Françoise Hardy – Same (Soleil) (1970)

FrontCover1Françoise Madeleine Hardy (French: [fʁɑ̃swaz aʁdi]; born 17 January 1944) is a French singer-songwriter. She made her musical debut in the early 1960s on Disques Vogue and found immediate success with her song “Tous les garçons et les filles”. As a leading figure of the yé-yé movement, Hardy “found herself at the very forefront of the French music scene”, and became “France’s most exportable female singing star”, recording in various languages, appearing in movies, touring throughout Europe, and gaining plaudits from musicians such as Bob Dylan, Miles Davis and Mick Jagger. With the aid of photographer Jean-Marie Périer, Hardy also began modeling, and soon became a popular fashion icon as well.


As the yé-yé era drew to a close in the late 1960s, Hardy sought to reinvent herself, casting off the fashionable girl next door image that Périer had created for her and abandoning the “cute” and catchy compositions that had characterized her repertoire up to that point. She began working with more accomplished songwriters such as Serge Gainsbourg and Patrick Modiano. Her 1971 album La question represented an important turning point in her career, moving towards a more mature style; it remains her most acclaimed work and has generated a dedicated cult following over the years. The early 1970s also marked the beginning of Hardy’s renowned involvement with astrology, becoming an expert and writer on the subject over the years.


Hardy remains a popular figure in music and fashion, and is considered an icon of French pop and of the 1960s. The singer is also considered a gay icon and has “repeatedly declared that her most devoted friends and fans are gay.” Several of her songs and albums have appeared in critics’ lists.

In May 2000, she made a comeback with the album Clair-obscur on which her son played guitar and her husband sang the duet “Puisque vous partez en voyage”. Iggy Pop and Étienne Daho also took part. (by wikipedia)


And here´s her 12th album:
With the album “Soleil” Francoise Hardy has succeeded in creating a small, unrecognised masterpiece. The 12 songs, which range from pop to pop, form a conceptual coherence and do not fall off at any point! As in my previous reviews, the author team Mick Jones (Spooky Tooth, Foreigner) and Thomas F. Browne are again involved. “Fleur De Lune” (Jones recorded it before with Johnny Hallyday) is the first highlight on this album and if you can listen structurally, you know at the latest now where Led Zeppelin got their “Stairway To Heaven” from 😉

The labels of the Japanese release of Soleil, under the title Conte de Fées:

Francoise’s compositions “Point” or “Un Petit Sourire , Un Petit Mot” are also very strong and, for me, actually make really good artists. But the delicate fragile voice supports the eerily beautiful harmonies at any time in many quiet pieces like “Effeuille Molle Coeur”… Conclusion: Francoise Hardy with very strong material that has been skilfully realised by Mick Jones and Thomas F. Browne and allows you to breathe a little easier, especially after a hard day 😉 (Jack Paw)


Françoise Hardy (vocals)
a bunch of unknown studio musicians
Tommy Brown (drums)
Micky Jones (guitar)


01. Point (Hardy) 2.48
02. San Salvador (Traditional) 2,21
03. Fleur de Lune (Jones/Hardy/Brown) 3.06
04. Effeuille-Moi Le Coeur (Lech/Llous) 2.07
05. Un Petit Sourire, Un Petit Mot (Hardy) 2.46
06. Le Crabe (Roda-Gil/Estardy) 2.54
07. Mon Monde N’Est Pas Vrai (Never Learn To Cry) (Napier-Bell/Wickham/Hardy) 2.44
08. Tu Ressembles A Tous Ceux Qui Ont Eu Du Chagrin (Hardy) 2.03
09. L’Ombre (Jones/Brown/Delanoä) 2.13
10. Soleil (Sunshine) (Howard/Alpert/Hardy) 3.45
11. Je Fais Des Puzzles (Jones/Brown/de Courson/Modiano) 2.54
12. Dame Souris Trotte (de Courson/Marques) 1.37



The edition from Brazil:

More from Françoise Hardy:

The official website:

The Greatest Show On Earth – Same (1975)

LPFrontCover1The Greatest Show on Earth were a British progressive rock band, who recorded two albums for EMI’s progressive rock arm, Harvest Records, in 1970, who became known for their European hit “Real Cool World”.

The band had been conceived by Harvest Records in an attempt to create a horn-based rock combo, such as Blood Sweat & Tears or Chicago.

The band was also notable for its album covers, designed by the artist group Hipgnosis.

Band members included Norman Watt-Roy and his older brother Garth Watt-Roy, Ozzie Lane, Mick Deacon, Ian Aitcheson, Tex Philpotts, Dick Hanson, Ron Prudence and Colin Horton-Jennings.

Their usual producer was EMI house producer Jonathan Peel, not to be confused with DJ John Peel. (wikipedia)

The Greatest Show On Earth01

This self-titled compilation features highlights from both Greatest Show On Earth (GSOE) LPs Horizons (1970) and The Going’s Easy (1970). The band had been conceived by Harvest Records in an attempt to create a horn-based rock combo, such as Blood Sweat & Tears or Chicago. The label requested the octet to find a new vocalist, the multi-faceted Colin Horton-Jennings, who began to compose originals that would allow GSOE the additional material needed in order to replace the R&B covers which had previously dominated their live sets. The band included the talents of Dick Hanson (percussion/trumpet/flugelhorn), Colin Horton-Jennings (guitar/flute,/bongos/vocals), Ron Prudence (conga/drums), Garth Watt-Roy (guitar/vocals), Norman Watt-Roy (bass/vocals) and Mick Deacon (organ/piano/harpsichord/vocals).

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Their debut disc Horizons was all but dismissed although there are several uniformly standout sides including the single “Real Cool World”, marked by its’ open throttle galloping tempo and some equally pungent electric organ riffs, as well as the aggressive rocker “Angelina”. The GSOE’s Going’s Easy (1970) became their second and final LP. The light and airy “Magic Touch Woman” foreshadows a similar treatment that the Hollies would give the track for a modest hit. The noir “Storytimes & Nursery Rhymes” also features some of the band’s best ensemble vocal work to date. The album’s stretched out opener, “Borderline”, is a group composition that lifts from the David Clayton Thomas-led Blood, Sweat & Tears. Unfortunately the same fate befell the Going’s Easy and with no consumer or industry interest, the combo separated by mid 1971. (by Lindsay Planer)

But … this band really deserves a much better cover (Illustration by Richard Evans) !!!


Ian Aitchison (saxophone, percussion)
Mick Deacon (keyboards, harpsichord, vocals)
Dick Hanson (trumpet, flugelhorn, percussion)
Colin Horton-Jennings (vocals, flute, guitar, percussion)
Garth Watt-Roy (guitar, vocals)
Norman Watt-Roy (bass, vocals)
Tex Philpotts (saxophone, percussion)
Ron Prudence (drums, percussion)

The Greatest Show On Earth02Tracklist:
01. Real Cool World Watt-Roy) 4.52
02. Angelina (Horton-Jennings) 4.07
03. Magic Woman Touch (Horton-Jennings) 5.15
04. Again And Again (Watt-Roy) 4.02
05. Borderline (Aitchison/Deacon/Hanson/Horton-Jennings/G.Watt-Roy/N.Watt-Roy/ Philpotts/Prudence) 9.21
06. The Leader (Aitchison/Deacon/Hanson/Horton-Jennings/G.Watt-Roy/N.Watt-Roy/ Philpotts/Prudence) 5.45
07. Sunflower Morning (Horton-Jennings/Deacon) 4.59
08. Day Of The Lady (Horton-Jennings/Saunders) 4.12
09. Love Magnet (Hanson/Watt-Roy/Aitchison) 9.29

Selections of tracks taken from:
The Going’s Easy SHVL 783 1970
Horizons SHVL 769 1970

Cover designed by Hipgnosis



Syd Barrett – The Madcap Laughs (1970)

LPFrontCover1Roger Keith “Syd” Barrett (6 January 1946 – 7 July 2006) was an English singer, songwriter, and musician who co-founded the rock band Pink Floyd in 1965. Barrett was their original frontman and primary songwriter, becoming known for his whimsical style of psychedelia, English-accented singing, and stream-of-consciousness writing style. As a guitarist, he was influential for his free-form playing and for employing dissonance, distortion, echo, feedback, and other studio effects.

Originally trained as a painter, Barrett was musically active for less than ten years. With Pink Floyd, he recorded four singles, their debut album The Piper at the Gates of Dawn (1967), portions of their second album A Saucerful of Secrets (1968), and several unreleased songs. In April 1968, Barrett was ousted from the band amid speculation of mental illness and his excessive use of psychedelic drugs. He began a brief solo career in 1969 with the single “Octopus” and followed with the albums The Madcap Laughs (1970) and Barrett (1970), recorded with the aid of several members of Pink Floyd.


In 1972, Barrett left the music industry, retired from public life and strictly guarded his privacy until his death. He continued painting and dedicated himself to gardening. Pink Floyd recorded several tributes and homages to him, including the 1975 song suite “Shine On You Crazy Diamond” and the 1979 rock opera The Wall. In 1988, EMI released an album of unreleased tracks and outtakes, Opel, with Barrett’s approval. In 1996, Barrett was inducted into the Rock and Roll Hall of Fame as a member of Pink Floyd. He died of pancreatic cancer in 2006.


Barrett died at home in Cambridge on 7 July 2006 aged 60, from pancreatic cancer. He was cremated. His funeral was held at Cambridge Crematorium on 18 July 2006; no Pink Floyd members attended. In a statement, Wright said: “The band are very naturally upset and sad to hear of Syd Barrett’s death. Syd was the guiding light of the early band lineup and leaves a legacy which continues to inspire.” Gilmour said: “Do find time to play some of Syd’s songs and to remember him as the madcap genius who made us all smile with his wonderfully eccentric songs about bikes, gnomes, and scarecrows. His career was painfully short, yet he touched more people than he could ever know.”


NME produced a tribute issue to Barrett a week later with a photo of him on the cover. In an interview with The Sunday Times, Barrett’s sister, Rosemary Breen, said that he had written an unpublished book about the history of art. According to local newspapers, Barrett left approximately £1.7 million to his four siblings, largely acquired from royalties from Pink Floyd compilations and live recordings featuring Barrett’s songs. A tribute concert, “Madcap’s Last Laugh”, was held at the Barbican Centre, London, on 10 May 2007 with Barrett’s bandmates and the musicians and Robyn Hitchcock, Captain Sensible, Damon Albarn, Chrissie Hynde and Kevin Ayers. Gilmour, Wright and Mason performed the Barrett compositions “Bike” and “Arnold Layne”, and Waters performed a solo version of his song “Flickering Flame” (wikipedia)


The Madcap Laughs is the debut solo album by the English singer-songwriter Syd Barrett. It was recorded after Barrett had left Pink Floyd in April 1968. The album had a chequered recording history, with work beginning in mid-1968, but the bulk of the sessions taking place between April and July 1969, for which five different producers were credited − including Barrett, Peter Jenner (1968 sessions), Malcolm Jones (early-to-mid-1969 sessions), and fellow Pink Floyd members David Gilmour and Roger Waters (mid-1969 sessions). Among the guest musicians are Willie Wilson from Gilmour’s old band Jokers Wild and several members of Soft Machine.


The Madcap Laughs, released in January 1970 on Harvest in the UK but not released in the US until 1974, enjoyed minimal commercial success on release, reaching number 40 on the UK’s official albums chart. It was re-released in 1974 as part of Syd Barrett (which contained The Madcap Laughs and Barrett), which saw the first US issue of the two LPs. The album was remastered and reissued in 1993, along with Barrett’s other albums, Barrett (1970) and Opel (1988), independently and as part of the Crazy Diamond box set. A newly remastered version was released in 2010.

“Octopus” was released as a single in November 1969 and The Madcap Laughs followed on 3 January 1970. The album was released by Harvest in the UK,. It sold 6,000 copies in the first few months and reached number 40 in the UK and was fairly well-reviewed by music critics. Village Voice critic Robert Christgau, reviewing the 1974 two-LP set which included The Madcap Laughs, praised some of the music as “funny, charming, catchy – whimsy at its best. I love most of side one, especially ‘Terrapin’ and ‘Here I Go,'” but opined that some of the material was “worthy of the wimp-turned-acid-casualty Barrett is.” Initial sales and reaction were deemed sufficient by EMI to sanction a second solo album.


Upon release, Gilmour said: “Perhaps we were trying to show what Syd was really like. But perhaps we were trying to punish him …” Barrett stated that “It’s quite nice but I’d be very surprised if it did anything. If I were to drop dead, I don’t think it would stand a stand as my last statement.” Waters was more optimistic, declaring Barrett a “genius”. Malcolm Jones was shocked by what he perceived as the substandard musicianship on the Gilmour and Waters-produced songs, however: “I felt angry. It’s like dirty linen in public and very unnecessary and unkind …” Barrett later said of the album: “I liked what came out, only it was released far too long after it was done. I wanted it to be a whole thing that people would listen to all the way through with everything related and balanced, the tempos and moods offsetting each other, and I hope that’s what it sounds like.” In a bid to increase sales, Jones wrote a letter to music magazine, Melody Maker, under an alternate name, writing how great the album was.


On 6 June 1970, Barrett gave his one and only solo performance, held at the Kensington Olympia, backed by Gilmour and Shirley. He baffled the audience (and Gilmour and Shirley) when he abruptly took off his guitar after the fourth number and walked off stage. They played “Terrapin”, “Gigolo Aunt”, “Effervescing Elephant”, and “Octopus”. From the start of the performance up to (but not including) “Octopus”, the vocals were near-inaudible. The performance has been bootlegged.
The photograph used on the cover for the album was taken in Barrett’s flat in Wetherby Mansions at Earl’s Court Square in London.

Several notable musicians and bands have listed The Madcap Laughs as one of their favourite albums of all time: they include David Bowie, Genesis P-Orridge, Kavus Torabi, Jennifer Herrema, Viv Albertine, Cosey Fanni Tutti, Hey Colossus, Graham Coxon, Pete Astor, King Buzzo, John Frusci John Maus and many others. (wikipedia)


Wisely, The Madcap Laughs doesn’t even try to sound like a consistent record. Half the album was recorded by Barrett’s former bandmates Roger Waters and Dave Gilmour, and the other half by Harvest Records head Malcolm Jones. Surprisingly, Jones’ tracks are song for song much stronger than the more-lauded Floyd entries. The opening “Terrapin” seems to go on three times as long as its five-minute length, creating a hypnotic effect through Barrett’s simple, repetitive guitar figure and stream of consciousness lyrics. The much bouncier “Love You” sounds like a sunny little Carnaby Street pop song along the lines of an early Move single, complete with music hall piano, until the listener tries to parse the lyrics and realizes that they make no sense at all. The downright Kinksy “Here I Go” is in the same style, although it’s both more lyrically direct and musically freaky, speeding up and slowing down seemingly at random. Like many of the “band” tracks,


“Here I Go” is a Barrett solo performance with overdubs by Mike Ratledge, Hugh Hopper, and Robert Wyatt of the Soft Machine; the combination doesn’t always particularly work, as the Softs’ jazzy, improvisational style is hemmed in by having to follow Barrett’s predetermined lead, so on several tracks, like “No Good Trying,” they content themselves with simply making weird noises in the background. The solo tracks are what made the album’s reputation, though, particularly the horrifying “Dark Globe,” a first-person portrait of schizophrenia that’s seemingly the most self-aware song this normally whimsical songwriter ever created. Honestly, however, the other solo tracks are the album’s weakest tracks, with the exception of the plain gorgeous “Golden Hair,” a musical setting of a James Joyce poem that’s simply spellbinding. The album falls apart with the appalling “Feel.” Frankly, the inclusion of false starts and studio chatter, not to mention some simply horrible off-key singing by Barrett, makes this already marginal track feel disgustingly exploitative. But for that misstep, however, The Madcap Laughs is a surprisingly effective record that holds up better than its “ooh, lookit the scary crazy person” reputation suggests. (by Stewart Mason)


Syd Barrett (guitar, vocals)
David Gilmour (bass, guitar, drums on 07.)
Hugh Hopper (bass on 02. + 03.)
Mike Ratledge (keyboards on 02. + 03.)
Jerry Shirley (drums on 04. + 06.)
Willie Wilson (bass onn 04. + 06.)
Robert Wyatt (drums on 02. + 03.)


01. Terrapin 5.04
02. No Good Trying 3.24
03. Love You 2.27
04. No Man’s Land 3.00
05. Dark Globe 2.00
06. Here I Go 3.10
07. Octopus 3.45
08. Golden Hair 1.57
09. Long Gone 2.48
10. She Took A Long Cold Look 2.06
11. Feel Barrett 2.36
12. If It’s In You Barrett 4.0 Rate 1.5413. Late Night 3.13

Alls songs written by Syd Barrett
except 09. written by Syd Barret & James Joyce



The official website:


Jellybread – Rockin’ Pneumonia And The Boogie Woogie Flu + Readin’ The Meters (1970)

FrontCover1I have to reduce my singles collection:

Formed at England’s Sussex University by pianist Pete Wingfield, Jellybread was originally completed by Paul Butler (guitar/vocals), John Best (bass), and Chris Waters (drums). In 1969 the quartet secured a recording contract with the exemplary Blue Horizon Records label and although largely unadventurous, their albums offered a highly competent grasp of black music, including both blues and soul. They provided stellar accompaniment on Lightnin’ Slim’s London Gumbo and B.B. King in London, but the unit dissolved in 1971 with the departure of Wingfield and Waters. Newcomers Rick Birkett (guitar, ex-Accent) and Kenny Lamb (drums) joined for Back to Begin Again, but Jellybread broke up when the set failed to make commercial headway. However, Wingfield enjoyed success as a solo artist, session pianist, and member of Olympic Runners. (by allmusic)


Amd here´s a very rare single from Jellybread with two non-LP tracks (as far as I now).

On side 1 we hear the great old Huey ‘Piano’ Smith hit (Deep Purple are also doing a version of this song in 2021) and on side 2 a short, but rally nice instrumental.

Jellybread was a criminally underrated band … listen and enjoy this rarity !

John Best (bass)
Paul Butler (guitar, vocals)
Chris Waters (drums)
Pete Wingfield (keyboards, vocals)
John Altman (saxophone on 01.)


01. Rockin’ Pneumonia And The Boogie Woogie Flu (Smith/Vincent) 2.44
02. Readin’ The Meters (Wingfield/Best/Butler/Waters) 2.22




More from Jellybread:

Janis Joplin – Pearl (1971)

LPFrontCover1Janis Lyn Joplin (January 19, 1943 – October 4, 1970) was an American singer and musician. One of the most successful and widely known female rock stars of her era, she was noted for her powerful mezzo-soprano vocals[2] and “electric” stage presence.[3][4][5]

In 1967, Joplin rose to fame following an appearance at Monterey Pop Festival, where she was the lead singer of the then little-known San Francisco psychedelic rock band Big Brother and the Holding Company.[6][7][8] After releasing two albums with the band, she left Big Brother to continue as a solo artist with her own backing groups, first the Kozmic Blues Band and then the Full Tilt Boogie Band. She appeared at the Woodstock festival and on the Festival Express train tour. Five singles by Joplin reached the Billboard Hot 100, including a cover of the Kris Kristofferson song “Me and Bobby McGee”, which reached number one in March 1971.[9] Her most popular songs include her cover versions of “Piece of My Heart”, “Cry Baby”, “Down on Me”, “Ball and Chain”, “Summertime”, and her original song “Mercedes Benz”, her final recording.

Big Brothr & The Holding Company01

Joplin died of a heroin overdose in 1970, at the age of 27, after releasing three albums (two with Big Brother and the Holding Company and one solo album). A second solo album, Pearl, was released in January 1971, just over three months after her death. It reached number one on the Billboard charts. She was posthumously inducted into the Rock and Roll Hall of Fame in 1995. Rolling Stone ranked Joplin number 46 on its 2004 list of the 100 Greatest Artists of All Time[12] and number 28 on its 2008 list of 100 Greatest Singers of All Time. She remains one of the top-selling musicians in the United States, with Recording Industry Association of America certifications of 18.5 million albums sold.

Janis Joplin02

Pearl is the second and final solo studio album by Janis Joplin, released on January 11, 1971, three months after her death on October 4, 1970. It was the final album with her direct participation, and the only Joplin album recorded with the Full Tilt Boogie Band, her final touring unit. It peaked at number one on the Billboard 200, holding that spot for nine weeks. It has been certified quadruple platinum by the RIAA.

The album has a more polished feel than the albums she recorded with Big Brother and the Holding Company and the Kozmic Blues Band due to the expertise of producer Paul A. Rothchild and her new backing musicians. Rothchild was best-known as the recording studio producer of The Doors, and worked well with Joplin, calling her a producer’s dream. Together they were able to craft an album that showcased her extraordinary vocal talents. They used Sunset Sound Recorders in Los Angeles.

Janis Joplin03A

The Full Tilt Boogie Band were the musicians who accompanied her on the Festival Express, a concert tour by train of Canada, in the summer of 1970. Many of the songs on this album were recorded on the concert stage in Canada two months before Joplin and the band started their Los Angeles recording sessions. The band also appeared twice on The Dick Cavett Show. They also played many American cities, both before and after Festival Express, although no recordings of those concerts have been officially released.

All nine tracks that she sings on were personally approved and arranged by Joplin. Pearl features the #1 hit “Me and Bobby McGee”, on which she played acoustic guitar, written by Kris Kristofferson and Fred Foster; “Trust Me”, by Bobby Womack, written for Joplin; Howard Tate’s “Get It While You Can”, showcasing her vocal range; and the original songs “Move Over” and “Mercedes Benz”, the latter co-written by Joplin, Bobby Neuwirth, and Michael McClure.

Janis Joplin04

Joplin sang on all tracks except “Buried Alive in the Blues”, which was actually a backing track in which she had not yet recorded vocals. The song’s writer Nick Gravenites was offered the opportunity to sing it as a tribute to Joplin, but he turned it down, so the song ended up as an instrumental. He later sang the song with Joplin’s former band Big Brother and the Holding Company for their 1971 album How Hard It Is. The recording sessions, starting in early September, ended with Joplin’s untimely death on October 4, 1970. Her final session, which took place on Thursday, October 1 after a break of several days, yielded her a cappella “Mercedes Benz.” It was the last song she recorded before her death. The album cover, photographed by Barry Feinstein in Los Angeles, shows Joplin reclining on her Victorian era loveseat with a drink in her hand.

In 2003, the album was ranked number 122 on Rolling Stone magazine’s list of The 500 Greatest Albums of All Time, moving to 125 in a 2012 revised listing. It was moved to a 259 ranking in the 2020 list.

Janis Joplin05

In 1993 Columbia reissued the album on 24kt gold CD as part of their MasterSound series, this edition was remastered by Vic Anesini using the Super Bit Mapping process.[12] In 1999 it was remastered again for the Box Of Pearls box set, this version was also mastered by Vic Anesini, it included four previously unreleased live recordings from the Festival Express Tour, recorded on July 4, 1970, as bonus tracks; it was also released as a standalone release. A two-disc Legacy Edition was released on June 14, 2005, with six bonus tracks including a birthday message to John Lennon of “Happy Trails,” and a reunion of the Full Tilt Boogie Band in an instrumental tribute to Joplin. The second disc included an expanded set from the Festival Express Tour, recorded between June 28 and July 4, 1970. The album was again reissued again in 2012 as The Pearl Sessions. It contains the original album, six mono mixes, two live tracks and alternate takes of the songs that constituted the Pearl vinyl album when Columbia Records released it in 1971. Recordings of Joplin and Paul Rothchild talking between takes give the listener insight into their creative musical process. In 2016 Mobile Fidelity Sound Lab released the album on SACD and double 45 RPM vinyl, the SACD was mastered by Rob LoVerde while the vinyl was cut by Kreig Wunderlich assisted by LoVerde. (wikipedia)

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Janis Joplin’s second masterpiece (after Cheap Thrills), Pearl was designed as a showcase for her powerhouse vocals, stripping down the arrangements that had often previously cluttered her music or threatened to drown her out. Thanks also to a more consistent set of songs, the results are magnificent — given room to breathe, Joplin’s trademark rasp conveys an aching, desperate passion on funked-up, bluesy rockers, ballads both dramatic and tender, and her signature song, the posthumous number one hit “Me and Bobby McGee.” The unfinished “Buried Alive in the Blues” features no Joplin vocals — she was scheduled to record them on the day after she was found dead. Its incompleteness mirrors Joplin’s career: Pearl’s power leaves the listener to wonder what else Joplin could have accomplished, but few artists could ask for a better final statement. (by Steve Huey)

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I wonder if Janis knew she was recording a masterpiece at the time. i doubt it, but this her 4th & final lp is not only her best but one of the best classic rock lps of all-time. here Janis has the prefect blend of blues, pop, folk & rock in the performance & choice of songs to complement her always extraordinary voice. the Full-Tilt Boogie Band play with tasteful restraint, not needing to overplay to prove their chops foreshadowing quality playing such as Tom Petty’s Heartbreakers.

the closing song “Get It While You Can” is a fitting epitaph given Janis’ untimely death. i mourn the lost of what could have been had Janis lived. she finally found her musical balance but unfortunately died before she could have created more. i am grateful that she left us with a perfect album. (Art Moy)


Richard Bell (piano)
Brad Campbell (bass)
Janis Joplin (vocals, guitar on 07.)
Ken Pearson (organ)
Clark Pierson (drums)
John Till (guitar)
Sandra Crouch (tambourine)
Bobbye Hall (percussion)
Bobby Womack (guitar on 09.)
background vocals:
Phil Badella – John Cooke – Vince Mitchell


01. Move Over (Joplin) 3.40
02. Cry Baby (Ragovoy/Berns) 3.57
03. A Woman Left Lonely (Penn/Oldham) 3.30
04. Half Moon (John Hall/Johanna Hall) 3.53
05. Buried Alive In The Blues (Gravenites) 2.25
06. My Baby (Ragovoy/Shuman) 3.44
07. Me And Bobby McGee (Kristofferson/Foster) 4.31
08. Mercedes Benz (Joplin/Neuwirth/McClure) 1.48
09. Trust Me (Womack) 3.16
10. Get It While You Can (Ragovoy/Shuman) (Howard Tate 1966 rendition) 3.23
Studio outtakes:
11. Happy Birthday, John (Happy Trails) (Evans) 1.12
12. Me And Bobby McGee (demo version) (Kristofferson/Foster) 4.45
13. Move Over (alternate version) (Joplin) 4.24
14. Cry Baby (alternate version) (Ragovoy/Berns) 4.53
15. My Baby (alternate version) (Ragovoy/Shuman) 3.56
16. Pearl (instrumental) (Bell/Pearson/Till/Campbell/Pierson) 4.27
Live from the Festival Express Tour, Canada, June/July 1970:
17. Tell Mama (Toronto, June 28, 1970) (Carter/Daniel/Terrell) 6.48
18. Half Moon (Toronto) (John Hall/Johanna Hall) 4.40
19. Move Over (Calgary, July 4, 1970) (Joplin) 4.44
20. Maybe (Winnipeg, July 1, 1970) (Barrett) 3.56
21. Summertime (Winnipeg) (G.Gershwin/Heyward/I.Gershwin) 4.41
22. Little Girl Blue (Calgary) (Rodgers/Hart) 3.56
23. That’s Rock ‘n’ Roll (Toronto) (Bell/Pearson/Till/Campbell/Pierson) 6.20
24. Try (Just A Little Bit Harder) (Toronto) (Ragovoy/Taylor) 8.35
25. Kozmic Blues (Toronto) (Joplin/Mekler) 6.07
26. Piece Of My Heart (Toronto) (Ragovoy/Berns) 5.23
27. Cry Baby (Toronto) (Ragovoy/Berns) 6:.33
28. Get It While You Can (Calgary) (Ragovoy/Shuman) 7.22
29. Ball And Chain (Calgary) (Thornton) 8.10



From the Janis Joplin scrapbook:

More from Janis Joplin:

The official website:

Janis Joplin01

Ry Cooder – Same (1970)

LPFrontCover1Ryland Peter “Ry” Cooder (born March 15, 1947) is an American musician, songwriter, film score composer, record producer, and writer. He is a multi-instrumentalist but is best known for his slide guitar work, his interest in traditional music, and his collaborations with traditional musicians from many countries.

Cooder’s solo work draws upon many genres. He has played with John Lee Hooker, Captain Beefheart, Taj Mahal, Gordon Lightfoot, Ali Farka Touré, Eric Clapton, The Rolling Stones, Van Morrison, Neil Young, Randy Newman, Linda Ronstadt, Vishwa Mohan Bhatt, David Lindley, The Chieftains, The Doobie Brothers, and Carla Olson and The Textones (on record and film).

Ry Cooder01

He formed the band Little Village, and produced the album Buena Vista Social Club (1997), which became a worldwide hit; Wim Wenders directed the documentary film of the same name (1999), which was nominated for an Academy Award in 2000.

Cooder was ranked at No. 8 on Rolling Stone magazine’s 2003 list of “The 100 Greatest Guitarists of All Time”, while a 2010 list by Gibson Guitar Corporation placed him at No. 32 In 2011, he published a collection of short stories called Los Angeles Stories. (wikipedia)

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Ry Cooder is the debut album by roots rock musician Ry Cooder, released in 1970:

Already a seasoned music business veteran at the age of 22, Ry Cooder stepped out from behind the shadows of the likes of Jackie DeShannon, Taj Mahal, the Rolling Stones, and Captain Beefheart, signing his own deal with Warner Brothers records in 1969. Released the following year, Cooder’s eponymous debut creates an intriguing fusion of blues, folk, rock & roll, and pop, filtered through his own intricate, syncopated guitar; Van Dyke Parks and Lenny Waronker’s idiosyncratic production; and Parks and Kirby Johnson’s string arrangements. And while he’s still finding his feet as a singer, Cooder puts this unique blend across with a combination of terrific songs, virtuosic playing, and quirky, yet imaginative, arrangements. For material, Cooder, the son of folklorist parents, unearths ten gems — spanning six decades dating back to the 1920s — by legends such as Woody Guthrie, Blind Blake, Sleepy John Estes, and Leadbelly, as well as a current Randy Newman composition.

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Still, as great as his outside choices are, it’s the exuberant charm of his own instrumental “Available Space” that nearly steals the show. Its joyful interplay between Cooder’s slide, Van Dyke Parks’ music hall piano, and the street-corner drumming creates a piece that is both loose and sophisticated. If “Available Space” is the record’s most playful moment, its closer, “Dark Is the Night,” is the converse, with Cooder’s stark, acoustic slide extracting every ounce of torment from Blind Willie Johnson’s mournful masterpiece. Some of the eccentric arrangements may prove to be a bit much for both purists and pop audiences alike, but still, Cooder’s need to stretch, tempered with a reverence for the past, helps to create a completely original work that should reward adventurous listeners. (by Brett Hartenbach)


John Barbata (drums)
Max Bennett (bass)
Bobby Bruce (violin)
Ry Cooder (guitar, vocals, mandolin, bass)
Van Dyke Parks – piano
Chris Ethridge (bass)
Roy Estrada (bass)
Richie Hayward (drums)
Milt Holland (drums, percussion)
Gloria Jones & Co. (background vocals)

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01. Alimony (Jones/Young/Higginbotham) 2.56
02. France Chance (Callicott) 2.48
03. One Meat Ball (Singer/Zaret) 2.29
04. Do Re Mi (Guthrie) 3.04
05. My Old Kentucky Home (Turpentine & Dandelion Wine) (Newman) 1.48
06. How Can A Poor Man Stand Such Times And Live? (Reed) 2.47
07. Available Space (Cooder) 2.14
08. Pigmeat (Ledbetter) 3.09
09. Police Dog Blues (Blake) 2.47
10. Goin’ To Brownsville (Estes) 3.24
11. Dark Is The Night (Johnson) 2.48


More from Ry Cooder:

The official website:

Amon Düll II – Yeti (1970)

LPFrontCover1Amon Düül II (or Amon Düül 2, Pronunciation: Amon Düül) is a German rock band. The group is generally considered to be one of the pioneers of the West German krautrock scene. Their 1970 album Yeti was described by British magazine The Wire as “one of the cornerstones of … the entire Krautrock movement”.

The band emerged from the radical West German commune scene of the late 1960s, with others in the same commune including some of the future founders of the Red Army Faction. Founding members are Chris Karrer, Dieter Serfas, Falk Rogner (born 14 September 1943), John Weinzierl (born 4 April 1949), and Renate Knaup-Krötenschwanz (born Renate Aschauer-Knaup, 1 July 1948).

The band was founded after Weinzierl and the others met at the Amon Düül ‘art commune’ in Munich. The commune consisted mainly of university students, who formed a music group initially to fund the commune, with everyone who lived there joining in to play music whether or not they had any experience or ability.

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The commune split when they were offered an opportunity to record, which was boycotted by the more musically proficient members of the commune (who went on to form Amon Düül II). Recordings were made by the other members but were of very poor quality and were only released later (under the name Amon Düül) to capitalise on the success of Amon Düül II’s albums. As Amon Düül II grew and personnel changed, they still remained a commune, living together as a band.

Their first album Phallus Dei (‘God’s Phallus’), released in 1969, consisted of pieces drawn from the group’s live set at the time. By this time the line-up was built around a core of Karrer (mainly violin and guitar), Weinzierl (guitar, bass, piano), Rogner on keyboards, bass player Dave Anderson, and two drummers (Peter Leopold (born 15 August 1945) who had joined the group from Berlin, and Dieter Serfas. Renate Knaup at this point was only contributing minimal vocals but was very much part of the group. According to Weinzierl by this time “The band played almost every day. We played universities, academies, underground clubs, and every hall with a power socket and an audience”. Releasing an album brought the group greater prominence and they began to tour more widely in Germany and abroad, playing alongside groups such as Tangerine Dream, and in Germany staying in other communes including the pioneering Kommune 1 in Berlin.

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Their second album Yeti (1970) saw them introducing arranged compositions along with the bluesy violin and guitar jams such as the long improvised title track. The next album Tanz der Lemminge (1971) was based on four extended progressive rock suites. By this time bassist Anderson had returned to England and joined Hawkwind, to be replaced by Lothar Meid (born 28 August 1942), and the group was augmented by synthman Karl-Heinz Hausmann (Karrer had formed a short-lived group in 1966 – supposedly named ‘Amon Düül O’ – with future Embryo founders Lothar Meid and drummer Christian Burchard).[6]

Still touring widely, they recorded their Live in London album in late 1972 and in 1975 signed with Atlantic Records in the US, and United Artists Records Germany and initially disbanded in 1981.

As well as their albums and live shows ADII received offers to write music for films, winning a German film award, the Deutscher Filmpreis, for their contribution to the film San Domingo.

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Amon Düül II’s drummer, Peter Leopold, died on 8 November 2006. A memorial service was held for Leopold in Munich, where the remaining members of Amon Düül II sang a song for him. Leopold was replaced by multi-instrumentalist Daniel Fichelscher, for many years guitarist and drummer of Krautrock group Popol Vuh.[8] Fichelscher is not new to the group, and in fact has had a long affiliation with Amon Düül II, having played with them as early as 1972 on Carnival in Babylon.

Bass player Lothar Meid died on 3 November 2015. (wikipedia)


Described by Lester Bangs in Rolling Stone as “Germany’s great psyche-overload band,” Amon Düül II delivered some serious mind-fry on their sprawling second album. Heavier and hairier than most of their Krautrock contemporaries, the band melded elements of the Velvet Underground, Jimi Hendrix, Frank Zappa, Jefferson Airplane, Pink Floyd and Quicksilver Messenger Service with African, Asian and Indian influences to create something deeply personal and even more deeply weird.


Half of Yeti was completely improvised in the studio, but it’s hard to identify which half; pre-written tracks like the opening suite “Soap Shop Rock” and the searing rocker “Archangel Thunderbird” seem to follow their own primal internal compass, while the improvised nine-minute closer “Sandoz in the Rain” (allegedly recorded while the entire band was on acid) is ravishing in its stark, crystalline beauty. Yeti isn’t just one of Krautrock’s greatest albums; it’s one of the finest records of the entire original psychedelic era. (Dan.Epstein) (taken from “50 Greatest Prog Rock Albums of All Time”)


Dave Anderson (bass)
Renate Knaup (vocals, tambourin)
Chris Karrer (guitar, vocals, violin)
Peter Leopold (drums)
Falk Rogner (organ)
Shrat (percussion, vocals)
John Weinzierl (guitar, vocals)
Rainer Bauer (guitar, vocals bei 10.)
Thomas Keyserling (flute)
Ulrich Leopold (bass)


01. Soap Shop Rock (13.42):
01.1.. Burning Sister 3.41
01.2. Halluzination Guillotine 3.05
01.3. Gulp a Sonata 0.45
01.4. Flesh-Coloured Anti-Aircraft Alarm 5.53
02. She Came Through The Chimney 2.59
03. Archangels Thunderbird 3.33
04. Cerberus 4.22
05. The Return Of Rübezahl 1.39
06. Eye-Shaking King 5.41
07. Pale Gallery 2.13
08. Yeti (Improvisation) 18.09
09. Yeti Talks to Yogi (Improvisation) 6.14
10. Sandoz In The Rain (Improvisation) 8.58
11. Rattlesnakeplumcake (Single A Seite) (Weinzierl/Rogner) 3.18
12. Between The Eyes (Single B Seite) (Weinzierl/Rogner/Karrer) 2.25

Music + lyrics:
Dave Anderson – Renate Knaup – Chris Karrer – Peter Leopold – Falk Rogner – Shrat – John Weinzierl




More from Amon Düll II in my Geman blog:

Cherie & Jim Schwall – A Wedding Present From Cherie & Jim Schwall (1973)

FrontCover1Jim Schwall (November 12, 1942 – June 19, 2022) was an American musician, singer-songwriter, and photographer. He was best known as a co-founder and member of the Siegel-Schwall Band.

Jim Schwall was born in Evanston, Illinois. A singer-songwriter, he played guitar, as well as mandolin, bass guitar, accordion, and other instruments. He studied music at Roosevelt University. There he met Corky Siegel, and became interested in electric blues music. Schwall and Siegel formed a blues duo in 1964, playing at Chicago bars and clubs. They performed regularly at Pepper’s Lounge and at Big John’s, where well known, established blues musicians such as Muddy Waters, Howlin’ Wolf, and Willie Dixon would often sit in. The duo expanded to a quartet and became the Siegel-Schwall Band. Schwall’s amplified Gibson B-25 acoustic guitar was a distinctive component of the band’s sound.

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The Siegel-Schwall Band became quite popular, and by 1967 were touring nationally, performing at large venues like the Fillmore West and sharing the bill with well-known rock bands.[9][10] Between 1966 and 1974, they released at least ten albums. They were also noted for their collaborations with Seiji Ozawa, combining blues with classical music. After 1974, they disbanded, but the band re-formed in 1987. They played occasional live dates and released two albums of new material over the following decade.

Siegel-Schwall Band (L-R: Rollo Radford, Corky, Sam Lay, Jim Schwall):
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Schwall was also the leader of his own blues-rock band, the Jim Schwall Band. This band formed in the mid-1970s, and versions continued playing live on an intermittent basis into the 2000’s.

Schwall was also involved in numerous other musical projects. He played guitar and accordion in the band So Dang Yang, and was the bassist for the Cajun Strangers. He held a PhD in musical composition from the University of Wisconsin-Madison, 1993, and taught music at the college level. As a composer, he specialized in ballet, opera, and other music for the stage.

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Schwall was also a professional photographer, and did different types of photography. In his later years he worked at creating art prints that combined human figures and natural landscapes. He sometimes used 19th-century photographic techniques such as kallitype, cyanotype, and gum printing, non-silver techniques that predate the gelatin silver process.
Political activism

Schwall was active in progressive political causes. In 2002 he ran for mayor of Madison, Wisconsin.

After retiring and settling in Tucson, Schwall took to writing. At the urging of friends, he wrote a memoir titled “My So-called Career(s)” still unpublished, and was working on a novel tentatively titled “Organ Pipe Incident.” (wikipedia)

Famed Chicago blues guitarist and vocalist Jim Schwall — co-founder of the influential and popular Siegel-Schwall Band — died of natural causes at his home in Tucson, Arizona on Sunday, June 19, 2022. He was 79. (wikipedia)

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In 1970, Jim Schwall (of the famed Chicago blues-based Siegel-Schwall Band) got married, and along with new bride Cherie recorded and privately pressed A Wedding Present From Cherie & Jim Schwall, (released in 1973). As described on the back cover, the album was home recorded on a Sony reel to reel at a number of parties and contains mostly first takes. It is acoustic, sparse, and bluesy, featuring hard left and right panning in the mix (which lends to the separated and isolated feeling of the music). “Thinking Of You” is exceptional in that it strays away from the blues territory of the album, and veers into a more psych-folk direction. Serving as the only known composition credited to Cherie Schwall, one can’t help but wonder what could have been. (Bosavi)


Cherie Schwall (vocals)
Jim Schwall (guitar, vocals)
Peter Szillies (harmonica)

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01. Everything Is Going To Be All Right (Moss) 3.21
02. Thinking Of You (C.Schwall) 3.59
03. Can I Play With Your Poodle? (unknown) 1.54
04. It Won’t Be Long (McFarland) 2.48
05. Blues For A Lady (J.Schwall) 4.07
06. I’m Getting Old (J.Schwall) 3.56
07. Season Of The Witch (Leitch) 6.13
08. Cadillac Ford (J.Schwall) 2.33
09. Wanderin’ (Kaye) 4.38



People should know, Jim was a beautiful humanitarian and a one-of-a-kind musician.
(Corky Siegel)

More from Siegel-Schwall

The official website (now deleted):

David Munrow – The Mediaeval Sound (1970)

FrontCover1David John Munrow (12 August 1942 – 15 May 1976) was a British musician and early music historian.

Munrow was born in Birmingham where both his parents taught at the University of Birmingham. His mother, Hilda Ivy (née Norman) Munrow (1905-1985), was a dance teacher and his father, Albert Davis “Dave” Munrow (1908-1975), was a lecturer and physical education instructor who wrote a book on the subject.

Munrow attended King Edward’s School until 1960. He excelled academically and was noted for his treble voice. He was lent a bassoon and returned in about a fortnight, able to play it remarkably well.
Munrow’s career was inspired by the loan of a crumhorn in 1961

In 1960, Munrow took a gap year and went to Peru to teach English at Markham College in Lima under the British Council student teacher scheme. He reached Lima by train from São Paulo and later spent some time touring Brazil, Bolivia, Peru and Chile, immersing himself in the traditional music of Latin America and collecting folk instruments. He returned home to Britain with a number of Bolivian flutes and other obscure instruments.

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While reading English for his master’s degree at Pembroke College, Cambridge, he became involved in musical performance, playing South American instruments in a students’ autumn-term concert organised by Christopher Hogwood. A professor of music, Thurston Dart, was intrigued by Munrow’s performance and encouraged him to explore links between Latin American folk instruments and early European instruments. While visiting Dart’s study, Munrow noticed a crumhorn hanging on the wall; Dart suggested he borrow it and this eventually inspired Munrow to commence an independent study of early musical instruments.

Starting from his ability as a pianist, singer and bassoonist, Munrow taught himself to play many older instruments. He joined the Royal Shakespeare Company as a bassoonist but soon played instruments of Shakespeare’s time. Although he displayed talent on a wide variety of instruments, he had a particular lasting influence as a recorder player. His English style of discreet and controlled expression contrasts with the greater tonal flexibility of the Continental style espoused by the Dutch recorder player Frans Brüggen and others.

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By 1967 he was appointed a lecturer in early music at the University of Leicester, having married Gillian Veronica Reid the previous year. With Christopher Hogwood he formed the Early Music Consort, whose core members were experts on their particular instruments. Sometimes other professional musicians were employed when necessary, such as Nigel North and Robert Spencer, both highly regarded lutenists. From 1968, he toured the world, unearthing obscure instruments in every country he visited. He commissioned reconstructions of instruments related to the cornett and rackett from, amongst others, Otto Steinkopf. Two television programmes made him a household name: The Six Wives of Henry VIII (1970) and Elizabeth R (1971). He also scored the feature film adaptation of the former, Henry VIII and His Six Wives, in 1972.

The early music revival was born following Munrow’s success with his soundtrack for The Six Wives of Henry VIII, which contained authentic music played on original instruments, and generated worldwide enthusiasm for music and instruments from the renaissance period. Subsequently, demand for such historical instruments increased dramatically, resulting in Munrow’s encouragement for the formation of a business specialising in this area, which is still trading as The Early Music Shop, based in Saltaire, West Yorkshire. Munrow was a loyal and enthusiastic customer of the Early Music Shop, having helped the founder, Richard Wood, create the business’s name, and travelling immediately to the music store to be re-equipped with a variety of historical instruments after losing his entire collection in a theft.


Munrow’s two contributions to film music were for British directors:

Ken Russell’s The Devils (1971). Munrow’s contribution included numbers from Terpsichore, Michael Praetorius’s collection of French dance music. It complemented an original score by Peter Maxwell Davies.
Zardoz (1974), written and directed by John Boorman. This included arrangements of Beethoven’s Symphony No. 7 for early music instruments.

During his relatively short life, Munrow released over 50 records, some of which are now available on CD. In addition to his recordings with the Early Music Consort, he recorded with Michael Morrow’s Musica Reservata, Alfred Deller and the King’s Singers. He recorded Bach and Monteverdi many times, but his widest influence was in the Medieval and Renaissance periods. His three-record set with the Early Music Consort, The Art of the Netherlands, issued in 1976 (EMI SLS5049), was particularly influential in popularising the genre.

On BBC Radio 3 he presented Pied Piper, a multi-ethnic and centuries-spanning spread of music from Monteverdi to the Electric Light Orchestra rock group. Munrow also had dealings notably with the Young Tradition and Shirley and Dolly Collins.

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Apart from his regular radio slot and other programmes, he appeared on television, most notably on BBC 2 in a series entitled Ancestral Voices in a London studio, and on ITV’s Early Musical Instruments, filmed on location at Ordsall Hall in Salford. He also wrote one book entitled Instruments of the Middle Ages and the Renaissance. This originally accompanied a record set of the same name.

Munrow’s personal interests were travel, sailing, jazz and antiques. He was also a linguist. In addition, he wrote some articles on music, especially for his own recordings.

In 1976, Munrow hanged himself while in a state of depression; the recent deaths of his father and father-in-law, to whom he dedicated his sole book, are thought to have contributed to his decision to take his own life. He had, however, attempted suicide by drug overdose the previous year.

His death was noted to be a tragic loss to the early music movement, as no-one sufficiently followed in his footsteps.

The original line-up of the Early Music Consort: Christopher Hogwood, David Munrow, James Tyler, Oliver Brookes and James Bowman:
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Munrow perhaps did more than anyone else in the second half of the 20th century to popularise early music in Britain, despite a career lasting barely 10 years. This was underscored when NASA’s Voyager space probe committee selected one of his Early Music Consort recordings for the Voyager Golden Record, a gold-plated copper record that was to be sent into space. “The Fairie Round” from Paueans, Galliards, Almains and Other Short Aeirs by Anthony Holborne was included among a compilation of sounds and images which had been chosen as examples of the diversity of life and culture on Earth. Two discs were launched into space in 1977, the year after Munrow’s death.

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Munrow left behind him not only his recordings but a large collection of musical instruments. The Munrow Archive at the Royal Academy of Music holds a collection of his letters, papers, TV scripts, scores, musical compositions and books. The collection is accessible to the public. The online catalogue of the British Library Sound Archive reveals his many recording entries, and those of many other notable people.

Information about the life and work of David Munrow can be found in obituaries about him in 1976 (particularly the OUP journal Early Music), and in the following sources: a detailed piece in the Oxford Dictionary of National Biography by Christopher Hogwood; The New Grove Dictionary of Music and Musicians; The Art of David Munrow, a record set with a biography by Arthur Johnson, the producer of Pied Piper; and on the old vinyl sleeve of the Renaissance Suite. (wikipedia)

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Garklein Flötlein, Kortholt, Rauschpfeife, Nicolo Shawm, Basset Rackett, Crumhorn, and Gemshorn…
these are just some of the fascinating instruments whose sounds you will hear on this recording.

David Munrow begins by introducing them one by one, with a spoken explanation followed by a demonstration. Then hear these instruments played together in three varied programs: Music at the Court of King Henry VIII, Elizabethan Popular Tunes, and a Suite of Renaissance Dances. Before his untimely death David Munrow pioneered and was to become the acknowledged master of medieval instruments, performing on television, film, and making further recordings.


“This recording is an attempt to illustrate the astonishing range and variety of woodwind instruments before 1600. To regard these instruments as primitive, as mere forerunners of their modern counterparts, is a vast delusion. The end of the sixteenth century represents a culmination of over 500 years of artistry and industry in making and developing musical instruments in Europe. All their families of instruments possessed remarkably individual timbres, and the professional musicians who played them were highly skilled; there is plenty of testimony to their accomplished technique, prodigious feats of improvisation and surprising versatility. After 1600, some of these exotic instruments disappeared. Others were transformed; the shawm was refined into the oboe, the dulcian into the bassoon”. David Munrow

In these instruments and these tunes lie the foundations of the baroque. (


David Munrow (all woodwind instruments)
Christopher Hogwood (regal harpsichord)
Gillian Reid (percussion)



David Munrow introduces early woodwind instruments:
01. Danse Royale – French 13 Century 0.52
02. Dance Tune – Scottish c. 1250 1.39
03. Motet ‘Vertias Arpie” – French Before 1316 0.51
04. Gymel ‘Jesu Cristes Milde Moder’ – English c. 1270 1.38
05. Carol ‘Nowell Sing We’ – English 15th Century 3.01
06. Piper’s Fancy – English Traditional 1.32
07. Ballade ‘Ja Nuns Hons Pris’ (Coeur-de-Lion) 1.37
08. Saltarello – Italian 14th Century 1.59
09. Postillon – 16th Century 1.46
10. Alarm – 16th/17th Century 1.36
11. Wat Zal Men Op Den Avond Doen’ – 16th Century 0.13
12. Bicinium ‘Je Nose Etre Content’ (Certon) 0.53
13. ‘Wat Zal Men Op Den Avond Doen’ – 17th Century 1.31
14. Pavana ‘Desiderata’ (Benusi) 1.07

Band One: Music at Henry VIII’s Court:
15. Helas Madame (Henry VIII) 1.33
16. Si Fortune 1.20
17. Consort 1.06
18. Taunder Naken (Henry VIII) 2.22
19. If Love Now Reigned (Henry VIII) 0.27
20. En Vray Amoure (Henry VIII) 1.23

Band Two: Elizabethan Popular Tunes:
21. La Volta 1.55
22. Kemp’s Jig 1.41
23. Tower Hill 1.35
24. A Bergomask 1.04
25. Bouffons 2.01

Band Three: Suite of Renaissance dances:
26. Ungarescha (from “Il Primo Libro De Balli”) (Mainerio) 1.57
27. La Bouree (from “Terpsichore”) (Praetorius) 1.33
28. Basse Danse (‘Bergeret Sans Roch’ from the “Danserye”) (Susato) 1.31
29. Ronde ‘Mon Amy’ (from the ‘Danserye’) (Susato) 1.22
30. Galliard ‘La Rocha El Fuso’ 1.08
31. Ballets Des Baccanales Et Des Feus (from ‘Terpsichore’) (Praetorius) 0.51



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


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

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


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

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


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

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


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


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


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


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

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



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

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



CD 1:

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

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

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

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

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

CD 2:

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

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

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



Box front + backcover:

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

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