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



J Geils Blues Band – New Penelope Club Montreal (1968)

FrontCover1The J. Geils Band was an American rock band formed in 1968, in Worcester, Massachusetts, under the leadership of guitarist John “J.” Geils. The original band members included vocalist Peter Wolf, harmonica and saxophone player Richard “Magic Dick” Salwitz, drummer Stephen Bladd, vocalist/keyboardist Seth Justman, and bassist Danny Klein. Wolf and Justman served as principal songwriters. The band played R&B-influenced blues rock during the 1970s and soon achieved commercial success before moving towards a more mainstream radio-friendly sound in the early 1980s, which brought the band to its commercial peak. After Wolf left the band in 1983 to pursue a solo career, the band released one more album in 1984 with Justman on lead vocals, before breaking up in 1985. Beginning in 1999, the band had several reunions prior to the death of its namesake, J. Geils, on April 11, 2017.

The band first released several Top 40 singles in the early 1970s, including a cover of the song “Lookin’ for a Love” by The Valentinos (which reached #39 on the Billboard Hot 100 in 1972), as well as the single “Give It to Me” (#30 in 1973). Their biggest hits included “Must of Got Lost” (#12 in 1975), “Come Back” (#32 in 1980), “Love Stinks” (which reached #38 in 1980 and was featured in several films), “Freeze-Frame” (#4 in 1981), and “Centerfold” (#1 in 1982).

The band started in the mid-1960s while John Geils was attending Worcester Polytechnic Institute for a couple of semesters. Named Snoopy and the Sopwith Camels, the group was an acoustic blues trio with Geils on guitar, bassist Danny Klein (“Dr. Funk”), and harmonica player Richard Salwitz (“Magic Dick”).

Jay Geils with The J. Geils Blues Band, 1967 – The Unicorn Coffee House, 815 Boylston Street, Boston, MA:


In 1968, the band switched focus, going electric and recruiting two fellow musicians from Boston band The Hallucinations, drummer Stephen Bladd and vocalist Peter Blankenfeld, a fast-talking former WBCN disc jockey) with the air name Peter Wolf.[1] Initial influences included James Cotton and Little Walter — in 2008 interview, harmonica star Magic Dick said they were all “harp freaks”.

They became The J. Geils Blues Band, later dropping the word “Blues” from the band name. Soon, fan Seth Justman joined on keyboards and the band started to earn a sizable following in the Boston area.

The band took its time carefully considering various offers of contracts. Unofficial live recordings circulated: as noted in Creem, “WBCN had the infamous J. Geils ‘bathroom tapes’ (that were almost exactly what the name implies) and a tape of their performance at Alternate Media Conference at Goddard College, but these hardly sufficed” to fans who wanted a proper album. The group ultimately signed to Atlantic Records in 1970.

Jay Geils01A

Those of us who know of the J Geils Band only through the early ’80s singles such as Freeze Frame and Centerfold will be in for a surprise. Before they were seen as a pop band, probably adult rock might be a better term, they were such a hardcore blues band that in 1971, The Allman Brothers named the J Geils Band as their favourite local band.

As noted on jgeils.com, Geils himself was a Southside-style slide guitarist who counted not only the Chicago blues masters but also Steve Cropper, Jimi Hendrix, and James Brown’s guitarists among his many influences. Stand-up bassist Danny “D.K.” Klein was also a major soul fan, and harmonica wizard Magic Dick drew heavily from a wide array of blues and jazz musicians, ranging from Little Walter to Roy Eldridge, King Curtis to John Coltrane.


Before joining the band, DJ and singer Peter Wolf recalled: “They were a great band, really smooth. They knew everything there was to know about Chicago blues.” Formed in 1967, the band began to build a reputation in the Boston clubs and when Muddy Waters, Howlin’ Wolf or John Lee Hooker came through town, The J. Geils Blues Band served as their hosts. Along the way, the “Blues” was dropped but there was no shortchanging the music.

As Wolf said, The J. Geils Band “felt obligated to give 100 per cent of ourselves to our audience. We were a bunch of guys who had the passion and wanted to share it.” Keyboardist Seth Justman, who joined the band in 1969, said: “There was a love affair between this band and its audience. We wanted people to know that we were gonna give it all that night… Whatever we had in the tank, that tank was gonna be empty at the end of the show.”


Early J Geils Blues Band recordings are not that common so fans should be thankful to tedders who unearthed this stellar set and shared it on the internet.

While the rhythm section of bassist Danny Klein and drummer Steven Bladd is rock solid, it is harp player Magic Dick Salwitz who takes the spotlight. But then fans of the band will have no problem finding their own favourite moments.

Recorded live at the New Penelope Club, Montreal, Canada, September 1968.
Very good soundboard.


Steven Bladd (drums)
J. Geils (guitar)
Danny Klein (bass)
Pittsfield Slim aka Magic Dick (Dick Salwitz) (harmonica)
Peter Wolf (vocals)

Alternate front+backcover:


1st Set:
01. Dust My Broom (James) 5.31
02. Look Over Yonder (Clark) 5.02
03. Slow Blues Jam (Bladd/Geils/Klein/Salwitz/Wolf) 9.12
04. You Don’t Love Me (Cobb) 6.05
05. Orange Driver (Burns) 6.46
06. Something You Got (Kenner)
07. Smokestack Lightin’ (w/ band into in middle) (Burnett) 13.51
08. Rock Me Baby (King/Josea) 5.33

2nd Set:
01. Blues Instrumental (Bladd/Geils/Klein/Salwitz/Wolf) 5.01
02. Somebody’s Gotta Go (Williams) 3.31
03. Help Me (Williamson)
04. Peter Wolf Intro 0.22
05. Everything’s Gonna Be Alright (Jacobs) 2.58
06. It Hurts Me Too (Whittaker)
07. Black Night (unknown) 5.32
08. Do The Funky Broadway? (w/ band into at end) (Christian) 9.39

Another alternate backcover:


J Geils
John Warren Geils Jr.  (February 20, 1946 – April 11, 2017)

Buddy Rich & Alla Rakha – Rich A La Rakha (1968)

FrontCover1Two great musicians:

Bernard “Buddy” Rich (September 30, 1917 – April 2, 1987) was an American jazz drummer and bandleader. He is considered one of the most influential drummers of all time and was known for his virtuoso technique, power, and speed. He performed with Tommy Dorsey, Harry James and Count Basie, and led a big band.

Ustad Allarakha Qureshi (29 April 1919 – 3 February 2000), popularly known as Alla Rakha, was an Indian tabla player, who specialized in Hindustani Classical music. He was a frequent accompanist of sitar player Ravi Shankar. (by wikipedia)

Amd here´s a their album … and I´m very impressed:
This is one of those times when five stars isn’t really enough. I’m not on an expert on Indian music, but I really like it and have done for decades. I have dozens if not hundreds of Indian classical and Asian fusion albums, I took table lessons for a year or so, and I try to play the bansuri a little bit.
So I’m not really qualified to comment on the music in any technical way, but I was pleasantly surprised to find out that Paul Horn plays flute on this LP, and Ravi Shankar provided some compositions, and claps taal on one of the drum solos. Another cool thing is that none of the tracks are in teentaal (16 beats), which is a very serviceable and ubiquitous rhythmic structure in North Indian classical music. “Boring” would be too strong a word, but it’s nice to hear some different taals– 5 beats, 11 beats, and 6/8.
The liner notes are great, very educational, with brief artist bios, a little history of the recording, and some technical notes. Also some leads on more good music to seek out.

Los Angeles 1968

So, since I can’t say much on a technical level, here’s my experience: it’s a very, very enjoyable recording to listen to. I find myself dancing and beating rhythms on stuff every time I hear it, which I’m prone to do, but usually not quite this much.
So just a really good recording.

The other thing is, Alla Rakha’s personality really comes through. I’m much more familiar with his #1 son Zakir Hussain, and Alla Rakha has a different personality. Zakir is very sophisticated, and has a sense of humor that expresses itself in jokes, both verbal and musical. in fact he’s bit of a wise-ass. A great guy, wonderful personality, but very sophisticated and worldly. True to his Indian roots, certainly, but rooted in Western culture as well, lived with the Greatful Dead, all that. Alla Rakha, on the other hand, is more pure, one-pointed, strictly an Indian classical musician.

Alla Rakha

Of course he’s doing fusion here, and elsewhere, and had a lot to do with the development of Asian fusion and introduction of Indian music to the West, but he just does his thing, brings an unalloyed Indian style to the fusion experience. Not saying Rakha DOESN’T have a sense of humor, he does, but the experience, as one of the other reviewers said, is pure joy. And I’m not saying Alla Rakha is in any way less than Zakir. Of course he famously sang taals to his infant son after concerts, sent him to spend time with the Dead and so on; without him there’s no Zakir. (by Jerry Larsoni)


Shamim Ahmed (sitar)
Amiya das Gupta (tambura)
Paul Horn (flute)
Nodu C. Mullick (tambura, cymbal)
Alla Rakha (tabla)
Taranath Rao (dholak)
Buddy Rich (drums, dholak)

Conducted by Ravi Shankar

Alternate frontcover:

01. Khanda Kafi (Shankar) 5.13
02. Duet In Dadra (ubnknown) 4.40
03. Rangeelā (Shankar) 4.14
04. Nagma E Raksh (Rakha) 7.39
05. Tal Sawari (unknown) 14:22



Buddy Rich

The Move – Same (1968)

LPFrontCover1The Move were a British rock band of the late 1960s and the early 1970s. They scored nine Top 20 UK singles in five years, but were among the most popular British bands not to find any real success in the United States. Although bassist-vocalist Chris “Ace” Kefford was the original leader, for most of their career the Move was led by guitarist, singer and songwriter Roy Wood. He wrote all the group’s UK singles and, from 1968, also sang lead vocals on many songs, although Carl Wayne was the main lead singer up to 1970. Initially, the band had 4 main vocalists (Wayne, Wood, Trevor Burton and Kefford) who split the lead vocals on a number of their earlier songs.

The Move evolved from several mid-1960s Birmingham based groups, including Carl Wayne & the Vikings, the Nightriders and the Mayfair Set. Their name referred to the move various members of these bands made to form the group. Besides Wood, the Move’s original five-piece roster in 1965 was drummer Bev Bevan, bassist Kefford, vocalist Carl Wayne and guitarist Trevor Burton. The final line-up of 1972 was the trio of Wood, Bevan and Jeff Lynne; together, they rode the group’s transition into the Electric Light Orchestra. Between 2007 and 2014, Burton and Bevan performed intermittently as “The Move featuring Bev Bevan and Trevor Burton.”


Move is the debut album by The Move, released on the Regal Zonophone label. The only one which was recorded by the group’s initial line-up before bassist Ace Kefford left, it includes both sides of their third and fourth singles (“Flowers in the Rain” and “Fire Brigade”). “Flowers in the Rain” was the first ever song played on Radio 1 in September 1967 by Tony Blackburn.


The album consisted of Roy Wood originals, and three cover versions that had featured prominently in their live set. “Weekend” was an Eddie Cochran song, and “Hey Grandma” had originally been recorded by US psychedelic band Moby Grape. “Zing! Went the Strings of My Heart” was an old James F. Hanley standard, with an arrangement copied from The Coasters.

The last track, “Cherry Blossom Clinic”, was intended as a single at the end of 1967, and an acetate, with “Vote for Me” (a song which remained unreleased until 1997), was pressed. Release was cancelled, as the lyrics were about the inmate of a mental home, and in the wake of the controversy which had dogged “Flowers in the Rain”, with its promotional postcard featuring an allegedly libellous drawing of Prime Minister Harold Wilson, it was felt that potential further allegations of bad taste and scandal would harm their career irreparably. (by wikipedia)


There’s a good reason why the Move’s eponymous 1968 debut album sounds like the work of two or three different bands — actually, befitting a band with multiple lead singers, there’s more than one reason. First, there’s that lead singer conundrum. Carl Wayne was the group’s frontman, but Roy Wood wrote the band’s original tunes and sometimes took the lead, and when the group covered a rock & roll class, they could have rhythm guitarist Trevor Burton sing (as they did on Eddie Cochran’s “Weekend”) or drummer Bev Bevan (as they did on the Coasters’ “Zing Went the Strings of My Heart”). Such ever-changing leads can lend excitement but it can also lend confusion, especially when the group enthusiastically mixes up Who-inspired art pop with three-chord rock & roll oldies and more than a hint of British eccentricity. Add to that, the album had a long, convoluted birth of 14 months, a long span of time in pop music, but it was an eternity in the mid-’60s, when styles and sounds were changing monthly.


The Move were releasing singles during this time so they weren’t absent from the scene, but they did happen to be set upon a course of cutting singles when their peers were crafting album-length epics, something that separated them from the pack, making them seem eccentric…and the Move needed no help in seeming eccentric. In an age filled with outsized originals, the Move may have been the most peculiar, not quite fitting into any particular scene or sound. They rivaled the Who in their almost violent power, but were almost entirely devoid of Mod style, despite the “Ace” nickname of bassist Chris Kefford. They were as defiantly British as the Kinks, but during 1967 and 1968 they were more closely tied to psychedelia than the Davies brothers, producing intensely colorful records like “(Here We Go Round) The Lemon Tree” and “I Can Hear the Grass Grow,” songs that owed a heavy debt to the Beatles. Indeed, the Move were arguably at the forefront of the second wave of the British Invasion, building upon the bright, exuberant sound of 1964 and 1965 and lacking any rooting in the jazz and blues that fueled the Rolling Stones, the Animals, and Manfred Mann, among countless others.(by Stephen Thomas Erlewine)


Bev Bevan (drums, percussion, vocals)
Trevor Burton (guitar, vocals)
Ace Kefford (bass, vocals)
Carl Wayne (vocals)
Roy Wood (guitar, vocals)
Nicky Hopkins (piano on 07., harpsichord on 12.)
Tony Visconti (string, brass and woodwind arrangements)


01. Yellow Rainbow (Kefford/Wood) 2.38
02. Kilroy Was Here (Wood) 2.45
03. (Here We Go Round) The Lemon Tree (Wood) 3.02
04. Weekend (B.Post/D.Post/Burton) 1.48
05. Walk Upon The Water (Wayne/Wood/Kefford) 3.24
06. Flowers In The Rain (Wayne/Wood) 2.22
07. Hey Grandma (Miller/Stevenson/Wayne) 3.13
08. Useless Information (Wayne) 2.57
09. Zing! Went the Strings Of My Heart (Hanley/Bevan/Kefford) 2.50
10. The Girl Outside (Burton) 2.56
11. Fire Brigade (Wood/Wayne) 2.24
12. Mist On A Monday Morning (Wood) 2.32
13. Cherry Blossom Clinic (Wayne/Wood) 2:30
14. Night Of Fear (Wood) (Single A-Side) 2.17
15. The Disturbance (Wood) (Single B-Side) 2.50
16. I Can Hear The Grass Grow (Single A-Side) (Wood) 3.09
17. Wave The Flag And Stop The Train (Single B-Side) (Wood) 2.58
18. Vote For Me (Unreleased Single B-Side) (Wood) 2.51
19. The Disturbance (alternate version) (Wood) 2.02
20. Fire Brigade (alternate version) (Wood/Wayne) 2.20
21. Second Class (She’s Too Good for You) (Roy Wood solo track) (Wood) 2.08
22. Cherry Blossom Clinic (alternate version) (Wayne/Wood) 2.54
23. (Here We Go Round) The Lemon Tree (stereo version) (Wood) 2.59
24. Weekend (stereo version) (B.Post/D.Post/Burton) 1.48
25. Flowers In The Rain (stereo version) (Wayne/Wood) 2.31
26. Useless Information (stereo version) (Wayne) 2.58
27. Zing! Went the Strings Of My Heart (stereo version) (Hanley/Bevan/Kefford) 2.51
28. The Girl Outside (stereo version) (Burton) 2.55
29. Walk Upon The Water (stereo version) (Wayne/Wood/Kefford) 3.22






The New Yardbirds (pre-Led Zeppelin) – London Blues 1968 (1999)

FrontCover1After the Yardbirds released their final album, Jimmy Page (who had only recently joined the band) ended up with rights to the name as it’s sole remaining member after bassist Chris Dreja left. He asked John Paul Jones to take over bass and help put together a new lineup in order to fulfill some contract obligations for a fall tour. They asked an obscure, but talented, British singer Terry Reid to be the lead singer of their “New Yardbirds”. Dubious of joining a retread of The Yardbirds after the likes of Eric Clapton and Jeff Beck had left, Reid declined. However, Reid recommended Robert Plant for the job. After Plant joined he recommended former band mate John Bonham as the drummer.

Plant/Page/Bonham/Jones would change the name to Led Zeppelin after Keith Moon, the infamous drummer for “The Who”, suggested it as a joke. Since Moon felt the band would go over like a lead balloon.

Terry Reid would later go on to turn down an offer to join Deep Purple as well.

The first two tracks are radio broadcast recordings from Tivoli Gardens in Stockholm, 1968, and the rest are audience recordings from the Marquee Club in London that same year. (by ByteMe)


And the original uploader wrote:

Robert Plant was at a crossroads. Should he keep his job at Bill’s petrol,where he was known as one of the best mechanics in England and give up his lucrative pay packet or should he join up with the relativity known Jimmy Page and become the singer in the fledgling new band he was forming. After speaking to the owner of the gas station a Mr. Harvey Wiensteen they had come to a compromise. Robert could take some time off to give the new upstart band a chance. And if they failed he could return to his job.However Mr. Wiensteen wanted something in return. He wanted the young Mr. Plant to promote the gas station at all the shows. Robert knew Jimmy Page would never go for this. So in a moment of inspiration Robert decided to re-name some of the songs he had been working on. Good Times Bad Times now became Good Tires Bad Tires, I Can’t Quit You Baby changed to I Can’t Find My Torque Wrench. Communication Breakdown had been changed to Transmission Breakdown and finally How Many More Times became How Many More Fill-Ups. Well needless to say the band took off and the rest is history (Excerpt from Jobe’s book little known rock facts)


The earliest known recordings of the group that should become Led Zeppelin.

I had this on a cassette for a very long time and I had no idea that this was some kind of rarity until recently, so I let it to the Zeppelin circles. (by Pink Robert)

Thi album is a must for every serious Led Zeppelin collector !!!


John Bonham (drums)
John Paul Jones (bass)
Jimmy Page (guitar)
Robert Plant (vocals)



Tivoli Gardens, Stockholm, September 20, 1968 – Radio broadcast:
01. I Can’t Quit You (Dixon) 5.42
02. I Gotta Move (Rush) 3.17

The Marquee Club, London, October 16, 1968 -Audience recording:
03. Communication Breakdown (Bonham/Jones/Page/Plant) 3.00
04. I Can’t Quit You (Dixon) 6.24
05. Killing Floor (Burnett) 8.47
06. Fought My Way Out Of The Darkness (As Long As I Have You) (Elgin/Ragovoy) – Hush Little Baby (Traditional) 6.22
07. She Wants You – London Blues Unknown) 2.08
08. Dazed And Confused (Holmes/Page) 12.04
09. White Summer – Black Mountain Side (Page) 8.45



Roy Orbinson – Cry Softly Lonely One (1968)

FrontCover1Cry Softly Lonely One is the twelfth music album recorded by Roy Orbison, and his sixth for MGM Records. The album was released in October 1967 and included two singles: “Communication Breakdown” and the title tune, both of which were minor hits in the States early that year. “Communication Breakdown” did much better in Australia, where it reached #9 in February. According to the official Roy Orbison discography by Marcel Riesco,[2] the London Records release (non U.S.) of this album featured the extra track “Just One Time”. (by wikipedia)

Cry Softly, Lonely One had a tremendously convoluted recording history, interrupted as it was for work on two other projects (including the shooting and soundtrack of The Fastest Guitar Alive) and not released until 1967. That was sad because that album caught Orbison firing on all cylinders in his best voice ever, and with Joe Melson backing him vocally on the classic Monument sides with a killer array of songs — from the opener, “She,” across to the title track by way of “Communication Breakdown” — had this record come out in 1964, it might well have charted high behind any of those songs, or the more rhythm-driven “Girl Like Mine.”


In late 1967, however, the album was an anachronism (the other irony is that, had it come out 18 months later, it might have ridden the same roots rock wave as Elvis Presley’s Memphis albums, or Joe South, to success). Some of it, such as “That’s a No No,” was a true throwback to an earlier pop/rock era, but most of what was here was a great showcase for Orbison’s classic sound as it had evolved, oblivious to the musical trends around him (and at least he never tried to emulate the psychedelic sounds of the period in the way that the Everly Brothers did on their live album). (by Bruce Eder)


Roy Orbinson (vocals)
a bunch of unknown studio musicians


01. She (Orbison/Dees) 2.42
02. Communication Breakdown (Orbison/Dees) 3.01
03. Cry Softly, Lonely One (Gant/Melson) 2.53
04. Girl Like Mine (Mathis) 2.20
05. It Takes One (To Know One) (Orbison/Dees) 3.00
06. Just Let Me Make Believe (Blackwell) 2.27
07. Here Comes The Rain, Baby (Newbury) 2.52
08. That’s A No-No (Orbison/Dees) 2.10
09. Memories (Orbison/Dees) 2.53
10. Time To Cry (Orbison/Dees) 2.r42
11. Only Alive (R.Blackwell/D.Blackwell)  2.09
12. Just One Time (Gibson) 2.15



Roy Kelton Orbison (April 23, 1936 – December 6, 1988)