is perhaps not as live as all that. Sessions were undertaken to ‘sweeten’ the original tapes. Close listening seems to reveal that the audience hysteria is an extended, repeating tape loop.” It is also notable that an entire fourth of the 4-track mix was devoted to the crowd’s screams and yells. Doug Hinman, in his 2004 book All Day And All Of The Night, also states that “it appears that overdubs [were] made (noticeable … on the released album’s guitar solo on ‘Till The End Of The Day’, and the differing guitar solos between the mono and stereo mixes of ‘You Really Got Me’).” A press release followed on the same day, announcing that a live album was scheduled for future release.

Live at Kelvin Hall was released in the US as The Live Kinks on 16 August 1967, where it went virtually unnoticed. It stalled at number 162 in the Billboard charts, during a four-week[4] run.[5] The album fared no better in the UK; upon release in January 1968 as Live at Kelvin Hall, it received only moderate advertising and mixed reviews. New Musical Express: “… at Glasgow the Kinks had every encouragement to give a good show and what you can hear above the audience noise is good. I don’t know if I like a backing of whistles and screams.” Live at Kelvin Hall failed to chart. (by wikipedia)


Recorded in Glasgow, Scotland, while the Kinks were on tour in 1967, Live at Kelvin Hall (aka The Live Kinks) has the distinction of being the only undoctored concert recording of a British Invasion band at the peak of its popularity. Like the Stones and the Beatles, the Kinks faced audiences filled with screaming, shrieking teenagers. Often, the noise was so loud that it drowned out the amps on-stage, and since the band couldn’t hear each other, its performances were ragged and rough. The Kinks held together in Glasgow better than their peers, but Live at Kelvin Hall is still rough going. True, it does offer an audio document of the band in concert, but the crowd is so damn noisy, it’s hard to hear anything besides screaming. The band is buried under this cacophony, and while they turn out some energetic performances — not only of hits like “Till the End of the Day,” “You Really Got Me,” and the sing-along “Sunny Afternoon” — they’re just sloppy enough to be a little tiring when combined with the roaring crowd. Live at Kelvin Hall may be interesting as an historical piece to some collectors, but it falls short of being pleasurable listening. (by Stephen Thomas Erlewine)


Mick Avory (drums)
Dave Davies (guitar, backgroundvocals, vocals  on 04., 07. + 09.)
Ray Davies (vocals, guitar)
Pete Quaife (bass, background vocals)

Alternate fromntcovedrs:

01. Till The End Of The Day (R.Davies) 3.32
02. A Well Respected Man (R.Davies) 3.09
03. You’re Lookin’ Fine (R.Davies) 3.36
04. Sunny Afternoon (R.Davies) 4.54
05. Dandy (R.Davies) 2.11
06. I’m On An Island (R.Davies) 2.53
07. Come On Now (R.Davies) 3.58
08. You Really Got Me (R.Davies) 2.16
09. Medley 8.47
09.1. Milk Cow Blues (Estes)
09.2. Batman Theme (Hefti)
09.3. Tired Of Waiting For You (R.Davies)