Dr. John – Remedies (1970)

FrontCover1Remedies is the third album released by New Orleans R&B artist Dr. John. The photography was by Steve LaVere, taken in 1969 at the Whisky a Go Go.
In his interview with Uncut magazine (October 2010), Dr. John explained the “bad trip” environment which led to the epic closing track “Angola Anthem”:

“My managers put me in a psych ward. These guys were very bad people – I had gotten busted on a deal, and they got me bonded out of jail, and so when they did I could have got a parole violation. All of this stuff was so unconnected to music that it’s hard to relate it.

A friend of mine had just come out of doing 40-something years in Angola [the infamous Louisiana State Penitentiary], he was just someone special in my heart – called Tangleye. And Tangleye says, ‘I’m gonna sell you this song. Got it in Angola, but ain’t nobody ever cut this song…’ Even now guys I know getting out of Angola know this song. It’s still a horrible place to be.” (by wikipedia)

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Break out the hash pipe and heat up the gumbo — Dr. John is back again with music from that steamy, swampy place in your mind that only Dr. John can reach. Remedies is not get-it-on rock music; it’s too loose and languid for that. The rhythms — by far the best part of Dr. John’s music — are lyrical and liquid; they flow and throb, like blood, like fucking. Dr. John’s music is not mind-music, not body-music — at its best, it is emotional — beyond words, almost beyond form. It is ecstasy without pleasure, misery without pain.
Remedies is Dr. John’s third album, and his music has gone through some changes. Dr. John’s long-time collaborator, Mac Rebbenack, seems to have taken over the musical direction. He wrote and arranged all the songs. The choir of heavy ladies that haunted the first two albums has been replaced by a horn section. The sound is more solid, more predictable, almost rock-and-roll. Dr. John sings better than ever; his voice is rougher, raspier, meaner. In Dr. John’s mouth, a seemingly innocent song takes on a sinister and almost nasty edge; the melodies never seem quite solid. The singing sounds like a blood ritual made crude by a dark kind of dope. Satanic, the Kenneth Anger or Charlie Manson image.

DrJohn02The songs on Side One — the commercial side — are loose and rappy, full of funny rhymes, street slang, and double meanings. The opener, “Loop Garoo” is most like the songs on the first Dr. John album. The lyrics are magic incantations, incomprehensible, evocative. The rhythms are slinky and wet, and the horns sound like Wilson Pickett’s horn section lost in a swamp and stoned on belladonna. “Wash, Mama, Wash” is great — about a funky washerwoman who drinks too much and blows the family food money playing the numbers. The lyrics are just as funky as the subject; the chorus goes “Rub-adubba-dubba-mama, bustin’ suds/Scrub, mama, scrub.” After that, it just gets better. And the piano, the piano! “Chippy, chippy” is about: chippying. “Everybody in the neighborhood loves to chippy, and they chippy goooood.” And chippying is … well, if you don’t know, don’t mess with it. These songs are the most successful pieces on the album — they are so clever, so right-on.
Side Two consists of a 17-minute voo-doo aria called “Angola Anthem.” It is a long, meandering lyric on top of some good but aimless Afro drumming. The instrumental parts are sparse, weak, and easily lost. The lyrics, where they can be heard, do little to redeem the piece. They try to invoke the terror of living under a fascist regime in Angola, but the piece fails. And in a 17-minute piece, if you do not succeed, you really fail. Despite an occasional interesting part, the piece lacks drama, lacks words, lacks music. You can’t listen to it, and you can’t even dance to it.
Remedies is good Dr. John, but Dr. John is not for everyone. His audience is an esoteric bunch. If you dig jive, pure jive; if you dig dreaming, if you dig Wolfman Jack, if you ever order barbecue at 4 AM; if you get stoned to watch TV commercials while eating Colonel Sanders fried chicken and drinking warm Ripple — then you are weird enough for Dr. John. And he is, sure as sin and rain, weird enough for you. (by  By David Gancher, June 11, 1970 – Rolling Stone)

And because I´m still crazy after all these years … I love this album ….

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Personnel:
Shirley Goodman (background vocals)
Cold Grits (guitar, bass, drums)
Jessie Hill (backgroundvocals, percussion)
Dr. John (vocals, piano, guitar)
Tami Lynn (background vocals)

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Tracklist:
01. Loop Garoo 4.42
02. What Goes Around Comes Around 2.57
03. Wash, Mama, Wash 3.42
04. Chippy, Chippy 3.32
05. Mardi Gras Day 8.11
06. Angola Anthem 17.35

All songs written by Mac “Dr. John” Rebennack

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**

Allman Brothers Band – Idlewild South (1970)

OriginalFrontCover1Idlewild South is the second album by American Southern rock band the Allman Brothers Band. Produced by Tom Dowd, the album was released on September 23, 1970, in the United States by Atco Records and Capricorn Records.
Following the release of their 1969 debut, the Allman Brothers Band toured the United States extensively to promote the album, which had little commercial success. Their performances, however, did create positive word of mouth exposure that extended to more famous musicians, such as Eric Clapton, who invited group leader Duane Allman to contribute to his 1970 album Layla and Other Assorted Love Songs.

As a result of the band’s relentless touring schedule, Idlewild South was recorded gradually over a period of five months in various cities, including New York, Miami, and Macon, Georgia, the band’s home. Tom Dowd had previously been sought to record the group’s debut but had been unavailable. The material presented on Idlewild South was written during this period and tested out on the road at shows. The album’s title comes from the band’s nickname for a rustic cabin the band rented out and used for rehearsals, as well as parties. Idlewild South contains two of the band’s best-known songs, “Midnight Rider” (later a hit for various artists) and “In Memory of Elizabeth Reed”, which became one of the band’s famous concert numbers.

The album was released in September 1970 but again failed to achieve significant success. Sales began to grow, however, due to over 300 shows the band put on in 1970, setting the stage for their artistic and commercial breakthrough with 1971’s live follow-up album, At Fillmore East.
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The Allman Brothers Band formed in March 1969, and began writing music and touring together. By that August, the group had recorded their self-titled debut album, which was released that November on Capricorn Records, a division of Atlantic Records.[1] The record received a poor commercial response, selling less than 35,000 copies upon initial release.[2] Executives suggested to the band’s manager and Capricorn president, Phil Walden, that he relocate the band to New York or Los Angeles to increase their exposure. “They wanted us to act “like a rock band” and we just told them to “fuck themselves,” remembered Trucks.[3] For their part, the members of the band remained optimistic, electing to stay in the South. “Everyone told us we’d fall by the wayside down there,” said Gregg Allman,[3] but the collaboration between the band and Capricorn Records “transformed Macon from this sleepy little town into a very hip, wild, and crazy place filled with bikers and rockers.” In March 1970, Oakley’s wife rented a large Victorian home on 2321 Vineville Avenue in Macon, which they dubbed “the Big House”.

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Idlewild South was the band’s first effort with Tom Dowd, known for his work with Cream and John Coltrane. Dowd first heard the band rehearsing while visiting Capricorn Sound Studios in Macon, asking their name and remarking to Walden, “Get them the hell out of there and give them to me in the studio. They don’t need to rehearse; they’re ready to record” Dowd was initially scheduled to work with the band on their debut album but was called away at the last minute. Initially, the band had asked friend and colleague Johnny Sandlin to produce their second album, but as recording inched closer, it became obvious they wanted him to co-produce with Dowd. In one of their first sessions, Sandlin was giving suggestions and acting as a co-producer, though no one had informed Dowd; Sandlin was embarrassed and did not return to the studio

They had to get on the road to support themselves. They were working 300 days a year. So they would just blow in and do some songs and blow out. That was it — in and out — just like that.
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The first recording sessions for Idlewild South took place in mid-February 1970 at the newly built Capricorn Sound Studios in Macon. Subsequently, the band moved to Criteria Studios in Miami in mid-March, where Dowd felt more comfortable producing albums; he viewed the then-new Capricorn studio as still a work-in-progress and unfit to record in. The band was constantly on the road while Idlewild South was developed, leading to a fractured recording process completed in fits and stops. They reconvened with Dowd during short breaks from shows. In addition, group leader Duane Allman still received invitations to play as a session musician elsewhere; on the “rare instances when [the band] could return to Macon for a short break”, Allman would hit the road for New York, Miami, or Muscle Shoals to contribute to other artists’ sessions. On days that the band would be available, manager Walden phoned Dowd to inform him; he would often catch their show and spend the rest of the night in the studio. After nearly half a year and over three different recording studios, production wrapped up by July 1970.

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Instead of using multitrack recording (which was quickly gaining popularity), the Allman Brothers Band opted to cut most of Idlewild South live, with all of the musicians performing together. On rare occasions, they would go back to overdub sections that weren’t up to standard. “The idea is that part of the thing of the Allman Brothers is the spontaneity — the elasticity. The parts and tempos vary in a way that only they are sensitive to”, said Dowd. Duane often left a song alone for more work and testing out on the road. “They would record maybe five songs. Then they might say, ‘I don’t think that song was good enough,’ or, ‘I don’t think that song was ready to record,”, remembered Dowd.[10] Joel Dorn, predominantly a jazz producer for Atlantic, stepped in to produce one song on the album, “Please Call Home”, which was recorded at Regency Sound Studios on July 14, 1970.[12] The band were in New York at the time and Dowd was unavailable.[13]
Following the recording process, Duane was invited to join Eric Clapton and his new group Derek & the Dominos on the recording of their debut album, Layla and Other Assorted Love Songs. Clapton later formally invited Allman to join the group, but he reluctantly declined, expressing loyalty to the members of the Allman Brothers and musical concept that had birthed it.
Idlewild South was issued by Atco and Capricorn Records on September 23, 1970, less than a year after the band’s debut album. It sold only “marginally better, in spite of the band’s growing national reputation, and included songs that would become staples of its repertoire—and eventually of rock radio.”[27] Jim Hawkins, engineer of the album, remembered that Walden informed him that Idlewild South opened to 50,000 copies in its first week, before settling in at 1,000 per week.[28] While the album did help boost the band’s popularity, the Allman Brothers’ name really grew in fame due to their live performances. Walden doubted the band’s future, worrying whether they would ever catch on, but word of mouth spread due to the band’s relentless touring schedule, and crowds got larger.

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Rolling Stone’s Ed Leimbacher wrote that Idlewild South “augurs well for the Allmans’ future,” calling it “a big step forward from the Allmans’ first” but considered the second side of the LP a disappointment. Robert Christgau at The Village Voice gave the album a “B+” and considered it a companion piece to Duane Allman’s work on Layla, noting that “a lot of people think that Duane Allman is already a ranking titan of the electric guitar.”[31] A retrospective five-star review from Bruce Eder at Allmusic deemed it “the best studio album in the group’s history, electric blues with an acoustic texture, virtuoso lead, slide, and organ playing, and a killer selection of songs.”

In 2014 Rolling Stone listed it among the most “groundbreaking” albums, covering its impact on Southern rock: “On their second album, the Allman Brothers transmogrified from mere blues-rockers to an assemblage creating an entirely new kind of Southern music.” (by wikipedia)
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Personnel:
Duane Allman (slide guitar, guitar)
Gregg Allman  (keyboards, vocals)
Dickey Betts (guitar)
Jai Johanny Johanson (drums, percussion congas, timbales)
Berry Oakley (bass, vocals on 05., background vocals on 03.)
Butch Trucks (drums, Timpani)

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Thom Doucette (harmonica, Percussion)
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Tracklist:
01. Revival (Betts) 4.06
02. Don’t Keep Me Wonderin’ (G.Allman) 3.30
03. Midnight Rider (Allman/Payne) 3.00
04. In Memory Of Elizabeth Reed (Betts) 6.56
05. Hoochie Coochie Man (Dixon) 4.59
06. Please Call Home (G.Allman) 4.04
07. Leave My Blues At Home (G.Allman) 4.18
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Björn Ulvaeus & Benny Andersson – Lycka (1970)

frontcover1Lycka is a 1970 album released by folk/rock duo Björn Ulvaeus & Benny Andersson, who later became the male half of ABBA. Most of the songs feature lead vocals by Björn. The songs show the influence of Brian Wilson, “Ticket to Ride”-era Beatles and traditional Swedish folk music.
Lycka was produced by Björn and Benny with Bengt Bernhag and engineered by Michael B. Tretow. Benny and Björn played on the tracks with two Swiss musicians, drummer John Counz and bassist Gus Horn. Sven-Olof Walldoff was responsible for the orchestral arrangements, and on the 2006 re-release a few bonus tracks were added, notably early recordings with the two-girl half of the future group ABBA on backing vocals, Anni-Frid Lyngstad who was engaged to Benny Andersson and Agnetha Fältskog who was married to Björn Ulvaeus.
Three years later, Ring Ring became the first proper album release of what would become the most famous Swedish pop band ever (though the original album did not use ABBA as the main name of the group).(by wikipedia)
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ABBA emerged from the Swedish music scene in the early 1970’s.
ABBA were a “Supergroup’. In a “Supergroup” each of the group members has had a prior successful recording career. The group name, ABBA is an acronym of the first intials from each of the group members names (A-Agnetha,B-jorn, B-enny,A-nni-frid). That’s why capital letters are used when spelling out ABBA.
Singer-guitarist Björn Ulvaeus and keyboardist Benny Andersson’s
partnership as a recording duo, writing and production team began in late 1969.
As the duo, Björn and Benny, they released one album, LYCKA, and five Swedish singles. The romantic involvement between Björn & Agnetha and Benny & Frida was a key reason why the four would work together both as a group and a solo artists.

The first recording with all four eventual members of ABBA was called “Hej Gamle Man”, it dates from Mid 1970 and was actually a credited to , Björn and Benny as a duo.
Although Agnetha Fältskog and Anni-frid Lyngstad would sing on many of the songs recorded by Björn and Benny , it wasn’t till 1972 that the first single was released with all four of their names on it. That song was “People Need Love” which would be released on ABBA’s RING RING album.

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On stage, the story was slightly different. the four eventual ABBA members first played on stage together in November 1970 as the group FESTFOLK. It did not go well, but they tried performing together again in 1971 and worked together at other concerts between 1970-1972. They can be seen in this incarnation in 1970 doing “California Here I Come”on TV.This clip can be seen on the Super Troupers documentary. The clip is fascinating , but it perfectly illustrates what was wrong with the FESTFOLK approach,. Instead of doing cabaret style/variety show music they needed to be doing original fresh self-written pop songs that featured the girls singing…..this they soon discovered!…

The cross pollination between the future members of ABBA was a common thing in the years before ABBA. Björn produced some of Agnetha’s early 1970’s albums. Benny produced Frida between 1969-1972. During 1969-72 Frida would sing on some Agnetha’s songs and Agnetha sang on some of Frida’s singles. Many of these early efforts can be found on the PA SVENSKA compilation or on the various solo albums

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Björn and Benny-Lycka Fall 1970 Available on Swedish CD Reissued on Cd 1991, 2006
In some ways this is the birth of ABBA.The title means Happiness!
This is a very interesting album. Björn and Benny wrote the music to all of the songs and some of the lyrics. The whole album is sung in Swedish . Björn doing most of the lead vocals, with Benny providing some backing vocals. The original album featured eleven songs.

This album features the first track to have all future members of ABBA on it and this
is the very first album to have all the music written by Björn and Benny.
Acoustic and Electric Guitar feature prominently here, The electric guitar in particular dominates on “Kalles Visa” .This album is a bit more serious in tone than some of the later B&B songs and early ABBA songs that would follow in the early
and mid-Seventies. None of the songs here (even in translation) have a bubble gum lyrics or sound.
“Hej Gamle Man” (Hello Old Man) was released as the single from this album and proved to be successful, though the album was not overly successful. “Hej Gamle Man” features Agnetha and Frida on backing vocals. It was the first song to feature all four members of Abba. “Kara Gamla Sol” is the only song on the album sung by Benny.
More impressive to me is the great acoustic
guitar workout “Liselotte ” (it features lyrics by Agnetha and Björn); The anthemic “Ge Oss En Chans” has some soulful singing and some great organ. A nice little touch can be found at the beginning of “Lilla Du, Lilla Van’ which has Benny’s piano come in at a low volume. As a whole, this album features some of Björn’s best work.
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The stark brown cover is telling. It’s clear that their is seriousness of purpose and intent in these two young man. Benny’s soon-to-be trademark beard puts in it’s first appearence on a album cover (Benny never had a beard on the Hep Stars album covers). Björn looks a little smug but the trademark smile is there. The Swedish flag on the Guitar seems to say ,”We represent Sweden to the world”.
The LYCKA album was recorded in the Summer of 1970. It was Produced by Björn and Benny with Bengt Bernhag and engineered by Michael B.Tretow.

There was supposed to be a followup album released by Björn and Benny but before
it was anywhere near completion , Agnetha and Frida had joined up with Björn and Benny to change the group from a duo to a quartet. (by felpin80.tripod.com)

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Personnel:
Benny Anderson (vocals, keyboards)
John Cúonz (drums)
Gus Horn (bass)
Björn Ulvaeus (vocals, guitar)
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background vocals (on 07.)
Agnetha Fältskog – Anni-Frid Lyngstad
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Tracklist:
01. Lycka (B. Andersson/Ulvaeus/S.Anderson) 3.07
02. Nånting Är På Väg  2:19
03  Kära Gamla Sol (B. Andersson/Ulvaeus/S.Anderson) 2.27
04. Det Där Med Kärlek (B. Andersson/Ulvaeus/Himmelstrand) 3.02
05. Välkommen In I Gänget (B. Andersson/Ulvaeus/Himmelstrand) 3.10
06. Lilla Du, Lilla Vän (Fugelstad/B. Andersson/Ulvaeus) 2.51
07. Hej Gamle Man! (B. Andersson/Ulvaeus/A.Anderson) 3.22
08. Liselott (Fältskog/B. Andersson/Ulvaeus) 2.59
09. Kalles Visa (B. Andersson/Ulvaeus/Himmelstrand) 2.37
10. Ge Oss En Chans (B. Andersson/Ulvaeus) 3.41
11. Livet Går Sin Gång (B. Andersson/Ulvaeus/S.Anderson) 3.55
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Don Lowes – Party Piano Favourites (1970)

frontcover1Don Lowes was Born in (Wallasey) Liverpool where he studied at the Mathay School of Music before abandoning academic pursuits to become a jazz Pianist.

Before Long he formed and led a jazz Group which became the house band and ha a Long and sucessful run at Liverpool´s “Cavern”  – a venue later noted for a certain not-unheard-of quartet.

Coming to London , Don joined the Cy Laurie Jazz Band and later played with Harry Gold´s Oices Of Eight. He has paid working visits  to twenty-two different countries, his most recent overseas Engagement being a five week Season in Sydney, Australia as Vera Lynn´s Musical director and accomponist.

At present Don, who is married to singer Betty Taylor, lives in London and divides his time between working as a session Pianist and Musical director and his nightly appearances at London´s famous Royal Garden Hotel.

Don, who appeared in a T.V. Play as a “Pub” Pianist, was a natural choice for this Album. His happy and disctinctive style makes this L.P. a unique experience in Sound (taken from the original liner notes)

You can popular melodies from movies and Musicals … played in a nice Ragtime style .. ok … it´s fun and fun only !

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Personnel:
Don Lowes (piano)
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unknown musicians on bass and drums

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Tracklist:
01. April Showers (Silvers/DeSylva) 2.07
02. Thank Heaven For The Little Girls (Lerner/Loewe) 1.49
03. O Sole Mio (Capua) 2.26
04. Boom Boom Bang (Moorhouse/Warne) 2.07
05. Wand’rin’ Star (Lerner/Loewe) 2.21
06. I’ll See You Again (Coward) 2.12
07. If I Were A Rich Man (Bock/Harnick) 2.04
08. My Bonnie Lies Over The Ocean (Traditional)  1.58
09. Santa Lucia (Traditional) 1.48
10. Edelweiss (Rodgers/Hammerstein) 1.45
11. Rose Of Picardy (Wood/Weatherley) 2.21
12. Look For The Silver Linning (Kern/DeSylva) 2.18

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**

 

 

Crosby, Stills, Nash & Young – Deja Vu (1970)

frontcover1Déjà Vu is the second album by Crosby, Stills & Nash, and their first in the quartet configuration of Crosby, Stills, Nash & Young. It was released in March 1970 by Atlantic Records, catalogue SD-7200. It topped the pop album chart for one week and generated three Top 40 singles: “Woodstock”, “Teach Your Children”, and “Our House”. It was rereleased in 1977 as SD-19188 and the cover was changed from black to brown. In 2003, the album was ranked #148 on Rolling Stone magazine’s list of the 500 greatest albums of all time. Certified 7x platinum by the RIAA, the album’s sales currently sit at over 8 million copies. It remains the highest selling album of each member’s career to date.
Déjà vu was greatly anticipated after the popularity of the first CSN album and given the addition of Young to the group. Stills estimates that the album took around 800 hours of studio time to record; this figure may be exaggerated, even though the individual tracks display meticulous attention to detail.[5] The songs, except for “Woodstock”, were recorded as individual sessions by each member, with each contributing whatever was needed that could be agreed upon. Young appears on only half of the tracks, and drummer Dallas Taylor and bassist Greg Reeves are credited on the cover with their names in slightly smaller typeface. Jerry Garcia plays pedal steel on “Teach Your Children” and John Sebastian plays harmonica on the title track.
Four singles were released from the album with all but the last, “Carry On,” charting on the Billboard Hot 100. The popularity of the album contributed to the success of the four albums released by each of the members in the wake of Déjà vu — Neil Young’s After the Gold Rush, Stephen Stills’ self-titled solo debut, David Crosby’s If I Could Only Remember My Name, and Graham Nash’s Songs for Beginners.
In 2003, the album was placed at number 148 on Rolling Stone magazine’s list of the 500 greatest albums of all time. The same year, the TV network VH1 named Déjà vu the 61st greatest album of all time. (by Wikipedia)
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CSN & Y with Greg Reeves + Dallas Taylor, 1970
One of the most hotly awaited second albums in history — right up there with those by the Beatles and the Band — Déjà Vu lived up to its expectations and rose to number one on the charts. Those achievements are all the more astonishing given the fact that the group barely held together through the estimated 800 hours it took to record Déjà Vu and scarcely functioned as a group for most of that time. Déjà Vu worked as an album, a product of four potent musical talents who were all ascending to the top of their game coupled with some very skilled production, engineering, and editing. There were also some obvious virtues in evidence — the addition of Neil Young to the Crosby, Stills & Nash lineup added to the level of virtuosity, with Young and Stephen Stills rising to new levels of complexity and volume on their guitars. Young’s presence also ratcheted up the range of available voices one notch and added a uniquely idiosyncratic songwriter to the fold, though most of Young’s contributions in this area were confined to the second side of the LP. Most of the music, apart from the quartet’s version of Joni Mitchell’s “Woodstock,” was done as individual sessions by each of the members when they turned up (which was seldom together), contributing whatever was needed that could be agreed upon. “Carry On” worked as the album’s opener when Stills “sacrificed” another copyright, “Questions,” which comprised the second half of the track and made it more substantial. “Woodstock” and “Carry On” represented the group as a whole, while the rest of the record was a showcase for the individual members. David Crosby’s “Almost Cut My Hair” was a piece of high-energy hippie-era paranoia not too far removed in subject from the Byrds’ “Drug Store Truck Drivin’ Man,” only angrier in mood and texture (especially amid the pumping organ and slashing guitars); the title track, also by Crosby, took 100 hours to work out and was a better-received successor to such experimental works as “Mind Gardens,” out of his earlier career with the Byrds, showing his occasional abandonment of a rock beat, or any fixed rhythm at all, in favor of washing over the listener with tones and moods.
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“Teach Your Children,” the major hit off the album, was a reflection of the hippie-era idealism that still filled Graham Nash’s life, while “Our House” was his stylistic paean to the late-era Beatles and “4+20” was a gorgeous Stephen Stills blues excursion that was a precursor to the material he would explore on the solo album that followed. And then there were Neil Young’s pieces, the exquisitely harmonized “Helpless” (which took many hours to get to the slow version finally used) and the roaring country-ish rockers that ended side two, which underwent a lot of tinkering by Young — even his seeming throwaway finale, “Everybody I Love You,” was a bone thrown to longtime fans as perhaps the greatest Buffalo Springfield song that they didn’t record. All of this variety made Déjà Vu a rich musical banquet for the most serious and personal listeners, while mass audiences reveled in the glorious harmonies and the thundering electric guitars, which were presented in even more dramatic and expansive fashion on the tour that followed. (by Bruce Eder)
In other words: one of the most important albums in the history of rock music !
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Personnel:
David Crosby (guitar, vocals)
Graham Nash (vocals, guitar, Percussion on 01. + 02.)
Greg Reeves (bass)
Stephen Stills (guitar, vocals, keyboards on 01., bass on 01., 02. + 06., percussion on 01.)
Dallas Taylor (drums, percussion)
Neil Young (guitar, vocals, Keyboards, harmonica on 09.)

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Jerry Garcia (pedal steel guitar on 02.)
John Sebastian (harmonica on 06.)

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Tracklist:
01. Carry On (Stills) 4.26
02. Teach Your Children  (Nash) 2.53
03. Almost Cut My Hair (Crosby) 4.31
04. Helpless (Young) 3.33
05. Woodstock (Mitchell) 3.54
06. Déjà Vu (Crosby) 4.12
07. Our House (Nash) 2.59
08. 4 + 20  (Stills) 2.04
09. Country Girl
09.1.Whiskey Boot Hill
09.2.Down Down Down
09.3. Country Girl (I Think You’re Pretty)) (Young) 5.11
10. Everybody I Love You  (Stills/Young) 2.21
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Many years later ….

Paul Brett Sage – Same (1970)

usfrontcover1Paul Brett (born 20 June 1947, Fulham, London) is an English classic rock guitarist. He played lead guitar with Strawbs (though he was never actually a member), The Overlanders, The Crazy World of Arthur Brown, Elmer Gantry’s Velvet Opera, The Velvet Opera, Tintern Abbey, Fire, Roy Harper, Al Stewart, Lonnie Donegan, and switched to twelve-string guitar in the 1970s.

His first twelve-string guitar suite, Earth Birth, was released on his own label, Phoenix Future, and was produced by artist Ralph Steadman of Fear and Loathing fame. Critical acclaim led to Brett being signed on a four-album deal with RCA Records. His K-tel Romantic Guitar album went platinum in the UK, but Brett stopped recording soon afterwards. He started recording again in 2000, with long-time friend and fellow twelve-string guitarist, John Joyce.

Brett wrote for music magazines Melody Maker, Sound International and International Musician and continued working in the music industry in the later part of his career. He now writes a regular column for Acoustic, a magazine specializing in acoustic guitars. He is also the Associate Editor and Features Writer for Music Maker and Live in London magazines.

He has appeared on BBC Television’s Antiques Road Show and Flog It in the mid-2000s. (by wikipedia)

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And this is his wonderful debut album from 1970:

Tying together many of the musical threads of their day, Paul Brett Sage was a progressive band in the best sense of the word, with an adventurous sound that was accessible to all, though they never lost sight of their origins. The group grew out of the folk duo of guitarist/singer Paul Brett and percussionist Bob Voice, and their eponymous debut album sees Paul Brett Sage retain a folksy bend, which reaches grand agit-folk heights on “Trophies of War.” Elsewhere, Brett’s fiery licks and solos, particularly on the anthemic “3D Mona Lisa,” paints rock right across the backwoods vista. Evocative flamenco-tinged guitar sizzles around “The Sun Died,” while Brett’s aggressive performance on both 12-string and electric guitar creates a “Warlock” worthy of the modern age. With the band’s prominent use of percussion, Nicky Higginbottom’s haunting flute, their strong melodies, and infectious choruses, Paul Brett Sage hovers between folk, rock, world, and pop; an album that deftly manages to be all things to all people. (by Dave Thompson)

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Alternate frontcover from Italy

Personnel:
Paul Brett (guitar, vocals)
Dick Dufall (bass)
Nicky Higginbottom (flute, saxophone)
Bob Voice (drums, percussion)

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Tracklist:
01. 3D Mona Lisa (Royce) 3.18
02. The Sun Died (Brett) 4.00
03. Little Aztec Prince (Voice) 4.22
04. Reason For Your Asking (Brett) 4.09
05. Trophies Of War (Brett) 3.43
06. The Tower (Brett) 5.14
07. The Painter (Brett) 4.11
08. Mediterranean Lazy Heat Wave (Voice) 3.16
09. Warlock (Brett) 5.41

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Single sleeves from UK, France, Germany & Australia

More Paul Brett:

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Status Quo – Ma Kelly’s Greasy Spoon (1970)

frontcover1Status Quo rocker Rick Parfitt OBE has died suddenly on holiday, aged 68 – after suffering a severe infection ‘he caught in hospital’.

The musician passed away at the hospital he was admitted to in Spain on Thursday, his manager confirmed in a statement this afternoon.

It’s claimed the veteran musician was taken in after suffering complications from a previous shoulder injury – but picked up a severe infection while he was there.

He died at lunchtime today, his family added in the statement.

Parfitt joins a long list of celebrated musicians to have died in 2016 – including David Bowie, Prince, Pete Burns, Keith Emerson, Glenn Frey, Greg Lake, Sir George Martin and Leonard Cohen.

Ironically in what would become his final interview, Parfitt spoke of dying to Classic Rock magazine last month, saying: “It’ll take more than death to kill me”.

As well as starring in Status Quo, he is one of the few musicians to have performed on the Band Aid hit Do They Know It’s Christmas?

His heartbroken son, Rick Parfitt Jnr, has led tributes to the legendary rocker, writing on Twitter moments after the news broke: “I am too numb.

“I cannot describe the sadness I feel right now. To many he was a rockstar, to me he was simply ‘Dad’, and I loved him hugely. RIP Pappa.”

Queen guitarist Brian May tweeted – in reference to the band’s song Rockin’ All Over The World – he was “shocked and so sad to hear of the passing of Rick Parfitt. Hard to find words. You joyfully rocked our world. RIP dear buddy. (by mirror.co.uk)

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As a tribute here a great album by the early Quo:

Woe betide the psychedelic groover who picked up the third album by Status Quo, dreaming of further picturesque matchstick messages! A mere three hits in a long three years had completely exhausted the bandmembers’ patience with the whimsy of yore, and their ears had long since turned in other directions. It was the age, after all, of Canned Heat’s relentless boogie and Black Sabbath’s blistered blues, and when the Quo’s first new single of 1970, the lazy throb of “Down the Dustpipe,” proved that the record-buying public wasn’t averse to a bit more down-home rocking, their future course was set. Ma Kelly’s Greasy Spoon allies one of the most evocative titles in rock album history to one of the most familiar sights in a rock band’s iconography, the cheap roadside café — crusty ketchup, leafy tea, an overflowing ashtray, and Ma Kelly herself, cigarette clenched between unsmiling lips and a face that has seen it all and didn’t like any of it. Neither do the album’s contents disturb her glowering visage. From the opening trundle of “Spinning Wheel Blues” and onto the closing, lurching medley of “Is It Really Me”/”Gotta Go Home,” the most underrated disc in Status Quo’s entire early catalog eschewed the slightest nod in the direction of the band’s past — even “Dustpipe” didn’t make the cut. (It has since been quo1970_2incorporated among the four bonus tracks appending the album’s 1998 remastering as have “In My Chair”, “Gerdundula” and an alternate version of “Junior’s Wailing”) But six years on, when recording their live album, the Quo were still dipping back to “Junior’s Wailing,” the midpoint in the greasy spoon experience, and an expressively rocking archetype for all they would later accomplish. The dark shuffle of “Lazy Poker Blues,” too, unleashed specters that the band would be referencing in future days, including the boogie piano that made 1974’s “Break the Rules” seem such a blast from the past. Compared to the albums that would follow, Ma Kelly is revealed as little more than a tentative blueprint for the Quo’s new direction. At the time, however, it was a spellbinding shock, perhaps the last one that the Quo ever delivered. You should remember that when you play it.(by Dave Thompson)

Personal note: Quo´s song “Is It Really Me” was one of the first song I played in my  first band, called “Dying Sun” …. many decades ago …  *smile*

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Personnel:
John Coghlan (drums)
Alan Lancaster (bass, guitar, vocals)
Francis Rossi (guitar, vocals)
Rick Parfitt (guitar, vocals)
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Roy Lynes (organ)
Bob Young (harmonica)

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Tracklist:
01. Spinning Wheel Blues (Young/Rossi) 3.21
02. Daughter (Lancaster) 3.01
03. Everything (Rossi/Parfitt) 2.39
04. Shy Fly (Young/Rossi) 3.50
05. (April) Spring, Summer And Wednesdays (Young/Rossi) 4.13
06. Junior’s Wailing (White/Pugh) 3.35
07. Lakky Lady (Rossi/Parfitt) 3.16
08. Need Your Love (Young/Rossi) 4.47
09.Lazy Poker Blues (Adams/Green) 3.35
10. Is It Really Me/Gotta Go Home (Lancaster) 9.32

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Richard John Parfitt
(12 October 1948 – 24 December 2016)
Thanks for the music !