Jimi Hendrix – Café Au Go-Go Jam Session 1968 (1988)

FrontCover1In his brief four-year reign as a superstar, Jimi Hendrix expanded the vocabulary of the electric rock guitar more than anyone before or since.

Hendrix was a master at coaxing all manner of unforeseen sonics from his instrument, often with innovative amplification experiments that produced astral-quality feedback and roaring distortion.

His frequent hurricane blasts of noise and dazzling showmanship — he could and would play behind his back and with his teeth and set his guitar on fire — has sometimes obscured his considerable gifts as a songwriter, singer, and master of a gamut of blues, R&B, and rock styles.


Recorded on March 17, 1968 at the Cafe Au Go-Go in New York, these half-dozen largely instrumental jams feature Jimi Hendrix playing with Paul Butterfield (vocals and harmonica), Elvin Bishop (guitar), Harvey Brooks (bass, though his name is misspelled “Marvey Brooks” on the cover), Herbie Rich (keyboards and sax), and Buddy Miles (drums). If this technically speaking isn’t a bootleg, it certainly isn’t part of what’s commonly considered to be his official catalog, the misspelling of Brooks’ name, crude graphics, and nonexistent liner notes being three tell-tale indications. So, too, is the sound quality, which isn’t so bad on the instruments, but certainly isn’t great, with the few vocals there are recorded faintly and the sound balance hardly optimum.


Five of the six tracks are five- to ten-minute bluesy jams that are far from proper songs, as titles like “Beginning of a Jam,” “Monday Jam,” and “Funky Jam” indicate, with the equally imaginatively titled “Jimi Jam” lasting nearly 15 minutes. For the most part the musicians stick to basic blues progressions around which to improvise, and though the playing is flashy and solid, really the pieces — it’s hard to call them “songs” — aren’t developed enough to be memorable. It does get more interesting as the disc progresses, and Jimi finally takes off into some truly inspired soloing on “Jamming Wing,” probably so named for its resemblance to “Little Wing.” Still, most Hendrix fans will be disappointed in this record owing to its lack of strong songs (and singing by Jimi) and subpar sound quality, though serious aficionados will find some interesting things to study here and there. (by Richie Unterberger)


Elvin Bishop (guitar)
Harvey Brooks (bass)
Paul Butterfield (harmonica, vocals)
Jimi Hendrix (guitar)
Buddy Miles (drums)
Herbie Rich (keyboards, saxophone)


01. Beginning Of A Jam 6.25
02 Monday Jam 7:39
03 Jimi Jam 14:47
04 Swing Jimi Jam 5:48
05 Funky Jam 8:02
06 Jamming Wing 8:40




More from Jimi Hendrix:

Led Zeppelin – Led Zeppelin (I) (Deluxe Edition 2014) (1969)

FrontCover1Led Zeppelin were an English rock band formed in London in 1968. The group consisted of vocalist Robert Plant, guitarist Jimmy Page, bassist/keyboardist John Paul Jones, and drummer John Bonham.

With a heavy, guitar-driven sound, they are cited as one of the progenitors of hard rock and heavy metal, although their style drew from a variety of influences, including blues and folk music.

Led Zeppelin have been credited as significantly impacting the nature of the music industry, particularly in the development of album-oriented rock (AOR) and stadium rock.

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Originally named the New Yardbirds, Led Zeppelin’s deal with Atlantic Records gave them considerable artistic freedom. Initially unpopular with critics, they achieved significant commercial success with eight studio albums over ten years. Their 1969 debut, Led Zeppelin, was a top-ten album in several countries and featured such tracks as “Good Times Bad Times”, “Dazed and Confused” and “Communication Breakdown”. Led Zeppelin II (1969) was their first number-one album, and yielded “Ramble On” and “Whole Lotta Love”. In 1970 they released Led Zeppelin III which featured “Immigrant Song”. Their untitled fourth album, commonly known as Led Zeppelin IV (1971), is one of the best-selling albums in history with 37 million copies sold. The album includes “Black Dog”, “Rock and Roll” and “Stairway to Heaven”, with the latter being among the most popular and influential works in rock history. Houses of the Holy (1973) yielded “The Ocean”, “Over the Hills and Far Away” and “The Rain Song”. Physical Graffiti (1975), a double album, featured “Trampled Under Foot” and “Kashmir”.


Page wrote most of Led Zeppelin’s music, particularly early in their career, while Plant wrote most of the lyrics. Jones’s keyboard-based compositions later became central to their music, which featured increasing experimentation. The latter half of their career saw a series of record-breaking tours that earned the group a reputation for excess and debauchery. Although they remained commercially and critically successful, their touring and output, which included Presence (1976) and In Through the Out Door (1979), grew limited, and the group disbanded following Bonham’s death in 1980. Since then the surviving former members sporadically collaborated and participated in one-off reunions. The most successful of these was the 2007 Ahmet Ertegun Tribute Concert in London, with Bonham’s son Jason Bonham on drums.

Led Zeppelin are one of the best-selling music artists of all time; their total record sales are estimated to be between 200 to 300 million units worldwide. They achieved eight consecutive UK number-one albums and six number-one albums on the US Billboard 200, with five of their albums certified Diamond in the US. Rolling Stone magazine described them as “the heaviest band of all time”, “the biggest band of the Seventies”, and “unquestionably one of the most enduring bands in rock history”. They were inducted into the Rock and Roll Hall of Fame in 1995; the museum’s biography of the band states that they were “as influential” during the 1970s as the Beatles were during the 1960s. (wikipedia)

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And here´s their awesome debut album:

Led Zeppelin had a fully formed, distinctive sound from the outset, as their eponymous debut illustrates. Taking the heavy, distorted electric blues of Jimi Hendrix, Jeff Beck, and Cream to an extreme, Zeppelin created a majestic, powerful brand of guitar rock constructed around simple, memorable riffs and lumbering rhythms. But the key to the group’s attack was subtlety: it wasn’t just an onslaught of guitar noise, it was shaded and textured, filled with alternating dynamics and tempos. As Led Zeppelin proves, the group was capable of such multi-layered music from the start. Although the extended psychedelic blues of “Dazed and Confused,” “You Shook Me,” and “I Can’t Quit You Baby” often gather the most attention, the remainder of the album is a better indication of what would come later.

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“Babe I’m Gonna Leave You” shifts from folky verses to pummeling choruses; “Good Times Bad Times” and “How Many More Times” have groovy, bluesy shuffles; “Your Time Is Gonna Come” is an anthemic hard rocker; “Black Mountain Side” is pure English folk; and “Communication Breakdown” is a frenzied rocker with a nearly punkish attack. Although the album isn’t as varied as some of their later efforts, it nevertheless marked a significant turning point in the evolution of hard rock and heavy metal. (by Stephen Thomas Erlewine)


John Bonham (drums, percussion)
John Paul Jones (bass, prgan)
Jimmy Page (guitar)
Robert Plant (vocals, harmonica)
Viram Jasani (tabla on 06.)



CD 1 (Original album):
01. Good Times Bad Times (Page/Jones/Bonham)
02. Babe I’m Gonna Leave You (Traditional)
03. You Shook Me (Dixon)
04. Dazed And Confused (Page)
05. Your Time Is Gonna Come (Page/Jones)
06. Black Mountain Side (Page)
07. Communication Breakdown (Page/Jones/Bonham)
08. I Can’t Quit You Baby (Dixon)
09. How Many More Times (Page/Jones/Bonham)

CD 2 (Live At The Olympia: Paris, France – October 10, 1969):
01. Good Times Bad Times / Communication Breakdown (Page/Jones/Bonham)  3:53
02. I Can’t Quit You Baby (Dixon) 6:41
03. Heartbreaker (Bonham/Jones/Page/Plant) 3:49
04. Dazed And Confused (Page) 15:02
05. White Summer / Black Mountain Side (Page) 9:19
06. You Shook Me (Dixon) 11:56
07. Moby Dick (Bonham/Jones/Page/Plant)  9:22
08. How Many More Times (Page/Jones/Bonham) 11:15



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More from Led Zeppelin:

Ike & Tina Turner – So Fine (1968)

FrontCover1Ike & Tina Turner were an American musical duo consisting of husband and wife Ike Turner and Tina Turner. From 1960 to 1976, they performed live as the Ike & Tina Turner Revue, supported by Ike Turner’s band the Kings of Rhythm and backing vocalists called the Ikettes. The Ike & Tina Turner Revue was regarded as “one of the most potent live acts on the R&B circuit”.

The duo had a string of R&B hits with their early recordings “A Fool In Love”, “It’s Gonna Work Out Fine”, “I Idolize You”, “Poor Fool”, and “Tra La La La La”. The release of “River Deep – Mountain High” in 1966, followed by a tour of the UK with the Rolling Stones, increased their popularity in Europe. Their later works are noted for interpretive soul-infused re-arrangements of rock songs such as “Come Together”, “Honky Tonk Woman”, and “Proud Mary”, the latter of which won them a Grammy Award in 1972.[2] Ike & Tina Turner received the first Golden European Record Award for their international hit “Nutbush City Limits” in 1974. They released dozens of albums; their most successful being Workin’ Together and Live at Carnegie Hall. Pitchfork listed their album River Deep – Mountain High among the best of its era.

Ike & Tina Turner were inducted to the Rock & Roll Hall of Fame in 1991. They have two singles inducted into the Grammy Hall of Fame, “River Deep – Mountain High” and “Proud Mary”. Rolling Stone ranked them No. 2 on its list of the 20 Greatest Duos of All Time.


So Fine is a studio album by the R&B duo Ike & Tina Turner released on Pompeii Records in 1968.

So Fine was the first album released on the Pompeii label. It features a remake of Ike and Tina’s debut single “A Fool In Love.” The duo also cover “Shake a Tail Feather” by The Five Du-Tones and “So Fine” by Johnny Otis. Three songs on the album “Bet’cha Can’t Kiss Me (Just One Time),” “It Sho Ain’t Me,” and “Too Hot To Hold” were written by Mack Rice.

Of the five singles released from the album only “So Fine” charted. Released by the Pompeii subsidiary, Innis Records, it reached No. 50 on the Billboard R&B Singles chart and No. 117 on Bubbling Under The Hot 100 in 1968.

Some reviews from 1968:

Billboard (July 13, 1968): “This exciting fare, for Ike and Tina know how to infuse their soul performances with drive and spirit. In addition to the title song, ‘So Fine,’ there are ‘You’re So Fine,’ the classic ‘Ain’t Nobody’s Business,’ ‘We Need an Understanding’ and others. The backgrounds are by the Ikettes.


Cash Box (July 20, 1968): “Singing with zest and energy, Ike and Tina Turner render a solid set of potent ditties. Among the offerings, in addition to the title tune, are ‘Shake A Tail Feather,’ ‘Ain’t Nobody’s Business,’ and ‘A Fool In Love.’ The vital performance turned in by the duo augurs good things to come for this stirring package.”

Record World (August 10, 1968): “This couple found a groove a few years back and they’ve been working it—like an endless gold lode—since then. Their new single ‘We Need an Understanding’ is here with other sizzling numbers. Could be a very big package.” (wikipedia)


In the late ’60s, Ike & Tina Turner were churning out such a rapid succession of albums on various labels that it’s hard even for dedicated fans to keep them straight. So Fine is typical of these LPs in that a certain minimum satisfying level of quality soul is guaranteed by virtue of the duo’s talents. But at the same time, there’s also the sense that they’re grinding out recordings too quickly to consistently present the outstanding original material and interpretations of which they were capable at their best. Tina’s vocals are reliably passionate, but the songs and arrangements are fairly average, at times even generic soul, mixing a few Ike Turner originals (including a remake of their early hit “A Fool in Love”) with covers of well-known staples like “Shake a Tail Feather” and “So Fine.” (Speaking of which, it was surely careless to cover “So Fine” and, just two tracks later, add a cover of the entirely different song “You’re so Fine,” which in this context sounded downright redundant.) The best cut here is “It Sho Ain’t Me,” which has a more slow-burning bluesy feel (and Stax-y feel, with its horn, organ, and churchy backup vocals) than much of its surroundings, but nothing here ranks among the pair’s best work. (by Richie Unterberger)


Ike Turner (guitar, vocals)
Tina Turner (vocals)
a bunch of unknown studio musicians
The Iketes (background vocals)


01. Bet’cha Can’t Kiss Me (Just One Time) (M.Rice) 2.50
02. Ain’t Nobody’s Business (I. Turner) 2.03
03. It Sho Ain’t Me (M.Rice) 3.05
04. Too Hot To Hold (M.Rice) 2.05
05. A Fool In Love (I.Turner) 2.52
06. I Better Get Ta Steppin’ (I.Turner/Harris 2.45
07. Shake A Tail Feather (Hayes/V.Rice/Williams) 2.16
08. So Fine (Otis) 2.40
09. We Need An Understanding (I.Turner/Northern) 2.44
10. You’re So Fine (Finnie/Schofield) 2.26


  • (coming soon)


Ike & Tina Turner made really good music, but we should never forget … a man who beats his wife is a fucking asshole !!!

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:

Creedence Clearwater Revival – Same (1968)

OriginalFrontCover1Creedence Clearwater Revival, also referred to as Creedence and CCR, was an American rock band formed in El Cerrito, California. The band initially consisted of lead vocalist, lead guitarist, and primary songwriter John Fogerty; his brother, rhythm guitarist Tom Fogerty; bassist Stu Cook; and drummer Doug Clifford. These members had played together since 1959, first as the Blue Velvets and later as the Golliwogs, before settling on the Creedence Clearwater Revival name in 1967.

CCR’s musical style encompassed roots rock, swamp rock, blues rock, Southern rock, country rock, and blue-eyed soul.[8] Belying their origins in the East Bay subregion of the San Francisco Bay Area, the band often played in a Southern rock style, with lyrics about bayous, catfish, the Mississippi River and other elements of Southern United States iconography. The band’s songs rarely dealt with romantic love, concentrating instead on political and socially conscious lyrics about topics such as the Vietnam War. The band performed at the 1969 Woodstock festival in Upstate New York, and was the first major act signed to appear there.


CCR disbanded acrimoniously in late 1972 after four years of chart-topping success. Tom Fogerty had officially left the previous year, and John was at odds with the remaining members over matters of business and artistic control, all of which resulted in subsequent lawsuits among the former bandmates. Fogerty’s ongoing disagreements with Fantasy Records owner Saul Zaentz created further protracted court battles, and John Fogerty refused to perform with the two other surviving members at Creedence’s 1993 induction into the Rock and Roll Hall of Fame. Though the band has never officially reunited, John Fogerty continues to perform CCR songs as part of his solo act, while Cook and Clifford have performed as Creedence Clearwater Revisited since the 1990s.

CCR’s music is still a staple of U.S. classic rock radio airplay; 28 million CCR records have been sold in the U.S. alone. The compilation album Chronicle The 20 Greatest Hits, originally released in 1976, is still on the Billboard 200 album chart and reached the 500-weeks mark in December 2020. It has been awarded 10x platinum.


Creedence Clearwater Revival is the debut studio album by American rock band Creedence Clearwater Revival, released on May 28, 1968.

While “Suzie Q” proved to be a hit, the band had played for years as the Golliwogs in the early 1960s, releasing numerous singles before achieving success in the pop world. In 1967, Saul Zaentz bought Fantasy Records and offered the band a chance to record a full-length album on the condition that they change their name. Having never liked ‘the Golliwogs’, in part because of the racial charge of the name, the four readily agreed, coming up with Creedence Clearwater Revival. In Hank Bordowitz’s book Bad Moon Rising: The Unauthorized History of Creedence Clearwater Revival, bassist Stu Cook is quoted, “Fogerty, Cook, Clifford and Fogerty signed a publishing agreement with one of Fantasy’s companies that gave up rights to copyright ownership…Lennon and McCartney never owned the copyrights to their compositions, either. When you’re on the bottom, you make the best deal you can.”[1] John Fogerty took charge of the group artistically, writing all of the band’s fourteen hit records and assuming the roles of singer, guitarist, producer and arranger of nearly everything that appeared on Creedence’s seven studio albums.


“Porterville”, which was the last single released by the band under the name the Golliwogs in November 1967, was included on the band’s debut album and revealed singer/guitarist John Fogerty’s nascent songwriting talents. The song was a breakthrough of sorts for Fogerty, who stated to Tom Pinnock of Uncut in 2012, “It’s semi-autobiographical; I touch on my father, but it’s a flight of fantasy, too. And I knew when I was doing it, ‘Man, I’m on to something here.’ Everything changed after that. I gave up trying to write sappy love songs about stuff I didn’t know anything about, and I started inventing stories.” The album also includes the only co-write between John and his brother Tom Fogerty (who had been the original lead singer in the group) to appear on a Creedence album: the foreboding “Walk on the Water”. The song had already been released in 1966 under the Golliwogs name. The album features three other Fogerty originals: “The Working Man”, “Get Down Woman”, and “Gloomy”.


Creedence Clearwater Revival is best remembered for the band’s first hit single “Suzie Q”, which had been a hit for Dale Hawkins in 1957. It was released as a single version split into two parts, with the jam session during the coda on the A-side fading out with the guitar solo right before the coda which fades in part two on the B-side. Fogerty stated in a 1993 interview with Rolling Stone magazine that his purpose in recording “Suzie Q” was to get the song played on KMPX, a funky progressive-rock radio station in San Francisco, which is why the song was extended to eight minutes in length. “‘Suzie Q’ was designed to fit right in,” he explained. “The eight-minute opus. Feedback

.Like [the Paul Butterfield Blues Band’s] ‘East-West’. And especially the little effect, the little telephone-box [vocal] in the middle, which is the only part I regret now. It’s just funny sounding. But, lo and behold, it worked!” Fogerty elaborated to Larry King in 1999, “We recorded an old Dale Hawkins song but I psychedelicized it to get it played on the local San Francisco underground radio station.” The guitarist on the original Hawkins version, James Burton, would also exert a major influence on Fogerty, with the singer telling Lynne Margolis of American Songwriter, “James Burton was a huge influence on me going back to when I was a child, when I bought that record, ‘Suzie-Q,’ and that was James Burton playing that guitar—which I didn’t know at the time, of course.”


Drummer Doug Clifford concurs to Jeb Wright on the Classic Rock Revisited website that he too tried to experiment with the tune, recalling “‘Susie Q’ was a rockabilly song that sounded like all of the other rockabilly songs. I came up with a quarter note idea and it made it harder edged and it gave it space and a totally different feel…” The Creedence version would reach #11 in the charts. In 2012 David Cavanagh of Uncut wrote, “For all his scepticism about long solos, Fogerty stretched out penetratingly on guitar while Creedence’s rhythm trio laid down a sublime slow boogie.” In 1998, Fogerty stated to Harold Steinblatt of Guitar World that the recording of “Suzie Q” was “very pivotal” in another respect:

it established how we would work for the next few years. After we finished recording our parts, the other guys hung around while I mixed. The problem was they were making all these comments like, “Well, that won’t work. This won’t work.” You know, they were having a great time laughing…And that was the very last time I ever allowed them to be around when I mixed a record…Basically, we’d go in, we’d record the band, and then I’d throw them out of the studio. I just couldn’t have them around while I was doing overdubs or when I was mixing, because they weren’t very constructive.


The album’s other notable cover, the Screamin’ Jay Hawkins classic “I Put a Spell on You”, was a natural for Fogerty, whose own manic vocal delivery had much in common with Hawkins’ powerful singing style. Released as a follow up to “Suzie Q” in October 1968 with “Walk on the Water” as the B-side, it peaked on the U.S. charts at #58.

The album was remastered and reissued on 180 Gram vinyl by Analogue Productions in 2006.

While the band did gain success with their chart debut, critics initially denied the band respect. Barry Gifford writing in Rolling Stone at the time stated, “The only bright spot in the group is John Fogerty, who plays lead guitar and does the vocals. He’s a better-than-average singer (really believable in Wilson Pickett’s “Ninety-Nine and a Half”), and an interesting guitarist. But there’s nothing else here. The drummer is monotonous, the bass lines are all repetitious and the rhythm guitar is barely audible.” Time has been far kinder to the album, although critics note that Fogerty’s songwriting talent had yet to truly blossom like it would on the band’s future albums and singles.


On AllMusic the album received 4 stars (out of 5), with Stephen Thomas Erlewine stating: “Released in the summer of 1968 – a year after the Summer of Love, but still in the thick of the Age of Aquarius – Creedence Clearwater Revival’s self-titled debut album was gloriously out-of-step with the times, teeming with John Fogerty’s Americana fascinations.” He also noted that the album “points the way to the breakthrough of Bayou Country, with “Porterville” being “an exceptional song with great hooks, an underlying sense of menace, and the first inkling of the working-class rage that fueled such landmarks as ‘Fortunate Son.'”

The album was first certified Gold by the RIAA on December 16, 1970, then Platinum twenty years later on December 13, 1990. (wikipedia)


Stu Cook (bass, background vocals)
Doug Clifford (drums, background vocals)
John Fogerty (lead guitar, vocals, percussion)
Tom Fogerty (guitar, background vocals)

Reissue Labels:

01. I Put a Spell On You (Hawkins) 4.35
02. The Working Man (J.Fogerty) 3.05
03. Susie Q (Hawkins/Broadwater/Lewis 8.40
04. Ninety-Nine And A Half (Won’t Do) (Cropper/Floyd/Pickett) 3.40
05. Get Down Woman (J.Fogerty) 3.10
06. Porterville (1) (J.Fogerty) 2.25
07. Gloomy (J.Fogerty) 3.50
08. Walk On The Water (2) (J. Fogerty/T.Fogerty) 4.40

(1) recorded October 1967, initially released as a single in November 1967, the last single the band released as The Golliwogs
(2) this track is a remake of “Walking on the Water”, a recording released by the band as a single in 1966, while they were still known as The Golliwogs)



More from Creedence Clearwater Revival:

Terje Rypdal – Bleak House (1968)

FrontCover1Terje Rypdal (born 23 August 1947) is a Norwegian guitarist and composer. He has been an important member in the Norwegian jazz community, and has also given show concerts with guitarists Ronni Le Tekrø and Mads Eriksen as “N3”.

Rypdal was born in Oslo, Norway, the son of a composer and orchestra leader. He studied classical piano and trumpet as a child, and then taught himself to play guitar as he entered his teens. Starting out as a Hank Marvin-influenced rock guitarist with The Vanguards, Rypdal turned towards jazz in 1968 and joined Jan Garbarek’s group and later George Russell’s sextet and orchestra. An important step towards international attention was his participation in the free jazz festival in Baden-Baden, Germany, in 1969, where he was part of a band led by Lester Bowie.[1] During his musical studies at Oslo university and conservatory, he led the orchestra of the Norwegian version of the musical Hair. He has often been recorded on the ECM record label, both jazz-oriented material and classical compositions (some of which do not feature Rypdal’s guitar).

His compositions “Last Nite” and “Mystery Man” were featured in the Michael Mann film Heat, and included on the soundtrack of the same name.

Rypdal was married (1969–1985) to the Norwegian singer Inger Lise Andersen/Rypdal, and they had two children, the auditor Daniel (1970) and the electronica musician Marius (1977). Rypdal was married again in 1988 to Elin Kristin Bergei (born 28 May 1955). They have two children Ane Izabel (1988) and the guitarist Jakob Rypdal (1989). They (as of 2013) live in Tresfjord. (wikipedia)


Psychedelic rock was hardly a recognized genre in 1967 Norway, but it was where a self-taught guitarist, barely out of his teens, made a brief stop on his way to becoming a global force in music. Terje Rypdal recorded a single album with a group called The Dream that year. The group subsequently signed with Polydor Records and disbanded before recording again. It proved to be an open door for Rypdal as he stayed with the label under cover of his new band with Jan Garbarek and Jon Christensen. Bleak House was originally released in 1968 and now Round 2 Records has licensed the groundbreaking album for re-release.

A joint venture between Norwegian record store Big Dipper and an independent label, Jansen Plateproduksjon, Round 2 has a goal of re-releasing both classic and obscure Norwegian albums, on vinyl. Since 2015 the label has released a selective seven albums leading up to Bleak House which was culled from three live concerts that occurred in October 1968 in Germany. A number of Norwegian musicians make sporadic appearances including tenor saxophonist Knut Riisnæs and pianist/organist Christian Reim, a holdover from The Dream.


Side A opens with “Dead Man’s Tale” a beautiful and bluesy piece that features Rypdal on guitar and flute, adding a vocal performance as well. Reim’s Hammond organ reverberates with the sound of the British Invasion of the 1960s. “Wes” is Rypdal’s tribute to Wes Montgomery, but more in spirit than practice. With ten horns participating, the number has a frenzied pace that owes much to Rypdal’s mentor George Russell. Winter Serenade is a three-part suite beginning with “Falling Snow,” a discreet duet with Rypdal and Reim. The “Snow Storm” movement is given some menacing life with the searing saxophones of Garbarek and Carl Magnus Neumann before Reim ushers in the tranquility of “Snow Melts.” Side B begins with the title track, its scope and sound reflecting the 1960s changing jazz scene in Europe with a collective avant-garde swing. “Sonority” and “A Feeling Of Harmony” close the side with pulsating heat and light.

The reissue of Bleak House gives us a lot to unpack. From a historical perspective, it represents a bridge in the European transition from jazz-rock into their unique avant-garde/free jazz hybrid. For Rypdal—even at this early stage of his career—his incorporation of post-bop, fusion and avant-garde, into a cohesive album, was a peerless feat of imagination. Rypdal has always been a heady composer, capable of floating intoxicatingly discordant melodies, impressionism such as that on “Winter Serenade,” or an unearthly sadness in his reflective pieces. Bleak House is a timeless and important recording and a pleasure to hear in this remastered format. (by Karl Ackermann)


Jon Christensen (drums o 02. – 05.)
Ditlef Eckhoff (trumpet on 02.)
Kåre Furuholmen (trumpet on 02. + 04.)
Jan Garbarek (saxophone, bells, flute on 02. – 05.,)
Frøydis Ree Hauge (horns on 05. + 06.)
Kjell Haugen (trombone on 02., 04. + 05.)
Jarl Johansen (trumpet on 02. – 05.)
Tom Karlsen (drums on 01.)
Hans Knudsen saxophone on 02. + 05.)
C. M. Neumann (saxophone, flute on 02 – 05.)
Tore Nilsen (trombone on 02.)
Christian Reim (keyboards)
Knut Riisnæs (saxophone on 03.)
Terje Rypdal (guitar, flute, vocals)
Frode Thingnæs (tuba, trombone on 04. + 05.)
Odd Ulleberg (horns on 05. + 06.)
Terje Venaas (bass on 02. – 05.)
Øivind Westby (trombone on 02.)

Alternate front+backcover:

01. Dead Man´s Tale 7.08
02. Wes 4:15
03. Winter Serenade 6.08
03.1. Falling Snow
03.2.Snow Storm
03.3. Melting Snow
04. Bleak House 7.07
05. Sonority 5.24
06. A Feeling Of Harmony 3.01

Music composed by Terje Rypdal





The Underdogs Blues Band – Same (1968)

FrontCover1Formed in New Zealand in the late 60s, this blues rock band started out in a similar vein to that which Cream and the Doors mined so successfully. The band grew out of a mid-60s meeting in Auckland of like-minded musicians, including guitarist and vocalist Archie Bowie, guitarists Tony Rawnsley and Harvey Mann, bass player Neil Edwards and drummer Barry Winfield. Known casually as the Magee Street Underdogs, the group underwent personnel changes over the next couple of years during which time they made some singles for Zodiac Records and appeared fleetingly on television’s C’mon. By 1967 the personnel had become vocalist Murray Grindley, guitarists Mann and Lou Rawnsley (brother of Tony), bass player Edwards and drummer Tony Walton. Mann’s departure (he did not like the orthodoxy required by television producers) led to an adjustment of the remaining band members. They made some more recordings, including the popular Sitting In The Rain EP and the Blues Band album, and also toured in a road show version of C’mon.

Now based in Wellington, and with more personnel changes, Edwards was replaced by Dave Orams who was in turn succeeded by George Barris, the band lasted only a few more months. This was 1968 and when the band re-formed later that year it had Grindley, Mann, Lou Rawnsley, and drummer Doug Thomas. The following year, by which time Chaz Burke-Kennedy had replaced Rawnsley, this line-up, too, folded. Through the 70s various combinations of former members and newcomers regrouped, sometimes using the name Underdogs, sometimes not. Most members played with other groups and some also formed and briefly led their own bands. Grindley in particular did well with some solo hits in the early 70s and also 1982’s ‘Shoop Shoop Diddy Wop Cumma Cumma Wang Dang’, as Monte Video, which was placed number 2 in New Zealand and number 11 in Australia. Some of the Underdogs’ early material was released on vinyl under different titles on obscure labels, but most of their recordings were reissued on CD in 2000. (by allmusic.com)

The Underdogs Blues Band01

Here´s their debut album from 1968.

Lovers of John Mayall and his Bluesbreakers (note the Eric Clapton tribute paid on the sleeve of this album) will love this album. The Underdogs formed in 1964 and shared the scene with other greats from the country like The La de Da’s, The Action (NZ band, not to be confused with the UK mod godfathers) and The Pleazers. They spread the rhythm and blues word from their native Auckland through several 45s on the Zodiac label and went through a series of line-up changes prior to the release of their fabulous first long player.

The Underdogs Blues Band05

The Underdogs Blues Band LP shows the group’s appreciation for Mayall’s combo – just like The Bluesbreakers’ Crusade LP the Underdogs open their album with a cover of Albert King’s ‘Oh, Pretty Woman,’ one of three ‘Bluesbreakers’ songs covered on the LP. On this first long player the band storm into a world of guitar led rave-ups a la Yardbirds, organ blues grinders and even give a sight to what’s to come next with some incipient heavier sounds a la Cream. (Press release)

Indeed … one od finerst John Mayall cover bands in this time …anf these guys knows how to celebrate this very special British Blues style … listen to the guitar solo on “It´s Hurts Me Too” for example.

A great addition for collectors of the British Blues in the Sixites.


Neil Edwards (bass)
Murray Grindlay (vocals, harmonica)
Lou Rawnsley (guitar)
Tony Walton (drums)
unknown organ player

The Underdogs Blues Band04

01. Oh, Pretty Woman (Williams/King) 3.27
02. Snowy Wood (Mayall/Taylor) 3.07
03. Main Line Driver (Grindlay/Rawnsley) 2.18
04. Mary Anne (Grindlay/Rawnsley) 2.00
05. Pauline (Grindlay/Rawnsley) 3.08
06. Pretty Girls (Church/Williams) 2.35
07. Yonder Wall (Traditional) 3.46
08. All Your Love (Rush/Dixon) 3.40
09. Hey Gyp (Leitch) 2.52
10. It Hurts Me Too (London) 3.15
11. Rubber Duck (Green/Dunbar) 2.24



The Underdogs Blues Band03


Janis Ian – The Secret Life Of J. Eddy Fink (1968)

FrontCover1A singer/songwriter both celebrated and decried for her pointed handling of taboo topics, Janis Ian enjoyed one of the more remarkable second acts in music history. After first finding success as a teen, her career slumped, only to enter a commercial resurgence almost a decade later. Janis Eddy Fink was born on May 7, 1951, in New York City. The child of a music teacher, she studied piano as a child and, drawing influence from Edith Piaf, Billie Holiday, and Odetta, wrote her first songs at the age of 12. She soon entered Manhattan’s High School of Music and Art, where she began performing at school functions. After adopting the surname Ian (her brother’s middle name), she quickly graduated to the New York folk circuit. When she was just 15, she recorded her self-titled debut; the LP contained “Society’s Child (Baby I’ve Been Thinking),” a meditation on interracial romance written by Ian while waiting to meet with her school guidance counselor. While banned by a few radio stations, the single failed to attract much notice until conductor Leonard Bernstein invited its writer to perform the song on his television special Inside Pop: The Rock Revolution. The ensuing publicity and furor over its subject matter pushed “Society’s Child” into the upper rungs of the pop charts, and made Ian an overnight sensation. Success did not agree with her, however, and she soon dropped out of high school. In rapid succession, Ian recorded three more LPs — 1967’s For All the Seasons of Your Mind, 1968’s The Secret Life of J. Eddy Fink, and 1969’s Who Really Cares — but gave away the money she earned to friends and charities.


After meeting photojournalist Peter Cunningham at a peace rally, the couple married, and at age 20, she announced her retirement from the music business. The marriage failed, however, and she returned in 1971 with the poorly received Present Company. After moving to California to hone her writing skills in seclusion, Ian resurfaced three years later with Stars, which featured the song “Jesse,” later a Top 30 hit for Roberta Flack. With 1975’s Between the Lines, Ian eclipsed all of her previous success; not only did the LP achieve platinum status, but the delicate single “At Seventeen” reached the Top Three and won a Grammy. While subsequent releases like 1977’s Latin-influenced Miracle Row, 1979’s Night Rains, and 1981’s Restless Eyes earned acclaim, they sold poorly. Ian was dropped by her label and spent 12 years without a contract before emerging in 1993 with Breaking Silence (the title a reference to her recent admission of homosexuality), which pulled no punches in tackling material like domestic violence, frank eroticism, and the Holocaust. Similarly, 1995’s Revenge explored prostitution and homelessness. Two years later Ian returned with Hunger; God & the FBI followed in the spring of 2000. A live set, Working Without a Net, appeared from Rude Girl Records in 2003, and a DVD, Live at Club Cafe, saw release in 2005. Folk Is the New Black appeared as a joint release from Rude Girl and Cooking Vinyl in 2006. (by Jason Ankeny)


Janis Fink is Ian’s real name, and her concerns moved more toward the personal on her third album. “42nd St. Psycho Blues” was her unhappy commentary on what having a pop music career had been like, while “When I Was a Child” found her reminiscing regretfully about what had happened to her. Other songs waxed poetic, and producer Shadow Morton kept recreating the folk-rock sound of “Society’s Child,” but nothing here caught fire, and this album failed to chart, seeming to confirm that Ian would be a one-hit wonder, over the hill at 17. With a few years to think about it, of course, she’d have some trenchant things to say about that age. (by William Ruhlmann)

JanisIan03“The Secret Life of J. Eddy Fink” is an 11 track collection of “challenging” folk rock songs by the great Janis Ian. This album is now 44 years old. In 1968 Janis Ian was only 17, and this album was her third release. The album barely registered with the American record buying public. Some people called the album “pretentious”, a word that really doesn’t fit in with the character of Janis Ian. Her songs are intense, passionate, intelligent, and powerful, and often concentrate on serious social and personal themes. There are few songwriters who can write about these topics, while backing her often serious lyrics with beautiful, wistful melodies.

Janis’ songs were never overly commercial, and perhaps this aspect of her songwriting has halted the success she has always deserved, but never really achieved. Like so many great songwriters who have many great songs to their credit, Janis Ian is unfortunately best remembered for her two songs, “Society’s Child”, and “At Seventeen”.

Alternate front+backcover:

Yet, this great New York songstress, has released many great albums, some of them classics, but not recognized as such. She has never fully received the recognition she deserves for her utterly brilliant songs, and marvellous guitar technique. The late, great Chet Atkins once called Janis “a genius”, not just for her guitar talents, but also her songwriting ability. Janis Ian remains one of today’s great singer/songwriters. From her teenage days she has remained faithful to her uncompromising songs, and has never sold out to commerciality. (overdoseoffingalcocoa.blogspot.com)


Vinent Bell (guitar)
Richie Havens (conga drums)
Carol Hunter (guitar, bass)
Janis Ian (guitar, keyboards, vocals)
Joe Price (bongo drums)
Buddy Saltzman (trap drums)

01. Everybody Knows 2.49
02. Mistaken Identity 7.11
03. Friends Again 1.45
04. 42nd Street Psycho Blues 3.53
05. She’s Made Of Porcelain 2.33
06. Sweet Misery 3.31
07. When I Was A Child 3.47
08. What Do You Think of the Dead? 3.21
09. Look To The Rain 5.11
10. Son Of Love 3.08
11. Baby’s Blue 5.12

All songs written by Janis Ian



Still alive and well … her website in 2020:

Jimi Hendrix Experience – Fillmore West (February 1968)

FrontCover1There is no Bill Graham Presents poster more iconic than the infamous “Flying Eyeball” image for the series of February 1968 concerts headlined by Jimi Hendrix. Topping a sold-out eight show/four night run that began and ended at the Fillmore Auditorium and which featured two nights at the larger Winterland sandwiched in between, this legendary run also included openers of a very high caliber, including bluesman Albert King, John Mayall’s Bluesbreakers, and local favorites, Big Brother & The Holding Company featuring Janis Joplin.

In terms of recordings, not much survives from this legendary stand with the notable exception of the recording presented here. This nearly complete direct recording of Hendrix’s late show on February 4, 1968, captures Jimi’s final performance from this monumental run. Fresh off the sessions for his second album and kicking off the US tour to support it, Hendrix’s 1968 performances were rarely less than incendiary, and this particular performance is unique compared to others of this era.

Likely inspired by having the likes of Albert King and Mayall’s Bluesbreakers performing on the same bill that weekend, Hendrix places a larger emphasis on pure blues, and his playing is inspired throughout. In fact, the first half of this recording concentrates entirely on blues, beginning with the Experience tearing through Howlin’ Wolf’s “Killing Floor.” Unlike the frantic tempo employed at their groundbreaking Monterey Pop Festival performance the previous year, here the Experience establishes a slower, deeper groove, more akin to Howlin’ Wolf’s original, which brings out the best in Hendrix.


Hendrix’s own “Red House” follows, a song now considered to be a landmark of the blues, but then virtually unknown to American audiences, as it was not issued on Reprise’s US edition of his debut album. Although more concise and focused than later, more expansive renditions, this features some of Hendrix’s most emotionally rich playing of the evening.

The traditional, “Catfish Blues,” an early staple of the Experience’s stage repertoire follows before drummer Mitch Mitchell invites Electric Flag drummer, Buddy Miles, to the stage. Nearly two years before Hendrix and Miles would team up in the Band of Gypsys, what follows is a highly improvisational instrumental reading of Traffic’s “Dear Mr. Fantasy.” Despite the loose unrehearsed nature of this collaboration, these musicians display an innate chemistry, and the performance, essentially a psychedelic jam, is overflowing with creativity from Hendrix and certainly pleases the San Francisco audience.

Jimi Hendrix02

Mitchell returns to the drum kit afterwards, and after Hendrix apologizes for being unable to play as long as they would have liked (it was a Sunday night with a curfew on the length of performance), the Experience wraps things up with an incendiary “Purple Haze,” a song title that had particular resonance to the psychedelic contingency in San Francisco. Unfortunately incomplete due to tape stock running out, what was captured caps off a performance that remains as potent and compelling today as it was nearly half a century ago. (by Alan Bershaw)

Jimi Hendrix (guitar, vocals)
Mitch Mitchell (drums)
Noel Redding (bass, vocals)
Buddy Miles (drums on 05.)

Jimi Hendrix03

01. Killing Floor (incomplete) (Burnett) 4.01
02. Red House (Hendrix) 5.40
03. Catfish Blues (Traditional) 11.42
04. Mitch intros Buddy Miles 1.29
05. Dear Mr. Fantasy (Winwood/Capaldi/Wood) 9.53
06. Purple Haze (incomplete) (Hendrix) 5.00

Jimi Hendrix 68033-4a


More from Jimi Hendrix:

Tramline – Moves Of Vegetable Centuries (1969)

CDFrontCover1Michael Joseph Moody (born 30 August 1950) is an English guitarist, and a former member of the rock bands Juicy Lucy and Whitesnake. He was also a founder-member of Snafu. Together with his former Whitesnake colleague Bernie Marsden he founded the Moody Marsden Band, and later, The Snakes, having previously collaborated with unofficial 5th Status Quo member Bob Young in Young & Moody. Along with Marsden and ex-Whitesnake bassist, Neil Murray, he formed The Company of Snakes and M3 Classic Whitesnake with which they mainly performed early Whitesnake songs. From 2011 to 2015, Moody toured and recorded with Snakecharmer, a band he co-formed.

Besides this, Moody has also toured with Roger Chapman, Frankie Miller and Chris Farlowe. He has also performed live alongside the likes of Eric Clapton, Alvin Lee, Mick Taylor, Bruce Dickinson, Sam Brown, Gary Brooker, Suggs, Dennis Locorriere, Paul Jones, P. P. Arnold, James Hunter, Rick Wakeman, Jon Lord, Newton Faulkner, Uriah Heep, Alice Cooper, Mark King, Alfie Boe, Sandi Thom, Brian Auger, Paul Weller, Eric Bibb, Meat Loaf, Boy George, Elkie Brooks, Nona Hendryx, Mud Morganfield and one of his early guitar heroes, Duane Eddy.[citation needed] Since 2000 he has released several solo albums: I Eat Them For Breakfast (2000), Don’t Blame Me (2006), Acoustic Journeyman (2007) and Electric Journeyman (2009). A versatile guitarist, Moody has been an active session musician and his own website lists over 100 albums to which he has contributed musically. 2006 saw the release of the autobiographical Playing With Trumpets – A Rock ‘n’ Roll Apprenticeship, a memoir about his early days on the music scene. Another book of memoirs, Snakes and Ladders, was released in 2016. His library music has been featured on such TV programmes as Waking the Dead, Bo’ Selecta!, America’s Next Top Model, How to Look Good Naked, Top Gear, Horizon, Jersey Shore, Mad Men, Wife Swap and Paul Hollywood’s Bread.


While at school in Middlesbrough and attending private guitar lessons, Moody formed The Roadrunners with others from the area including Paul Rodgers (later of Free and Bad Company). They were subsequently joined by bass player Bruce Thomas, later to play with Elvis Costello and the Attractions. The band performed covers in local halls and clubs. By 1967 they had developed and outgrown the local music scene and turned professional, changing their name to The Wildflowers and subsequently moving to London. They had some success and undertook some touring, but relationships within the band frayed and they eventually split without making any recordings. Moody returned home to Middlesbrough where for a while he widened his musical horizons by taking classical guitar lessons. He also became increasingly interested in slide guitar techniques (a style he would later be closely associated with).


While living in Middlesbrough he was asked by local singer and entrepreneur John McCoy, to form a group which became Tramline. A deal for two albums was signed with Island Records, but by the time the second album was released the band had broken up. Moody joined Lucas and the professional Soul band Mike Cotton Sound who became Gene Pitney’s backing band for UK tours as well as others such as Paul Jones (by wikipedia)

The second and final set by the hot young blues band signed to Chris Blackwell’s Island Records back in 1969.

This album was produced by the late Guy Stevens and he suggested the unusual name, for which guitarist Micky Moody confesses he has no explanation. (Stevens had also suggested such names as Procol Harum and Mott The Hoople, and so ‘Moves Of Vegetable Centuries’ was just another flight of Stevens’ fancy!).

Muro do Classic Rock

The band was getting into its stride with the addition of sax player Ron Aspery and bass guitar virtuoso Colin Hodgkinson from progressive group Back Door.

They add a boost to such performances as the Tramline version of Traffic’s ‘Pearly Queen’ and the old Yardbirds’ favourite ‘I Wish You Would’. Here is R’n’B Sixties’ style with high energy and strong musicianship.

Micky Moody describes the evolution and ultimate fate of the band in his interview , making a splendid souvenir of a bye gone musical era. (by Green Brain)

35 minutes in length approximately. The sound is clean yet retains the warmth of the original release. The folded info sheet lists track info and personnel. There’s a synopsis of the group and the era when this album was recorded. The title of the album has mystified listeners since it’s original release-but the person responsible (producer Guy Stevens) has passed on-so we’ll probably never know.

This is the second (and last) album by TRAMLINE.The personnel has changed slightly since the first album. The band on this set is John McCoy-vocals and harmonica (uncredited),Terry Popple-drums,Mick Moody-guitar,and a new bass player,Colin Hodgkinson. On tracks 3,4,5,and 6 there are two sax players,who help fill in the sound. Someone named “Norman” plays piano occasionally,but his last name remains a mystery.

This album contains the song “Pearly Queen”,about as close to a hit as the group had. It rightfully received airplay,due in large part to Moody’s guitar playing. The track has a lot of energy,and its easy to see why it was popular during that time. If guitar playing is important to you,the track titled “Grunt” (actually “You Need Love”),is another fine number,with the piano and saxes lending good support to Moody’s guitar. Like the first album,there are some well known blues songs-“I Wish You Would” by Billy Boy Arnold,which is played and sung as a straight shuffle-style blues,and “Good Morning Little Schoolgirl” by Sonny Boy Williamson,which has McCoy’s imitation of Williamson’s vocal style. The track “Sweet Mary” (recorded by CYRIL DAVIES & THE ALL STARS) is a low down dirty blues,played with great feeling by one of the sax players,and also has some lovely piano fills,with Moody’s guitar playing some straight blues licks,along with a bit of slide guitar.

Micky Moody01

An interesting song is “You Better Run”, by two members of THE (YOUNG) RASCALS. The final tune,”Harriet’s Underground Railway”,an original refers to an underground railway for slaves during the Civil War. As is often the case,the music was laid down first,with the vocals put on later-after McCoy thought up some lyrics,which have nothing to do with the title.

Like the first album,this set is for people who like (relatively unknown) English blues bands from the late 60’s/early 70’s. This album is a bit more “together” than the first,but both sets have something to offer the listener (like me) who likes this era and style of music. Like the first album,this too has the feeling of it’s time and place. As I said about the first album,if you can remember record stores,this album gives the feeling of having been bought at your favorite store of the time,and then brought home and slipped onto the turntable. That’s not a bad thing because it shows this under-appreciated group made some good music,and was very much of it’s time and place-and if you like that era-you might like this band (by Stuart Jefferson)

And yes … Mick< Moody is one of my favourite guitr player and of course is Colin Hodgkinson one of the finest bass player ever.


Colin Hodgkinson (bass)
John McCoy (vocals)
Mick Moody (guitar)
Terry Popple (drums)
Ron Aspery (saxophone)
Iss Mate (saxophone)

01. Pearly Queen (Capaldi/Winwood) 3.39
02. Sweet Satisfaction (McCoy/Moody) 3.32
03. You Better Run (Brigati/Cavaliere) 2.17
04. Grunt (Moody) 7.11
05. Sweet Mary (Traditional) 6.24
06. I Wish You Would (Arnold) 5.20
07. Good Morning Little Schoolgirl (Williamson) 2.30
08. Harriet’s Underground Railway (McCoy/Moody) 3.55