Fleetwood Mac – Then Play (Deluxe Expanded 2013 Edition) (1969)

LPFrontCover1Fleetwood Mac are a British-American rock band, formed in London in 1967. Fleetwood Mac were founded by guitarist Peter Green, drummer Mick Fleetwood and guitarist Jeremy Spencer, before bassist John McVie joined the line-up for their self-titled debut album. Danny Kirwan joined as a third guitarist in 1968. Keyboardist and vocalist Christine Perfect, who contributed as a session musician from the second album, married McVie and joined in 1970.

Primarily a British blues band at first, Fleetwood Mac scored a UK number one with “Albatross”, and had other hits such as the singles “Oh Well” and “Man of the World”. All three guitarists left in succession during the early 1970s, to be replaced by guitarists Bob Welch and Bob Weston and vocalist Dave Walker. By 1974, Welch, Weston and Walker had all either departed or been dismissed, leaving the band without a male lead vocalist or guitarist. In late 1974, while Fleetwood was scouting studios in Los Angeles, he heard American folk-rock duo Lindsey Buckingham and Stevie Nicks, and asked Buckingham to be their new lead guitarist, and Buckingham agreed on condition that Nicks could also join the band.


The addition of Buckingham and Nicks gave the band a more pop rock sound, and their 1975 self-titled album, Fleetwood Mac, reached No. 1 in the United States. Rumours (1977), Fleetwood Mac’s second album after the arrival of Buckingham and Nicks, produced four U.S. Top 10 singles and remained at number one on the American albums chart for 31 weeks. It also reached the top spot in countries around the world and won a Grammy Award for Album of the Year in 1978. Rumours has sold over 40 million copies worldwide, making it one of the best-selling albums in history. Although each member of the band went through a breakup (John and Christine McVie, Buckingham and Nicks, and Fleetwood and his wife Jenny) while recording the album, they continued to write and record music together.


The band’s personnel remained stable through three more studio albums, but by the late 1980s began to disintegrate. After Buckingham and Nicks each left the band, they were replaced by a number of other guitarists and vocalists. A 1993 one-off performance for the first inauguration of Bill Clinton featured the line-up of Fleetwood, John McVie, Christine McVie, Nicks, and Buckingham back together for the first time in six years. A full reunion occurred four years later, and the group released their fourth U.S. No. 1 album, The Dance (1997), a live compilation of their hits, also marking the 20th anniversary of Rumours. Christine McVie left the band in 1998, but continued to work with the band in a session capacity. Meanwhile, the group remained together as a four-piece, releasing their most recent studio album, Say You Will, in 2003. Christine McVie rejoined the band full-time in 2014. In 2018, Buckingham was fired from the band and replaced by Mike Campbell, formerly of Tom Petty and the Heartbreakers, and Neil Finn of Split Enz and Crowded House.

Fleetwood Mac have sold more than 120 million records worldwide, making them one of the world’s best-selling bands. In 1979, the group were honoured with a star on the Hollywood Walk of Fame. In 1998 the band were inducted into the Rock and Roll Hall of Fame and received the Brit Award for Outstanding Contribution to Music. In 2018, the band received the MusiCares Person of the Year award from The Recording Academy in recognition of their artistic achievement in the music industry and dedication to philanthropy.


Then Play On is the third studio album by the British blues rock band Fleetwood Mac, released on 19 September 1969. It was the first of their original albums to feature Danny Kirwan (although he is also listed on two tracks on the earlier compilation The Pious Bird of Good Omen) and the last with Peter Green. Jeremy Spencer did not feature on the album apart from “a couple of piano things” (according to Mick Fleetwood in Q magazine in 1990). The album offered a broader stylistic range than the straightforward electric blues of the group’s first two albums, displaying elements of folk rock, hard rock, art rock and psychedelia. The album reached No. 6 on the UK Albums Chart, becoming the band’s fourth Top 20 LP in a row, as well as their third album to reach the Top 10. The album’s title, Then Play On, is taken from the opening line of William Shakespeare’s play Twelfth Night — “If music be the food of love, play on”.

Then Play On is Fleetwood Mac’s first release with Reprise Records after being lured away from Blue Horizon and a one-off with Immediate Records. The label would be the band’s home until their self-titled 1975 album. The initial US release of the album omitted two tracks that were previously issued on the American compilation English Rose, while the second US pressing further abridged the tracklist with the addition of the hit single “Oh Well”. The original CD compiled all the songs from the two US LP versions, both of which omitted the “English Rose” tracks that are on the original UK version. In August 2013, a remastered edition of the album was reissued on vinyl and CD, restoring its original 1969 UK track listing and adding four bonus tracks from the same era.


Fleetwood Mac’s previous albums had been recorded live in the studio and adhered strictly to the blues formula. For the recording of Then Play On, editing and overdubbing techniques were used extensively for the first time. Green had recently introduced improvisation and jamming to the band’s live performances and three of the tracks on the album including “Underway”, “Searching for Madge”, and “Fighting for Madge”, which were compiled by Green from several hours of studio jam sessions.

Green, the de facto band leader at the time, delegated half of the songwriting to bandmate Danny Kirwan so he could sing more lead vocals. Music journalist Anthony Bozza remarked that Green “was a very generous band leader in every single way. And Peter gave Danny all of that freedom. You just don’t hear about things like that.” Jeremy Spencer, the band’s other guitarist, was retained even though he did not play on any of the album’s original tracks. Green and Spencer had planned to record a concept album — “an orchestral-choral LP” — about the life of Jesus Christ, although the album never came to fruition. Instead, Spencer released a solo album in 1970 with the members of Fleetwood Mac as his backing band.

A German re-issue edition from 1973:

Although “Oh Well” was a hit in the UK, it was not the group’s first single released in America. Instead, Clifford Davis, who was Fleetwood Mac’s manager at the time, selected “Rattlesnake Shake” to be released in the US. While Davis thought “Rattlesnake Shake” would become a big hit, it failed to chart anywhere. After the failure of “Rattlesnake Shake”, “Oh Well” was chosen as the second single for the US market. The second single fared much better, becoming the band’s first song to chart on the Billboard Hot 100. Mick Fleetwood ranked the song in his top 11 favourite Fleetwood Mac songs list.

The “Oh Well” single … all ove the world:
Oh Well Singles

It incorporated the freedom to go off on a tangent, to jam – the classic ‘Do you jam, dude?’ We learned that as players. You hear that alive and well in the double-time structure that I put in at the end, which on stage could last half an hour. It was our way of being in The Grateful Dead.

The painting used for the album cover artwork is a mural by the English artist Maxwell Armfield. The painting was featured in the February 1917 edition of The Countryside magazine, which noted that the mural was originally designed for the dining room of a London mansion.


Contemporary reception of the album was mixed. Writing for Rolling Stone magazine, John Morthland said Fleetwood Mac had fallen “flat on their faces”, and later dismissed the album as mostly “nondescript ramblings”. On the other hand, Robert Christgau was more positive. He described the album’s mixing of “easy ballads and Latin rhythms with the hard stuff” as “odd” but “very good”.

However, modern reviews of the album are highly positive; The New Rolling Stone Album Guide labeling the album as a “cool, blues-based stew” and considered it the second best Fleetwood Mac album. The Telegraph described Then Play On as a “musically expansive, soft edged, psychedelic blues odyssey”. Clark Collins of Blender magazine gave the album five stars out of five, and described “Oh Well” as an “epic blues-pop workout”. (wikipedia)


This Peter Green-led edition of the Mac isn’t just an important transition between their initial blues-based incarnation and the mega-pop band they became, it’s also their most vital, exciting version. The addition of Danny Kirwan as second guitarist and songwriter foreshadows not only the soft-rock terrain of “Bare Trees” and “Kiln House” with Christine Perfect-McVie, but also predicts Rumours. That only pertains to roughly half of the also excellent material here, though; the rest is quintessential Green. The immortal “Oh Well,” with its hard-edged, thickly layered guitars and chamber-like sections, is perhaps the band’s most enduring progressive composition. “Rattlesnake Shake” is another familiar number, a down-and-dirty, even-paced funk, with clean, wall-of-sound guitars. Choogling drums and Green’s fiery improvisations power “Searching for Madge,” perhaps Mac’s most inspired work save “Green Manalishi,” and leads into an unlikely symphonic interlude and the similar, lighter boogie “Fighting for Madge.”


A hot Afro-Cuban rhythm with beautiful guitars from Kirwan and Green on “Coming Your Way” not only defines the Mac’s sound, but the rock aesthetic of the day. Of the songs with Kirwan’s stamp on them, “Closing My Eyes” is a mysterious waltz love song; haunting guitars approach surf music on the instrumental “My Dream”; while “Although the Sun Is Shining” is the ultimate pre-Rumours number someone should revisit. Blues roots still crop up on the spatial, loose, Hendrix-tinged “Underway,” the folky “Like Crying,” and the final outcry of the ever-poignant “Show Biz Blues,” with Green moaning “do you really give a damn for me?” Then Play On is a reminder of how pervasive and powerful Green’s influence was on Mac’s originality and individual stance beyond his involvement. Still highly recommended and a must-buy after all these years, it remains their magnum opus. (by Michael G. Nastos)


Peter Green (vocals, guitar, harmonica, bass, percussion, cello on 16.)
Mick Fleetwood (drums, percussion)
Danny Kirwan (vocals, guitar)
John McVie (bass)
Jeremy Spencer (piano on 16. only)
Sandra Elsdon (recorder on 16.)
Big Walter Horton (harmonica)
Christine Perfect (piano)


01. Coming Your Way (Kirwan) 3.46
02. Closing My Eyes (Green) 4.52
03. Fighting For Madge (Fleetwood) 2.43
04. When You Say (Kirwan) 4:31
05. Show-Biz Blues (Green) 3.52
06. Underway (Green) 3.05
07. One Sunny Day (Kirwan) 3.12
08. Although The Sun Is Shining (Kirwan) 2.26
09. Rattlesnake Shake (Green) 3.30
10. Without You (Kirwan) 4.35
11. Searching For Madge (McVie) 6.57
12. My Dream (Kirwan) 3.32
13. Like Crying (Kirwan) 2.26
14. Before The Beginning (Green) 3.28
15. Oh Well – Pt. 1 (bonus mono track) (Green) 3.25
16. Oh Well – Pt. 2 (bonus mono track) (Green) 5.40
17. The Green Manalishi (With the Two-Pronged Crown) (Green) 4.37
18. World In Harmony (Kirwan/Green) 3.27



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The inlets of the 1973 re-issue:
Inlets (Re-Issue)


More from Fleetwood Mac:

The official website:

Colosseum – Transmissions – Live At The BBC (CD 1 + 2) (2020)


Colosseum are an English jazz rock band, mixing blues, rock and jazz-based improvisation. Colin Larkin wrote that “the commercial acceptance of jazz rock in the UK” was mainly due to the band. Between 1975 and 1978 a separate band Colosseum II existed playing progressive rock.

Colosseum, one of the first bands to fuse jazz, rock and blues, were formed in early 1968 by drummer Jon Hiseman with tenor sax player Dick Heckstall-Smith, who had previously worked together in the New Jazz Orchestra and in The Graham Bond Organisation, where Hiseman had replaced Ginger Baker in 1966. They met up again early in 1968 when they both played in John Mayall’s Bluesbreakers, during which time they played on the Bare Wires album. Childhood friend Dave Greenslade was quickly recruited on organ, as was bass player Tony Reeves who had also known both Hiseman and Greenslade since being teenage musicians in South East London. The band’s line-up was completed, after lengthy auditions, by Jim Roche on guitar and James Litherland (guitar and vocals), although Roche only recorded one track before departing.


Their first album, Those Who Are About to Die Salute You, which opened with the Bond composition “Walkin’ in the Park”, was released by the Philips’ Fontana label in early 1969. In March the same year they were invited to take part in Supershow, a two-day filmed jam session, along with Modern Jazz Quartet, Led Zeppelin, Jack Bruce, Roland Kirk Quartet, Eric Clapton, Stephen Stills, and Juicy Lucy.

Colosseum’s second album, later in 1969, was Valentyne Suite, notable as the first release on Philip’s newly launched Vertigo label, established to sign and develop artists that did not fit the main Philips’ brand, and the first label to sign heavy metal pioneers Black Sabbath.


For the third album, The Grass Is Greener, released only in the United States in 1970, Dave “Clem” Clempson replaced James Litherland. Louis Cennamo then briefly replaced Tony Reeves on bass, but was replaced in turn by Mark Clarke within a month. Then Hiseman recruited vocalist Chris Farlowe to enable Clempson to concentrate on guitar. This lineup had already partly recorded the 1970 album Daughter of Time.

In March 1971, the band recorded concerts at the Big Apple Club in Brighton and at Manchester University. Hiseman was impressed with the atmosphere at the Manchester show, and the band returned five days later for a free concert that was also recorded. The recordings were released as a live double album Colosseum Live in 1971. In October 1971 the original band broke up. (wikipedia)


“This is the BBC Radio 1 Service. We proudly present one of the world’s greatest bands… Colosseum!” Fans tuning into their wireless sets during the great age of progressive rock would have been thrilled to hear the announcer introduce one of their favourite bands about to hit the airwaves. They wouldn’t be disappointed. Few bands played with such power, fire and intensity whether in a club, at a festival or even in the confines of a radio station studio. Led by drumming legend Jon Hiseman, Colosseum was guaranteed to give an exciting performance as soon as the red recording light went on and the engineer gave the thumbs up. Even so, it seemed like a fleeting moment, once the broadcasts were over, never to be heard again. But here is the exciting news.


Many of the shows when Colosseum roared into epic arrangements like ‘Walking In The Park,’ ‘Daughter Of Time’, ‘Tanglewood ’63’ and ‘Rope Ladder To The Moon’ were captured on tape for posterity, not only by the BBC but by listeners armed with their own home recorders. So now it is Repertoire’s turn to proudly announce the release of an amazing 6CD set Transmissions Live At The BBC featuring shows like John Peel’s ‘Top Gear’ and ‘Sounds Of The 70s’, and comprising some 60 tracks recorded between 1969 and 1971. We hear the earliest version of Colosseum with founder members Jon Hiseman, Dick Heckstall-Smith, Dave Greenslade and Tony Reeves joined by guitarist/vocalist James Litherland. Later classic line-ups include Dave Clempson on guitar with Chris Farlowe (vocals) and Mark Clarke (bass) with guest appearances by Barbara Thompson (sax/flute) and the New Jazz Orchestra. This vast treasure trove of material has been rescued from the BBC and Colosseum archives, along with rare recordings by fans and enthusiasts. It has been painstaking collected, collated, restored and digitalised by the combined forces of historian and archivist Colin Harper, Jon’s daughter Ana Gracey and Repertoire’s own audio genius the mighty Eroc. With liner notes by Repertoire’s Chris Welch including new interviews with Dave Greenslade, Tony Reeves and Chris Farlowe, this promises to be the biggest classic rock album release of the year. So ‘The Machine Demands A Sacrifice’? Here it is! (press release)


I have just taken delivery of this set & am very impressed. I haven’t listened to a note though – that goes without saying. What I wish to comment on is the packaging. The box is beautifully made & the 6 discs & booklet fit snugly so whole thing takes up a minimum of space (& apart from the actual discs, contains no plastic) so it will easily be stored with other CDs. Would that all CD boxed sets were like this. (The Duckmeister)


Superb collection of high class radio broadcasts. Brings me back to those fabulous days when I heard them when first broadcast when I was a teenager. Brilliant music. (Bob Mitchell)

Without any doubts: a must for every serious Colosseum collector !



From Top Gear Januar 1969 to Radio 1 Jazz Workshop July 1969:
Dave Greenslade (organ, vibraphone)
Dick Heckstall-Smith (saxophone)
Jon Hiseman (drums)
James Litherland (guitar, vocals)
Tony Reeves (bass)
Barbara Thompson (saxophone, flute on Top Gear July 1969)

from Top Gear November 1969 to Sounds of the 70’s April 1970:
Dave Clempson (guitar, vocals)
Dave Greenslade (organ, vibraphone)
Dick Heckstall-Smith (saxophone)
Jon Hiseman (drums)
Tony Reeves (bass)
Barbara Thompson (saxophone, flute on Top Gear November 1969



CD 1:

Top Gear, 19 January 1969:
01. The Road She Walked Before (Heckstall-Smith) 2.51
02. Backwater Blues (Leadbetter) 5.01
03. A Whiter Shade Of Powell (Pale) (Brooker/Bach) 2.46

Symonds On Sunday, 16 March 1969:
04. Walking In The Park (Bond) 3.23
05. Interview with Jon Hiseman 1.00
06.Beware The Ides Of March (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 4.08
07. Plenty Hard Luck (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 2.41

Johnnie Walker, 24 May 1969:
08. Elegy (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 3.04
08. Walking In The Park (Bond) 4.19
10. Butty’s Blues (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 5.59
11. I Can’t Live Without You (Litherland) 4.48

Top Gear, 6 July 1969:
12. Elegy (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 2,51
13. The Grass Is Greener (Heckstall-Smith/Hiseman) 7.25
14. Hiseman’s condensed history of mankind 2.30
15. February’s Valentyne (Heckstall-Smith/Hiseman(Greenslade) 6.18

Symonds On Sunday, 20 July 1969:
16. Elegy (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 3.07
17. The Road She Walked Before (Heckstall-Smith) 2.24
18. Walking In The Park (Bond) 3.41
19. Butty’s Blues (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 3.12

CD 2:

Radio 1 Jazz Workshop, 17 July 1969:
01. Elegy (take 1) (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 3:01
02. I Can’t Live Without You (Litherland) 4.45
03. Walking In The Park (Bond) 4.17
04. Those About To Die (take 1) (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 6.29
05. Butty’s Blues (take 1) (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 6.50
06. Mandarin (Reeves/Greenslade) 6.32
07. The Grass Is Greener (Heckstall-Smith/Hiseman) 2.02

Top Gear, 22 November 1969:
08. Interview with Dick Heckstall-Smith 1.41
09. Lost Angeles (Greenslade/Heckstall-Smith)  8.47
10. Arthur’s Moustache  6.26

Unknown Session late 1969 / early 1970:
11. Jumping Off The Sun (Taylor/Tomlin) 3.29
12. Theme For An Imaginary Western (Bruce/Brown) 3.57
13. Take Me Back To Doomsday (Greenslade/Clempson/Hiseman) 2.32
14 Lost Angeles (partial) (Farlowe/Greenslade/Heckstall-Smith) 1.28
15. Angle 3:52
16. The Machine Demands A Sacrifice (Hiseman) 2.44



Box front + backcover:

Coming soon: CD 3 + 4, 5+ 6 + booklet

More from Colosseum:

Arlo Guthrie – Running Down The Road (1969)

LPFrontCover1Arlo Davy Guthrie (born July 10, 1947) is an American retired folk singer-songwriter. He is known for singing songs of protest against social injustice, and storytelling while performing songs, following the tradition of his father Woody Guthrie. Guthrie’s best-known work is his debut piece, “Alice’s Restaurant Massacree”, a satirical talking blues song about 18 minutes in length that has since become a Thanksgiving anthem. His only top-40 hit was a cover of Steve Goodman’s “City of New Orleans”. His song “Massachusetts” was named the official folk song of the state, in which he has lived most of his adult life. Guthrie has also made several acting appearances. He is the father of four children, who have also had careers as musicians.

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Running Down the Road is the second studio album by American folk singer Arlo Guthrie. Guthrie’s version of the traditional folk tune “Stealin'” was featured in the film Two-Lane Blacktop. The cover shows the artist upon a Triumph TR6 Trophy motorcycle which is also pictured in the album’s ‘gate’. (wikipedia)

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Although this album’s “Coming in to Los Angeles” crossed Guthrie over and into the rock LPBookletunderground, especially via its performance at Woodstock, most of his third record is actually far more laid-back country-rock. Very much a production of its time, in a slightly negative sense, Running Down the Road features Guthrie employing the cream of L.A.’s top country-rock players as session men: Ry Cooder, James Burton, Clarence White, Jim Gordon, Gene Parsons, Jerry Scheff, and Chris Etheridge. The tone is good-natured and easygoing — too good-natured and easygoing sometimes, in fact, as on the unexciting cover of “Stealin’.” Guthrie acknowledges his folk roots with covers of tunes by his father Woody Guthrie (“Oklahoma Hills”), Pete Seeger (“Living in the Country”), and Mississippi John Hurt. These are surrounded by originals that follow the Dylan “back to basics” mold of the late ’60s, both in musical and lyrical concerns (“My Front Pages” might even be taken as a gentle Dylan satire). As such, much of the record is inoffensive but inconsequential, although the drug smuggling ode “Coming into Los Angeles” adds a touch of much-needed urgency. The title track is entirely uncharacteristic of the album, with its harsh blasts of distorted psychedelic guitar and tough, walking-blues stance — for these reasons, it’s a standout. (by Richie Unterberger)


James Burton (guitar)
Ry Cooder (guitar, mandolin, bass)
Chris Ethridge (bass)
Jim Gordon (drums)
Arlo Guthrie (vocals, guitar, piano)
Milt Holland (percussion)
Gene Parsons (drums, guitar, harmonica)
John Pilla (guitar)
Jerry Scheff (bass)
Clarence White (guitar)


01. Oklahoma Hills (W.Guthrie/J.Guthrie) 3.27
02. Every Hand In The Land (A.Guthrie) 2.20
03. Creole Belle (Hurt) 3.46
04. Wheel Of Fortune (A.Guthrie)  2.31
05. Oh, In The Morning (A.Guthrie) 4.54
06. Coming Into Los Angeles (A.Guthrie) 3.07
07. Stealin’ (Cannon) 2.49
08. My Front Pages (A.Guthrie) 3.47
09. Living In The Country (Seeger) 3.18
10. Running Down The Road (A.Guthrie) 4.30



More from Arlo Guthrie:

The official website:

Andwella’s Dream – Love and Poetry (1969)

LPFrontCover1In his teens, singer/guitarist/keyboard player Dave Lewis joined the Belfast-based soul band The Methods. Managed by George Mechan, the group attracted some attention performing on the Belfast and Dublin club scenes, going though a stream of members, including briefly future Thin Lizzy members Phil Lynnot and Gary Moore. In 1967 Lewis, drummer Wilgar Cambell, and bassist Nigel Smith decided to strike out on their own. The trio relocated to London, where they caught the attention of Andrew Cameron Miller’s CBS affiliated Reflection Records. Dubbing themselves Andwellas Dream, still in their teens, the trio ended up signing with CBS. During the resulting recording sessions drummer Campbell became homesick and returned to Ireland. He was quickly replaced by Gordon Barton and within a couple of months the revamped line-up debuted with a 45 produced by former The Konrads bassist Shahan Chowdhury (aka Rocky Shahan):

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Produced by Shahan, 1969’s “Love and Poetry” has been widely labeled as a psych classic. While there are clearly psych influences across these grooves, that’s not a particularly apt description of the album. It’s actually one of the most musically diverse LP’s in my collection. My ears detect as least six genres scattered across these 13 tracks. The influences included Byrds-styled folk-rock (‘Man Without a Name’), jazz-rock (‘Clockwork Man’), Hendrix-styled hard rock (‘Sunday’), psychedelia (the lysergic-tinged ballad ‘Midday Sun’), and even a stab at world music (the first half of ‘Lost a Number Found a King’).

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Given the album’s diversity, Lewis was clearly the trio’s point-man. In addition to writing all the material he handled lead vocals, guitar and organ. He certainly had a nice voice; capable of easily handling the band’s diverse repertoire. He was also a gifted guitarist and had a knack for crafting catchy melodies. Virtually every one of these tracks had an appealing hook. That’s not intended to downplay the contributions of the Barton-Smith rhythm section. On tracks like the single ‘Sunday’ drummer Barton demonstrated he could easily keep up with the likes of a Keith Moon. Smith was a gifted bassist; highly inventive and melodic – check out his work on the opener ‘The Days Grew Longer for Love.’

No idea who he was, but I’ve always liked C. Nevil Boussmayeff’s abstract cover art.(badcatrecords.com)


Love & Poetry was one of those albums that raised psychedelic rock high and made it domineering genre of the time. “The man from the dam said it was a shame about her she never planned on staying here for long. He looked rather pale as he mentioned the name Andwella she came with the gong that sat on top of her basket there was none pleasant to my eyes as she. She came like a breeze in the middle of the day, then gone she brought us the air that looked about it serving her until the day you die with her crimson cape she rolled across the valley”. Love & Poetry is diverse and melodious and as the title suggests it is lovely and poetic. (Babe_N_Co)


Gordon Barton (drums)
Dave Lewis (guitar, keyboards, vocals)
Nigel Smith (bass, vocals)
Wilgar Campbell (drums on 12.)
Bob Downes (flute, saxophone, percussion)


01. The Days Grew Longer For Love 3.56
02. Sunday 3.14
03. Lost A Number, Found A King 6.04
04. Man Without A Name 2.42
05. Clockwork Man 2.44
06. Cocaine 5.00
07. Shades Of Grey 3.37
08. High On A Mountain 2.32
09. Andwella 3.16
10. Midday Sun 3.41
11. Take My Road 3.23
12. Felix 4.17
13. Goodbye 2.18
14. Mrs. Man (45 A-Side) 4.00
15. Mr. Sunshine (45 B-Side) 3.17
16. Every Little Minute (45 A-Side) 3.55
17. Michael Fitzhenry (45 B-Side) 3.43
18. Take My Road (alternate mix) 3.27
19. Man Without A Name (alternate mix) 2.39
20. . Miles Away From My Baby (2008) 4.37
21. Paradise Isle (2008) 3.45

All songs written by Dave Lewis



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Andwella on facebook:

Christine Perfect – The Complete Blue Horizon Sessions (2008)

FrontCover1Christine Anne McVie (née Perfect; born 12 July 1943) is an English singer, songwriter, lead vocalist and keyboardist of Fleetwood Mac, which she joined in 1970. She has also released three solo albums. She has a contralto voice. Her direct but poignant lyrics focus on love and relationships. AllMusic describes her as an “Unabashedly easy-on-the-ears singer/songwriter, and the prime mover behind some of Fleetwood Mac’s biggest hits.” Eight of her songs appeared on Fleetwood Mac’s 1988 Greatest Hits album.

In 1998, McVie was inducted into the Rock and Roll Hall of Fame as a member of Fleetwood Mac, and received the Brit Award for Outstanding Contribution to Music. The same year, after almost 30 years with the band, she opted to leave and lived in semiretirement for nearly 15 years. She released a solo album in 2004. In September 2013, she appeared on stage with Fleetwood Mac at London’s O2 Arena. She rejoined the band in September 2014 prior to their On with the Show tour.

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In 2006, McVie received a Gold Badge of Merit Award from Basca, now The Ivors Academy. In 2014, she received the Ivor Novello Award for Lifetime Achievement from the British Academy of Songwriters, Composers and Authors, and was honored with the Trailblazer Award at the UK Americana Awards in 2021. She is also the recipient of two Grammy Awards.

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McVie was born in the Lake District village of Bouth, Lancashire, and grew up in the Bearwood area of Smethwick near Birmingham. Her father, Cyril Percy Absell Perfect, was a concert violinist and music lecturer at St Peter’s College of Education, Saltley, Birmingham, and taught violin at St Philip’s Grammar School, Birmingham. McVie’s mother, Beatrice Edith Maud (Reece) Perfect, was a medium, psychic, and faith healer. McVie’s grandfather was an organist at Westminster Abbey.

Although McVie was introduced to the piano when she was four, she did not study music seriously until age 11, when she was reintroduced to it by Philip Fisher, a local musician and school friend of McVie’s older brother, John. Continuing her classical training until age 15, McVie shifted her musical focus to rock and roll when her brother, John, came home with a Fats Domino songbook. Other early influences included The Everly Brothers.

Christine Perfect05McVie studied sculpture at Moseley School of Art in Birmingham for five years, with the goal of becoming an art teacher. During that time, she met a number of budding musicians in Britain’s blues scene. Her first foray into the music field came when she met two friends, Stan Webb and Andy Silvester, who were in a band called Sounds Of Blue. Knowing that McVie had musical talent, they asked her to join. She often sang with Spencer Davis. By the time McVie graduated from art college, Sounds of Blue had split up, and as she did not have enough money to launch herself into the art world, she moved to London and worked briefly as a department-store window dresser.

In 1967, McVie learned that her ex-bandmates, Andy Silvester and Stan Webb, were forming a blues band, Chicken Shack, and were looking for a pianist. She wrote to them asking to join. They accepted and invited her to play keyboards/piano and to sing background vocals. Chicken Shack’s debut release was “It’s Okay With Me Baby”, written by and featuring McVie.

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She stayed with Chicken Shack for two albums, during which her genuine feel for the blues became evident, not only in her Sonny Thompson-style piano playing, but also through her authentic “bluesy” voice. Chicken Shack had a hit with “I’d Rather Go Blind”, which featured McVie on lead vocals. McVie received a Melody Maker award for female vocalist in both 1969 and 1970. McVie left Chicken Shack in 1969 after marrying Fleetwood Mac bassist John McVie a year earlier. (wikipedia)

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And the rest is history ….

Christine McVie (nee Perfect) is one of the great unsung talents of British blues and pop. Her work with Fleetwood Mac is often overshadowed by her more showy counterparts, Lindsay Buckingham, Peter Green or Stevie Nicks. She provided the spine to their material, and especially added a consistency during the group’s wilderness years between 1970 and 1975 (for those of you who haven’t had the pleasure, check out her contributions to 1973’s Mystery To Me album). This CD is her oft-reissued Christine Perfect album, recorded for Mike Vernon’s Blue Horizon label in the period between her leaving Chicken Shack and before she joined her husband-to-be John McVie in Fleetwood Mac. McVie herself has frequently played down the record. Although certainly not a major work, it is a pretty textbook example of pleasant blues rock as the 60s became the 70s.

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To be honest, her tracks sound pretty much like later Fleetwood Mac album material, which given the presence of John McVie on bass and Danny Kirwan on guitar, is fairly understandable. Her version of Kirwan’s When You Say is a standout, easily giving Fleetwood Mac’s Then Play On version a run for its money. Perfect’s piano work here strives to distil the very essence of the blues. It is the additional material that highlights her at her best: the demo, Tell Me You Need Me, that was also demoed by Fleetwood Mac is by far and away the best track here.


The song underlines the pleasure of her best work; languid, expressive, soulful. With three BBC session recordings here as well, The Complete Blue Horizon Recordings, although hardly essential, is a very welcome listen. (by Daryl Easlea)


Martin Dunsford (bass)
Chris Harding (drums, percussion, flute)
Rick Hayward (guitar)
Christine Prfect (vocals, keyboards)
Top Topham (guitar)
Dave Coxhill (saxophone on 08.)
Geoff Driscoll (saxophone on 08.)
Danny Kirwan (guitar on 06.)
John McVie (bass on 06.)
Terry Noonan (trumpet on 01., 02., 08.)
Bud Parkes (trumpet on 08.)
Andy Silvester (bass on 05.)
Derek Wadsworth (trombone on 08.)
unknown string section
unknown trumpet, trombone, saxophone (on 01., 02.)


01. Crazy ‘Bout You Baby (Jacobs) 3.02
02. I’m On My Way (Malone) 3.09
03. Let Me Go (Leave Me Alone) (Perfect) 3.35
04. Wait And See (Perfect) 3.14
05. Close To Me (Perfect/Hayward) 2.40
06. When You Say (Kirwan) 3.15
07. And That’s Saying A Lot (Jackson/Godfrey) 2.58
08. No Road Is The Right Road (Perfect) 2.49
09. For You (Perfect) 2.45
10. I’m Too Far Gone (To Turn Around) (album version) (Hendricks/Otis) 3.26
11. I Want You (White) 2.23
12. Tell Me You Need Me (previously unreleased) (Perfect) 3.20
13. I’m Too Far Gone (To Turn Around) (single version) (Hendricks/Otis) 3.17
14.Hey Baby (previously unreleased BBC sessions) (Perfect/Vernon/Webb) 2.34
15. It’s You I Miss (previously unreleased BBC sessions) (Perfect) 3.45
16. Gone Into The Sun (previously unreleased BBC sessions) 2.45



Christine Perfect03

More from Christine Perfect:

Creedence Clearwater Revival – Willy And The Poor Boys (1969)

FrontCover1Creedence 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. 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.


Willy and the Poor Boys is the fourth studio album by American rock band Creedence Clearwater Revival, released by Fantasy Records in November 1969. It was the last of three studio albums the band released that year, arriving just three months after Green River.

The album features the songs “Down on the Corner”, from which the album got its name, and “Fortunate Son”, which is a well-known protest song. Creedence also released its own version of “Cotton Fields” on this album, which reached the #1 position in Mexico.

The album was planned to be formed around a concept introduced in “Down on the Corner”, with Creedence taking on the identity of an old-time jug band called “Willy and The Poor Boys”. However, this was dropped rather quickly, except for the cover, where the band remains in character.


By the fall of 1969, Creedence Clearwater Revival was one of the hottest rock bands in the world, having scored three consecutive #2 singles and the #1 album Green River. In addition, the group had performed at the landmark Woodstock Festival in August and made several high-profile television appearances, including The Ed Sullivan Show. Bandleader and songwriter John Fogerty had assumed control of the band after several years of futility, but, despite their growing success, the other members – bassist Stu Cook, drummer Doug Clifford and guitarist Tom Fogerty, John’s older brother – began to chafe under Fogerty’s demanding, autocratic leadership. The band’s output in 1969 alone – three full-length albums – was staggering considering that they were touring nonstop throughout. “That was a bit of overkill and I never did understand that,” Clifford stated to Jeb Wright of Goldmine in 2013, “Fogerty told us that if we were ever off the charts, then we would be forgotten… To make it worse, it might sound funny, but we had double-sided hits, and that was kind of a curse, as we were burning through material twice as fast. If we’d spread it out, we would not have had to put out three albums in one year.” The fiercely competitive Fogerty remained unapologetic, insisting to Guitar World’s Harold Steinblatt in 1998, “Everyone advised me against putting out great B-sides. They’d tell me I was wasting potential hits. And I looked at them and said, ‘Baloney. Look at the Beatles. Look at Elvis. It’s the quickest way to show them all that good music.”


In August, CCR released its third LP, Green River. Shortly after, it began recording songs for its next LP, Willy and the Poor Boys. Two months later the band released its eighth single, “Down on the Corner” b/w “Fortunate Son”. The single’s A-side reached #3 on the Billboard Hot 100 and its B-side made it to #14. “Down on the Corner” chronicles the tale of the fictional band Willy and the Poor Boys, and how they play on street corners to cheer people up and ask for nickels. The song makes reference to a washboard, a kazoo, a Kalamazoo Guitar, and a gut bass.[6] In a 1969 appearance on The Ed Sullivan Show[citation needed], the boys performed the song as Willy and the Poor Boys. Stu Cook played a gut bass, Doug Clifford the washboard, and Tom Fogerty the Kalamazoo, which mimicked the appearance of the band as they appear on the album cover.

“Down on the Corner” b/w “Fortunate Son” peaked at #3 on December 20, 1969 on the Hot 100. “Fortunate Son” is a counterculture era anti-war anthem, criticizing militant patriotic behavior and those who support the use of military force without having to “pay the costs” themselves (either financially or by serving in a wartime military) The song, released during the Vietnam War, is not explicit in its criticism of that war in particular, but its attacks on the elite classes (the families that give birth to eponymous “fortunate sons”) of the United States and their withdrawal from the costs of nationalistic imperialism are easy to contextualize to that conflict. The song was inspired by the wedding of David Eisenhower, the grandson of United States President Dwight David Eisenhower, to Julie Nixon, the daughter of President Richard Nixon, in 1968. The song’s author told Rolling Stone:

Julie Nixon was hanging around with David Eisenhower, and you just had the feeling that none of these people were going to be involved with the war. In 1968, the majority of the country thought morale was great among the troops, and eighty percent of them were in favor of the war. But to some of us who were watching closely, we just knew we were headed for trouble.


In 1993, Fogerty confessed to Rolling Stone’s Michael Goldberg, “It was written, of course, during the Nixon era, and well, let’s say I was very non-supportive of Mr. Nixon.” The song has been widely used to protest military actions and elitism in Western society, particularly in the United States; as an added consequence of its popularity, it has even been used in completely unrelated situations, such as to advertise blue jeans. It attracted criticism when Bruce Springsteen, Dave Grohl, and Zac Brown performed the song together at the November 2014 Concert for Valor in Washington, D.C. Fogerty, a military veteran, defended their song choice.

Fogerty’s revulsion with President Nixon can also be found on the album’s closing track, “Effigy.” In 2013 the singer-songwriter told David Cavanagh of Uncut that the tune was his response to Nixon emerging from the White House one afternoon and sneering at the anti-war demonstrators outside, with Fogerty remembering, “He said, ‘Nothing you do here today will have any effect on me. I’m going back inside to watch the football game.'”

“Don’t Look Now” displays Fogerty’s concern for the working poor (“Who will take the coal from the mine? Who will take the salt from the earth?”). As recounted in the VH1 Legends episode on the band, Fogerty once stated to Time magazine, “I see things through lower class eyes.”


The Chuck Berry-guitar romp “It Came Out of the Sky” tells the tale of a farmer who finds a UFO in his field and unwittingly becomes the most famous man in America. The album also includes two instrumental tracks in “Poorboy Shuffle” and “Side o’ the Road”, the former of which segues directly into the song “Feelin’ Blue.”

The LP also contains two songs associated with blues and folk legend Lead Belly: “Cotton Fields” and “The Midnight Special”. In 2012, Fogerty explained to Uncut, “Lead Belly was a big influence. I learned about him through Pete Seeger. When you listen to those guys, you’re getting down to the root of the tree.” In 1982 the band’s rendition of Lead Belly’s “Cotton Fields” made #50 on Billboard magazine’s Country Singles chart.

When the band members were finalizing the album, they and photographer Basul Parik went over to the intersection of Peralta St. and Hollis St. in Oakland, California and shot the photograph of the cover at Duck Kee Market owned by Ruby Lee.

The album was released in November as Fantasy 8397, and in 1970 made the Top 50 in six countries, including France where it reached #1. On December 16, 1970, the Recording Industry Association of America certified the album gold (500,000 units sold). Almost 20 years later, on December 13, 1990, the album was certified platinum (1,000,000 units sold) and 2x platinum (2,000,000 units sold).


The album was well received, exemplified by the original review in Rolling Stone, which stated it was “the best one yet”. In a contemporary review for The Village Voice, Robert Christgau also believed it was the group’s best record while writing, “Fogerty’s subtlety as a political songwriter (have you ever really dug the words of ‘Fortunate Son’?) comes as no surprise.”[18] He later included it in his “Basic Record Library” of 1950s and 1960s recordings, published in Christgau’s Record Guide: Rock Albums of the Seventies (1981).

In a retrospective review, AllMusic editor Stephen Thomas Erlewine contrasted Willy and the Poor Boys with the band’s previous album, Green River, because the songs were softer and more upbeat, except for “Effigy”, and stating that “Fortunate Son” is not as dated as most of the other protest songs of the era. However, he also feels the song is a little out of place on the album. He also compared “Poorboy Shuffle” to songs performed by jug bands and called the album “one of the greatest pure rock & roll albums ever cut”. In the Blender magazine review of the album it was called the opposite of Sgt. Pepper’s Lonely Hearts Club Band and psychedelic rock, which the reviewer feels is because of the band’s performance at the Woodstock Festival. For his Rolling Stone review of the 40th anniversary reissue of the album, Barry Walters called the album “relaxed” and gives credit to Fogerty for writing a protest song, “Fortunate Son”, that has a good beat to it.

In 2003, the album was ranked number 392 on Rolling Stone’s list of the 500 greatest albums of all time; the list’s 2012 edition had it ranked 309th. In the 2020 edition, the album reached number 193. On June 10, 2008, the album was remastered and released by Concord Music Group as a compact disc, with three bonus tracks. The album was remastered and reissued on 180-gram vinyl by Analogue Productions in 2006. (wikipedia)


Doug Clifford (drums, washboard on 04.)
Stu Cook (bass, washtub bass on 04., background vocals)
John Fogerty (vocals, lead guitar, piano, percussion, harmonica on 04.)
Tom Fogerty (guitar, background vocals)

01. Down On The Corner (J.Fogerty) 2.48
02. It Came Out Of The Sky (J.Fogerty) 2.57
03. Cotton Fields (Ledbetter) 2.55
04. Poorboy Shuffle (J.Fogerty) 2.27
05. Feelin’ Blue (J.Fogerty) 5.03
06. Fortunate Son (J.Fogerty) 2.22
07. Don’t Look Now (It Ain’t You Or Me) (J.Fogerty) 2.12
08. The Midnight Special (Traditional) 4.15
09. Side O’ the Road (J.Fogerty) 3.25
10. Effigy(J.Fogerty) 6.28



Some folks are born made to wave the flag
They’re red, white and blue
And when the band plays “Hail to the Chief”
They point the cannon at you, Lord

It ain’t me, it ain’t me
I ain’t no senator’s son, son
It ain’t me, it ain’t me
I ain’t no fortunate one

Some folks are born silver spoon in hand
Lord, don’t they help themselves, yeah
But when the taxman comes to the door
The house look a like a rummage sale

It ain’t me, it ain’t me
I ain’t no millionaire’s son, no, no
It ain’t me, it ain’t me
I ain’t no fortunate one

Yeah, some folks inherit star-spangled eyes
They send you down to war
And when you ask ’em, “How much should we give?”
They only answer, “More, more, more”

It ain’t me, it ain’t me
I ain’t no military son, son
It ain’t me, it ain’t me
I ain’t no fortunate one, one
It ain’t me, it ain’t me
I ain’t no fortunate one
It ain’t me, it ain’t me
I ain’t no fortunate one

More from Creedence Clearwater Revival:

The Rolling Stones – Liver Than You’ll Ever Be (1969)

OriginalFrontCover1The Rolling Stones: No introduction necessary.

Live’r Than You’ll Ever Be is a bootleg recording of the Rolling Stones’ concert in Oakland, California, from 9 November 1969. It was one of the first live rock music bootlegs and was made notorious as a document of their 1969 tour of the United States. The popularity of the bootleg forced the Stones’ label Decca Records to release the live album Get Yer Ya-Ya’s Out! The Rolling Stones in Concert in 1970. Live’r is also one of the earliest commercial bootleg recordings in rock history, released in December 1969, just two months after the Beatles’ Kum Back and five months after Bob Dylan’s Great White Wonder. Like the two earlier records, Live’r’s outer sleeve is plain white, with its name stamped on in ink.

The Oakland–Alameda County Coliseum Arena was built three years prior to the recordings featured on Live’r Than You’ll Ever Be and has continued to host sports games, concerts, and other events since.

Live’r Than You’ll Ever Be was recorded by “Dub” Taylor from Trademark of Quality using a Sennheiser shotgun microphone and a Uher “Report 4000” reel-to-reel tape recorder. It was the first audience-recorded rock bootleg to be mastered and distributed;[3] some sources consider it the first live bootleg. Though the sound is not nearly as clear as the official release of Get Yer Ya-Ya’s Out!, the recording is considered to be very strong for an audience recording, especially one of that era. The Rolling Stones performed two sets that night and it is the second concert that was more heavily bootlegged and has sharper sound. Bootleggers had collaborated to record Stones shows across the United States, recording them on two-track Sony recorders for months prior to the release of the album. At least one source claims that the recordings initially came from rock promoter Bill Graham’s staff, who used the tapes for broadcast on KSAN and released their edit on Lurch Records in early 1970.

Alternate frontcovers (1):

The recording was made available about one month after the concert, and it became popular enough to spur speculation that the Stones released Ya-Ya’s as a response to the bootleg[7] and the quality was high enough that it was rumoured that the band had even released the bootleg themselves.[8] The recording has been released through several bootleg labels, including the original release by Lurch and shortly thereafter Trademark of Quality (catalogue number 71002), the Swingin’ Pig Records, and Sister Morphine, usually documenting only the second set. The Swingin’ Pig release even replaced performances of “Jumpin’ Jack Flash” and “Under My Thumb” with different recordings from the band’s 10 November performance in San Diego and their two-night stint in New York City[9] and attempted to enhance the sound quality by using de-clicking technology—both changes have drawn criticism in comparison to the original Lurch Records release.[10]

Live’r Than You’ll Ever Be was favourably reviewed by Greil Marcus in the 7 February 1970 issue of Rolling Stone. He praised its sound and speculated that it may have been recorded from the stage. The album also received praise as a more authentic example of the Stones on stage because Get Yer Ya-Ya’s Out! was heavily overdubbed in many places. Richie Unterberger has noted that the recording is inferior to the sound quality of Ya-Ya’s, but displays a spontaneity that the official recording lacks and this helps to explain its long-lasting appeal to fans. Reviewing the album in 1970, Wim Wenders called it “the best Rolling Stones record.” (wikipedia)

Alternate frontcovers (2):

The recording and distribution of “LIVEr Than You’ll Ever Be” is a landmark historical achievement for many reasons. The recording itself is a high quality audience source. The equipment and method used to produce this piece of Rock ‘n Roll history is well documented in the book “Bootleg” by Clinton Heylin, 1994:

“What I used was a Senheiser 805 ‘shotgun’ microphone and a Uher 4000 reel-to-reel tape recorder, which was real small, 7 1/2 inch per second 5″ reels”

The LP was released in December 1969 just over a month after its November 9th, 1969 (2nd show) recording. Although original issues were put out on the Lurch label the recording was actually produced and manufactured by a label that would become known as Trade Mark of Quality (TMoQ). TMoQ was the pioneer record label in the rock ‘n roll bootleg business. They put out many LP’s from artists ranging from Joni Mitchell to Jethro Tull. They were also responsible for the first unauthorized rock bootleg “Great White Wonder” which consisted of the Dylan “basement tapes” among other things.

Rolling Stones01

“LIVEr Than You’ll Ever Be” is not only significant because of its place in the bootleg history, but also because of the mood and feel that it captured as the Rolling Stones returned to live performances for the first time in over three years with new guitarist Mick Taylor. Jimi Hendrix, The Doors, and The Cream had all happened since the last tour through the States. Guitar heroes and songs with great solos were the talk of the day. There was a stark difference between the screaming crowds that marked the close of their last US tour in Hawaii July 28, 1966, and the audiences they were now facing who were sitting down during the shows and listening to the music. The Oakland performances were early in the tour and the band was still getting acquainted with itself in a live setting with sound systems that could be heard in the far reaches of the stadiums they were playing in. The recording is primal in it’s musical depth compared to the well known “Get Yer Ya-Ya’s Out!” commercial release from the 1969 tour. There are no vocal or instrumental overdubs on LIVEr which enables the listener to compare the band early in the tour to the slicker overdubbed recording that would represent a band that had musically evolved very quickly during the course of the tour. It has been written that “Get Your Ya-Ya’s Out!” was released to counter sales of this record. There is a tremendous amount of folklore around LIVEr, most of which was promoted by the press that reviewed and wrote about the recording at the time of its release. The following excerpt from a “Rolling Stone” magazine review by Greil Marcus dated February 7, 1970:

“How it was recorded is more interesting, because the sound quality is superb, full of presence, picking up drums, bass, both guitars and the vocals beautifully. The LP is in stereo; while it doesn’t seem to be mixed, the balance is excellent. One of the bootleggers says the recording was done on an eight-track machine… So these may in fact be tapes that were made on the stage by someone involved in setting up the Stones’ own sound system”

Alternate frontcovers (3):

Reviews like this were amusing for the guys at TMoQ, but not for record companies or the recording industry. ABKCO followed-up with a press release stating that Baltimore and New York shows were taped by the band for future release, but that no West Coast shows were taped. This isn’t completely true as footage from LIVEr show in Oakland was used in the “Gimme Shelter” movie. It’s the part where Jagger says: “You really dressed-up tonight…”. Trade Mark of Quality takes full credit for the searches for tape recorders before shows as a result of their work in recording West Coast shows of the Rolling Stones in 1969. This would only be the tip of an iceberg with ensuing iterations of copyright law and royalty claims that artists and record companies would mount against the emerging underground recording industry. (rollingstonesnet.com)

Enjoy this rarity !

Recorded live at the The Oakland–Alameda County Coliseum Arena, California, 9 November 1969
excellent audience recording


Mick Jagger (vocals, harmonica)
Keith Richards (guitar, background vocals)
Mick Taylor (guitar)
Charlie Watts (drums)
Bill Wyman (bass)

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01. Carol (Berry) 3.45
02. Gimme Shelter (Jagger/Richards) 4.20
03. Sympathy For The Devil (Jagger/Richards) 6.24
04. I’m Free (Jagger/Richards) 5.08
05. Live With Me (Jagger/Richards) 3.35
06. Love In Vain (Robertson) 5.26
07. Midnight Rambler (Jagger/Richards) 7.42
08. Little Queenie (Berry) 4.15
09. Honky Tonk Women (Jagger/Richards) 4.05
10. Street Fighting Man (Jagger/Richards) 4.11
11. You Gotta Move (McDowell) 3.14
12. Prodigal Son (Wilkins) 4.00
13. Under My Thumb (Jagger/Richards) 3.24
14. Stray Cat Blues (Jagger/Richards) 4.14
15. Jumping Jack Flash (Jagger/Richards) 4.06
16. (I Can’t Get No) Satisfaction (Jagger/Richards) 6.06



More from The Rolling Stones:

Bonnie Dobson – Same (1969)

FrontCover1Bonnie Dobson (born November 13, 1940, Toronto, Ontario, Canada) is a Canadian folk music songwriter, singer, and guitarist, most known in the 1960s for composing the songs “I’m Your Woman” and “Morning Dew”. The latter, augmented (with a controversial co-writing credit) by Tim Rose, became a melancholy folk rock standard, covered by Fred Neil, Ralph McTell, Lulu, Nazareth, the Grateful Dead, the Jeff Beck Group, Robert Plant, the Pozo-Seco Singers, The 31st of February (including Gregg Allman, Duane Allman, and Butch Trucks of The Allman Brothers Band), Long John Baldry, DEVO and Einstürzende Neubauten, among many others.

Bonnie Dobson03

Dobson was born in Toronto. Her father was a union organizer and opera lover. Her early music influences included Paul Robeson and The Weavers.

Dobson became part of the active folk-revival scene in Toronto, performing in local coffee houses and at the Mariposa Folk Festival. She later moved to the United States where she performed in coffee houses across the country and recorded several albums, including 1962’s Bonnie Dobson at Folk City, which contained her well-known song “Morning Dew”.

Dobson has consistently questioned Tim Rose’s right to a co-writing credit for “Morning Dew” (stating that Rose first heard it as sung by Fred Neil) (1964 album Tear Down The Walls, crediting Dobson).

Bonnie Dobson01

After returning to Toronto in 1967 she continued to perform locally in coffee houses as well programs on the CBC. She married, and in 1969 moved to London, England, where she took up university studies and later became an administrator of the Philosophy Department at Birkbeck College, part of the University of London.

Bonnie Dobson02

After retiring in the 1980s, Dobson returned to perform in 2007 in London with Jarvis Cocker;[6] she released a new album in 2013 with the Hornbeam label and that year launched a number of concert dates.

She performed with Combined Services Entertainment, and was one of the last performers at RAF Salalah Oman. (wikipedia)

Bonnie Dobson04

Bonnie Dobson did not make the transition from folk to rock well, as this 1969 album attests. With its pop trimmings and orchestration, the impression is that RCA was trying to put Dobson into the pop market, rather than the rock or even folk-rock one. The arrangements aren’t awful, but they aren’t inspired either, and don’t suit the songs well. It’s as if someone was trying to make her over into a folk Bobbie Gentry. And the material isn’t the greatest either. Getting an opportunity to do an electric version of her own “Morning Dew” would seem to have been the greatest opportunity that the author of the song could have, yet it’s no more than adequate, and in any case had been beaten to the punch through prior versions by Tim Rose, the Grateful Dead, the Jeff Beck Group, Lulu, and others. Same thing with her covers of Fred Neil’s “Everybody’s Talking” and Dino Valenti’s “Let’s Get Together”: would have been a great idea in early 1967, but was running behind the pack a couple of years later. (At least her cover of Jackson Frank’s “You Never Me” was a more obscure, daring choice.)


Five of the 12 songs are her own compositions, but with the exception of “Morning Dew” they’re inoffensively forgettable, easygoing pop-folk-rock. A sitar (or possibly an electric sitar) pops up a couple of times, but it sounds more trendy than far-out. As an early-1960s folk singer, Dobson made notable if little-known contributions to the folk scene, but this album indicates that she wasn’t able to either maximize her potential or capitalize on her assets in a timely fashion. (by Richie Unterberger)


Bonnie Dobson (vocals, guitar)
a bunch of unknown studio musicians


01. I Got Stung (Dobson) 2.57
02. Morning Dew (Dobson/Rose) 3.20
03. Let’s Get Together (Valenti) 3.08
04. I’m Your Woman (Dobson) 3.00
05. Time (Shaper/Bourtayre) 3.09
06. Rainy Windows (Dobson) 2.40
07. Everybody’s Talking (Neil) 3.26
08. Bird Of Space (McPeek) 2.50
09. You Never Wanted Me (Frank) 3.11
10. Pendant Que (Vigneault) 3.01
11. Elevator Man (Allan) 2.53
12. Winter’s Going (Dobson) 2.41




Take me for a walk in the mornin’ dew, my honey
Take me for a walk in the mornin’ sun, my love
You can’t go walkin’ in the mornin’ dew today
You can’t go walkin’ in the mornin’ sun today

But listen, I hear a man moanin’, “Lord”
Oh yes, I hear a man moanin’, “Lord”
You didn’t hear a man moan at all
You didn’t hear a man moan at all

But I thought I heard my baby cryin’, “Mama”
Oh yes, I hear my baby cryin’, “Mama”
You’ll never hear your baby cry again
You’ll never hear your baby cry again

Now, where have all the people gone?
Won’t you tell me where have all the people gone?
Don’t you worry about the people anymore
Don’t you worry about the people anymore

“Morning Dew”, also known as “(Walk Me Out in the) Morning Dew”, is a contemporary folk song by Canadian singer-songwriter Bonnie Dobson. The lyrics relate a fictional conversation in a post-nuclear holocaust world. Originally recorded live as a solo performance, Dobson’s vocal is accompanied by her finger-picked acoustic guitar playing.

In 1962, “Morning Dew” was included on the live Bonnie Dobson at Folk City album. Subsequently, the song was recorded by other contemporary folk and rock musicians, including the Grateful Dead, who adapted it using an electric rock-ensemble arrangement for their debut album.

The song is a dialogue between the last man and woman left alive following an apocalyptic catastrophe. Dobson stated that the inspiration for “Morning Dew” was the film On the Beach, which is about the survivors of virtual global annihilation by nuclear holocaust. Dobson wrote the song while staying with a friend in Los Angeles; she recalled how the guests at her friend’s apartment were speculating about a nuclear war’s aftermath and “after everyone went to bed, I sat up and suddenly I just started writing this song [although] I had never written [a song] in my life”. In 1961, Dobson premiered “Morning Dew” at the inaugural Mariposa Folk Festival and a live recording appeared on Dobson’s At Folk City album in 1962. In 1969, she recorded a studio version for her self-titled album.

The earliest release of a studio version of “Morning Dew” was on the 1964 self-titled album by the Goldebriars, using the title “Come Walk Me Out” and without giving songwriter credit to Dobson. It was followed about a month later by a recording by singer and guitarist Fred Neil with Vince Martin, for their album Tear Down The Walls.[5] Tim Rose followed with a version for his self-titled debut album; according to Dobson, “all Tim Rose did was take Freddie Neil’s changes”. Dobson claimed she never met Rose, but she received 75% songwriting royalty as she retains sole writing credit for the song’s music.

“Morning Dew” became part of the Grateful Dead’s repertoire after frontman Jerry Garcia was introduced to the Fred Neil recording by roadie Laird Grant in 1966. The group first played the song as their opening number at the Human Be-In in January 1967; the same month the group recorded it for their self-titled debut album, which was released that March.

American psychodelic rock band The West Coast Pop Art Experimental Band released their cover of “Morning Dew” under the title “Will You Walk With Me” in February 1967 on their album Part One.

The British pop singer Lulu made a version of “Morning Dew” in her album Love Loves To Love Lulu produced by John Paul Jones, in 1967. With Rod Stewart on vocals, the Jeff Beck Group recorded a version on their 1968 album Truth that carried over some aspects of the Tim Rose version, including the bass part. Swiss rock band Krokodil included a version on their self-titled debut in 1969. Scottish rockers Nazareth covered the song on their 1971 debut in a version with an extended arrangement similar to the Jeff Beck Group’s, and released a single version the following year. Long John Baldry did “Morning Dew” on his self-titled 1980 release and released it as a single the same year. The German band Einstürzende Neubauten included too a version of “Morning Dew” in their album Fünf auf der nach oben offenen Richterskala of 1987. Devo covered the song on Smooth Noodle Maps released in 1990. US band Blackfoot also covered it to open their 1984 album Vertical Smiles.

Cleveland, Ohio rock band Damnation of Adam Blessing covered “Morning Dew” on their 1969 self-titled debut. “Morning Dew” was also performed by Duane and Greg Allman on their album released by Bold records. Robert Plant covered the song on his 2002 album Dreamland. (wikipedia)

Bruce Cockburn – Same (1969)

LPFrontCover1Bruce Douglas Cockburn OC (born May 27, 1945) is a Canadian singer-songwriter and guitarist. His song styles range from folk to jazz-influenced rock and his lyrics cover a broad range of topics including human rights, environmental issues, politics, and Christianity.

Cockburn has written more than 350 songs on 34 albums over a career spanning 40 years, of which 22 have received a Canadian gold or platinum certification as of 2018, and he has sold over one million albums in Canada alone. In 2014, Cockburn released his memoirs, Rumours of Glory. In 2016, his album Christmas was certified 6 times platinum in Canada for sales of over 600,000.

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Cockburn was born in 1945 in Ottawa, Ontario, and spent some time at his grandfather’s farm outside of Chelsea, Quebec, but he grew up in Westboro, which was a suburb of Ottawa when he was a teenager. His father, Doug Cockburn, was a radiologist, eventually becoming head of diagnostic x-ray at the Ottawa Civic Hospital. He has stated in interviews that his first guitar was one he found around 1959 in his grandmother’s attic, which he adorned with golden stars and used to play along to radio hits. This was replaced when his parents bought him a Kay archtop that had flat wound strings and a DeArmond pickup after his first guitar teacher, Hank Sims, declared it unplayable.

Later he was taught piano and music theory by Peter Hall, the organist at Westboro United Church which Cockburn and his family attended. Cockburn had been listening to jazz and wanted to learn musical composition. Hall encouraged him and, along with his friend Bob Lamble, a lot of time was spent at Hall’s house listening to and discussing jazz.

Cockburn attended Nepean High School, where his 1964 yearbook photo states his desire “to become a musician”. Nepean’s music teacher at the time, Ronald E.J. Milne, said in 1988 that although Cockburn didn’t take music, he could often be seen playing guitar.[citation needed] After graduating, he took a boat to Europe and busked in Paris.

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Cockburn attended Berklee School of Music in Boston, where his studies included jazz composition, for three semesters between 1964 and 1966. That year he dropped out and joined an Ottawa band called The Children, which lasted for about a year.

In early 1967 he joined the final lineup of the Esquires. He moved to Toronto that summer to form The Flying Circus with Marty Fisher and Gordon MacBain, former Bobby Kris & The Imperials members, and Neil Lillie, ex-Tripp member. The group recorded some material in late 1967 (which remains unreleased) before changing its name to Olivus in the spring of 1968, by which time Lillie (who changed his name to Neil Merryweather) had been replaced by Dennis Pendrith from Livingstone’s Journey. Olivus opened for The Jimi Hendrix Experience and Cream in April 1968.[10] That summer Cockburn broke up the band with the intention of going solo, but ended up in the band 3’s a Crowd with David Wiffen, Colleen Peterson, and Richard Patterson, who had been a co-member of The Children. Cockburn left 3’s a Crowd in the spring of 1969 to pursue a solo career.

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Cockburn’s first solo appearance was at the Mariposa Folk Festival in 1967, and in 1969 he was a headliner. In 1970 he released his self-titled, solo album. A single, “Going to the Country”, appeared on the RPM Top 50 Canadian Chart.

Cockburn’s guitar work and songwriting won him an enthusiastic following. His early work featured rural and nautical imagery and Biblical metaphors. Raised as an agnostic, early in his career he became a Christian. Many of his albums from the 1970s refer to Christian themes, which in turn inform his concerns for human rights and environmentalism. His references to Christianity include the Grail imagery of 20th-century Christian poet Charles Williams and the ideas of theologian Harvey Cox.

In 1970 Cockburn became partners with Bernie Finkelstein in the music publishing firm Golden Mountain Music. (wikipedia)

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Bruce Cockburn’s self-titled debut’s blend of diversity, enthusiasm, and innocence never quite resurfaced again in his work, especially in his more clinical, politically inclined tracts of later decades. The opening number, “Going to the Country,” still evokes that hippie-esque, back-to-the-earth movement as well as any song ever recorded, complete with a sly wink that keeps it fresh to this day.


And since this was 1970, the album also comes equipped with some of those quaint excesses of the period; try the nasal tone poem gracing “The Bicycle Trip.” “Musical Friends” remains a lively, happy-go-lucky classic with piano signature lifted from Paul McCartney’s playbook; it’s difficult to picture the dour Cockburn of more recent years ever having this much fun. In contrast, “Thoughts on a Rainy Afternoon” offers a trance-like, introspective atmosphere reminiscent of British folkie legend Nick Drake. (by Roch Parisien)


Bruce Cockburn (guitar, vocals, piano, drums)
Dennis Pendrith (bass)


01. Going To The Country 3.16
02. Thoughts On A Rainy Afternoon 3.49
03. Together Alone 2.15
04. The Bicycle Trip 4.44
05. The Thirteenth Mountain 4.50
06. Musical Friends 2.59
07. Change Your Mind 2.58
08. Man Of A Thousand Faces 5.44
09. Spring Song 5.05
10. Keep It Open 1.54

All songs written by Buce Cockburn



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The Byrds – Dr. Byrds And Mr. Hyde (1969)

LPFrontCover1The Byrds were an American rock band formed in Los Angeles, California in 1964. The band underwent multiple lineup changes throughout its existence, with frontman Roger McGuinn (known as Jim McGuinn until mid-1967) remaining the sole consistent member. Although their time as one of the most popular groups in the world only lasted for a short period in the mid-1960s, the Byrds are today considered by critics to be among the most influential rock acts of their era. Their signature blend of clear harmony singing and McGuinn’s jangly twelve-string Rickenbacker guitar was “absorbed into the vocabulary of rock” and has continued to be influential.

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

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

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

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Dr. Byrds & Mr. Hyde is the seventh studio album by the American rock band the Byrds and was released in March 1969 on Columbia Records. The album was produced by Bob Johnston and saw the band juxtaposing country rock material with psychedelic rock, giving the album a stylistic split-personality that was alluded to in its title. It was the first album to feature the new band line-up of Clarence White (guitar), Gene Parsons (drums), John York (bass), and founding member Roger McGuinn (guitar). Dr. Byrds & Mr. Hyde is unique within the band’s discography for being the only album on which McGuinn sings the lead vocal on every track.

The album peaked at number 153 on the Billboard Top LPs album chart and reached number 15 on the UK Albums Chart. A preceding single, “Bad Night at the Whiskey” (b/w “Drug Store Truck Drivin’ Man”), was released on January 7, 1969, but it failed to chart in the United States or in the United Kingdom In addition, a non-album single featuring a cover of Bob Dylan’s “Lay Lady Lay”, which was recorded shortly after the release of Dr. Byrds & Mr. Hyde and also produced by Johnston, peaked at number 132 on the Billboard chart. Dr. Byrds & Mr. Hyde is the lowest charting album of the band’s career in the United States, edging out the later Farther Along by one place.


Following the departure of Gram Parsons from the band, lead guitarist Roger McGuinn and bass player Chris Hillman decided that they needed to find a replacement member to meet their forthcoming concert obligations. With an appearance at the Newport Pop Festival looming, McGuinn and Hillman moved quickly to recruit noted session guitarist and longtime Byrd-in-waiting, Clarence White. White, who had played as a session musician on the Byrds’ previous three albums, was invited to join the band as a full-time member in July 1968. After the Newport Pop Festival appearance, White began to express dissatisfaction with the band’s drummer, Kevin Kelley, and soon persuaded McGuinn and Hillman to replace Kelley with Gene Parsons (no relation to Gram), a friend of White’s from their days together in the band Nashville West.

The new McGuinn, Hillman, White and Parsons line-up of the band was together for less than a month before Hillman departed to form the Flying Burrito Brothers with Gram Parsons. John York, a session musician who had toured with Johnny Rivers, the Sir Douglas Quintet, and the Mamas & the Papas, was hired as his replacement on bass. The new band line-up, featuring McGuinn and White’s dual guitar work, was regarded by critics and audiences as much more accomplished in concert than any previous configuration of the Byrds had been.

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Amidst so many changes in band personnel, McGuinn decided that he alone would sing lead vocals on the band’s new album, to give it a sense of sonic unity. McGuinn felt that it would be too confusing for fans of the Byrds to have the unfamiliar voices of the new members coming forward at this stage and so White, Parsons and York were relegated to backing vocal duties during the recording of the album. As a result, Dr. Byrds & Mr. Hyde is the only album in the Byrds’ catalogue to feature McGuinn singing lead on every track.

Prior to the recording of the album, the Byrds’ record producer, Gary Usher, who had worked on the band’s three previous albums, had been fired by Columbia Records for spending too much money on the recording of the Chad & Jeremy album Of Cabbages and Kings. Faced with the need to find a replacement producer, the band elected to bring in Bob Johnston, who had been Bob Dylan’s producer since 1965 Ultimately, the band were unhappy with Johnston’s work on Dr. Byrds & Mr. Hyde and, as a result, it was the only Byrds’ album to be produced by him.[3] Johnston was employed once more as the band’s producer on their May 1969 non-album single, “Lay Lady Lady”. In that instance he incurred the band’s wrath by overdubbing a female choir on to the recording, allegedly without the Byrds’ consent. When the single then stalled at number 132 on the Billboard charts the band decided that they would not work with Johnston again.


Recording sessions for the album began on October 7, 1968, with nine songs intended for the album being recorded during that month.[20] Among these songs were “Nashville West”, an instrumental written by Parsons and White during their tenure with the country rock group of the same name, and “Your Gentle Way of Loving Me”, a song that Parsons and Gib Guilbeau had previously released as a single in 1967.

Another song recorded during these sessions was McGuinn’s “King Apathy III”, a comment on political apathy and a championing of the rural idyll as an antidote to the excesses of the L.A. rock scene. The October recording sessions also saw the band attempting the traditional song “Old Blue”, which McGuinn had originally learned from watching Bob Gibson and Bob Camp at Chicago’s Gate of Horn club back in April 1961. “Old Blue” is the first of three dog-related songs to be recorded by the Byrds: the second and third being “Fido” from the Ballad of Easy Rider and “Bugler” from Farther Along. “Old Blue” features the first appearance on a Byrds’ recording of the Parsons and White designed StringBender, an invention that allowed White to duplicate the sound of a pedal steel guitar on his Fender Telecaster.

The October recording sessions also yielded “Bad Night at the Whiskey”, a song that would go on to be issued as the A-side of a single two months before the album. Named after a disappointing gig at the Whisky a Go Go and co-written by Joey Richards, a friend of McGuinn’s, “Bad Night at the Whiskey” featured allusive lyrics that bore little or no relationship to the song’s title.


The Byrds also recorded a version of Dylan and Rick Danko’s “This Wheel’s on Fire” during the October 1968 sessions, but this version of the song was not included on the album. “Stanley’s Song”, written by McGuinn and his friend Robert J. Hippard also dates from these sessions, but it was eventually discarded and did not appear in the final track listing for Dr. Byrds & Mr. Hyde.

Another composition recorded during the October 1968 sessions was the McGuinn and Gram Parsons penned “Drug Store Truck Drivin’ Man”.[4][16] The song had been written by the pair in London in May 1968, before Parsons’ departure from the band, and was inspired by the hostility shown towards the Byrds by legendary Nashville DJ Ralph Emery when they appeared on his WSM radio program. The song’s barbed lyric contains a volley of Redneck stereotypes, set to a classic country 3/4 time signature and begins with the couplet, “He’s a drug store truck drivin’ man/He’s the head of the Ku Klux Klan.” Emery was not, in fact, a Klansman. The song was subsequently performed by Joan Baez at the Woodstock Festival in 1969 and dedicated to the then-governor of California, Ronald Reagan. Baez’s performance of the song also appeared on the Woodstock: Music from the Original Soundtrack and More album.

Clarence White

An acetate version of Dr. Byrds & Mr. Hyde, dated October 16, 1968, and containing a seven-track programme for the album is known to exist. At this point the album consisted of the songs “Old Blue”, “King Apathy III”, “Drug Store Truck Drivin’ Man” and “This Wheel’s on Fire” on side one, with “Your Gentle Way of Loving Me”, “Nashville West” and “Bad Night at the Whiskey” on side two.

The Byrds returned to the studio on December 4, 1968, to re-record “This Wheel’s on Fire”. The Byrds also revisited two songs that had been written for the 1968 film Candy. Of these two songs, “Child of the Universe”, written by McGuinn and soundtrack composer Dave Grusin, was used in the film, while the McGuinn—York penned title track was not. A medley featuring the Dylan-authored Byrds’ hit “My Back Pages”, along with an instrumental named “B.J. Blues” and a jam version of the blues standard “Baby What You Want Me to Do” was also recorded during this December recording session.

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Dr. Byrds & Mr. Hyde was released on March 5, 1969, in the United States (catalogue item CS 9755) and April 25, 1969, in the United Kingdom (catalogue item 63545 in mono, S 63545 in stereo). Like the Byrds’ previous LP, Sweetheart of the Rodeo, the album was issued exclusively in stereo in America, but appeared in both mono and stereo variations in the UK. Sales of Dr. Byrds & Mr. Hyde were poor in the U.S., causing it to stall at number 153 on the Billboard Top LPs chart and giving the album the dubious honor of being the lowest charting album of the band’s career, edging out the later Farther Along by just one place. The album fared better in the United Kingdom, however, where it reached number 15 on the UK Albums Chart. The “Bad Night at the Whiskey” single was released ahead of the album on January 7, 1969, but it failed to reach the Billboard Hot 100 or the UK Singles Chart.

The album’s title, along with the back cover photo sequence, which featured the band changing from astronaut flight suits into cowboy garb, illustrated the schizophrenic nature of the album’s material. The psychedelic rock of “Bad Night at the Whiskey” and “This Wheel’s on Fire” sat alongside the Bakersfield-style country rock of “Nashville West” and “Drug Store Truck Drivin’ Man” Despite containing only ten tracks, Dr. Byrds & Mr. Hyde is the Byrds’ longest single album, clocking in at approximately thirty-five minutes in length. Only the double album (Untitled) is longer.

The album was released to generally positive reviews, with famed rock critic Robert Christgau declaring the album “first-rate Byrds, a high recommendation.” Johanna Schrier, writing in The Village Voice, described the album as “smooth and strong like a blended whiskey”, before suggesting that it was “Part kin to Sweetheart of the Rodeo, part the acid offspring of Notorious Byrd Brothers.”[3] In the UK, Record Mirror awarded the album four stars out of five, commenting “British devotes will dig this more than Sweetheart.”[32] Disc magazine were particularly enthusiastic in their praise of the album, stating “[This is] their best album since perhaps Younger Than Yesterday, perfectly illustrating the two completely disparate sides of the group: far-out electronic rock and hick, twangy country.”[32]

In more recent times, critic Mark Deming has stated in his review for the Allmusic website that the album “proved there was still life left in the Byrds, but also suggested that they hadn’t gotten back to full speed yet.” Senior editor of Rolling Stone, David Fricke, has described the album as “the Great Forgotten Byrds album”, while also noting that it “seemed tame in its reliance on the familiar.” (wikipedia)


Roger McGuinn (vocals, guitar)
Gene Parsons (drums, harmonica, banjo, background vocals)
Clarence White (guitar, background vocals)
John York (bass, background vocals)
Lloyd Green (pedal steel-guitar on 06.)

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01. Wheel’s On Fire (Dylan/Danko) 4.44
02. Old Blue (Traditional) 3.21
03. Your Gentle Way Of Loving Me (Guilbeau/Paxton) 2.35
04. Child Of The Universe (Grusin/McGuinn) 3.15
05. Nashville West (Parsons/White) 2.29
06. Drug Store Truck Drivin’ Man (McGuinn/Parsons) 3.53
07. King Apathy III (McGuinn) 3.00
08. Candy (McGuinn/York) 3.38
09. Bad Night At The Whiskey (McGuinn/Richards) 3.23
10. Medley: My Back Pages (Dylan) /B.J. Blues (McGuinn/York/Parsons/White) /Baby What You Want Me To Do (Reed) 4.08
11. Stanley’s Song (McGuinn/Hippard) 3.12
12. Lay Lady Lay (alternate version) (Dylan) 3.18
13. This Wheel’s On Fire (alternate – version one) (Dylan/Danko) 3.53
14. Medley: My Back Pages (Dylan) /B.J. Blues (McGuinn/York/Parsons/White) /Baby What You Want Me To Do (Reed)(alternate – version one) 4.18
15. Nashville West (alternate version — Nashville Recording) (Parsons/White) 2.04



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