Procol Harum – Broken Barricades (1971)

FrontCover1.jpgBroken Barricades is the fifth studio album by English rock band Procol Harum, released in 1971. It was guitarist Robin Trower’s last recording with the group until The Prodigal Stranger (1991).

“Song for a Dreamer” is a tribute to late Jimi Hendrix from Trower who was stunned by Hendrix’s death at the age of 27.[ (by wikipedia)

Despite the departure of organist Matthew Fisher, Procol Harum survived, and this album is ample proof. Fisher was one of the prime architects of the Harum sound, and his work on such classics as “Shine on Brightly” and, of course, “Whiter Shade of Pale” underline that. Procol continued as a four-piece, and it was indeed a good thing that they decided not to replace Fisher. The sound of the band on this album is a bit sparser, but definitely not without dimension and dynamics. “Simple Sister,” one of the finest Gary Brooker/Keith Reid compositions, is truly glorious, with Robin Trower’s frightening lead guitar work juxtaposed nicely against a wonderful string arrangement. Several other tracks are first rate, including “Power Failure” and “Playmate of the Mouth.” Along with Little Feat, Procol Harum was a great survivor among rock bands that lost a key member. The proof is in these grooves. (by Matthew Greenwald)

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With their album, Broken Barricades, Procol Harum hit the supreme spot, a perfect confluence of composers, musicians, singer(s) and lyricist that produced one of the Heaviest Rock Albums of 1971 – and that’s a bold statement as 1971 was one of the Three Best Years for Rock Album releases.

There are some Hard Core Rock ‘n’ Roll Monster tracks on this album; Memorial Drive, Power Failure, the epic, transcendent Song For A Dreamer (tribute to Hendrix), Poor Mohammed and it all starts with Simple Sister. (by

Indeed, one of the finest Procol Harum albums, including one of the best guitar solo by Rower Trower on “For A Dreamer”


Gary Brooker (piano, vocals)
Chris Copping (bass, organ)
Robin Trower – guitar, vocals on 06. + 08.)
B.J. Wilson (drums)


01. Simple Sister (Brooker) 5.50
02. Broken Barricades (Brooker) 3.12
03. Memorial Drive (Trower) 3.46
04. Luskus Delph (Brooker) 3.46
05. Power Failure (Brooker) 4.32
06. Song For A Dreamer (Trower) 5.39
07. Playmate Of The Mouth (Brooker) 5.05
08. Poor Mohammed (Trower) 3.08

All lyrics written by Keith Reid




Singles from all over the world

Little Feat – Same (1971)

LPFrontCover1.jpgLittle Feat is an American rock band formed by singer-songwriter, lead vocalist and guitarist Lowell George and keyboardist Bill Payne in 1969 in Los Angeles. George disbanded the group due to creative differences in 1979, shortly before his death. Surviving members reformed Little Feat in 1987, remaining intermittently active to the present.

Little Feat is the first studio album by the rock band Little Feat. It was released in 1971 on Warner Bros. Records.

The album was recorded mostly during sessions between August and September 1970. Its sound is in a similar vein as the band’s more widely known later recordings, such as 1973’s Dixie Chicken and 1978’s Waiting For Columbus. The record features Little Feat’s Mk. 1 line-up, with Roy Estrada on bass. It was the first of eight albums by the band before its initial 1979 break-up. The cover shows a mural, “Venice in the Snow”, which was painted by the L. A. Fine Arts Squad in 1970 in Venice, Los Angeles. In 2007, the album was released as a gold CD through the Mobile Fidelity Sound Lab. (by wikipedia)


It sold poorly (around 11,000 copies) and the band never cut anything like it again, but Little Feat’s eponymous debut isn’t just one of their finest records, it’s one of the great lost rock & roll albums. Even dedicated fans tend to overlook the album, largely because it’s the polar opposite of the subtly intricate, funky rhythm & roll that made their reputation during the mid-’70s. Little Feat is a raw, hard-driving, funny and affectionate celebration of American weirdness, equal parts garage rock, roadhouse blues, post-Zappa bizarreness, post-Parsons country rock and slightly bent folk storytelling. Since it’s grounded in roots rock, it feels familiar enough, but the vision of chief songwriter/guitarist/vocalist Lowell George is wholly unique and slightly off-center. He sees everything with a gently surreal sense of humor that remains affectionate, whether it’s on an ode to a “Truck Stop Girl,” the weary trucker’s anthem “Willin’,” or the goofy character sketch of the crusty old salt “Crazy Captain Gunboat Willie.”


That affection is balanced by gutsy slices of Americana like the careening travelogue “Strawberry Flats,” the darkly humorous “Hamburger Midnight” and a jaw-dropping Howlin’ Wolf medley guest-starring Ry Cooder, plus keyboardist Bill Payne’s terrific opener “Snakes on Everything.” The songwriting itself is remarkable enough, but the band is its equal — they’re as loose, vibrant and alive as the Stones at their best. In most respects, this album has more in common with George’s earlier band the Factory than the rest of the Little Feat catalog, but there’s a deftness in the writing and performance that distinguishes it from either band’s work, which makes it all the more remarkable. It’s a pity that more people haven’t heard the record, but that just means that anyone who owns it feels like they’re in on a secret only they and a handful of others know. (by Stephen Thomas Erlewine)


Roy Estrada (bass, background vocals)
Lowell George (guitar, slide-guitar, vocals, harmonica)
Richard Hayward (drums, background vocals)
Bill Payne (keyboards, vocals on 01. + 10., background vocals)
Ry Cooder (slide guitar on 05., + 07.)
Sneaky Pete Kleinow (pedal steel guitar on 09.)
Russ Titelman (percussion, background vocals, piano on 09.)

01. Snakes On Everything (Payne) 3.08
02. Strawberry Flats (Payne/George) 2.25
03. Truck Stop Girl (Payne/George) 2.32
04. Brides Of Jesus (Payne/George) 3.23
05. Willin’ (George) 2.25
06. Hamburger Midnight (George/Estrada) 2.32
07. Forty-Four Blues / How Many More Years (Sykes/Burnett) 6.32
08. Crack In Your Door (George) 2.19
09. I’ve Been The One (George) 2.24
10. Takin’ My Time (Payne) 3.50
11. Crazy Captain Gunboat Willie (Payne/George) 1.57



Lowell George.jpg

Lowell Thomas George (April 13, 1945 – June 29, 1979)

Leo Kottke – Greenhouse (1971)

LPFrontCover1Greenhouse is American guitarist Leo Kottke’s fifth album, his second on the Capitol label, released in 1972. It was recorded in three days. From the liner notes: “In the sense that my guitars were once plants, this record’s a greenhouse. There are seven instrumentals and four vocals.” It reached No. 127 on the Billboard 200 chart. (ny wikipedia)

A somewhat less ambitious record than Mudlark, from a recording standpoint, Greenhouse is a true solo record that offers several surprises. Over a third of it is made up of vocal numbers, including two that are absolutely superb. “Tiny Island” may be the best track here, a song by Al Gaylor, inspired by the death of Jimi Hendrix, that offer one of Kottke’s best vocal performances of his whole career. Also worth the price of a ticket are a pair of John Fahey-related tunes (“In Christ There Is No East or West,” “Last Steam Engine Train”) that he puts his own unique spin on, with the latter a true dazzler as an acoustic piece; “From the Cradle to the Grave,” a strangely compelling song in which Kottke’s singing is the backup to his guitar, which has center stage even when he’s singing; and the slow, lyrical bluesy “Louise,” another vocal performance where Kottke excels as a singer; the playful, delightful “The Spanish Entomogolgist,” a medley of children’s songs that includes quotations from “Tumbling Tumbleweeds” and “Jambalaya”; and the gorgeous bluegrass guitar workout on “Owls.” Some of the mastering isn’t quite as clean here as it is on other titles in Kottke’s catalog, but otherwise this is an acceptable reissue of an album that is, perhaps, under appreciated because of its relatively high concentration of vocal numbers by the guitarist. Not all of those come off as well as the two best, but none are complete failures, and his guitar playing even on the weakest of them, “You Don’t Have To Need Me,” is interesting enough to carry the piece. (by Bruce Eder)

This is my favorite Leo Kottke album–and I own all of them. Why this gets the nod over 6- and 12-String Guitar (which is spectacular!) is that Greenhouse also features Kottke’s warm baritone vocals on four of the album’s eleven tracks.
To listen to Kottke’s vocal choices, you’d think this man is the gloomiest guy on the planet. “Louise” is about the death of a prostitute. Even the song titles (“From the Cradle to the Grave” and “You Don’t Need Me”) ooze pessimism. But these are lovely songs and you need to pick up one of Kottke’s several live albums to discover what a wonderful sense of humor he displays in his between-songs storytelling.
And the seven instrumentals are simply amazing! the album kicks off with “Bean Time” and Kottke’s fingers fly across the fretboard. “The Song of the Swamp” features Kottke’s impeccable slide work. Kottke pays homage to John Fahey on his cover of “In Christ There Is No East or West” and “Last Steam Engine Train.” Kottke says in the liner notes that “‘The Spanish Entomologist’ is a medley made up of a children’s song (‘Playmate’) and my two favorite songs when I was a kid (‘Jambalaya’ and “Tumbling Tumbleweeds’).” Like the rest of the album, it is a joy to listen to. If you don’t already own any Leo Kottke, this is the place to start. ESSENTIAL (by Steve Vrana)


Leo Kottke (guitar, vocals)
Steve Gammell (guitar on 11.)


01. Bean Time (Kottke) 2:32
02. Tiny Island Al Gaylor 3:46
03. The Song Of The Swamp (Kottke) 3:00
04. In Christ There Is No East Or West (Fahey) 2:12
05. Last Steam Engine Train (Fahey/McGee) 3:00
06. From The Cradle To The Grave (Kottke/Nagle)
07. Louise (Siebel) 4:02
08. The Spanish Entomologist (Traditional) 2:24
09. Owls (Kottke) 5:00
10. You Don’t Have to Need Me (Kottke) 4:37
11. Lost John (Traditional) 2.20



I wish I had a tiny island floating in the sea
Palm trees don’t get in the way, it’s a tropical ease
And everywhere that I keep my silence, no sound returns to me
Just endless waves at the end of our days, the sighing of the seas

But yesterday’s gone, I don’t know where I come from, hmmm
Wonder where I’m going

The very last time that you saw me off I thought that it was understood
That I’d be gone for a very long time, I might be gone for good
And all that time, all the time, I thought you would never fall
It did not dawn across my mind the time that you lost it all

But yesterday’s gone, I don’t know where I come from, hmmm
Don’t know where I’m going

Sometime’s I feel like a tiny island floating in the sea
Palm trees don’t get in the way, it’s a tropical ease
And everywhere that I keep my silence, no sound returns to me
Just endless waves at the end of our days, the sighing of the seas

But yesterday’s gone, I don’t know where I come from, hmmm
Wonder where I’m going

Shirley Collins & The Albion Country Band – No Roses (1971)

LPFrontCover1No Roses is an album by Shirley Collins and the Albion Country Band. It was recorded at Sound Techniques, and Air Studios in London, in the summer of 1971. It was produced by Sandy Roberton and Ashley Hutchings (Shirley Collins’ husband at the time). It was released in October 1971 on the Pegasus label.

It is very unusual to have 27 musicians and singers on an album of traditional folk songs. It happened because people simply dropped in during recording sessions and were asked to join in. “The Murder of Maria Marten”, a lengthy song about the Red Barn Murder, is broken into segments, with parts of British folk rock alternating with more traditional parts featuring Shirley Collins’ voice and a hurdy-gurdy drone. Shirley Collins had used a similar technique on “One Night As I Lay on My Bed” on “Adieu to Old England”.

Some songs, for instance Poor Murdered Woman and Murder of Maria Marten, feature large parts of the Fairport Convention line-up of late 1969 (Liege and Lief). In fact, Fairport Convention member Ashley Hutchings appears on all, Simon Nicol and Richard Thompson on eight, and Dave Mattacks on three of the nine songs on this album.


Claudy Banks includes a composed duo performance by Alan Cave on bassoon and British free jazz saxophonist Lol Coxhill – his only performance ever in the context of British folk music. Hal-An-Tow features members of the two acclaimed folk vocal groups The Watersons (Lal and Mike Waterson) and The Young Tradition (Royston Wood). Both drummer Roger Powell and pianist Ian Whiteman previously played together in the band Mighty Baby.

The album title No Roses are the last words of the first verse of the folk song The False Bride (I went down to the forest to gather fine flowers, but the forest won’t yield me no roses.), which Shirley Collins sang on her EP Heroes in Love in 1963. (by wikipedia)


The labels from the Mooncrest edition

Shirley Collins’ collaboration with the Albion Country Band for No Roses is considered a major event in the history of British folk and British folk-rock. For it was the first time that Collins, roundly acknowledged as one of the best British traditional folk singers, sang with electric accompaniment, and indeed one of the first times that a British traditional folk musician had “gone electric” in the wake of Dave Swarbrick joining Fairport Convention and Martin Carthy joining Steeleye Span. The album itself doesn’t sound too radical, however. At times it sounds something like Fairport Convention with Shirley Collins on lead vocals, which is unsurprising given the presence of Ashley Hutchings on all cuts but one, and Richard Thompson and Simon Nicol on most of the selections (Dave Mattacks plays drums on a few tracks for good measure). The nine songs are almost wholly traditional tunes with Collins’ arrangements, with perhaps a jauntier and folkier mood than that heard in early-’70s Fairport, though not much. It’s more impressive for Collins’ always tasteful smoky vocals than for the imagination of the material, which consolidates the sound of the more traditional wing of early-’70s British folk-rock. (by Richie Unterberger)


Shirley Collins (vocals)
Francis Baines (hurdy gurdy)
Dave Bland (concertin, hammer dulcimer)
Ashley Hutchings (bass)
Tim Renwick (guitar)
Gregg Butler (brass)
Alan Cave (bassoon)
Dolly Collins (piano)
Lol Coxhill (saxophone)
Trevor Crozier (jew´s harp)
Barry Dransfield (fiddle)
Tony Hall (melodeon)
Nic Jones (vocals, fiddle)
John Kirkpatrick (accordion)
Alan Lumsden (bugle)
Dave Mattacks (drums, percussion)
Steve Migden (french horn)
Simon Nicol (guitar, bass, background vocals)
Roger Powell (drums)
Colin Ross (bagpipes)
Richard Thompson (guitar, background vocals)
Ian Whiteman (piano)
background vocals:
Lal Waterson – Mike Waterson – Royston Wood – Maddy Prior – Barry Dransfield – Royston Wood


01. Claudy Banks (B. Copper/R. Copper) 4.37
02. The Little Gypsy Girl (Traditional) 2.16
03. Banks Of The Bann (Traditional) 3.39
04. Murder Of Maria Marten (Traditional) 7.24
05. Van Dieman’s Land (Traditional) 4.59
06. Just As The Tide Was A ‘Flowing (Traditional) 2.13
07. The White Hare (Traditional) 2.43
08. Hal-An-Tow (Traditional) 2.53
09. Poor Murdered Woman (Traditional) 4.26




Van Der Graaf Generator – The BBC Sessions (1968 – 1971) (Almost Complete) (2011)

FrontCover1.jpgVan der Graaf Generator are an English progressive rock band, formed in 1967 in Manchester by singer-songwriters Peter Hammill and Chris Judge Smith and the first act signed by Charisma Records. They did not experience much commercial success in the UK, but became popular in Italy during the 1970s. In 2005 the band reformed.

The band formed at Manchester University, but settled in London where they signed with Charisma. They went through a number of incarnations in their early years, including a brief split in 1969. When they reformed, they found minor commercial success with The Least We Can Do Is Wave to Each Other (February 1970), and after the follow-up album, H to He, Who Am the Only One (December 1970), stabilised around a line-up of Hammill, organist Hugh Banton, saxophonist David Jackson, and drummer Guy Evans. The quartet subsequently achieved significant success in Italy with the release of Pawn Hearts in 1971.

After several exhausting tours of Italy, the band split in 1972. They reformed in 1975, releasing Godbluff and frequently touring Italy again, before a major line-up change and a slight rename to Van der Graaf. The band split in 1978. After many years apart, the band finally united at a gig at the Royal Festival Hall and a short tour in 2005. Since then, the band has continued as a trio of Hammill, Banton, and Evans, who record and tour regularly in between Hammill’s concurrent solo career.


The group’s albums have tended to be both lyrically and musically darker in atmosphere than many of their progressive rock peers (a trait they shared with King Crimson, whose guitarist Robert Fripp guested on two of their albums), and guitar solos were the exception rather than the rule, preferring to use Banton’s classically influenced organ, and, until his departure, Jackson’s multiple saxophones. While Hammill is the primary songwriter for the band, and its members have contributed to his solo albums, he is keen to stress that the band collectively arranges all its material. Hammill’s lyrics frequently covered themes of mortality, due to his love of science fiction writers such as Robert A. Heinlein and Philip K. Dick, along with his self-confessed warped and obsessive nature.

VanDer Graaf02.jpg

His voice has been a distinctive component of the band throughout its career. It has been described as “a male Nico” and would later on be cited as an influence by Goth bands in the 1980s. Though the group have generally been commercially unsuccessful outside of early 1970s Italy, they have inspired several musicians, including John Lydon and Julian Cope. (by wikipedia)

And here´s a nice bootleg with many BBC live recordings and I found this item years ago in a blog called “isle-of-noises.blogspot”.

Discover one of the finest prog-rock bands from this period feat mastermind Peter Hammill.

VanDer Graaf01.jpg

see backcover + tracklist



18.11.1968 (broadcast 29.12.1968; Maida Vale 4; Top Gear; Hammill, Banton, Ellis, Evans)
01. People You Were Going To (Hammill) 3.29
02. Afterwards (Hammill) 4.40
03. Necromancer (Hammill) 4.04
04. Octopus (Hammill) 5.45

27.01.1970 (broadcast 07.02.1970; Maida Vale 4; Top Gear; Hammill, Banton, Evans, Jackson, Potter)
05. Darkness (Hammill/Banton/Jackson) 6.49
06. After The Flood (Hammill) 10.54
07. Refugees (Hammill) 6.20

02.08.1970 (BBC in concert; Hammill, Banton, Evans, Jackson, Potter)
08. Killer (Hammill/Ward) 8.58
09. Whatever Would Robert Have Said (Hammill/Jackson) 6.55
10. Squid One – Squid Two – Octopus (Hammill) 13.35

12.10.1970 (broadcast 24.10.1970; Playhouse Theatre, Northumberland Ave.; Top Gear; Hammill, Banton, Evans, Jackson)
11. Killer (Hammill/Ward) 6.07

10.06.1971 (broadcast 25.06.1971 except Vision 23.07.1971; Kensington House; Alan Black Sessions; Hammill, Banton, Evans, Jackson)
12. Theme One (Martin) 2.59
13. Darkness (Hammill/Banton/Jackson) 7.17
18. Man-Erg (Hammill) 11.03
19. Vision (Hammill) 3.15

23.09.1971 (broadcast 05.10.1971; Concert for BBC; Hammill, Banton, Evans, Jackson)
20. Man-Erg (Hammill) 10.37
21. W (Hammill) 5.06
22. Killer (Hammill/Ward) 7.57
23. Theme One (Martin) 3.09
24. March Of The Dambusters (Hammill) 1.19

14.12.1971 (broadcast 29.12.1971; Maide Vale 4; John Peel session; Hammill, Banton, Evans, Jackson, Smith)
25. An Epidemic Of Father Christmases (Smith) 5.00
26. Lemmings (Hammill) 10.51
27. Refugees (Hammill) 6.16



VanDer Graaf03

Klaus Weiss Sextet – Sunbirds (1971)

FrontCover1Discovery is perhaps the single most pleasurable feature that awaits the prog enthusiast, similar perhaps to the wine lover who is in constant search for a new vintage, a fresh varietal to quench his thirst. Because of the vast array of sub genres, there is a seemingly limitless treasure trove of unknown albums that lie hidden barely beneath the sand, waiting to be unearthed. Such is the case with the multi-national Sunbirds, a gift from my pal Mellotron Storm who ignited my curiosity with his review (isn’t that the real purpose of this site?) and the find is curiously attractive, as I am currently in a heavy jazz-rock-fusion mode (happens often in winter) with arrivals of the first 4 Nucleus albums and Isotope’s Gary Boyle, all to be reviewed imminently. Just like with a sunken cache, the jewel is tarnished only by time and in fact, only glows brighter than ever before with each listen. The first comment remains concretely evident in that the early 70s were nothing more than a giant organic laboratory of experimentation with a huge arsenal of modern instruments for the time, electric piano, synths and treated electric guitars, all conspiring to alter the limits of jazz by providing a solid rock backbone.

Philip Catherine.jpg

There is nothing more pleasing than the e-piano, the celebrated Fender Rhodes in particular and this debut has endless cascades of the glorious keyboard within its grooves, here played by Fritz Pauer . Belgian guitarist Phillip Catherine sizzles fiercely when called upon which is often and the delectable flute also has a predominant role. This is groove music par excellence, an all-instrumental blitz that powers forward with reptilian efficiency, urbane at some moments and galactically spacey at others. On “Sunshine”, Catherine palpitates brilliantly within the confines of a sweltering mass of trippy notes, while on the scintillating “Kwaeli” the flute and bass enjoy a slow dance of loving embrace, as American jazz stalwart Jimmy Woode lays down a fierce bass furrow that burrows deeply into the psyche, the guitar hovering over the entity with bold confidence, sounding like much very early Santana.


When the e-piano enters the fray, well?.wow! You have to marvel at the deft musicianship. That perceivable Latin flavor is proven by the “Spanish Sun” track, perhaps even the highlight piece here, sounding like some soundtrack to a 70s American movie filmed in San Francisco, breezy, trippy, groovy and all the cool words used back then apply. The riffling rhythm guitar is simply superb, whilst the flute dances above the fray with manic delicacy, propelled by Klaus Weiss’ spontaneous drumming. “Blues for D.S.” just keeps glowing cheerfully, the bass and drums setting down a crawling groove on which the soloists can evoke sensational sequences of sounds that seeks out the most far-flung expanses without becoming cheesy. The rumbling organ does well in inspiring the simmering pot effect. “Sunrise” like the title suggests is vivacious, funky, playful and gently intense. The mood is super-cool and Catherine’s playing style explains why he replaced Jan Akkerman in latter day Focus, loads of “flick o the wrist” riffs abound , rekindling images of the jam tracks off Focus “3” album. The finale is called “Fire Dance” and once again, the onus is on heat and shimmer, with the axe blasting forth with relish (and mustard!) , the groove shining bright and you can imagine the smile on the musicians faces as this simmers to an end. Incredible music.


Some may slimily claim that this is very dated and has no context by today’s standards but we are dealing with an ancient musical artifact that is essentially timeless. Hey, Miles Davis, Mozart, Bach and countless others still thrill to the gills, so why not the Sunbirds? This is a tremendous recording that has a distinctive place in the prog heritage. Thanks, John via Greg Walker (networking works!). In terms of prog academia, if you ever wanted to get into an electric piano orgy, look no further! (by tszirmay)

Listen and you´ll hear timeless music !!! This is a hyptnotic album, believe me !


Philip Catherine (guitar)
Fritz Pauer (piano)
Ferdinand Povel (saxophone, flute)
Juan Romero (percussion)
Klaus Weiss (drums)
Jimmy Woode (bass)


01. Kwaeli (Catherine) 3.44
02. Sunrise (Pauer) 5.35
03. Spanish Sun (Povel/Pauer/Woode/Weiss/Catherine) 12.17
04. Sunshine (Pauer) 6.54
05. Sunbirds (Pauer) 9.41
06. Blues For D.S. (Woode) 8.01
07. Dreams (Weiss/Woode/Pauer/Povel/Catherine) 9.42
07. Fire Dance (Pauer) 6.51




Game – Long Hot Summer (1971)

FrontCover1.JPGA very interesting band from Florida …

Singers/guitarists Eddie Keating and Chuck Kirkpatrick, drummer Scott Kirkpatrick, keyboard player Les Luhring and singer/bassist George Terry had all been members of the Southern Florida based Proctor Amusement Company. The band had become quite popular throughout the region, even recording a couple of singles and an unreleased LP for the New York based Faithful Virtue label before calling it quits. While Proctor Amusement Company had come to an end, by 1969 the five were playing Southern Florida clubs as Game.

After the release of their intersting debut album “Game”, the band relocated 1970 to Southern California. Original drummer Scott Kirkpatrick dropped out before the move, replaced by Dave Robinson. Over the next two years the band recorded a considerable amount of material, but found no takers. Forced to start playing local clubs when their long time financial benefactor threatened to cut off support, Robinson and Terry called it quits, returning to Florida. Terry subsequently hit the big time as a member of Eric Clapton’s band. Enduring a series of personnel changes, the band continued to play through 1978. Chuck Kirkpatrick recorded an instantly obscure solo album for Capitol before returning to Miami where he spent some time recording and touring with Firefall, eventually starting his own business. (by


GAME was an evolutionary band, both in personnel and musical style. Basically, we were the marriage of the better halves of two very well-known local bands; Proctor A. C. and a group called BRIDGE. Bridge was very progressive and did alot of English and blues-based material, while PAC was very much a pop vocal group. PAC had a little more of an advantage in that we were doing a local TV show weekly and were somewhat more ‘visible’. When our drummer got drafted from PAC, we ‘stole’ the drummer from Bridge (my brother). Next was the lead singer, Eddie, and finally the keyboard player, Les Luhring. Bridge dissolved, and PAC for a time remained a pop cover band, doing alot of Association, Beach Boys, Fifth Dimension material and getting a lot of high-paying gigs because of our fashionable appearanace and classy stage show.

The turning point came one night after playing a prom. The audience of high school kids were not only ignoring us, but were drunk and throwing up all over the dance floor. In our hotel room afterwards, we vowed to get out from under the stigma of being just another local cover band and start writing and performing our own material.

We had recorded an album prior to this ‘transformation’ that was all original material, but it was somewhat ‘lightweight’ and did not impress anyone in New York where our manager tried to shop it. That was my Brian WIlson/Pet Sounds moment, where after laboring for nearly a year to producing that album, I was completely devastated by its rejection.


We managed to pick up the pieces and start writing in another direction that would eventually lead to that first GAME album. I consider it a masterpiece in that it was entirely self-produced and recorded on only 8 tracks. My experience as an engineer helped alot. The energy and cohesiveness of the band at this period was at its peak, and our live shows became legendary.

Unfortunately, things began to change and by the time we got to “Long Hot Summer”, we were already beginning to fracture as a band. Everyone in the group decided to become a producer of his own songs, and the direction became clouded. It was still a good album, but one that was much more difficult to make for many reasons. (by bandmember Chuck Kirkpatrick)


And here´s their second and last album … The combine power rock with laid back Westcoast music …. and they have studied “Crosby, Stills, Nash & Young” very good. And “Feeling Good” sounds like an early version of the Power Pop/Rock band “Boston” !

Maybe you can composeand play such songs only, when you raised up in Florida, the sunshine state.

And everybody should know, that George Terry later joined the Eric Clapton Band ,,, and then he became a well-known session player.


Eddie Keating (bass)
Chuck Kirkpatrick (guitar)
Scott Kirkpatrick (drums)
Les Luhring (keyboards)
George Terry (guitar)


01. The Rock And Roll Medley 6.59
01.1. We’re On The Road This Weekend (Keating)
01.2. Rock And Roll Me Baby (Terry)
02. Man In Black (C.Kirkpatrick) 2.03
03. Sunshine 79 (S.Kirkpatrick) 4.47
04. Two Songs For The Senorita (Keating) 6.42
05. I’ll Be Back Someday (Terry) 2.50
06. Laying Back (Luhring) 3.51
07. Animal Friends (Keating) 4.11
08. Feeling Good (Luhring) 3.10
09. Changes (Terry) 3.57
10. Mountain Song (C.Kirkpatrick) 4.14