Taste (feat. Rory Gallagher) – In Concert (1978)

FrontCover1In 1968 Taste moved to London, with Kennedy as the band’s manager. The band rapidly made an impression on the UK music scene. One highlight was a short July 7th performance at the Woburn Abbey Festival. Taste also recorded tracks for the ‘Top Gear’ music show, which can be found on a bootleg called ‘London Invasion’.

Damery and Kitteringham were replaced at the manager’s behest, with Richard McCracken (bass) and John Wilson (drums). Like Taste’s prior members, the technically proficient McCracken and Wilson also met on the showband scene, and in 1967 formed a short-lived four-piece blues-rock band called ‘Cheese’, that was also generating attention in the UK, but promptly decided to throw their lot in with Gallagher circa August 1968. (New) Taste would continue to build on the reputation inherited, and a contract with the Polydor label would soon follow.

In Concert (attributed to ‘Taste featuring Rory Gallagher’) (1978) – is an early Marquee Club, London concert, of good quality, recorded on the 25th of October 1968, two months after the transition to the MKII line-up. (by hifipig.com)

Taste01

Taste was one of the best blues-rock trios ever … you can call it high energy blues-rock …

Listen to this album (“Blister On The Moon”) and you´ll know why Taste was a real highlight in the history of rock music and of course the start for Rory Gallagher as a solo artist.

Taste02

Personnel:
Rory Gallagher (guitar, vocals)
Richard McCracken (bass)
John Wilson (drums)

BackCover1
Tracklist:
01. Medley: (16.06)
01.1. Movin’ On (Gallagher)
01.2. Pontiac Blues (Gallagher)
01.3. Baby, Please Don’t Go (Traditional)
02. Blister On The Moon (Gallagher) 3.51
03. Sugar Mama  (Traditional) 7.29
04. First Time I Met The Blues (Traditional)
05. Catfish (Traditional) 9.27

LabelB1
*
**

Taste03

Advertisements

Milva – Tango (1968)

FrontCover1Maria Ilva Biolcati (born 17 July 1939), known as Milva [ˈmilva], is an Italian singer, stage and film actress, and television personality. She is also known as La Rossa (Italian for “The Redhead”), due to the characteristic colour of her hair, and additionally as La Pantera di Goro (“The Panther of Goro”), which stems from the Italian press having nicknamed the three most popular Italian female singers of the 1960s, combining the names of animals and the singers’ birth places. Popular in Italy and abroad, she has performed on musical and theatrical stages the world over, and has received popular acclaim in her native Italy, and particularly in Germany where she has often participated in musical events and televised musical programmes. She has also released numerous albums in France, Japan, Korea, Greece, Spain and South America.

She has collaborated with European composers and musicians such as Ennio Morricone in 1965, Francis Lai in 1973, Mikis Theodorakis in 1978 (Was ich denke became a best selling album in Germany), Enzo Jannacci in 1980, Vangelis in 1981 and 1986, Franco Battiato in 1982 and 1986.

Her stage productions of Bertolt Brecht’s recitals and Luciano Berio’s operas have toured the world’s theatres. She has performed at La Scala in Milan, at the Deutsche Oper in Berlin, at the Paris Opera, in the Royal Albert Hall in London, and at the Edinburgh Festival, amongst others.

Milva02

Having received success both in Italy and internationally, she remains to this day one of the most popular Italian personalities in the fields of music and theatre. Her artistic stature has been officially recognised by the Italian, German and French republics, each of which have bestowed her with the highest honours. She is the only Italian artist in contemporary times, in fact, who is simultaneously: Chevalier of the National Order of the Legion of Honour of the French Republic (Paris, 11 September 2009), Commander of the Order of Merit of the Italian Republic (Rome, 2 June 2007), Officer of the Order of Merit of the Federal Republic of Germany (Berlin, 2006) and Officier of the Ordre des Arts et des Lettres (Paris, 1995).

In 1968, Milva released her fifth studio album, Tango, an album that consisted of tango standards sung in Italian. The album was released in Italy, Germany, Spain and Brazil and featured an orchestra conducted by Iller Pattacini. (by wikipedia)

And here´s this beautiful album … if you like Tango music combined with a real strong and erotic voice … than you should listen ….

Milva was one of the greatest singers from Italy ! Believe me !

Milva01
Personnel:
Milva (vocals)
+
Iller Pattacini Orchestra

Booklet1

Tracklist:
01. La Cumparsita (Questo Tango) (Rondinella/Rodriguez) 3.20
02. A Media Luz (Guardando Intorno A Te) (Lonzi/Donato) 2.36
03. Bandoneon Arrabalero (Il Cantastorie Col Bandoneon) (Bachica/Contursi/Bertini) 2.43
04. Inspiracion (La Mia Vita Cambiera) (Paulus/Rondinella) 3.30
05. Cielo Azzurro (Stanotte Sognero) (Rixner) 3.57
06 Adios Muchachos (Vodani/Sanders) 3.02
07. Duelo Criollo (La Donna Del Buono A Nulla) (Rezzano/Bayardo) 3.01
08. Rodriguez Pena (Rodriguez Morirai) (Rondinella/Juan/Vicente) 2.47
09. El Choclo (All’osteria) (Villoldo) 3.01
10. Blue Tango (Il Diario Sa) (Rondinella/Anderson/Parish) 2.50
11. Poema (So Cho Nol Cielo) (Bianco/Melfi) 3.16
12. Adios, Pampa Mia (Canaro/Pelay/Larici/Mores) 4.17

LabelB1
*
**

After Tea – National Disaster (1968)

FrontCover1After Tea was founded in 1967 by Hans van Eijck (organ), Ray Fenwick (guitar) and Polle Eduard (bass/vocals) – all ex-members of the Tee Set – with drummer Martin Hage (ex-Don’t). The group produced three moderate hits in 1967-1968: “Not Just A Flower In Your Hair”, “We Will Be There After Tea” and “Snowflakes on Amsterdam”, all in a psychedelic pop style.

Ray Fenwick left shortly after the recordings of the first LP, “National Disaster” (his work permit had expired) and returned to England to join the Spencer Davis Group. He was replaced by ex-Just Colours guitarist Ferry Lever.

In the Spring of 1968, Polle Eduard was arrested for possession of marijuana and incarcerated for a few months. His temporary replacements were singer Frans Krassenburg (ex-Golden Earrings) and bass player Henk Smitskamp (ex-Motions, to Livin’ Blues). In the Summer of that year, the band scored a surprise hit under the pseudonym De Martinos with “Moest dat nou?” (recorded as a joke).

Martin Hage left later that year, replaced temporarily by Pierre van der Linden (later to Focus, Trace) and then permanently by Ilja Gort (ex-IQ 150).

AfterTea01

Early 1969, the most important songwriter in the band, Hans van Eijck, left to rejoin the Tee Set. He was replaced by German keyboard player Uli Grün (ex-Boots). The group then switched to a more rock-oriented sound. Yet in 1970, Ferry Lever left (also to join the Tee Set) and was not replaced. The band continued as a three-piece for some time, but in 1971 After Tea finally folded. Polle Eduard and Uli Grün were then joined by guitarist Frank van der Kloot and drummer Shel Schellekens, calling themselves Drama. They scored a Top 20 hit with “Mary’s Mama” which they subsequently refused to play live (as the whole thing was a concoction by producer Peter Koelewijn). However, in 1975, Polle Eduard, Ferry Lever and Ilja Gort reunited once more to record the single “Mexico” under the After Tea moniker. Polle Eduard continued his career as a songwriter by penning a few hits for Nico Haak and subsequently recorded an album of Dutch songs one year later, in 1976. Polle continued playing solo and in bands like The Rest (with Hans Vermeulen of Sandy Coast).

AfterTea02Ilja Gort worked as a producer for Basart Records before making a fortune composing music for commercials like the famous Nescafe tune. He now owns a vineyard in France producing his La Tulipe wines.

After his stint with the Tee Set, Hans van Eijck concentrated on writing music for TV and became a successful record producer (Danny de Munck, Marco Borsato). Ferry Lever became a music teacher and a session player. He still plays in the band of singer Rob de Nijs. (by Alex Gitlin)

Based on the success of their debut 45, Decca management wasted no time rushing the group into the studio to record an album. Produced by Bert Schouten, 1967’s “National Disaster” offered up a an entertaining blend of mid-1960s freakbeat, pop, psych, and rock influences. Largely written by van Eijck and Fenwick the song titles pretty much told you what was going on. If tracks like the earlier single ‘Not Just a Flower In Your Hair’, ‘ In the Land of the Bubble Gum Tree’ and ‘The Time Is Nigh’ weren’t a reflection of the age of love, peace and lots of illicit substances, I don’t know what was. Sure it was hopelessly dated (probably within a matter of months of being released), but hearing a lyric like ‘throw away your LSD’ (off of ‘The Time Is Nigh’) had to make you laugh. Equally good were the band’s occasional stabs at blue-eyed soul (‘National Disaster’), and more conventional rock (‘Long Ago’). Hard to believe, but in spite of van Eijck’s heavily accented vocals, the combination of trippy studio effects (phasing, offbeat tempos, etc.) and some surprisingly strong material made for an album that stood up well against better know UK and US competitors.  (by badcatrecords.com)

Single2

In other words: This is a pretty good pop-psychedelic album from the Sixties … one of these forgotten pearls of this wonderful decade !

And “(We Will Be There) After Tea” is a classic song from the Sixties !

Single1

Personnel:
Polle Eduard (organ, bass, vocals)
Hans van Eijck (guitar, keyboards, vocals)
Ray Fenwick (guitar, vocals)
Martin Hage (drums, vocals)

BackCover1
Tracklist:
01. Gotta Get You In My Garden Girl (v.Eijck) 2.53
02. A Lot To Do (v.Eijck) 2.04
03. Not Just A Flower In Your Hair (v.Eijck) 2.41
04. In The Land Of The Bubble Gum Tree (v.Eijck(Fenwick) 2.13
05. I’ll Push You For An Answer (v.Eijck) 2.10
06. Don’t Waste Your Love On Me (v.Eijck/Langenbach) 1.27
07. National Disaster (Renwick) 2.04
08. Long Ago (v.Eijck) 4.00
09. The Time Is Nigh (v.Eijck/Fenwick) 3.27
10. Play That Record (v.Eijck) 4.44
11. Been A Sad Day  (Fenwick) 2.53
12. It’s Too Late (v.Eijck) 2.29
+
13. (We Will Be There) After Tea (v.Eijck(Fenwick) 3.02
14. Lemon Coloured Honey Tree (v.Eijck(Fenwick) 3.49

LabelB1

*
**

AfterTea05

Herb Alpert & The Tijuana Brass – The Beat Of The Brass (1968)

FrontCover1The Beat of the Brass is the tenth album release by the popular 1960s instrumental group Herb Alpert & the Tijuana Brass. The album was released on the heels of a television special by the same title (telecast April 22, 1968 over CBS). Tom Mankiewicz, who wrote the special, also provided two paragraphs of liner notes for the album. Explaining the concept behind the album, Mankiewicz writes, “The beat of America is more than a musical experience. It finds its pulse and rhythms in the very life of the country: the crack of a bat against a baseball, the spinning wheels and pounding machinery of a modern factory, a swinging crowd in New Orleans at Mardi Gras, a saddle twisting desperately against his rider…”[2]

It includes Alpert’s only major vocal hit, “This Guy’s In Love With You”, which became an overnight success due to its inclusion during the special, in a sequence featuring Herb and his (first) wife, Sharon. (by wikipedia)

Meant as the companion album to a Herb Alpert & the Tijuana Brass television special of the same name and packaged in a fancy double-fold LP jacket, The Beat of the Brass came out amid signs that Alpert’s hot streak was finally beginning to run out. Not quite. Viewer requests for a new Burt Bacharach song, “This Guy’s in Love with You” — featuring an Alpert vocal — were so strong that A&M released it as a single, which shot up to number one and took The Beat of the Brass with it to the top.

HerbAlpert

Herb’s vocal is touching in its strained naïveté; he sounds sincere, and that overrides the lush, overbearing Bacharach orchestral arrangement. The rest of the album generated an often nostalgic quality then and now; the tunes by John Pisano and Sol Lake are exquisite, and Alpert’s arrangements of songs like “Thanks for the Memory” seem autumnal in quality, as if an era were about to close. The band still has the ability to groove; the vamp on Julius Wechter’s bossa nova “Panama,” with Wechter’s jazzy vibes and Pisano’s strong rhythm guitar, could have been stretched to half an hour. Yet Alpert’s trumpet sounds a bit withered at times, and the band vocals and cloying children’s chorus on “Talk to the Animals” could be done without. (by Richard S. Ginell)

BackCover1

Personnel:
Herb Alpert (trumpet, vocals)
Nick Ceroli (drums)
Bob Edmondson (trombone)
Tonni Kalash (trumpet)
Lou Pagani (piano)
John Pisano (guitar)
Pat Senatore (bass)

Booklet1

Tracklist:
01. Monday, Monday (J.Phillips/M.Phillips) 3.08
02. A Beautiful Friend (Lake) 3.17
03. Cabaret (Ebb/Kander) 2.38
04. Panama (Wechter) 3.36
05. Belz Mein Shtetele Belz (My Home Town) (Jacobs/Olshanetsky) 2.14
06. Talk To The Animals (Bricusse) 2.14
07. Slick (Alpert/Pisano) 3.29
08. She Touched Me (Lake) 2.58
09. Thanks For The Memory (Robin/Rainger) 2.05
10. The Robin (Pisano) 2.22
11. This Guy’s In Love With You (Bacharach/David) 3.55

LabelB1*
**

Linernotes

Inlet01A
Much more albums from this time by A & M Records

Rob Hoeke Boogie Woogie Quartet – Robby´s Saloon (1968)

FrontCover1Rob Hoeke (9 January 1939 – 6 November 1999) was a Dutch singer, pianist, composer and songwriter most famous for his renditions in the field of Boogie-woogie releasing over 20 albums. Besides that he played and recorded in a musical variety of styles ranging from Blues, Soul, Rock and Rhythm & Blues.
Rob Hoeke’s most successful period was in the second half of the 1960s and early 1970s with his Rob Hoeke’s Rhythm & Blues Group. He scored hits with “Margio” (number 12 on the Dutch Top 40 in 1966), “Drinking on My Bed” (number 11 in 1966) and “Down South” which would become Hoeke’s signature tune and biggest hit reaching number 6 in 1970. His sole charting album was Four Hands Up, a collaboration with fellow Boogie-woogie artist Hein van der Gaag which charted at number 7 in 1971.

In 1974, Rob Hoeke lost two fingers in a gardening accident and his career all but seemed to be over. After a few years, he started playing and performing for audiences again but his heyday was over. He recorded many more albums, one with Alan Price from the Animals. Hoeke made a solo performance at the first Amsterdam Blues Festival in 1983 where his solo performance received a standing ovation from the audience of 1,100. Subsequently, he made his first solo album Jumpin’ on the “88” for the Oldie Blues label in 1983.

Rob Hoeke died in 1999 after a short illness.(by wikipedia)

And here´s a fine example of this great boogie woogie Player … it´s an instrumentla Album and the musicians celebrate the “Wild West” (including the Comic stars Rantanplant and Lucky Luke !)

Enjoy it as I did  … it´s boogie time !

RobHoeke

Personnel:
Rob Hoeke (keyboards, harmonica)
Will de Meijer (guitar)
Martin Rudelsheim (drums)
Willem Schoone (bass)

BackCover1

Tracklist:

01. Calamity Jane (Hoeke/de Meijer) 3.08
02. Robby’s Saloon (Hoeke/de Meijer) 3.46
03. Marsupilami (Hoeke/de Meijer) 3.13
04. For My Little Gringo (Hoeke/de Meijer) 2.08
05. A Bone For Rataplan (Hoeke/de Meijer) 3.52
06. Deep In The Heart Of Texas (Swander/Hershey) 2.23
07. San Antonio Rose (Wills) 2.25
08. Coyote Will (Hoeke/de Meijer) 2.53
09. Lotus 268 (Hoeke/de Meijer) 3.33
10. Swinging Clock Boogie (Hoeke/de Meijer) 3.09
11. Ode To Lucky Luke (Hoeke/de Meijer) 4.24
12. Red River Valley (Traditional) 2.04

LabelA1
*
**

Fleetwood Mac – Carousel Ballroom (1968)

FrontCover1After distinguishing himself and achieving a level of recognition in Europe, like Eric Clapton before him, Peter Green departed John Mayall’s Bluesbreakers, freeing himself of employment and artistic restrictions. However, unlike most of the British guitar greats, Green was never concerned with flash or becoming a guitar superstar – an attitude that made him one of the most compelling of all the British guitar players from the 1960s. Green could play incisively and cleanly, but was equally adept at ripping with tremendous power. This made listening to any of Green’s material a rewarding experience; many of his originals have a timeless quality that still sounds fresh and intriguing today.

This outstanding early performance by Fleetwood Mac occurred only a week into their first visit to the United States, when Peter Green was only 21 years old. Falling right between the release of their self-titled debut album and their follow-up, Mr. Wonderful, this show captures the band in its early incarnation, when they were still a quartet – and one of the Crusaders of the late ’60s English blues movement. Peter Green was the chief architect of the band’s sound at this point, and was providing the bulk of their original material. Green was beginning to explore music outside traditional blues, and his playing could be wonderfully restrained one minute and powerfully explosive the next, marked by a distinctive vibrato and economy of style. His haunting, sweet-yet-melancholy tone was very distinctive, and was blessed with an inherently human quality that other British guitarists often struggled for.

PeterGreen01

At this early stage, Jeremy Spencer comprised the band’s other creative force. Spencer could authentically recreate Elmore James onstage, and this novel ability, along with a ribald sense of humor (shared by the entire band), helped fuel the band’s early stage shows. Spencer could also create dead-on parodies of 1950s rock ‘n’ roll songs, often of the teen idol variety, giving the band an onstage theatrical element that was both funny and entertaining. The band’s overt sense of humor, in addition to their accomplished musicianship, certainly endeared them to many of the San Francisco music elite.

The set begins in fine fashion with Elmore James’ “Madison Blues,” and Green and Spencer trading relatively simple licks over a relaxed shuffle to warm things up. “My Baby’s Skinny” provides the audience their first taste of Peter Green’s delicious guitar tone. The number is a great early vehicle for Green, who takes lead vocal and peals off biting leads that display his innate ability to play with both penetrating directness and tensioned restraint. Riley King’s “Worried Dream” follows; a lengthy, slow blues number, the tune demonstrates Green at his best, delivering heartfelt vocals and delicious guitar work with great nuance and style.

Two more Elmore James classics are up next, showcasing Jeremy Spencer, and proving just how well he had mastered James’ feel for slide guitar. Both “Dust My Broom” and “Got To Move” feature distinctly different facets of James’ best work and Spencer has a strong handle on both. The group keeps a relaxed groove going underneath that lets Spencer shine. “Trying So Hard To Forget” is an early Peter Green original that has more of a vocal than an instrumental focus, but fits right in with the band’s early repertoire nonetheless.

FleetwoodMac1968_01

The most fascinating number of this set comes next, and again, clearly demonstrates Green’s greatest strengths as a performer. His take on Freddy King’s “Have You Ever Loved A Woman,” a song that would eventually become synonymous with Eric Clapton, is equally as virtuosic, and in some ways even more refined. This is the stuff that made B.B. King himself refer to Peter Green as “the only man to ever make me sweat.” The band increases the tempo and the set speeds to a close with one of Green’s original numbers from their forthcoming second album, Lazy Poker Blues. This new (at the time) number stays close to the studio arrangement, featuring tight ensemble playing and a sizzling guitar solo from Green. (by Alan Bershaw)

FleetwoodMac1968_02

 Personnel:
Mick Fleetwood (drums)
Peter Green (guitar, vocals)
John McVie (bass)
Jeremy Spencer (guitar, vocals)
+
Paul Butterfield (harmonica on 11. – 15.)

BackCover1

Tracklist:
CD1: June 9, 1968 first set
01. Madison Blues (James) 4.31
02. My Baby’s Gone (Edwards) 6.00
03. My Baby’s Skinny (Green) 4.48
04. Worried Dream (King) 9.57
05. Dust My Broom (James) 4.32
06. Got To Move (Williamson) 3.00
07. Worried Mind (Bennett 4.41
08. Instrumental (unknown) 10.29
09. Have You Ever Loved A Woman? (Myles) 7.58
10. Lazy Poker Blues (Green/Adams) 4.49

CD 2: June 9, 1968 second set:
11. Stop Messin’ ‘Round (Green) 2.12
02. I Loved Another Woman (Green) 7.03
03. I Believe (Spencer) 5.17
04. The Sun Is Shining (James) 6.2705. Long Tall Sally (Penniman/Blackwell/Johnson)  4.53
06. Willie & The Hand Jive (Otis) 4.04
07. Tutti Frutti (Penniman/LaBostrie) 3.02
08. Thanks by Peter Green, announcer band intros + crowd noise before encore  0.32
09. Ready Teddy (Marascalco/Blackwell) 3.16

CD 2: June 7 or 8, 1968 S.F. Carousel Ballroom
10. I Need Your Love So Bad (John) 1.46
11. I Believe (James) 4.59
12. Shake Your Moneymaker (James) 9.12
13. Ready Teddy (Marascalco/Blackwell) 2.30
14 Peter Green says thanks, announcer outro + crowd noise 0.19

*
**

Savoy Brown – Blue Matter (1969)

FrontCover1Blue Matter is the third album by the band Savoy Brown. Teaming up once again with producer Mike Vernon, it finds them experimenting even more within the blues framework. Several tracks feature piano (played by Bob Hall, guitarist Kim Simmonds, and vocalist Chris Youlden, who even plays guitar here) as well as trombone.
This album featured a mix of live and studio recordings. The live tracks were recorded on December 6, 1968 at the now defunct City of Leicester College of Education because the band was scheduled to tour the USA and needed additional tracks to complete the album in time for the tour. The booking at the college represented their only chance to record the extra tracks in a live venue before embarking on the tour. An offer to perform the concert free of charge was accepted by Chris Green, the college Social Secretary, who had made the original booking, and the concert was duly recorded, a number of the live tracks being added to the album.
Because Chris Youlden was suffering from tonsillitis, Dave Peverett stood in as lead vocalist on the live tracks.
The album track “Vicksburg Blues” had first appeared as the B-side of Decca single F 12797 (released June 1968), fronted by “Walking by Myself”. (by wikipedia)
The third release by Kim Simmonds and company, but the first to feature the most memorable lineup of the group: Simmonds, “Lonesome” Dave Peverett, Tony “Tone” Stevens, Roger Earl, and charismatic singer Chris Youlden. This one serves up a nice mixture of blues covers and originals, with the first side devoted to studio cuts and the second a live club date recording. Certainly the standout track, indeed a signature song by the band, is the tour de force “Train to Nowhere,” with its patient, insistent buildup and pounding train-whistle climax. Additionally, David Anstey’s detailed, imaginative sleeve art further boosts this a notch above most other British blues efforts.(by Peter Kurtz)

Side One is marked “Studio”; Side Two is marked “Live” and was recorded at The City of Leicester College of Education, Friday 6th December 1968.

SavoyBrownLive1969
Savoy Brown, live in 1969
Personnel:
Roger Earl (drums, percussion)
Bob Hall (piano)
“Lonesome” Dave Peverett (guitar, vocals)
Kim Simmonds (guitar, harmonica, piano)
Tone Stevens (bass)
Chris Youlden (vocals, guitar, piano)
+
Rivers Jobe (bass on 01., 02. + 04.)
Mike Vernon (percussion on 01.)
+
trombones on 01:
Terry Flannery – Keith Martin – Alan Moore – Brian Perrin – Derek Wadsworth

BackCover

Tracklist:
01. Train To Nowhere (Simmonds/Youlden) 4.12
02. Tolling Bells (Simmonds/Youlden) 6.33
03. She’s Got A Ring In His Nose And A Ring On Her Hand (Youlden) 3.07
04. Vicksburg Blues (Hall/Youlden) 4.00
05. Don’t Turn Me From Your Door (Hooker) 5.4
06. Grits Ain’t Groceries (All Around Te World) (bonus track) (Turner) 2.46
07. May Be Wrong (Peverett) 7.56

08. Louisiana Blues (Morganfield) 9.05
09. It Hurts Me Too (London) 6.51
LabelB1
AlternateFrontCover
Alternate frontcover from Australia