Charlie Byrd Quartet – Let Go (1969)

FrontCover1Charlie Lee Byrd (September 16, 1925 – December 2, 1999) was an American jazz guitarist. Byrd was best known for his association with Brazilian music, especially bossa nova. In 1962, he collaborated with Stan Getz on the album Jazz Samba, a recording which brought bossa nova into the mainstream of North American music.

Byrd played fingerstyle on a classical guitar. (wikipedia)

And here´s another exciting Charlie Byrd album (recorded live).

And Charlie Byrd is doing his bossa jazz thing …

… tasteful, low-key, and ingratiatingly melodic, Charlie Byrd had two notable accomplishments to his credit — applying acoustic classical guitar techniques to jazz and popular music and helping to introduce Brazilian music to mass North American audiences.

What a great musician !

Recorded live at the Hong Kong Bar, Century Plaza Hotel, Los Angeles,
February 27 and 28, 1969


Charlie Byrd (guitar)
Gene Byrd (bass)
Mario Darpino (flute)
William Reichenbach (drums)

01. Let Go (Canto De Ossanha) (Gimbel/Powell/Demoraes) 5.27
02. Medley: Mood Indigo (Ellington/Mills/Bigard) / Satin Doll (Mercer/Ellington/Strayhorn) 6.21
03. Blues 13 (Byrd) 4.44
04. Here’s That Rainy Day (Burke/Van Heusen) 2.51
05. Esperando O Sol (Pereira/Albanese) 6.20
06. Bird Of Paradise (Ellis) 12.06
07. How Long Has This Been Going On (Gershwin) 3.47
08. Promises, Promises (Bacharach/David) 5.35
09. Lonely Princess (Mancini) 2.43
10. This Guy’s In Love With You (Bacharach/David) 2.02



CharlieByrd03Charlie Lee Byrd (September 16, 1925 – December 2, 1999)

Brian Boru Ceili Band – Ceilidh Time In Ireland (1969)

FrontCover1And here´s another album with tradtional folk music, this time from Ireland:

This is the first record by The Brian Boru Ceili Band, formed especially for recording by Emerald Records and it´s members include the finest “ceili” musicians who play in Ireland to-day.

There were all hand picked and a lot of thought and rehearsel has gone into the produced of this first class LP.

Throughout Ireland over the last two or three years there has been a great revival of Irish Dance Music and we are sure that this LP will be welcomed by all true Irishmen everywhere.

All the musicians are, in our opinion, the “Kings” of ceili music, we thought a very apt name for the band should be the Brian Boru Ceili Band, named after the most famous of all Irish King.

We hope that you enjoy this LP, as much as we have enjoyed producing it. (taken from the original linernotes)

US Labels:

So … listen to this very speical Irish Dance Music … enjoy  the sound and dance all night long.


Brian Boru Ceili Band


01. Jigs 3.12
01.1. Shandon Bells
01.2. Irish Waterwoman
01.3. Blackthorn Stick 2.22
02. Pride Of Erin
02.1. Eileen O’Grady
02.2.Six Miles Song
03. Irish Marches 3.20
03.1. Kelly The Boy
03.2.Moon Behind The Hill
03.3.Roddy McCorley
04. Irish Waltz: Lonely Woods Of Upton 2.00
05. Hornpipe: Boys Of Blue Hill 2.28
06. Reel 3.18
06.1.Bonnie Kate
06.2.Sally Gardens
06.3.Soldiers Of Joy
07. Jigs 3.17
07.1. Tobins Favourite
07.2. Humours Of Ballycastle
07.3. I Will If I Can
08. Set Dance: Madame Bonaparte 2.21
09. Slip Jig: Drops Of Brandy 1.18
10. Jigs 3.15
10.1. Fisherman’s Widow
10.2. Sea Around Us
11. Irish Barn Dance 2.13
11.1.50 Years Ago
11.2. Goodbye Mrs Durkin
12. Irish Marches 2.17
12.1. Wearin’ Of The Green
12.2. Three Flowers



Ceili dances, or true ceili dances (fíor céili) are a popular form of folk dancing in Ireland. Ceili dances are based on heys (“hedges”, pairs of lines facing), round dances, long dances, and quadrilles, generally revived during the Gaelic revival in the first quarter of the twentieth century  and codified by the Irish Dancing Commission.[3] These thirty dances form the basis for examination of Ceili dance teachers. Irish ceili is a participatory social event attended by both men and women and accompanied by live Irish traditional music.

The dance emerged within cultural nationalist consciousness as during the 19th and early 20th century, traditions promoting nationalist agendas were promoted and national identities were regarded as culturally unified.

Ceili Dance

Irish ceili regained its popularity in the 19th century, when Ireland took effort to regain its cultural and political autonomy after being colonized for 800 years. The goal of the Gaelic League established in 1893 was to promote Irish cultural independence and de-anglicisation, which involved the popularization of Irish language, literature, and vernacular traditions, such as Irish singing and dancing. Plentiful branches of the Gaelic League giving dance, singing, music, and literature classes were established across Ireland. (wikipedia)

Joe Cocker – Live At Woodstock (2009)

FrontCover1Live at Woodstock is a live album documenting Joe Cocker’s famous performance with The Grease Band at Woodstock Festival on 17 August 1969. It was released officially for the first time in 2009. (by wikipedia)

Issued in 2009, the 40th anniversary of Woodstock, the most famous rock music festival in history, Joe Cocker’s performance at the festival turns out to be one of the defining moments of his career thus far. Who knew? Cocker’s turn on the stage came on Sunday afternoon, August 17, 1969. He had issued his brilliant debut album, With a Little Help from My Friends, the previous February, and his sophomore follow-up — not as dynamic a recording but a more consistent one overall — would be issued in December.


Backed by the Grease Band (not to be confused with the vanguard U.S. outfit the Hampton Grease Band), his 11-song show included six cuts from the debut, two from his then upcoming album (including a dynamite cover of Bob Dylan’s “Dear Landlord” that opened the gig), a stellar reading of Ashford & Simpson’s “I Don’t Need No Doctor,” and “Something to Say,”an original that didn’t appear officially on one of his own sets until 1973.


From that opening Dylan cut throughout his 62-minute outing, Cocker never really let up in energy or graciousness toward the crowd. The ballads, such as “Do I Still Figure in Your Life,” are delivered with soul and as much fire as harder-driving rhythm & blues-inflected numbers such as “Feelin’ Alright” and “Hitchcock Railway.” The summation of the show is that utterly in-the-red performance of the Beatles’ “With a Little Help from My Friends,” well-known to fans of Cocker and the Woodstock musical and cinematic offerings. This is easily one of the finer offerings to come from the Woodstock anniversary recordings. While the documentation on the disc is rudimentary — such as who the backing vocalists in fact were — the sound is terrific. (by Thom Jurek)


Joe Cocker (vocals)
Henry McCullough (lead guitar, background vocls)
Neil Hubbard (guitar, background vocals)
Bruce Rowland (drums)
Alan Spenner (bass, background vocals)
Chris Stainton (keyboards, background vocals)


01. Dear Landlord (Dylan ) 8.42
02. Something’s Coming On (Cocker/Stanton) 4.04
03. Do I Still Figure In Your Life (Dello) 4.00
04. Feelin’ Alright (Mason) 5.24
05. Just Like A Woman (Dylan) 6.24
06. Let’s Go Get Stoned (Ashford/Simpson) 7.07
07. I Don’t Need No Doctor (Armstead/Ashford/Simpson) 12.14
08. I Shall Be Released (Dylan) 6.00
09. Hitchcock Railway (Dunn/McCashen) 5.51
10. Something To Say (Cocker/Nichols) 9.23
11. With A Little Help From My Friends (Lennon/McCartney) 8.07



More from Joe Cocker:

John Robert “Joe” Cocker (20 May 1944 – 22 December 2014)

The Pretty Things – Live At The Paradiso, Amsterdam (1969)


Their final album for Fontana Records was a contractual obligation produced by Steve Rowland and the subject of controversy, since Emotions was laden with brass and string arrangements arranged by Reg Tilsley. EMI producer Norman Smith expressed interest in working with them and at the end of September 1967, the Pretty Things signed to EMI’s Columbia label. In November 1967 they released “Defecting Grey”, a psychedelic effort that failed to sell. This was followed three months later by a double A-side single, “Talking About the Good Times” / “Walking Through My Dreams”.

That single marked the beginning of sessions for the S.F. Sorrow album. Released in December 1968, it was the first rock opera, preceding the release of the Who’s Tommy in May 1969. It was recorded between December 1967 and September 1968 at the Abbey Road Studios, while Pink Floyd were working on A Saucerful of Secrets (also produced by Norman Smith) and the Beatles worked on the White Album. In March 1968, drummer Skip Alan left the group. Twink replaced him to help the band to complete the album.


In March 1969, the British music magazine NME reported that Motown Records vice-president Barney Ales had visited London to sign the Pretty Things as the U.S. label’s first British act. S.F. Sorrow was commercially unsuccessful, with no immediate release in the United States. The work received only modest support from EMI, and its depressing narrative probably did not help sales. The American release, on Motown’s Rare Earth Records label, came out more than a year late, leading to the impression that S.F. Sorrow was merely following the trend set by the Who’s Tommy.

1969 saw the band feeling disillusioned by the failure of S.F. Sorrow and that June, Taylor left the group. The Pretty Things borrowed guitarist Victor Unitt from the Edgar Broughton Band to replace Taylor. During the summer of 1969, they recorded an album for a young French millionaire Philippe DeBarge, which was intended only to be circulated among his social circle. The acetate has since been bootlegged.[citation needed] In 2010 it was picked up by Mike Stax, owner of 1960s music magazine Ugly Things. He unearthed one of the two acetates and had it mixed and mastered and then as a piece de resistance, had the classic Pretty Things line-up, which Dick Taylor had just left at the time of the recording of the tracks with DeBarge, record a song entitled “Monsieur Rock” (Ballad of Philippe) a bonus track for this release on Ugly Things UTCD-2207.


Twink left at the end of 1969 to form the Pink Fairies. Skip Alan returned to the drumstool in time for the band’s return to Abbey Road to start work on Parachute, which kept the psychedelic sound. Shortly before the release of Parachute, Unitt left to rejoin the Edgar Broughton Band and was replaced by Pete Tolson, former guitarist for Eire Apparent. Despite much stage work and acclaim, their records were still failing to sell at all well.[8] With Tolson, they released a few singles before disbanding in mid-1971.

During the late 1960s, the group made some extra money by recording for music library company DeWolfe. Some of these songs ended up in low-budget films including What’s Good for the Goose (1969), The Haunted House of Horror (1969), and a couple of softcore porn films. Not intended for official release, these songs were later compiled on a number of records and released under the alias Electric Banana: Electric Banana (1967), More Electric Banana (1968), Even More Electric Banana (1969), Hot Licks (1970), and Return of the Electric Banana (1978). The initial releases featured one side of vocal and one side of instrumental tracks. Subsequent releases of these albums generally keep the true identity of the band secret. (by wikipedia)

And here´s a pretty good bootleg (soundboard recording) from this period …  ejoy the psychedelic side of the Pretty Things!

Recorded live at the Paradiso, Amsterdam (NL) March 29, 1969


John ‘Twink’ Alder (drums)
Wally Allen (bass, vocals)
Phil May (vocals)
John Povey (keyboards, vocals)
Dick Taylor (guitar, vocals)

Pretty Things1969_01
01. Instro (fade in) (May) 6-43
02. Talking About The Good Times (Part 1) (May/Taylor/Waller) 4.55
03. Talking About The Good Times (Part 2) (May/Taylor/Waller) 6.45
04. Alexander (May/Taylor/Waller/Povey) 3.20
05. Renaissance Fair (Crosby/McGuinn) 2.13
06. SF Sorrow Is Born (May/Taylor/Waller/Povey) 4.28
07. She Says Good Morning (May/Taylor/Waller/Alder) 4.27
08. Mr. Evasion (cuts off) (May/Taylor/Waller/Alder) 1.20
09. Paradiso, Amsterdam (uncut version) 34.24



Walter (Wendy) Carlos – The Well-Tempered Synthesizer (1969)

FrontCover1Wendy Carlos (born Walter Carlos; November 14, 1939) is an American musician and composer best known for her electronic music and film scores. Born and raised in Rhode Island, Carlos studied physics and music at Brown University before moving to New York City in 1962 to study music composition at Columbia University. Studying and working with various electronic musicians and technicians at the city’s Columbia-Princeton Electronic Music Center, she helped the development of the Moog synthesizer, the first commercially available keyboard instrument created by Robert Moog.

Carlos came to prominence with Switched-On Bach (1968), an album of music by Johann Sebastian Bach performed on a Moog synthesizer which helped popularize its use in the 1970s and won her three Grammy Awards. Its commercial success led to several more keyboard albums from Carlos of varying genres including further synthesized classical music adaptations and experimental and ambient music. She composed the score to two Stanley Kubrick films, A Clockwork Orange (1971) and The Shining (1980), and also Tron (1982) for Walt Disney Productions.

In 1979, Carlos was one of the first public figures to disclose having undergone gender reassignment surgery.

Wendy Carlos02

The Well-Tempered Synthesizer is the second studio album from the American musician and composer Wendy Carlos, originally released under her birth name, Walter Carlos, in November 1969 on Columbia Masterworks Records. Following the success of her previous album, Switched-On Bach (1968), Carlos proceeded to record a second album of classical music performed on a modular Moog synthesizer from multiple composers, including Johann Sebastian Bach, Claudio Monteverdi, Domenico Scarlatti, and George Frideric Handel. Its title is a play on words from Bach’s set of preludes and fugues named The Well-Tempered Clavier.

Upon its release, the album peaked at No. 199 on the US Billboard 200 chart and was nominated for two Grammy Awards.

Wendy Carlos03

In 1969, during the unexpected commercial success of her debut studio album Switched-On Bach (1968), Carlos and her friend, collaborator, and producer Rachel Elkind started work on a follow-up using the same formula as Switched-On Bach: performing selections of classical music on a modular Moog synthesizer. Carlos planned to record an “ambitious 19th-century work”, but the lack of sufficient multitrack recording capabilities at the time did not allow such an undertaking. Ideas for Carlos to record her own compositions seemed “untimely” and was shelved for potential future albums. The two decided on a “new switched on Baroque album” featuring multiple composers, including Johann Sebastian Bach, Claudio Monteverdi, Domenico Scarlatti, and George Frideric Handel.

Like Switched-On Bach, the album was recorded on an 8-track Ampex tape recorder using numerous takes and overdubs. Carlos chose pieces from Handel’s Water Music suites as the music contained passages that suited to the limitations of the Moog synthesizer.

Wendy Carlos01

Canadian pianist Glenn Gould spoke about Carlos’ rendition of Brandenburg Concerto No. 4 in G major: “To put it bluntly, the finest performance of any of the Brandenburgs—live, canned, or intuited—I’ve ever heard.”

The Well-Tempered Synthesizer was released in November 1969. It peaked at No. 199 on the Billboard 200 chart and was nominated for two Grammy Awards. In February 1974, Billboard reported that the album had sold around 200,000 copies in the US. (by wikipedia)

The soundtrack of my life (Steve Morse, Deep Purple):

Steve Morse

Pressed for a sequel to Switched-On Bach, the unexpectedly hot-selling breakthrough album for the synthesizer, Wendy Carlos temporarily shelved plans to move out of the 18th century and instead came up with an album that is, in some ways, even better than its famous predecessor. Her instrument rack had grown larger and more flexible and her technical abilities even sharper in the year since SOB came out — and the improvements are audible in the thicker harmonies and more sophisticated timbres, all without losing the zest and experimental zeal of the earlier record. Here, she revisits J.S. Bach and imaginatively translates the music of Monteverdi, Handel, and especially Domenico Scarlatti into the electronic medium. Excerpts from Monteverdi’s “Orfeo” and “1610 Vespers” serve as the gateway and closing benediction, respectively, to this collection, and four Scarlatti keyboard sonatas are given dazzling treatments (the sonata in G became well-known in the ’90s on a Christmas TV commercial). There is a mini-suite from Handel’s “Water Music” at the center of the album, and the densely orchestrated yet still dancing treatment of Bach’s “Brandenburg Concerto No. 4” serves as a signpost as to how far Carlos had come in only a year. (by Richard S. Ginell)

Wendy Carlos (synthesizer)

Wendy Carlos04

01. Orfeo Suite (Toccata; Ritornello I; Choro II; Ritornello II; Choro II; Ritornello II) (Monteverdi) 3.22
02. Sonata in G major, L. 209/K. 455 (Scarlatti) 1.42
03. Sonata in D major, L. 164/K. 491 (Scarlatti) 3.55
04. Water Music: “Bourrée (Händel) 0.48
05. Water Music: Air (Händel) 2.47
06. Water Music: Allegro Deciso (Händel) 3.01
07. Sonata in E major, L. 430/K. 531 (Scarlatti) 1.56
08. Sonata in D major, L. 465/K. 96 (Scarlatti) 2.31
09. Brandenburg Concerto #4 in G major: Allegro (Bach) 8.06
10. Brandenburg Concerto #4 in G major: Andante (Bach) 3.37
11. Brandenburg Concerto #4 in G major: Presto (Bach) 4.46
12. Domine ad adjuvandum (from the 1610 Vespers) (Monteverdi) 2.22+
13. Stereo Alignment Tones 0.10
14. Well Tempered Experiments (Wendy Carlos talks about her / his music) 9.08



The Original Trinidad Steel Band – Same (1969/ 1976)

FrontCover1Steelpans (also known as steel pans, steel drums or pans, and sometimes, collectively with other musicians, as a steel band or orchestra) is a musical instrument originating from Trinidad and Tobago. Steelpan musicians are called pannists.

The modern pan is a chromatically pitched percussion instrument made from 55 gallon industrial drums that formerly contained chemicals.

Drum refers to the steel drum containers from which the pans are made; the steel drum is more correctly called a steel pan or pan as it falls into the idiophone family of instruments, and so is not a drum (which is a membranophone). Steelpans are the only instruments made to play in the Pythagorean musical cycle of fourths and fifths.


The pan is struck using a pair of straight sticks tipped with rubber; the size and type of rubber tip varies according to the class of pan being played. Some musicians use four pansticks, holding two in each hand. This skill and performance have been conclusively shown to have grown out of Trinidad and Tobago’s early 20th-century Carnival percussion groups known as Tamboo bamboo. The pan is the national instrument of Trinidad and Tobago. (by wikipedia)

The Original Trinidad Steel Band was in the Sixties a popular band from Trinidad.

Original frontcover from 1969:

Unfortunately I found no  informations abut this band … but I know, that this sound is very special, very unique … my copy of this album is a German reissue from 1976, but the album was originally recorded in 1969.

So, enjoy music from Trinidad, far, far away from my hometown Munich …


The Original Trinidad Steel Band conducted by Winston Jones & Rudolph King


01. Archie (Gallaway) 3.04
02. Silence Is Golden (Gaudio) 3.30
03. Cachita (Hernandez) 1.56
04. Love For Sale (Porter) 2.38
06. Spanish Eyes (Moon Over Naples) (Kaempfert) 4.01
06. Jamaica Farewell (Traditional/Burgie) 4.44
07. Paris Mambo (Prado) 2.36
08. The Peanut Vendor (Sunshine/Maises/Gilbert) 3.31
09. Yellow Bird (Bergmann/Keith/Luboff/Traditional) 4.00
10. Guantanamera (Traditional) 2.29
11. Syncopation In C (Traditional) 4.05
112. Barcarole (Offenbach) 3.20




The Byrds – Live At The Boston Tea Party (1969)

FrontCover1The Byrds /bɜːrdz/ 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 they only managed to attain the huge commercial success of contemporaries like the Beatles, the Beach Boys, and the Rolling Stones for a short period in the mid-1960s, the Byrds are today considered by critics to be nearly as influential as those bands. 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.

Initially, the band 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). They 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.

The Byrds 1965

The original five-piece lineup of the Byrds consisted of Jim 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; 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.

The Byrds 1969_02

Several former members of the band 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 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. (by wikipedia)

And here´s a pretty good bootleg from their “Dr.Byrds And Mr.Hyde” period:

The new line up could set stages on fire, especially with White’s lead playing but missed the vocal quality of the original band. (

Listgen and enjoy to one of the finest bands from the Werstoast !!!

Recorded live at the Boston Tea Party, Boston February 22nd 1969


Roger McGuinn (guitar, vocals)
Gene Parsons (drums, vocals)
Clarence White (guitar, vocals)
John York (bass, vocals)

The Byrds 1969A

01. You Ain’t Going Nowhere (Dylan) 3.24
02. He Was A Friend Of Mine (Traditional) 3.23
03. Old Blue (McGuinn) 3.36
04. Long Black Veil (Traditional) 3.27
05. Goin’ Back (King/Goffin) 3.47
06. Get Outta My Life Woman (McGuinn/Toussaint) 3.21
07. Ballad Of Easy Rider (McGuinn) 2.48
08. Jesus Is Just Alright (Reynolds) 3.23
09. Mr. Spaceman (McGuinn) 3.05
10. This Wheel’s On Fire (Dylan/Danko) 4.42
11. Lay Lady Lay (Dylan) 3.22
12. The Time Between (Hillman) 2.08
13. My Back Pages (Dylan) 2.33
14. Whacha Want Me To Do (Traditional) 3.25
15. Big City Bride (Traditional) 2.14
16. It’s All Over Now, Baby Blue (Dylan) 4.20
17. Way Beyond The Sun (Traditional) 2.56
18. Turn, Turn, Turn (Traditional/Seeger) 1.53
19. Mr. Tambourine Man (Dylan) 2.31
20. I Shall Be Released (Dylan) 3.16
21. Drug Store Truck Drivin’ Man (McGuinn/Parsons) 3:23
22. Nashville West (Parsons/White) 2.01



More from The Byrds:


Keef Hartley Band – British Radio Sessions 1969 – 1971 (2013)

FrontCover1And here´s the story of a forgotten but really great musician, Keef Hartley:

Keith “Keef” Hartley (8 April 1944 – 26 November 2011) was an English drummer and bandleader. He fronted his own eponymous band, known as the Keef Hartley Band or Keef Hartley’s Big Band, and played at Woodstock. He was later a member of Dog Soldier, and variously worked with Rory Storm, The Artwoods and John Mayall.

born in Plungington, north-west Preston, Lancashire. He studied drumming under Lloyd Ryan, who also taught Phil Collins the drum rudiments. His career began as the replacement for Ringo Starr as a drummer for Rory Storm and the Hurricanes, a Liverpool-based band, after Ringo joined The Beatles. Subsequently he played and recorded with The Artwoods, then achieved some notability as John Mayall’s drummer (including his role as the only musician, other than Mayall, to play on Mayall’s 1967 “solo” record The Blues Alone). He then formed The Keef Hartley (Big) Band, mixing elements of jazz, blues, and rock and roll; the group played at Woodstock in 1969. However, the band was the only artist that played at the festival whose set was never included on any officially released album (prior to 2019), nor on the soundtrack of the film.

They released five albums, including Halfbreed and The Battle of North West Six (characterised by a reviewer for the Vancouver Sun as “an amazing display of virtuosity”).

Keef Hartley Band01

While in John Mayall, Mayall had pushed Hartley to form his own group. A mock-up of the “firing” of Hartley was heard on the Halfbreed album’s opening track, “Sacked.” The band for the first album comprised: Miller Anderson, guitar and vocals, Gary Thain (bass), later with Uriah Heep; Peter Dines (organ) and Ian Cruickshank (as “Spit James”) (guitar). Later members to join Hartley’s fluid lineup included Mick Weaver (aka Wynder K. Frog) organ, Henry Lowther (b. 11 July 1941, Leicester, England; trumpet/violin), Jimmy Jewell (saxophone), Johnny Almond (flute), Jon Hiseman and Harry Beckett. Hartley, often dressed as an American Indian sometimes in full head-dress and war-paint, was a popular attraction on the small club scene.

Keef Hartley Band

His was one of the few British bands to play the Woodstock Festival, where his critics compared him favourably with Blood Sweat And Tears. “The Battle Of NW6” in 1969 further enhanced his club reputation, although chart success still eluded him. By the time of the third album both Lowther and Jewell had departed; however, Hartley always maintained that his band was like a jazz band, in that musicians could come and go and would be free to play with other aggregations.

Keef Hartley Band02

After that Hartley released a ‘solo’ album (Lancashire Hustler, 1973) and then he formed Dog Soldier with Miller Anderson (guitar), Paul Bliss (bass), Derek Griffiths (guitar) and Mel Simpson (keyboards). They released an eponymous album in 1975, which had a remastered release in early 2011 on CD on the Esoteric label.

In 2007, Hartley released a ghostwritten autobiography, Halfbreed (A Rock and Roll Journey That Happened Against All the Odds). Hartley wrote about his life growing up in Preston, and his career as a drummer and bandleader, including the Keef Hartley Band’s appearance at Woodstock.

Hartley died on 26 November 2011, aged 67, at Royal Preston Hospital in Fulwood, north Preston (by wikipedia)

Gary Thain & Keef Hartley

Jazz/Rock perfection !
In its pomp, the Keef Hartley Band was an extraordinarily powerful combination of rock and jazz. These sessions recapture the excitement of their live performances. A laconic introduction by John Peel gives way to the wonderfully driving medley Overdog/Roundabout/Just to Cry/Sinning for you, where the musicianship and sheer musical exuberance leave you gasping. Congratulations to whoever dug these forgotten gems out of the lockers. The BBC sound engineers did a top job. If you want to understand why some many modern sound so pallid, just sit back and enjoy this amazing collection. (Amazon Customer)

Jimmy Jewell
I wasn’t expecting much. Despite Keef Hartley being a superb drummer, always surrounded by incredible musicians – including Henry Lowther on trumpet and Gary Thain on bass and making some seminally robust albums- I wasn’t expecting much. Of course the musicianship is always top-notch but what about the sound quality…? Well, I needn’t have worried. The musicianship is amazing and the sound quality excellent (and on the latter point, I am very fussy). The release includes material from their best albums (the first four – where Miller Anderson provided lead vocals) with the tracks being extended (particularly with more brass) than the original studio versions. the very small downside is that Spit James doesn’t appear anywhere on this platter. [He was the lead guitarist on the incredible first album Halfbreed and a bit on the second…]. Anyway an essential purchase for any Keef fan which includes two tracks at the end from the Miller Anderson Band which fit in perfect. Essential !  (by Camarillo Brillo)


Another of those great BBC recordings that make one wish they had been around in those days. John Mayall really knew how to pick guitar players and drummers. Keef Hartley band along with Jon Hiseman’s Colosseum are just two of the many fine bands that came from the Mayall school of band leading. We also get to hear the fantastic Miller Anderson on this album (by Peter Hodgson)

Miller Anderson01

Indeed: What a wonderful way to discover the fanststic sound, that great power of the Keef Hartley Band … and if you love Colosseum … than ist his album a must !!!

And I add the story of Keef Hartley by the deleted


Miller Anderson (guitar, vocals)
Harry Beckett (trumpet)
Mike Davis (trumpet)
Peter Dines (organ)
Lyn Dobson (saxophone, flute)
Dave Gaswell (trumpet, flugelhorn)
Keef Hartley (drums, percussion)
Spit James (guitar)
Lyle Jenkins (saxophone, flute)
Jimmy Jewell (saxophone)
Henry Lowther (trumpet, violin)
Chris Mercer (saxophone)
Gary Thain (bass)
Mick Weaver (keyboards)

Alternate front + backcover:

01. Medley 25.12
01.1. Overdog (Anderson)
01.2. Roundabout (Anderson)
01.3. Just To Cry’ (Lowther/Finnegan)
01.4. Sinnin’ For You (Anderson/Hartley/Dines/Finnegan) 3.20
02. You Can’t Choose (Anderson) 5.56
03. You Can’t Take It With You (Anderson) 8.00
04. Sinnin’ For You (Anderson/Hartley/Dines/Finnegan) 3:40
05. Inerview with Keef Hartley 1.09
06. Me And My Woman (Barge) 3.37
07. Too Much Thinkin’ # 1 (studio reccording) 5.43
08. Waiting Around (Anderson/Hartley/Thain) 2.24
09. Just To Cry (Lowther/Finnegan) 3.40
16. Shadows Across The Wall (Anderson) 4.36
17. To Whom It May Concern (Live Miller Anderson Band) (Anderson) 3.19
18. High Tide, High Water (Live Miller Anderson Band) (Anderson) 7.27

Track 01.: Recorded Live At The Paris Theatre London For “Sunday Concert” On 25th March 1971
Tracks 02. – 03.: Recorded Live In London For “Sunday Concert” On 23rd January 1970
Tracks 04. – 05: Recorded In London For “Top Gear” On 29th April 1969
Tracks 06. – 11.: Recorded In London For “Sunday Concert” On 12th November 1970
Track 12.: Recorded In London For “Top Gear” On 29th April 1969
Tracks 13. – 14.: Recorded In London For “Top Gear” On 14th November 1969
Tracks 15. – 16.: Recorded In London For “Sounds Of The Seventies” On 17th June 1971
Tracks 17. – 18.: Recorded Live At The Paris Theatre London On 13th September 1971



Keith “Keef” Hartley (8 April 1944 – 26 November 2011)

Quicksilver (Messenger Service) – Shady Grove (1969)

FrontCover1Quicksilver Messenger Service (sometimes credited as simply Quicksilver) is an American psychedelic rock band formed in 1965 in San Francisco. The band achieved wide popularity in the San Francisco Bay Area and through their recordings, with psychedelic rock enthusiasts around the globe, and several of their albums ranked in the Top 30 of the Billboard Pop charts. They were part of the new wave of album-oriented bands, achieving renown and popularity despite an almost complete lack of success with their singles (apart from “Fresh Air”, which reached number 49 in 1970). Though not as commercially successful as contemporaries Jefferson Airplane and the Grateful Dead, Quicksilver was integral to the beginnings of their genre. With their jazz and classical influences and a strong folk background, the band attempted to create an individual, innovative sound.[5] Music historian Colin Larkin wrote: “Of all the bands that came out of the San Francisco area during the late ’60s, Quicksilver typified most the style, attitude and sound of that era.”

Member Dino Valenti drew heavily on musical influences he picked up during the folk revival of his formative musical years. The style he developed from these sources is evident in Quicksilver Messenger Service’s swing rhythms and twanging guitar sounds.[7] After many years, the band has attempted to reform despite the deaths of several members. In 2009, original members Gary Duncan and David Freiberg toured as the Quicksilver Messenger Service, using various backing musicians.


Shady Grove is the third studio album by Quicksilver Messenger Service.

Nicky Hopkins, the English journeyman pianist who appears on albums by Jeff Beck, The Rolling Stones, The Who, all four of The Beatles and Steve Miller, joined the group for this album. Hopkins’ influence is felt throughout Shady Grove, and his contributions pushed the group in new directions. However, David Freiberg’s vocal presence makes the Quicksilver sound of the first two albums still apparent.

Hopkins re-recorded the closing track, “Edward”, on his solo album The Tin Man Was a Dreamer, which features members of the Rolling Stones and the Beatles. (“Edward” was a nickname for Nicky Hopkins, made up by Brian Jones during a 1967 session at Olympic Studios in London. The story goes that Jones was tuning his guitar and asked Hopkins to give him an E on the piano; with other noise interfering and Nicky unable to hear what he was saying, Brian eventually shouted out: “Give me an E, like in Edward!”)[1] “Joseph’s Coat”, co-written by John Cipollina and Nick Gravenites, also appears on Big Brother and the Holding Company’s album Be a Brother, which featured Gravenites on vocals.

Original guitarist Gary Duncan does not appear on this album, having quit the band for a time. (by wikipedia)


The third long-player from San Francisco psychedelic icons Quicksilver Messenger Service (QMS) is a direct contrast from their previous discs. Shady Grove (1969) is comprised mostly of shorter and self-contained pieces as opposed to the long and extended jams that were so prevalent on their self-titled debut (1967) and Happy Trails (1969). Ironically, the one stretched-out instrumental is courtesy of their latest acquisition — Brit recording session guru Nicky Hopkins (keyboards). Another possible reason for the shift in style as well as personnel is the conspicuous absence of Gary Duncan (guitar) — who is rumored to have been a “guest” of Bay Area law enforcement at the time. The band incorporate a number of different styles on the album. Kicking off the disc is an up-tempo rocking version of the traditional Appalachian folk song “Shady Grove.”


The QMS reading is highlighted by John Cipollina’s trademark fluid fretwork and a familiar “Bo Diddley” backbeat — reminiscent of both “Who Do You Love” and “Mona” from the live ensemble LP Happy Trails. The slow and dark “Flute Song” is a trippy minor chord masterpiece that is augmented by the shimmering effect of Hopkins’ airy piano lines which mingle throughout the light orchestration. Additionally, QMS try their hand at the same country & western-flavored sound that was making the rounds with their San Fran contemporaries the Jefferson Airplane (“The Farm”) and the Grateful Dead (“Dire Wolf”). However, the down-home cowboy waltz “Word’s Can’t Say” never gets out of the stable, unfortunately. This somewhat uneven effort would sadly foreshadow QMS’s journey from psychedelia and into a much more pop-oriented sound on their follow-up, Just for Love (1970). However, enthusiasts of those albums will find much more to revisit on Shady Grove than those who favored the first two records. (by by Lindsay Planer)


John Cipollina (guitar, vocals)
Greg Elmore (drums, percussion)
David Freiberg (bass, vocals, guitar, viola)
Nicky Hopkins (keyboards, celeste, harpsichord, cello)


01. Shady Grove (Wands) 3.03
02. Flute Song (Kaufman-Jewkes) 5.26
03. Three Or Four Feet From Home (Cipollina) 2.59
04. Too Far (Freiberg) 4.31
05. Holy Moly (Gravenites) 4.25
06. Joseph’s Coat (Cipollina/Gravenites) 4.42
07. Flashing Lonesome (Freiberg/Gravenites) 5.30
08. Words Can’t Say (Freiberg/Kaufman-Jewkes) 3.23
09. Edward, The Mad Shirt Grinder (Hopkins) 9.23




The Nice – Live At The Fillmore East 1969 (2009)

FrontCover1The Nice were an English progressive rock band active in the late 1960s. They blended rock, jazz and classical music and were keyboardist Keith Emerson’s first commercially successful band.

The group was formed in 1967 by Emerson, Lee Jackson, David O’List and Ian Hague to back soul singer P. P. Arnold. After replacing Hague with Brian Davison, the group set out on their own, quickly developing a strong live following. The group’s stage performances featured Emerson’s Hammond organ showmanship and abuse of the instrument, such as playing rhythms while switching the reverb on and off while the spring unit was crashing about. Their compositions included radical rearrangements of classical music themes and Bob Dylan songs.

The band achieved commercial success with an instrumental rearrangement of Leonard Bernstein’s “America”, following which O’List left the group. The remaining members carried on as a trio, releasing several albums, before Emerson decided to leave the band in early 1970 in order to form Emerson, Lake & Palmer. The group briefly reformed in 2002 for a series of concerts. (by wikipedia)


Keith Emerson’s first prog trio in full live action:

Out of all of EMI’s new reissues of The Nice’s Charisma label back catalogue, this two-disc set totaling over 90 minutes is likely to be of most interest to fans of The Nice.

Whilst the song titles will be familiar this is the first time this concert at New York’s legendary Fillmore East has been released.


Where the studio albums were often a little too variable for their own good, hearing the set flow from start to finish gives us a greater appreciation of how powerful and cohesive a unit The Nice were in concert.

Whilst Keith Emerson’s off-the-cuff quotes of Bach and other popular classics may sound a touch arch by today’s standards, it’s easy to forget how hard-edged and radical this was to audiences largely fed on a diet of bluesy guitar jams.


This, coupled with his theatrical mauling of the Hammond organ, added not only an arresting visual dimension but the resulting ear-bleeding atonality of such pre-meditated destruction gave the group something of an avant-garde frisson as well.

Though Lee Jackson’s sandpaper-rasp of a voice suited the rockier repertoire, his limitations are spotlighted in the quieter parts such as their imaginative reading of Tim Hardin’s sublime Hang On To A Dream.

Nevertheless, Jackson’s bass playing was entirely dependable and together with drummer Brian Davison’s always elegant but robust swing, the pair provided an unswerving rhythm section that was in effect the safety net to Emerson’s high-wire act.

When this show was recorded The Nice were only weeks away from breaking up. Yet the risk-taking that went from Dylan to Dvorak remains exhilarating, edgy and largely underrated. (by Sid Smith)


Brian Davison (drums, percussion, whistle)
Keith Emerson (keyboards)
Lee Jackson (bass, vocals)


CD 1:
01. Rondo (Davison/O’List/Emerson/Jackson) 7.01
02. Ars Longa Vita Brevis (Davison/O’List/Emerson/Jackson) 13.48
03. Little Arabella (Emerson/Jackson) 6.24
04. She Belongs To Me (Dylan) 13.18

CD 2:
01. Country Pie (Dylan) 6.14
02. Five Bridges Suite (Emerson/Jackson) 13.54
03. Hang On To A Dream (Hardin) 7.30
04. Intermezzo: Karelia Suite (Sibelius) 12.30
05. America (Bernstein/Sondheim) 7.51
06. War And Peace (Davison/O’List/Emerson/Jackson)




More from The Nice:


Keith EmersonKeith Emerson (2 November 1944 – 11 March 2016)