Billie Joe Becoat – Reflections From A Cracked Mirror (1969)

FrontCover1Becoat made a little-known 1969 folk-rock album for Fantasy that leaned closer to folk than rock, although it did use a light rhythm section. Reflections From a Cracked Mirror was an apt title considering the rather scrambled, earnest reflections of the singer/songwriter. His vocal delivery is like a cross between Van Morrison and Dino Valenti, as odd as that combination might sound. Although there are full-band arrangements, the impression is that of a folky troubadour being dragged into the modern era, with bluesy and reasonably tuneful, well-sung compositions whose lyrics are considerably more downcast than the relatively upbeat music. The songs are those of a man approaching the edge, hounded by some internal demons and an external society with which he’s finding hard to cope. It wouldn’t have been at all surprising to come across him a few years later, scraping a living on the street as a busker, unable to adjust to any other job, after his album sold virtually nothing.

“I’ve got everything I need to drive me on out of my feeble mind,” sings Becoat in “I’ve Got Everything I Need,” and that’s a fair signal that we’re dealing with a fellow whose worldview is both self-aware and skewed. Becoat sings — without undue self-pity, it should be noted — about crumbling relationships, the failure of anyone to take responsibility for inner city rioting (“Who Struck the Match?”), chaotic domestic situations, and the inability of educational and social institutions to meet his needs and expectations.

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It’s the sound of a man who could be just a few months away from becoming a junkie or dropout, fleeing his wife and children, or suffering a nervous breakdown, but managing to keep a fairly level if anguished head for the moment. It’s a peculiar and somewhat interesting recording, but not so musically excellent as to merit a belated cult following, on the order of other cracked late-1960s acid folkies like Skip Spence or Dino Valenti. It’s also not as fully served by the production as it could be, the skeletal arrangements favoring acoustic guitar, the accompanying bass and drums tentatively running through and adjusting to the offbeat tunes, rather than confidently complementing them. (by Richie Unterberger)

What a great album from one of these loosers of music history … lisen to “Caledonia, The Second” and you´ll know what I mean … a singer/songwriter with such a strong blues and soul power in his voice …

Memories

Personnel:
Billie Joe Becoat (guitar, vocals, harmonica)
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unknown bassplayer and drummer

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Tracklist:
01. And I Was Gone 2.43
02.  Caledonia, The Second 4.09
03. Hi Fiddle Dee Fee 2.11
04. Hold On, Boy 4.14
05. I Guess I’ll Have To Learn To Fly 2.55
06. I’m A Good Man, A Sweet Man 2.58
07. I’ve Got Everything I Need 3.32
08. Now I Lay Me Down To Sleep 2.46
09. Sheepskin Blues 2.59
10. Who Struck The Match? 2.09

All songs written by Billie Joe Becoat

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Various Artists – San Remo Festival ’69 (1969)

FrontCover1The Festival della canzone italiana di Sanremo (in English: Italian song festival of Sanremo) is the most popular Italian song contest and awards, held annually in the town of Sanremo, in Italy, and consisting of a competition amongst previously unreleased songs. Usually referred to as Festival di Sanremo, or outside Italy as Sanremo Music Festival or Sanremo Music Festival Award, it was the inspiration for the Eurovision Song Contest.

It is the music equivalent to the Premio Regia Televisiva for television, the Premio Ubu for stage performances, and the Premio David di Donatello for motion pictures, but with a longer history and contest associated with.

The first edition of the Sanremo Music Festival, held between 29 and 31 January 1951, was broadcast by RAI’s radio station Rete Rossa and its only three participants were Nilla Pizzi, Achille Togliani and Duo Fasano.[3] Starting from 1955 all the editions of the Festival have been broadcast live by the Italian TV station Rai 1.

From 1951 to 1976, the Festival took place in the Sanremo Casino, but starting from 1977, all the following editions were held in the Teatro Ariston, except 1990’s one, held at the Nuovo Mercato dei Fiori.

Between 1953 and 1971, except in 1956, each song was sung twice by two different artists, each one using an individual orchestral arrangement, to illustrate the meaning of the festival as a composers’ competition, not a singers’ competition. During this era of the festival, it was custom that one version of the song was performed by a native Italian artist while the other version was performed by an international guest artist.[8]

ConcertPosterThe festival is used as the way of choosing the Italian entry to the Eurovision Song Contest and it has launched the careers of some of Italy’s most successful singers, including Andrea Bocelli, Paola e Chiara, Giorgia, Laura Pausini, Eros Ramazzotti, and Gigliola Cinquetti.

The Sanremo Music Festival 1969 was the 19th annual Sanremo Music Festival, held at the Sanremo Casino in Sanremo, province of Imperia between 30 January and 1 February 1969.

The show was presented by Nuccio Costa and Gabriella Farinon.

According to the rules of this edition every song was performed in a double performance by a couple of singers or groups. The winners of the Festival were Bobby Solo and Iva Zanicchi with the song “Zingara”. (by wikipedia)

And here are some ofthesongs from the 69 festival … a real nice sentimental journey with songs full of illusions and dreams … a beautiful album with “kitsch” music from this decade.

Close your eyes and drift away ….

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Tracklist:
01. Gigliola Cinquetti: La Pioggia (Conti/Pace, Argenio/Panzeri) 3.01
02. Massimo Ranieri: Quando L’Amore Diventa Poesia (Mogol/Soffici) 2.59
03. I Camaleonti: Se Tu Ragazza Mia (G.Ferri/Pintucci/V.Verri) 3.47
04. Mario Tessuto: Un Sorriso (Mariano/Backy) 3.14
05. Giuliana Valci: Lontano Dagli Occhi (Bardotti/Endrigo) 3.47
06. I Profeti: Zucchero (Ascri/Mogol/Guscelli/Soffici) 2.51
07. Caterina Caselli: Il Gioco Dell’Amore (Migliacci/Callegari) 3.20
08. Riccardo del Turco: Cosa Hai Messo Nel Caffè? (Bigazzi(del Turco) 3.46
09. Betty Curtis: Meglio Una Sera Piangere Da Sola (Salerno/F.Reitano/M.Reitano/Nisa) 3.07
10. Massimo Ranieri: Zingara (Riccardi/Albertelli) 2.34
11. Sergio Leonardi: Bada Bambina (Zambrini/Migliacci/Meccia) 2.33
12. I Roll’s 33: Ma Che Freddo Fa (Mattone/Migliacci) 3.02
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Crosby, Stills & Nash – Same (1969)

FrontCover1Crosby, Stills & Nash is the first album by Crosby, Stills & Nash, released in 1969 on the Atlantic Records label. It spawned two Top 40 hit singles, “Marrakesh Express” and “Suite: Judy Blue Eyes,” which peaked respectively at #28 the week of August 23, 1969, and at #21 the week of December 6, 1969, on the Billboard Hot 100 singles chart. The album itself peaked at #6 on the Billboard Top Pop Albums chart. It was certified four times platinum by the RIAA for sales of over 4,200,000.Crosby, Stills & Nash is the first album by Crosby, Stills & Nash, released in 1969 on the Atlantic Records label. It spawned two Top 40 hit singles, “Marrakesh Express” and “Suite: Judy Blue Eyes,” which peaked respectively at #28 the week of August 23, 1969, and at #21 the week of December 6, 1969, on the Billboard Hot 100 singles chart. The album itself peaked at #6 on the Billboard Top Pop Albums chart. It was certified four times platinum by the RIAA for sales of over 4,200,000.

The album was a very strong debut for the band, instantly lifting them to stardom. Along with the Byrds’ Sweetheart of the Rodeo and The Band’s Music from Big Pink of the previous year, it helped initiate a sea change in popular music away from the ruling late sixties aesthetic of bands playing blues-based rock music on loud guitars. Crosby, Stills & Nash presented a new wrinkle in building upon rock’s roots, utilizing folk, blues, and even jazz without specifically sounding like mere duplication. Not only blending voices, the three meshed their differing strengths, David Crosby for social commentary and atmospheric mood pieces, Stephen Stills for his diverse musical skills and for folding folk and country elements subtly into complex rock structures, and Graham Nash for his radio-friendly pop melodies, to create an amalgam of broad appeal.

CSN3The album features some of their best known songs: “Helplessly Hoping”, “Long Time Gone” (a response to the assassination of Robert F. Kennedy), “Suite: Judy Blue Eyes” (composed for Judy Collins) and “Wooden Ships” (co-written with Paul Kantner of Jefferson Airplane).
Stills dominated the recording of the album. Apart from drums, handled by Dallas Taylor, he played nearly all of the instruments on the album. Nash played acoustic guitar on two tracks and Crosby rhythm guitar on a few. Stills played all the bass, organ, and lead guitar parts, as well as acoustic guitar on his own songs. “The other guys won’t be offended when I say that one was my baby, and I kind of had the tracks in my head,” Stills said.

The singles:
Singles

David Crosby bristled over the plan for “Long Time Gone” as he thought he should at least play rhythm guitar on his own song. Stills convinced him to go home for a while and when he returned Crosby was won over by the music track that Stills and Taylor had recorded. In a more recent interview, Crosby contradicted his earlier statement, stating that he had played guitar on the track.

The group performed songs from the album at the Woodstock Festival in August 1969. In late 1969 the group appeared on the Tom Jones TV show and performed “Long Time Gone” with Tom Jones sharing vocals.
This album proved very influential on many levels to the dominant popular music scene in America for much of the 1970s. The success of the album generated gravitas for the group within the industry, and galvanized interest in signing like acts, many of whom came under management and representation by the CSN team of Elliot Roberts and David Geffen. Strong sales, combined with the group’s emphasis on personal confession in its writing, paved the way for the success of the singer-songwriter movement of the early seventies. Their utilization of personal events in their material without resorting to subterfuge, their talents in vocal harmony, their cultivation of painstaking studio craft, as well as the Laurel Canyon ethos that surrounded the group and their associates, established an aesthetic for a number of acts that came to define the “California” sound of the ensuing decade, including the Eagles, Jackson Browne, post-1974 Fleetwood Mac, and others.

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On the cover the members are, left to right, Nash, Stills, and Crosby, for no particular reason, the reverse of the order of the album title. The photo was taken by their friend and photographer Henry Diltz before they came up with a name for the group. They found an abandoned house with an old, battered sofa outside, located at 815 Palm Avenue, West Hollywood, across from the Santa Palm car wash that they thought would be a perfect fit for their image. A few days later they decided on the name “Crosby, Stills, and Nash”. To prevent confusion, they went back to the house a day or so later to re-shoot the cover in the correct order, but when they got there they found the house had been reduced to a pile of timber.

Dallas Taylor can be seen looking through the window of the door on the rear of the sleeve. In the expanded edition, however, he is absent. The original vinyl LP was released in a gatefold sleeve that depicted the band members in large fur parkas with a sunset in the background on the gatefold (shot in Big Bear, California), as well as the iconic cover art. A long folded page inside displayed the album credits, lyrics, track listing, as well as a quasi-psychedelic pencil drawing.

In a contemporary review, Rolling Stone critic Barry Franklin called Crosby, Stills & Nash “an eminently playable record” and “especially satisfying work”, finding the songwriting and vocal harmonies particularly exceptional. Robert Christgau was less enthusiastic in The Village Voice: “I have written elsewhere that this album is perfect, but that is not necessarily a compliment. Only Crosby’s vocal on ‘Long Time Gone’ saves it from a special castrati award.”

In 2003, Rolling Stone ranked Crosby, Stills & Nash number 262 on their list of the 500 greatest albums of all time. (by wikipedia)

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The Crosby, Stills & Nash triumvirate shot to immediate superstardom with the release of its self-titled debut LP, a sparkling set immortalizing the group’s amazingly close, high harmonies. While elements of the record haven’t dated well — Nash’s Eastern-influenced musings on the hit “Marrakesh Express” now seem more than a little silly, while the antiwar sentiments of “Wooden Ships,” though well-intentioned, are rather hokey — the harmonies are absolutely timeless, and the best material remains rock-solid. Stills’ gorgeous opener, “Suite: Judy Blue Eyes,” in particular, is an epic love song remarkable in its musical and emotional intricacy, Nash’s “Pre-Road Downs” is buoyant folk-pop underpinned by light psychedelic textures, and Crosby’s “Long Time Gone” remains a potent indictment of the assassination of Robert Kennedy. A definitive document of its era. (by by Jason Ankeny)

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Personnel:
David Crosby (vocals, guitar)
Graham Nash (vocals, guitar)
Stephen Stills (vocals, guitar, bass, keyboards, percussion)
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Cass Elliot (background vocals on 05.)
Jim Gordon – drums on 02.)
Dallas Taylor (drums)

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Tracklist:
01. Suite: Judy Blue Eyes (Stills) 7:25
02. Marrakesh Express (Nash) 2:39
03. Guinevere (Crosby) with Nash 4:40
04. You Don’t Have To Cry (Stills) Stills with Crosby & Nash 2:45
05. Pre-Road Downs (Nash) 3:01
06. Wooden Ships (Crosby/Kantner/Stills) 5:29
07. Lady Of The Island (Nash) 2:39
08. Helplessly Hoping (Stills) 2:41
09. Long Time Gone (Crosby) 4:17
10. 49 Bye-Byes (Stills) 5:16

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The story behind the song “Marrakesh Express”:

With 60s pop music going psychedelic, The Hollies’ Graham Nash wrote a song about the hippie trail in Morocco. But it had to wait till he teamed up with David Crosby and Stephen Stills.

By the late 60s, Morocco was fast becoming an essential stop-off point on the new hippie trail. It was a place frequented by seekers of all stripes, from travellers and the more adventurous tourists through to artists, writers, fashionistas and rock stars. They were all drawn by the exotica of this storied corner of North Africa, whose heady promise of spiritual enlightenment and hashish served to melt away the conventions of the West.

In 1966, Graham Nash made a pilgrimage of his own, one that sparked off one of his most famous songs. On holiday from his day job as leader of The Hollies, Nash bought himself a ticket and hopped aboard a train from Casablanca to Marrakesh. “I was in first class and there were a lot of older, rich American ladies in there, who all had their hair dyed blue,” Nash recalls today. “And I quickly grew bored of that and went back to the third class of the train. That was where it was all happening. There were lots of people cooking strange little meals on small wooden stoves and the place was full of chickens, pigs and goats. It was fabulous; the whole thing was fascinating.”

So rich was the experience that Nash poured it into a vivid piece of psychedelic pop: Marrakesh Express. Mellifluous, carefree and irresistibly catchy, the lyrics made reference to ‘animal carpet wall-to-wall’, ‘coloured cottons’ in the air and ‘charming cobras in the square’. But they also hinted at a vague sense of dissatisfaction with life, as if Nash was on some indefinable quest for something better. Particularly the lines: ‘Sweeping cobwebs from the edges of my mind/Had to get away to see what we could find.’

The song itself was written during The Hollies’ Yugoslavian tour of June 1967. It was one of a number of new tunes that showcased Nash’s outward growth as a songwriter as he attempted to steer The Hollies away from the confines of the singles market into the more lysergic, experimental realm of peers like The Beatles and The Byrds – though the rest of the band didn’t all share his vision. Initially reluctant to record Marrakesh Express _at all, The Hollies only got as far as cutting a backing track at Abbey Road in April 1968. Nash, who remembers that “it wasn’t very good”, explains that he’d written a bunch of similar songs at that point – among them _Lady Of The Island and Right Between The Eyes – which The Hollies weren’t moved by either.

It wasn’t just the tunes. Nash’s burgeoning interest in the counterculture and its lifestyle meant he was the only band member to embrace LSD and marijuana. Allied to the fact that King Midas In Reverse, one of his finest compositions, had only been a moderate hit, Nash sought a move away. “Yeah, it was obvious that my career with The Hollies was coming to an end,” he says.

Not that Nash hadn’t planned for the immediate future. On his first trip to LA with The Hollies, in June 1966, he’d been introduced to the Mamas & The Papas’ Cass Elliot, one of California’s leading scenesters. She in turn had introduced him to David Crosby, ace harmony singer and songwriter in The Byrds. “I’d been in a showbiz environment with The Hollies,” says Nash, “but Crosby and The Byrds weren’t like that. So there may have been a cultural difference, but there weren’t any musical differences with us. I knew he was serious as a heart attack about his music, that The Byrds were a great band and that the modal stuff I was attracted to in their music was mainly down to David. When Cass introduced us, it was instant friendship.”

Crosby and Nash would bump into each other regularly over the next couple of years and, by the summer of 1968, both men found themselves at a critical juncture in their respective careers. Ever the egotist, Crosby had been ousted from The Byrds less than 12 months earlier. And while Nash had already decided to quit The Hollies, Stephen Stills’ tenure in dynamic LA rockers Buffalo Springfield had also come to a close. Stills and Crosby had been jamming informally for months before Nash was invited into the fold. The rapport was sensational. Grounded by Stills’ masterful guitar playing and achieving lift-off with their gorgeous three-way harmonies, Crosby, Stills & Nash were suddenly a serious concern.

In November 1968, Nash officially left The Hollies, heading out to California and taking up temporary residence at Crosby’s place. When it came to selecting songs for their self-titled debut album, Nash revived Marrakesh Express. Easily the most ‘pop’ song in the CSN canon, it was recorded at Wally Heider’s LA studio in February ’69. Stills’ guitar races along at a clip, echoing the literal rush of Nash’s Casablanca train and imbuing the song with a wondrous sense of buoyant optimism. There’s a smattering of nonsensical wordplay to begin, before Nash begins to sing in his warmest tones, exhorting everyone to climb aboard. You can almost feel the sunset through the windows.

Issued in May 1969, the album marked out Crosby, Stills & Nash as America’s first great supergroup and provided the counterculture with its definitive soundtrack. Marrakesh Express was released as the lead-off single and made the Billboard Top 30. Over here it reached No.17 and remains the only UK Top 20 hit of CSN’s entire career. It’s a song that continues to run on in its creator’s heart.

“I thought it was a funny song when I wrote it,” says Nash. “It’s not the greatest song in the world, but people still really like it whenever we sing it live. Whenever we need a little light-hearted, uptempo thing, that’s what we reach for.”

NASH, CASH, BASH

The late 60s found country titan Johnny Cash at the very peak of his commercial fame, hosting a hit show on TV and scoring high with his celebrated live albums Johnny Cash At San Quentin and Johnny Cash At Folsom Prison. He also hosted regular gatherings with his songwriting chums at his home in Tennessee.

One night in January 1969, he invited Bob Dylan, Shel Silverstein, Joni Mitchell and Kris Kristofferson. “We’d have a big circle with people passing a guitar around,” recalls Kristofferson. “I remember Graham Nash there with Joni Mitchell and nobody knew who he was. We thought he was just Joni’s boyfriend. Then he picked up the guitar and sang Marrakesh Express. Man, he knocked everybody out with that song.” (by teamrock.com)

Bakerloo – Same (1969)

FrontCover1And here´s another band from the Midlands:

Bakerloo (previously The Bakerloo Blues Line) was an English heavy blues-rock trio, established by Staffordshire guitarist David “Clem” Clempson, Terry Poole and others in the late 1960s, at the high point of the influence of The Jimi Hendrix Experience and Cream. Although the group was prominent only for around a year (1968-9) and released only one album it played an important part in the history of the genre, especially in view of its members’ subsequent involvement with Colosseum, Humble Pie, May Blitz, Graham Bond, Vinegar Joe, Judas Priest and Uriah Heep.

The Bakerloo Blues Line was formed in February 1968 by David “Clem” Clempson and Terry Poole, who worked with several drummers, including John “Poli” Palmer and John Hinch, before settling with Keith Baker. Under the management of Jim Simpson, they began performing regularly at Henry’s in Birmingham and joined Simpson’s U.K. ‘Big Bear Ffolly’ tour with Earth (the future Black Sabbath), Locomotive and Tea And Symphony. The group appeared as the support act for Led Zeppelin’s debut at London’s famed Marquee Club on 18 October 1968.

TerryPooleAfter simplifying the name to “Bakerloo” the group signed to Harvest Records in mid-1969. Their first release was a single, “Drivin’ Bachwards”/”Once Upon a Time” (HAR 5004) that July. The A-side is an arrangement of the J.S. Bach tune Bourrée in E minor. This record appeared just prior to the release of a similar song, Bourrée, by Jethro Tull, on their second album Stand Up in August 1969.

The single A-side also appeared on their self-titled album in December.

The album Bakerloo (Harvest SHVL 762) was further promoted by the inclusion of “This Worried Feeling,” a slow blues number, on the 1970 Harvest double sampler album Picnic – A Breath of Fresh Air and by sessions for the BBC. The album was produced by Gus Dudgeon. Notable tracks included Last Blues, a heavy rocker, and the album’s closer, Son of Moonshine, a driving metal blues. Other tracks contained “progressive” classical and jazz elements.

While reviews for the debut LP were favorable, the group itself was in disarray at the end of 1969. By the time the record was released, the Clempson-Poole-Baker lineup had decided to go their separate ways. Clempson initially sought to form a new blues-rock power trio, one that reportedly included drummer Cozy Powell, before electing to replace James Litherland as the guitarist in Colosseum. Poole and Baker also moved on, forming May Blitz with Jamie Black on vocals and guitar, although both departed before the band was signed to Vertigo Records.

Poole later played with several other bands, including Graham Bond and Vinegar Joe, while Baker bounced from Supertramp to Uriah Heep. Clempson would continue to achieve greater fame with Colosseum and, in 1971, as Peter Frampton’s replacement in Humble Pie. (by wikipedia)

Bakerloo1969
One of the first acts signed to the fledgling Harvest label in 1969, Bakerloo were very much a product of their time, a hard-hitting progressive blues band whose predilections ranged from a straightforward assimilation of Willie Dixon to some positively dazzling flashes of instrumental prowess. Guitarist Dave Clempson’s “Big Bear Folly,” the opening cut on the band’s first and only album, is a dazzling Ten Years After-style showcase, while a jazzy variation on a theme of Bach, the aptly titled “Driving Bachwards,” proves that the band wasn’t averse to messing with the classics, either. The quartet’s virtuosity occasionally overwhelms the songs themselves, although there is no shortage of gripping atmosphere. Bassist Terry Poole unleashes an almost sepulchral vocal across the stygian “Last Blues,” a seven-minute marathon that swiftly develops into a full-fledged heavy rocker, punctuated by mood shifts that amount to separate movements — it’s a magnificent piece, rendered with both musical precision and some of producer Gus Dudgeon’s most inspired washes and effects. Impressive, too, is “Son of Moonshine,” a distorted metal effort that clocks in at double that length and combines Clempson’s intensive guitar soloing with a desperately driving blues rhythm. Period comparisons with Cream and early Led Zeppelin really weren’t that far off the mark. Bakerloo were not long for this earth — Clempson quit to join Colosseum shortly after the album’s release; Poole reappeared alongside Graham Bond; drummer Keith Baker departed for Uriah Heep; and Bakerloo itself disappeared off the shelves fairly quickly. (by Dave Thompson)

And here Dave Clempson in his own words about his time with Bakkerloo (taken from an interview with psychedelicbabymag.com, 2012) :

I want to go back in time to your childhood. Where did you grew up and what are perhaps some influences that made an impact on you?

I grew up in Tamworth, in the UK Midlands… my earliest influences were the bands that would be playing in the local working mens’ clubs, where my family would go on Sunday evenings for a drink… I was always very excited about seeing those bands, the “hip” ones would be playing the latest Shadows tunes, and I especially loved to see and hear the electric guitars they had – electric guitars weren’t so common around that area in those days! The best band was called The Wanderers, and the guitarist had a white Stratocaster – I would just sit there gazing at that!

Was Bakerloo your first band or were you in any other bands?

Vipers.jpgMy first band was formed with friends at school, we were called “The Vipers”, and we played a lot of gigs at the working men’s clubs I just mentioned

Let’s talk about Bakerloo. How did you guys came together to form this powerful trio?

A local guy called David Mason asked me to join his band, which was called “The Pinch”, and which had a drummer called John Hinch – Mason wasn’t the world’s best bass player and he was soon replaced by a local boy called Terry Poole! John left the band soon after, and then Terry and I began a long quest to find the drummer of our dreams; we got through quite a few including Pete York and Poli Palmer, before we found Keith Baker, who was just what we’d been looking for – a drummer with a great rock feel and attitude but also the chops to play more adventurous stuff!

Harvest Records signed you up and in 1969 you released a single and your selftitled LP. I would like if you could share some of the strongest memories from recording and producing this LP?

The main memory is that it was my first real experience of recording, and there was a lot to learn! It was the first production by Gus Dudgeon, who had engineered some of my favourite albums, including the legendary Bluesbreakers with Eric Clapton.

What gear did you guys use and in what studio did you record?

It was recorded in Trident studios in London, I played my ’58 Les Paul goldtop through a Laney stack.

Why did you choose the name? Did it have a deeper meaning for you or was it just a coincidence?

Our manager came up with the name when he was travelling on the Bakerloo line on London’t underground – it didn’t have any special meaning, it just sounded cool!

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Tell us about concerts. Where did Bakerloo play and with who?

After John Peel heard us play in Birmingham we appeared on his radio show, which was incredibly influential and the only chance to hear good music on the BBC! Soon after that we were booked by all the best blues clubs around the UK, such as the Roundhouse and the Marquee, where we supported Led Zeppelin on their first UK date!

What happened next. I know you joined Colosseum and after that you were in Humble Pie. How did that happened and what are some memories from playing in this two great bands?

Bakerloo supported Colosseum at a gig at Cambidge University, and when Bakerloo split up soon after Jon Hiseman called me and asked me to audition for Colosseum – I got the gig! I have a lot of wonderful memories of that time – Bakerloo had mostly just gigged in the UK, but now I started playing all over Europe which was very exciting … ”

And the rest ist history …

This album is still a killer  … listen to “Son Of Moonshine ” in the style of Cream (including “Cat´s Squirrel”) !

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Personnel:
Keith Baker (drums)
Dave ‘Clem’ Clempson (guitar, vocals, harmonica, harpsichord, piano)
Terry Poole (bass, vocals)
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Jerry Salisbury (trumpet on 03.)

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Tracklist:

01. Big Bear Folly (Clempson/Poole) 3.58
02, Bring It On Home (Dixon) 4.18
03. Drivin’ Bachwards (Bach) 2.09
04. Last Blues (Clempson/Poole) 7.06
05. Gang Bang (Clempson/Baker/Poole) 6.18
06. This Worried Feeling (Clempson/Poole) 7.00
07. Son Of Moonshine (Clempson/Poole) 14,55
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08. Once Upon A Time (Clempson/Poole) 3.40
09. This Worried Feeling (alternte take) (Clempson/Poole) 5.45

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Keith Jarrett Trio – Live At Tagskaegeet Denmark (The Dylan Concert) (1969)

FrontCover1A surprising recording emerged late last week of the Keith Jarrett Trio playing Bob Dylan tunes. Apparently, back in 1968, Jarrett together with Paul Motian and Charlie Haden did a trio recording for Vortex [Vortex LP 2012] called Somewhere Before and recorded two Dylan numbers – My Back Pages and Lay Lady Lay. This long out-of-print record was issued on CD in 1990 and Amazon still lists it for sale but we haven’t tried yet.

Anyway, this live recording [the original LP was also a live recording but different time and place] is by a different trio that includes Gus Nemeth [bs] and Bob Ventrello [drms]. It took place a year later in Denmark and comes from a very good FM source. This is the fixed version with the correct speed.

What was Jarrett thinking playing Bob Dylan in Europe? Clearly the free jazz movement had failed to gather mass appeal, not that that was its intent. Even Miles Davis by ’69 was conceding that jazz was no longer “king” and concessions had to be made to rock music.

But the less than energised reading of the two Dylan tunes suggests that Jarrett was uncomfortable covering rock. It was to be a difficult time for jazz musicians. In hindsight, their golden age had passed and the ’70s offered a marriage of convenience called jazz fusion. Even worse, along came jazz lite and Kenny G.

Since that time even more concessions have been made. Classical music and jazz. A whole new constellation of jazz singers with an eye on pop singles. Jazz as conservative music. Whatever happened to the shock and awe of free jazz?

This was originally shared by ricola. In turn it was speed corrected by Perv/twat Production. Thanks to all who shared this rarity. Never officially released before. (Professor Red/Big O)

Alternate frontcovers:

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Personnel:
Keith Jarrett (piano, saxophone)
Gus Nemeth (bass)
Bob Ventrello (drums)

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Tracklist:
01. Pretty Ballad (Jarrett) 5.57
02. Lay Lady Lay (Dylan) 4.42
03. Unknown Title 12.05
04. My Back Pages (Dylan) 7.01

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Big Mama Thornton – Stronger Than Dirt (1969)

FrontCover1This is one of my favorite albums ever. I bought it at the time because of my love for Janis Joplin & wanted to hear the woman that had had such an affect on her. The album was made on the heels of Cheap Thrills as a comeback but never achieved the success she hoped for. It includes a remake of Hound Dog Man & Ball & Chain, as well as a version of Summertime that Joplin had covered earlier. All of them are strong sets comparable to her earlier versions. The rest is material that is chosen wisely.

Her version of That Lucky Old Sun, to me, is one of the great songs of transcendent honesty. She lets you feel the truth of life & it’s burden. It was the first time, at the age of 18, that I “got” the blues. I understood & more than likely it was the first time I realized it was never going to be easy on this earth, but that it was endurable. The title of the album itself says this very thing.

Her version of I Shall Be released, has much the same feel, & is to my mind, the most interesting arrangement of the song. It’s always been the one Dylan song I found great & has been covered well by many. To me this is the best. It is the one & only time that this song swings & when she belts out “You know, Big Mama, I was framed” you know she knows exactly what he’s talking about. She expounds the universal.

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The album starts off with Born Under A Bad Sign, another song that she was born to sing. It’s material she has lived. All the songs on this album are good, not a filler in the lot & all are handled by her with ease. It’s clear it’s all material she enjoyed giving her Big Mama interpretation to, from Funky Broadway to Let’s Go Get Stoned to Rollin’ Stone to Ain’t Nothin’ You Can Do. This is her strongest outing in the studio.

There seems to be almost a contradiction in the fact that here was this big voice that came out effortlessly. Something that, no matter how good she was, Joplin did not have. It took a lot of effort & burned her out. Big Mama despite living the blues was never buried in them. She knew how to let the good times roll, specifically, because she knew how hard it could be. On this album, after years of obscurity she’s enjoying the attention that’s finally come back to her, rolling up her sleeves & saying: “This is what they’re talking about, here’s the treasure. This is what you’ve been missing.” (by Robido)

Alternate frontcover:

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Personnel:
Big Mama Thornton (vocals)
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a bunch of unknown studio musicians

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Tracklist:
01 Born Under A Bad Sign (Jones/Bell) 3.45
02. Hound Dog (Leiber/Stoller) 2.25
03. Ball And Chain (Thornton) 4.40
04. Summertime (Gershwin) 4.13
05. Rollin’ Stone (Morganfield) 3.56
06. Let’s Go Get Stoned (Armstead/Ashford/Simpson) 4.30
07. Funky Broadway (Christian) 4.16
08. That Lucky Old Sun (Smith/Gillespie) 3.35
09. Ain’t Nothin’ You Can Do (Malone/Scott) 3.39
10. I Shall Be Released (Dylan) 4.38

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Jimi Hendrix – Rainbow Bridge (1971)

FrontCover1Rainbow Bridge is a compilation album by American rock musician Jimi Hendrix. It was the second posthumous album release by his official record company and is mostly composed of recordings Hendrix made in 1969 and 1970 after the breakup of the Jimi Hendrix Experience. Despite the cover photo and subtitle Original Motion Picture Sound Track, it does not contain any songs recorded during his concert appearance for the 1971 film Rainbow Bridge.Rainbow Bridge is a compilation album by American rock musician Jimi Hendrix. It was the second posthumous album release by his official record company and is mostly composed of recordings Hendrix made in 1969 and 1970 after the breakup of the Jimi Hendrix Experience. Despite the cover photo and subtitle Original Motion Picture Sound Track, it does not contain any songs recorded during his concert appearance for the 1971 film Rainbow Bridge.
Continuing in the vein of The Cry of Love, the first official posthumous Hendrix album, Rainbow Bridge explores new guitar styles and textures. All the songs, except for a solo studio version of “The Star Spangled Banner”, are written by Hendrix and mostly performed with Mitch Mitchell on drums and Billy Cox on bass.
The songs on Rainbow Bridge represent material in various stages of development and were never finalized or approved for release by Hendrix. Four of the songs on the album, along with the ten songs from The Cry of Love and three from War Heroes, were planned for Hendrix’s follow-up album to the live Band of Gypsys, released in March 1970. These songs were later included on Voodoo Soup in 1995 and First Rays of the New Rising Sun in 1997, which were attempts at completing the double album Hendrix was working on at the time of his death.

Despite the title, Rainbow Bridge was not a soundtrack to the film of the same name but rather a compilation of one live song and studio recordings from a number of sources between 1968 and 1970, including some for his planned but unfinished double album Hendrix01First Rays of the New Rising Sun. “Look Over Yonder” began as “Mr. Bad Luck” while Hendrix was performing in Greenwich Village, New York City, with his group Jimmy James and the Blue Flames in the summer of 1966. The version included on Rainbow Bridge was recorded by the Experience in 1968.[5] Two songs by the Band of Gypsys, “Room full of Mirrors” and “Earth Blues” date from 1969, although the latter has subsequent drum overdubs by Mitchell. “The Star Spangled Banner” is a 1969 solo studio recording by Hendrix. The remainder of the songs were recorded with the “Cry of Love” group (Mitchell and Cox) in 1970: “Dolly Dagger”, “Pali Gap”, and “Hey Baby (New Rising Sun)”. “Hear My Train A Comin'” is a live recording from the first show on May 30, 1970, at the Berkeley Community Theatre. An edited version appears in the 1971 concert film Jimi Plays Berkeley.
The album was the second to be produced by Eddie Kramer and Mitch Mitchell, with John Jansen assisting. It was released in October 1971 in the US, and the following month in the UK where it reached numbers 15 and 16 respectively in the album charts. “Dolly Dagger” with “The Star Spangled Banner” as the B-side was released as a single in the US in October 1971. It appeared at number 74 in the Billboard Hot 100 pop chart. In 2014, the original Rainbow Bridge album was reissued in both CD and LP formats.
According to Setting The Record Straight by John McDermott with Eddie Kramer, Izabella and Stepping Stone were pulled from the track listing in the final stages and replaced with the live version of Hear My Train A Comin’ from Berkeley. Izabella and Stepping Stone were instead used the improve the next posthumous release War Heroes per Mike Jeffery. Bleeding Heart was also considered but ultimately used on War Heroes. In a contemporary review for Rolling Stone magazine, Tony Glover wrote favorably of the songs on side one, particularly the “really majestic version” of “The Star-Spangled Banner”. Robert Christgau said in a retrospective review that The Cry of Love (1971) had highlighted Hendrix’s abilities as a songwriter, but Rainbow Bridge showcased his guitar playing:
Rich stuff, exploring territory that as always with Hendrix consists not merely of notes but of undifferentiated sound, a sound he shapes with a virtuosity no one else has ever achieved on an electric instrument. (by wikipedia)

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Back when Rainbow Bridge was originally released, it was actually among the best of the posthumous Hendrix releases. Billed as “the original motion picture soundtrack” (it wasn’t, really), it was a mix of excellent, finished studio tracks and a couple of live tracks. Despite this, it’s understandable why it didn’t appeared in the digital realm until 2014 (officially, at least).

Once the estate went back to the Hendrix family in the ’90s, three of the tracks from Rainbow Bridge were used on the album First Rays of the New Rising Sun, which had previously only existed as Jimi’s hand-written track listing. The remaining tracks were orphaned out on various box sets and compilations. So while all the tracks on Rainbow Bridge have been made available elsewhere, it’s nice to finally have it assembled the way the original LP was, with excellent remastered sound (not just for the old-timers who had the LP the first time around, but for others who don’t necessarily want to shell out for the box set needed to gather these tracks). Highlights include overlooked gems like “Pali Gap” and Jimi’s rarely heard studio version of “The Star Spangled Banner,” which is made of multi-tracked guitars and basses. (by Sean Westergaard)

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Personnel:
Billy Cox (bass)
Jimi Hendrix (guitar, vocals) backing vocals
Mitch Mitchell (drums)
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Buddy Miles (drums on 04., background vocals on 02.)
Noel Redding (bass on 06.)
Juma Sultan (percussion on 01., 03. + 06.)
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background vocals:
The Ghetto Fighters (Albert Allen and Arthur Allen) on 01.
The Ronettes (Veronica Bennett, Estelle Bennett, Nedra Talley) on 02.

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Tracklist:
01. Dolly Dagger (Hendrix) 4:45
02. Earth Blues (Hendrix)  4:20
03. Pali Gap (Hendrix) 5:05
04. Room Full Of Mirrors (Hendrix) 3:17
05. Star Spangled Banner (studio version) (Smith)  4:07
06. Look Over Yonder (Hendrix) 3:28
07. Hear My Train A Comin’ (live) (Hendrix) 11:15
08. Hey Baby (New Rising Sun) (Hendrix) 6:05

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Recording details:
Tracks 1, 3 and 8:
recorded at Electric Lady Studios, New York City, July 1, 1970

Track 2:
recorded at Record Plant Studios, New York City, December 19, 1969 and Electric Lady Studios, July 1970

Track 4:
recorded at Record Plant Studios, November 17, 1969 and Electric Lady Studios, July 1970

Track 5;
recorded at Record Plant Studios, March 18, 1969

Track 6:
recorded at TTG Studios, Hollywood, October 22, 1968

Track 7:
recorded at Berkeley Community Theatre, Berkeley, California, May 30, 1970 (first show)

 

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