Ginger Baker´s Airforce – Same (1970)


Ginger Baker, wild and brilliant Cream drummer, dies aged 80

Drummer who straddled jazz, blues and rock ‘passed away peacefully’

Ginger Baker, one of the most brilliant, versatile and turbulent drummers in the history of British music, has died aged 80.

His family had previously made it public that he was critically ill and asked fans to “please keep him in your prayers”. His Facebook page said he “passed away peacefully” on Sunday morning.

Paul McCartney was among those paying tribute, writing on Twitter: “Great drummer, wild and lovely guy … Sad to hear that he died but the memories never will.”

Baker was born in 1939 in Lewisham, south London, and grew up amid the blitz; his father was killed in action in 1943. He began drumming in his mid-teens, remembering in 2009: “I’d never sat behind a kit before, but I sat down – and I could play! One of the musicians turned round and said, ‘Bloody hell, we’ve got a drummer’, and I thought, ‘Bloody hell, I’m a drummer!’”


Early work came with the jazz guitarist Diz Disley – which ended when an 18-year-old Baker set fire to a hotel while on tour in Europe – and with bandleader Terry Lightfoot. He played blues in Blues Incorporated – including guest appearances with an early incarnation of the Rolling Stones – and US R&B with the Graham Bond Organisation, both alongside Jack Bruce on bass guitar.

Despite considerable friction between Baker and Bruce, the pair in 1966 formed Cream with Eric Clapton, who had previously played with the Yardbirds and John Mayall. Cream helped define the psychedelic rock sound of the decade, with Baker bringing both a jazz sensibility – Toad, from debut album Fresh Cream, features one of the first ever drum solos in rock – and a hard-hitting style, using two bass drums, that pointed towards heavy metal.

Cream sold more than 15m records worldwide and had hits including Sunshine of Your Love, Strange Brew and White Room; three of their four albums reached both the US and UK top five.


The band split in 1968, releasing a final album in 1969. A reunion in 2005 ended in animosity, with Baker and Bruce shouting at each other on stage in New York. In 1969, Baker and Clapton formed the short-lived band Blind Faith with Steve Winwood and Ric Grech, and the latter pair joined Baker in his next project, jazz-rock band Ginger Baker’s Air Force.


Baker moved to Nigeria in 1971 and set up the Batakota recording studio in Lagos, which hosted local musicians as well as established stars (McCartney’s band Wings recorded part of Band on the Run there). He performed with Nigerian star Fela Kuti – “he understands the African beat more than any other westerner,” said Kuti’s drummer Tony Allen – and went on to collaborate or perform with a hugely varied array of musicians: Public Image Ltd, Hawkwind, hard rock band Baker Gurvitz Army, and jazz performers Max Roach, Art Blakey and Elvin Jones. In 1994, he formed a jazz trio with Charlie Haden and Bill Frisell.


He had spells living in Italy, California, Colorado and South Africa, and developed a passion for polo. In 2008, when living in South Africa, he was defrauded of more than £30,000 by a bank clerk he had hired as a personal assistant. He also suffered from various health issues, including respiratory illness and osteoarthritis, and underwent open heart surgery in 2016. “God is punishing me for my past wickedness by keeping me alive and in as much pain as he can,” he said in 2009.

That wickedness perhaps included his notorious temper – “I used to be mean – I’d deliberately mess up recording sessions with my temper and go mad at the slightest thing,” he said in 1970. He was married four times – “If a plane went down and there was one survivor, it would be Ginger. The devil takes care of his own,” first wife Elizabeth Ann Baker said in 2009 – and used heroin on and off since the mid-60s: he told the Guardian in 2013 that he relapsed “something like 29 times”.

A documentary, Beware of Mr Baker, was made about his life in 2012. He is survived by his three children, Kofi, Leda and Ginette.(by Ben Beaumont-Thomas, The Guardian)


To hnor this great drummr, here´s his first album wih his “Air Force” group:

Ginger Baker’s Air Force is the eponymous debut album by Ginger Baker’s Air Force, released in 1970. This album is a recording of a sold-out live show at the Royal Albert Hall, on 15 January 1970, with the original 10-piece line up. The gatefold LP cover was designed left-handed; i.e. the front cover artwork was on what traditionally would be considered the back and vice versa. (by wikipedia)

Muro do Classic Rock

For a change, the late 1960s yielded up a supergroup that lived up to its hype and then some. Ginger Baker’s Air Force was recorded live at Royal Albert Hall in January of 1970 — in fact, this may be the best-sounding live album ever to come out of that notoriously difficult venue — at a show that must have been a wonder to watch, as the ten-piece band blazed away in sheets of sound, projected delicate flute parts behind multi-layered African percussion, or built their songs up Bolero-like, out of rhythms from a single instrument into huge jazz-cum-R&B crescendos. Considering that this was only their second gig, the group sounds astonishingly tight, which greatly reduces the level of self-indulgence that one would expect to find on an album where five of the eight tracks run in excess of ten minutes. There aren’t too many wasted notes or phrases in the 78 minutes of music included here, and Steve Winwood’s organ, Baker, Phil Seamen, and Remi Kabaka’s drums, and the sax playing by Chris Wood, Graham Bond (on alto), and Harold McNair, all stand out, especially the sax trio’s interwoven playing on “Don’t Care.”


Additionally, Denny Laine plays louder, flashier, more virtuoso-level guitar than he ever got to turn in with the Moody Blues, bending notes in exquisite fashion in the opening of Air Force’s rendition of the Cream standard “Toad,” crunching away on rhythm elsewhere, and indulging in some more introspective blues for “Man of Constant Sorrow.” The original CD reissue, which sounded pretty good, was deleted in the early ’90s, but this album has been remastered again and repackaged as part of the Ginger Baker retrospective Do What You Like on Polygram’s Chronicles series. It’s a must-own for jazz-rock, Afro-fusion, blues-rock, or percussion fans. (by Bruce Eder)


Ginger Baker (drums, percussion, vocals)
Graham Bond (organ, saxophone, vocals)
Ric Grech (bass, violin on 06.)
Jeanette Jacobs (vocals)
Remi Kabaka (drums, percussion)
Denny Laine – guitars, vocals on 06.)
Harold McNair (saxophones, flute)
Phil Seamen (drums, percussion)
Steve Winwood (organ, bass on 06., vocals on 03. + 07.)
Chris Wood (saxophone, flute)


01. Da Da Man (McNair) 7.14
02. Early in the Morning (Traditional) 11.17
03. Don’t Care (Baker/Winwood) 12.29
04. Toad (Baker) 13.00
05. Aiko Biaye (Kabaka/Osei) 13.01
06. Man Of Constant Sorrow (Traditional) 3.55
07. Do What You Like (Baker) 11.39
08. Doin’ It (Baker/Grech) 5.29



Peter Edward “Ginger” Baker (19 August 1939 – 6 October 2019)


Brownsville Station – No BS (1970)

FrontCoverA1.jpgBrownsville Station is an American rock band from Michigan that was popular in the 1970s. Original members included Cub Koda (guitarist/vocalist), Mike Lutz (guitarist/vocalist), T.J. Cronley (drummer), and Tony Driggins (bassist/vocals). Later members included Henry “H-Bomb” Weck (drummer) and Bruce Nazarian (guitarist/vocalist).

They are remembered for the top-10 hit single “Smokin’ in the Boys Room” (1973).

Brownsville Station was formed in Ann Arbor, Michigan in 1969. Brownsville Station’s early albums included song covers from bands which had inspired them.[2] In 1970, they released their debut studio album, No BS, on a Warners Bros. label. Their biggest hit, “Smokin’ in the Boys Room”, written by Michael Lutz & Cub Koda, from their 1973 album Yeah!, reached No. 3 on U.S. Billboard Hot 100 chart and No. 27 in the UK Singles Chart. The track sold over two million copies and was awarded a gold disc status by the RIAA on 15 January 1974.

In 1977, Brownsville Station recorded “Martian Boogie”, one of their seven singles to chart on the Hot 100.[4] The song was also a feature on Dr. Demento’s radio show. “(Lady) Put The Light On”, their penultimate single, also charted in the Hot 100, at 46.

After drummer Cronley left the band, Van Wert, Ohio native Henry “H-Bomb” Weck was called on to fill the position left by Cronley.


The band’s second-highest Billboard charting single was “Kings of the Party” which topped out at No. 31 in 1974.

Original members of Brownsville Station disbanded in 1979 and their final studio album together, Air Special, was released by Epic in 1978.

Cub Koda was the most visible Brownsville Station member after their break up. He recorded a number of solo albums and toured with his own group The Points as well as blues man Hound Dog Taylor’s backing band The Houserockers. His solo repertoire included the albums Cub Koda and the Points, It’s the Blues, Box Lunch and the career spanning compilation Welcome to My Job. In addition, Koda, a rabid collector of rockabilly, doo wop and blues, wrote liner notes for numerous retro releases (including Jimmy Reed, Freddy Cannon and The Kingsmen) and countless music reviews for the All Music Guide series of books and website. He also wrote a popular column (“The Vinyl Junkie”) for Goldmine magazine and co-authored the book Blues For Dummies. In addition, he hosted The Cub Koda Crazy Show for Massachusetts radio station WCGY during a period in the early 80s. Koda died of kidney disease in July 2000 at the age of 51.


Mike Lutz went on to produce many bands, including Ted Nugent’s Spirit of the Wild album, and toured in the 1990s with Nugent. Lutz still resides in Ann Arbor, teaches guitar and bass at a local music store called Oz’s Music, writes and produces many acts.

While still in Brownsville Station, Henry Weck engineered and co-produced the Strikes album for Blackfoot, which produced two hit singles, Highway Song and Train Train (on which Koda played harmonica). Weck continues to record and produce in Memphis, in Ann Arbor at Lutz’s Tazmania Studios and is the co-driving force of the re-united Brownsville Station.

After T. J. Cronley left Brownsville Station, he spent a career in the U.S. Marine Corps as a Marine aviator, and retired as a lieutenant colonel in 1992. He is currently a pilot for FedEx and resides in Yuma, Arizona. He is also an artist.


Bruce Nazarian went on to produce, engineer and perform with his band “The Automatix”, who released their debut LP on MCA in 1983. He was the CEO of Digital Media Consulting Group and ran a popular digital media website “”. Nazarian also produced and hosted The Digital Guy radio show in addition to being a music producer, concert impresario and artist manager. His last band, “The Brotherhood” is slated to release their debut CD “(It’s) All About The Groove” in early 2016. Nazarian died in October 2015.

In 2008, Brownsville Station was inducted into the Michigan Rock and Roll Legends Hall of Fame.

Through the band’s early days, Weck captured over 500 hours of Brownsville demos, rehearsals, live shows and even some special events. In 2012, Lutz and Weck began sorting through the recordings in Lutz’s Tazmania Studio. The result is Still Smokin’, featuring new songs and updated versions of the band’s “My Friend Jack” and “Smokin’ In The Boys Room”.

Augmented by new players Billy Craig, Arlen Viecelli and Brad Johnson, Brownsville Station returned to the road in 2013.

Brownsville Station1971.jpg


In the television series King of the Hill, Brownsville Station is part of the subplot in Episode 10 Season 10 entitled Hank Fixes Everything. The band is a favorite of the character Lucky, who camps outside the ticket booth to purchase seats for prime viewing of Mike Lutz playing guitar.

Brownsville Station’s early influences included Chuck Berry, Bo Diddley, Jerry Lee Lewis, and other 1950s rock and roll musicians. Koda’s onstage antics influenced many rockers including Peter Wolf and Alice Cooper (by wikipedia)

Brownsville Station.jpg

1969 saw Brownsville Station signed to Punch Andrew’s Detroit-based Palladium label where the made their label debut with the single:

– 1969’s ‘Be-Bop Confidential’ b/w ‘City Life’ (Palladium catalog number H 1075)

The single sold well locally, leading Palladium to finance a supporting album – 1970’s “No BS”. Curiously. anyone whose knowledge of Brownsville Station was limited to their hit ‘Smokin’ In the Boys’ Room’ was liable to be a bit confused and perhaps disappointed by their debut collection. Mind you, it wasn’t a bad album, but unless you lived in Detroit and saw some of the band’s live shows, as the band’s ‘roots’ album, the collection’s heavy reliance on covers of popular 1950s rock and R&B chestnuts was probably going to prove somewhat unexpected. So here’s the god news; the album served as a pretty good representation of the band’s Marshall amp powered live shows. Yeah there were plenty of covers, but the performances were uniformly enthusiastic (these guys were foremost fans of these musical genre) and while remaining true to the spirit of the originals, most of their arrangements were at least somewhat updated and more rock oriented (back to those towering stacks of Marshall speakers that Cubby Koda would apparently climb and jump off of). (by RDTEN1)

But this was only the start of a real underrated band from Michigan !

Brownsville Station2.jpg

This album rocks like a MOTHERFUCKER. it’s one of the best sounding (recording) hard rock albums of its era that i have ever heard (i have a wlp promo copy, so i dunno if it has any sonic variations from the original Palladium pressing, or the retail Warner Bros pressing).

the drummer is INSANE. great guitar sound, the whole thing is straight up “live band in the studio,” tape rolling. no overdubs. (vocals probably). I love this album and always have.

and it’s got the BEST Roadrunner kickass version like ever. E V E R! (mike_in_oakland)



Tony Driggins (bass)
T.J. Cronley (drums)
Cubby Koda (vocals, guitar, harmonica)
Michael Lutz (vocals, guitar, clarinet)
Big Jim Bruzzese (percussion)
Pat McCaffrey (keyboards)
Al Nali, Sr. (accordion)
The Applesaucettes (background vocals)


01. Be-Bop Confidential (Vincent/Hargrave/Davis) 2.24
02. Guitar Train (Lutz) 2.06
03. Rockin’ Robin (Byrd) 2.46
04. Blue Eyed Girl (Lutz) 2.46
05. City Life (Lutz/Driggins) 3.02
06. Do The Bosco (Koda/Lutz) 2.37
07. Roadrunner (McDaniels) 2.38
08. Hello, Mary Lou (Pitney) 3.06
09. Cadillac Express (Koda) 2.30
10. My Boy Flat-Top (Bennett/Young) 2.02
11. Rumble (Wray) 3.04




Pentangle – Sister Cruel (1970)

FrontCover1.jpgCruel Sister was an album recorded in 1970 by folk-rock band Pentangle. It was the most folk-based of the albums recorded by the band, with all the tracks being versions of traditional songs. Whereas their previous album had been produced by Shel Talmy, and featured quite a heavily produced, commercial sound, Cruel Sister was produced by Bill Leader, noted for his recordings of folk musicians.

“Lord Franklin” is a version of the traditional ballad, also known as “Lady Franklin’s Lament”, which describes Sir John Franklin’s ill-fated expedition to discover the Northwest Passage. John Renbourn sings the lead vocal and plays both acoustic and electric guitar.

“Cruel sister”, the song which provides the title for the album, is a traditional ballad (known in some versions as The Twa Sisters), telling the story of the violent rivalry between two sisters for the love of a knight.

The whole of side two of the album is taken up with an extended version of the ballad “Jack Orion”, previously recorded by Jansch on his own Jack Orion album. “Jack Orion” is a version of the Child ballad “Glasgerion”. The arrangement on Cruel Sister develops through several sections with different rhythms and instrumentation.

The album cover features engravings by Albrecht Dürer. The front cover displays his “The Men’s Bath” (Das Männerbad) (date unknown). The picture on the back cover is his The Sea Monster (Das Meerwunder), dating from 1498. (by wikipedia)


Originally released in 1970, this was the fourth release from the British folk-rock group Pentangle and may qualify as their swan song. With only five songs, Jacqui McShee, Bert Jansch, John Renbourn, Terry Cox, and Danny Thompson create a dense, layered sound that is woven within the fabric of each song like a tapestry. Although known for their eclectic approach and love of jazz, here the group concentrates on traditional material like “A Maid That’s Deep in Love” and the 18-minute “Jack Orion.” A Pentangle fan will immediately note that John Renbourn is playing an electric guitar on “A Maid That’s Deep in Love.” This departure from purely acoustic doesn’t create a bigger Fairport Convention or Steeleye Span sound but is imbedded quietly into the song.

Jacqui McShee.jpg

What really sets both this song and “When I Was in My Prime” apart is McShee’s clear, vibrant vocals. On “When I Was in My Prime,” she sings unaccompanied, proving that her talent runs as deep as the better-known Jansch and Renbourn. The seven-minute title cut also features McShee singing an absolutely lovely ballad with darker undertones. Renbourn sings the enjoyable though straightforward “Lord Franklin.” The crowning jewel of this masterpiece is the epic “Jack Orion,” though one has difficulty imagining what possessed Pentangle to record a folk song that took up an entire side of an album. Jansch shares vocals with McShee on this multiple part song, and generous time is left for Renbourn to turn in a bluesy, then jazzy, electric solo. Cruel Sister shows Pentangle at their artistic height, combining all of their skill and inspiration to create a vital and enduring album. (by Ronnie D. Lankford, Jr.)


Terry Cox (drums, percussion, dulcitone, vocals)
Bert Jansch (guitar, dulcimer, concertina, recorder, vocals)
Jacqui McShee (vocals)
John Renbourn (guitar, sitar, recorder, vocals)
Danny Thompson – double bass (1, 4, 5)


01. A Maid That’s Deep In Love 5.27
02. When I Was In My Prime 2.53
03. Lord Franklin 3.28
04. Cruel Sister 7.00
05. Jack Orion 18.36

All songs: Traditionals




German labels

Derek & The Dominos – Fillmore Outtakes (1970)


Derek and the Dominos were an English–American blues-rock band formed in the spring of 1970 by guitarist and singer Eric Clapton, keyboardist and singer Bobby Whitlock, bassist Carl Radle and drummer Jim Gordon. All four members had previously played together in Delaney & Bonnie and Friends, during and after Clapton’s brief tenure with Blind Faith. Dave Mason supplied additional lead guitar on early studio sessions and played at their first live gig. Another participant at their first session as a band was George Harrison, the recording for whose album All Things Must Pass marked the formation of Derek and the Dominos.

The band released only one studio album, Layla and Other Assorted Love Songs, produced by Tom Dowd, which also featured extensive contributions on slide guitar from Duane Allman. A double album, Layla did not immediately enjoy strong sales or receive widespread radio airplay, but went on to earn critical acclaim. Although released in 1970 it was not until March 1972 that the album’s single “Layla” (a tale of unrequited love inspired by Clapton’s infatuation with his friend Harrison’s wife, Pattie Boyd) made the top ten in both the United States and the United Kingdom. The album is often considered to be the defining achievement of Clapton’s career. (by wikipedia)


Live at the Fillmore is a live double album by Derek and the Dominos, recorded in two performances on October 23 and 24, 1970 at the Fillmore East and released in February 1994. It includes live material previously released on the In Concert album, live material previously released on Eric Clapton’s Crossroads box set, and several previously unreleased numbers.

This is a compilation of unreleased tracks from the shows, culled from a very high quality source. EVSD recently bootlegged the late shows from this same source, but with typically lousy “remastering” work done to it. So a friend asked me to pass along this nice little compilation of leftovers from three of the shows, in “non-remastered” audiophile quality. Clapton fans familiar with the Cream “Western Tour 1968″ bootleg will know what to expect here, as it is very much the same deal. (JWBusher)

Recorded live at Fillmore East, New York, NY; October 23-24, 1970
Very good soundboard

Derek and the Dominos02

Eric Clapton (guitar, vocals)
Jim Gordon (drums)
Carl Radle (bass)
Bobby Whitlock (keyboards, vocals)


01. Got To Get Better In A Little While (Clapton) 13.29
02. Key To The Highway (Segar) 7.38
03. Why Does Love Got To Be So Sad (Whitlock/Clapton) 7.41
04. Blues Power (Clapton/Russell) 5.57
05. Have You Ever Loved A Woman (Myles) 8.49
06. Bottle Of Red Wine (Clapton) 6.54
07. Presence Of The Lord (Clapton) 6,38
08. Little Wing (Hendrix) 6.43

Derek and the Dominos03


Thanks to JWBusher for sharing the tracks at Dime

Mountain – Live At The Fillmore East (New York, NY) (1970)

FrontCover1.jpgMany years ago I got this pretty good and rare album by Mountain from another record collector from the USA.

He wrote me, that this is a Mountain gig, recorded live at the Fillmore East, New York in June 1970.

I´m not sure, if this information is correct … I guess this recording is a composite from various live recordings during 1970-71. Some of it definitely is from the closing night of the Fillmore East in June 1971. In 1970, they were not yet performing songs from the Nantucket Sleighride album (Nantucket Sleighride, Traveling in the Dark) as Mr. Leslie6042 wrote on youtube.

Anyway, we can hear Mountain at their peak … with rare live recordings from classic tracks like “For Yasgur’s Farm” and “Travelin’ In The Dark”.

Another highlight is of course and early version of their great “Nantucket Sleighride” and finally a fantastic version of the heavy jam of the incredible “Dreams Of Milk And Honey” … including a long and outstandig bass-solo by Felix Pappalardi.

It´s time to discover the very unique sound of Mountain … one of the greatest hard rock bands of all time … believe me !


Steve Knight (organ)
Corky Laing (drums)
Felix Pappalardi (bass, vocals)
Leslie West (guitar, vocals)


01. Bill Graham introduction + Silver Paper (Laing/Pappalardi/Collins/ Gardos/West/Knight) 8.17
02. Nantucket Sleighride (Pappalardi/Collins) 6.08
03. For Yasgur’s Farm (Laing/Rea/Pappalardi/Collins/Ship/Gardos) 4.16
04. Travelin’ In The Dark (Laing/Pappalardi/Collins) 5.06
05. Blood Of The Sun (West/Pappalardi/Collins) 3.19
06. Dreams Of Milk And Honey ((Pappalardi/Ventura/West/Landsberg)) + Mississippi Queen ((West/Laing/Pappalardi/Rea) 29.33



Christine Perfect – Same (1970)

FrontCover1.jpgWith her naturally smoky low alto vocal style and a knack for writing simple, direct, and memorable songs about the joys and pitfalls of love, Christine McVie has had a long and productive musical career while seldom insisting on being center stage. Born Christine Anne Perfect on July 12, 1943, in the small village of Bouth, the daughter of a concert violinist and a faith healer, a combination that just begs for uniqueness, McVie began playing the piano at the age of four and then found herself seriously studying the instrument at the age of 11, continuing her classical training until she was 15. That’s when she discovered rock & roll. While studying sculpture at an arts college near Birmingham for the next five years, she immersed herself in the local music scene, joining the band Sounds of Blue as a bassist. By the time McVie graduated with a teaching degree, Sounds of Blue had broken up, and she moved to London. In 1968 she reunited with two of the band’s former members, Andy Silvester and Stan Webb, in the British blues band Chicken Shack, playing piano and contributing vocals. The band released two albums, 40 Blue Fingers, ChristinePerfect01.jpgFreshly Packed and Ready to Serve in 1968 and O.K. Ken? in 1969, and garnered a Top 20 hit in the U.K. with McVie’s impressive version of Etta James’ “I’d Rather Go Blind.” She left the band in 1969 after meeting Fleetwood Mac bassist John McVie, marrying him a year later, just after the release of her first solo album, the self-titled Christine Perfect. (by Steve Leggett)

Christine Perfect is the eponymous debut solo album of former Chicken Shack keyboardist/singer Christine Perfect (later known as Christine McVie).  The album was released just after Perfect had left Chicken Shack, but before she joined Fleetwood Mac. It contained the Etta James song, “I’d Rather Go Blind”, which had earlier been a hit single for Chicken Shack.

Released in 1970, the album was originally meant to be titled “I’m On My Way” as evidenced on copies of the single “I’m Too Far Gone (To Turn Around)”. It was re-released in 1976 as The Legendary Christine Perfect Album. (by wikipedia)

Shortly before joining Fleetwood Mac, Christine McVie, assuming the moniker Christine Perfect, recorded and released her first solo album. While its blues- and soul-tinged rock sound isn’t terribly unique, the songs are all quite well written and performed, and regardless, McVie’s melancholic, soulful vocals could elevate to greatness even the most tepid of songs. Highly recommended to any fans of the British Blues or 70s rock in general. (

ChristinePerfect02John McVie & Christine Perfect

Released amidst a flood of blues-rock material, 1970’s “Christine Perfect” was actually a surprisingly impressive and enjoyable artifact, but did little commercially and was quickly forgotten. (

So it´s time to discover this beautiful album again … Enjoy the early Christine Perfect !!!


Martin Dunsford (bass)
Chris Harding (drums)
Rick Hayward (guitar)
Christine Perfect (vocals, keyboards)
Top Topham (guitar)
Dave Bidwell (drums on 06.)
Danny Kirwan (guitar on 07.)
John McVie (bass on 07.)
Andy Silvester (bass on 05. + 06.)
Stan Webb (guitar on 06.)

01. Crazy ‘Bout You Baby (Walter) 3.05
02. I’m On My Way (Malone) 3.12
03. Let Me Go (Leave Me Alone) (Perfect) 3.38
04. Wait And See (Perfect) 3.17
05. Close To Me (Perfect/Hayward) 2.43
06. I’d Rather Go Blind (Jordan/Foster) 3.18
07. When You Say (Kirwan) 3.18
08. And That’s Saying A Lot (Jackson/Godfrey) 3.01
09. No Road Is The Right Road (Perfect) 2.53
10. For You (Perfect) 2.49
11. I’m Too Far Gone (To Turn Around) (Single A side) (Handricks/Otis) 3.30
12. I Want You (White) 2.23



One of the saddest love songs ever written:

Something told me it was over
When I saw you and her talkin’
Something deep down in my soul said, ‘Cry, girl’
When I saw you and that girl walkin’ around

Whoo, I would rather, I would rather go blind, boy
Then to see you walk away from me, child, no

Whoo, so you see, I love you so much
That I don’t wanna watch you leave me, baby
Most of all, I just don’t, I just don’t wanna be free, no

Whoo, whoo, I was just, I was just, I was just
Sittin here thinkin’, of your kiss and your warm embrace, yeah
When the reflection in the glass that I held to my lips now, baby
Revealed the tears that was on my face, yeah

Whoo and baby, baby, I’d rather, I’d rather be blind, boy
Then to see you walk away, see you walk away from me, yeah
Whoo, baby, baby, baby, I’d rather be blind…



The Who – Live At Leeds (1970)

FrontCover1.JPGLive at Leeds is the first live album by the English rock band The Who. It was recorded at the University Refectory, University of Leeds on 14 February 1970, and is the only live album that was released while the group were still actively recording and performing with their best known line-up of Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon.

The Who were looking for a way to follow up their 1969 album Tommy, and had recorded several shows on tours supporting that album, but didn’t like the sound. Consequently, they booked the show at Leeds University, along with one at the University of Hull the following day, specifically to record a live album. Six songs were taken from the Leeds show, and the cover was pressed to look like a bootleg recording. The sound was significantly different from Tommy and featured hard rock arrangements that were typical of the band’s live shows.

The album was released in May 1970 by Decca and MCA in the United States by Track and Polydor in the United Kingdom. It has been reissued on several occasions and in several different formats. Since its release, Live at Leeds has been cited by several music critics as the best live rock recording of all time.

By the end of the 1960s, particularly after releasing Tommy in May 1969, The Who had become cited by many as one of the best live rock acts in the world. According to biographer Chris Charlesworth, “a sixth sense seemed to take over”, leading them to “a kind of rock nirvana that most bands can only dream about”.[6] The band were rehearsing and touring regularly, and Townshend had settled on using the Gibson SG Special as his main touring instrument; it allowed him to play faster than did other guitars. He began using Hiwatt amplifiers that allowed him to get a variety of tones simply by adjusting the guitar’s volume level.


The group were concerned that Tommy had been promoted as “high art” by manager Kit Lambert and thought their stage show stood in equal importance to that album’s rock-opera format. The group returned to England at the end of 1969 with a desire to release a live album from concerts recorded earlier in the US. However, Townshend balked at the prospect of listening to all the accumulated recordings to decide which would make the best album, and, according to Charlesworth, instructed sound engineer Bob Pridden to burn the tapes.

Two shows were consequently scheduled, one at the University of Leeds and the other in Hull, for the express purpose of recording and releasing a live album. The Leeds concert was booked and arranged by Simon Brogan, who later became an assistant manager on tour with Jethro Tull. The shows were performed on 14 February 1970 at Leeds and on 15 February at Hull, but technical problems with the recordings from the Hull gig — the bass guitar had not been recorded on some of the songs — made it all the more necessary for the show from the 14th to be released as the album. Townshend subsequently mixed the live tapes, intending to release a double album, but ultimately chose to release just a single LP with six tracks. The full show opened with Entwistle’s “Heaven And Hell” and included most of Tommy, but these were left off the album in place of earlier hits and more obscure material.


The album opens with “Young Man Blues”, an R&B tune that was a standard part of the Who’s stage repertoire at the time. It was extended to include an instrumental jam with stop-start sections. “Substitute”, a 1966 single for the band, was played similarly to the studio version. “Summertime Blues” was rearranged to include power chords, a key change, and Entwistle singing the authority figure lines (e.g.: “Like to help you son, but you’re too young to vote”) in a deep-bass voice. “Shakin’ All Over” was arranged similar to the original, but the chorus line was slowed down for effect, and there was a jam session in the middle.

Side two began with a 15-minute rendition of “My Generation”, which was greatly extended to include a medley of other songs and various improvisations. These included a brief extract of “See Me, Feel Me” and the ending of “Sparks” from Tommy, and part of “Naked Eye” that was recorded for the follow-up album Lifehouse (that was ultimately abandoned in favour of Who’s Next). The album closed with “Magic Bus”, which included Daltrey playing harmonica and an extended ending to the song.


The cover was designed by Beadrall Sutcliffe and resembled that of a bootleg LP of the era, parodying the Rolling Stones’ Live’r Than You’ll Ever Be. It contains plain brown cardboard with “The Who Live At Leeds” printed on it in plain blue or red block letters as if stamped on with ink (on the original first English pressing of 300, this stamp is black). The original cover opened out, gatefold-style, and had a pocket on either side of the interior, with the record in a paper sleeve on one side and 12 facsimiles of various memorabilia on the other, including a photo of the band from the My Generation photoshoot in March 1965, handwritten lyrics to the “Listening to You” chorus from Tommy, the typewritten lyrics to “My Generation”, with hand written notes, a receipt for smoke bombs, a rejection letter from EMI, and the early black “Maximum R&B” poster showing Pete Townshend wind-milling his Rickenbacker. The first 500 copies included a copy of the contract for The Who to play at the Woodstock Festival.

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The label was handwritten and included instructions to the engineers not to attempt to remove any crackling noise. This is probably a reference to the clicking and popping on the pre-remastered version (such as in “Shakin’ All Over”) which was from Entwistle’s bass cable. Modern digital remastering techniques allowed this to be removed, and also allowed some of the worst-affected tracks from the gig to be used; on CD releases, the label reads, “Crackling noises have been corrected!”

Live at Leeds has been cited as the best live rock recording of all time by The Daily Telegraph,[30] The Independent,[31] the BBC, Q magazine, and Rolling Stone. In 2003, it was ranked number 170 on Rolling Stone’s list of the 500 greatest albums of all time. A commemorative blue plaque has been placed at the campus venue at which it was recorded, the University Refectory. On 17 June 2006, over 36 years after the original concert, The Who returned to perform at the Refectory, at a gig organised by Andy Kershaw. Kershaw stated the gig was “among the most magnificent I have ever seen”. A Rolling Stone readers’ poll in 2012 ranked it the best live album of all time. (by wikipedia)


Rushed out in 1970 as a way to bide time as the Who toiled away on their follow-up to Tommy, Live at Leeds wasn’t intended to be the definitive Who live album, and many collectors maintain that the band had better shows available on bootlegs. But those shows weren’t easily available whereas Live at Leeds was, and even if this show may not have been the absolute best, it’s so damn close to it that it would be impossible for anybody but aficionados to argue. Here, the Who sound vicious — as heavy as Led Zeppelin but twice as volatile — as they careen through early classics with the confidence of a band that had finally achieved acclaim but had yet to become preoccupied with making art. In that regard, this recording — in its many different forms — may have been perfectly timed in terms of capturing the band at a pivotal moment in its history.


There is certainly no better record of how this band was a volcano of violence on-stage, teetering on the edge of chaos but never blowing apart. This was most true on the original LP, which was a trim six tracks, three of them covers (“Young Man Blues,” “Summertime Blues,” “Shakin’ All Over”) and three originals from the mid-’60s, two of those (“Substitute,” “My Generation”) vintage parts of their repertory and only “Magic Bus” representing anything resembling a recent original, with none bearing a trace of their mod roots. This was pure, distilled power, all the better for its brevity; throughout the ’70s the album was seen as one of the gold standards in live rock & roll, and certainly it had a fury that no proper Who studio album achieved. It was also notable as one of the earliest legitimate albums to implicitly acknowledge — and go head to head with — the existence of bootleg LPs. Indeed, its very existence owed something to the efforts of Pete Townshend and company to stymie the bootleggers.


The Who had made extensive recordings of performances along their 1969 tour, with the intention of preparing a live album from that material, but they recognized when it was over that none of them had the time or patience to go through the many dozens of hours of live performances in order to sort out what to use for the proposed album. According to one account, the band destroyed those tapes in a massive bonfire, so that none of the material would ever surface without permission. They then decided to go to the other extreme in preparing a live album, scheduling this concert at Leeds University and arranging the taping, determined to do enough that was worthwhile at the one show. As it turned out, even here they generated an embarrassment of riches — the band did all of Tommy, as audiences of the time would have expected (and, indeed, demanded), but as the opera was already starting to feel like an albatross hanging around the collective neck of the band (and especially Townshend), they opted to leave out any part of their most famous work apart from a few instrumental strains in one of the jams. Instead, the original LP was limited to the six tracks named, and that was more than fine as far as anyone cared.

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And fans who bought the LP got a package of extra treats for their money. The album’s plain brown sleeve was, itself, a nod and nudge to the bootleggers, resembling the packaging of such early underground LP classics as the Bob Dylan Great White Wonder set and the Rolling Stones concert bootleg Liver Than You’ll Ever Be, from the latter group’s 1969 tour — and it was a sign of just how far the Who had come in just two years that they could possibly (and correctly) equate interest in their work as being on a par with Dylan and the Stones. But Live at Leeds’ jacket was a fold-out sleeve with a pocket that contained a package of memorabilia associated with the band, including a really cool poster, copies of early contracts, etc. It was, along with Tommy, the first truly good job of packaging for this band ever to come from Decca Records; the label even chose to forgo the presence of its rainbow logo, carrying the bootleg pose to the plain label and handwritten song titles, and the note about not correcting the clicks and pops. At the time, you just bought this as a fan, but looking back 30 or 40 years on, those now seem to be quietly heady days for the band (and for fans who had supported them for years), finally seeing the music world and millions of listeners catch up. (by Bruce Eder)

In other words: a hell of a record, a monster … one of the finest live albums in the history of Rock !!! And I include all these crazy memorabilias.

And songs like “I Can’t Explain” were made to be played loud !!!


Roger Daltrey (vocals, harmonica)
John Entwistle (bass, vocals)
Keith Moon (drums, background vocals)
Pete Townshend (guitar, vocals)


Tracklist (CD reissue, 1995):
01. Heaven And Hell (Entwistle) 4.50
02. I Can’t Explain (Townshend) 2.59
03. Fortune Teller (Neville) 2.35
04. Tattoo  (Townshend) 3:42
05. Young Man Blues (Allison) 5.52
06. Substitute (Townshend) 2.07
07. Happy Jack (Townshend) 2.13
08. I’m A Boy (Townshend) 4.42
09. A Quick One, While He’s Away (Townshend) 8.41
10. Amazing Journey/Sparks (Townshend) 7.55
11. Summertime Blues (Cochran/Capehart) 3.22
12. Shakin’ All Over (Kidd) 4.34
13. My Generation (incl. parts of Tommy) (Townshend) 15.46
14. Magic Bus (Townshend) 7.46



Blue plaque
Blue plaque at the University of Leeds commemorating the album