Colosseum – Daughter Of Time (1971)

FrontCover1.Daughter of Time is the fourth album by Colosseum, released in 1970. The album remained for five weeks in the UK Albums Chart peaking number 23. Recorded in the midst of an upheaval in the band’s lineup, only one of its eight tracks, “Three Score and Ten, Amen”, features all six of the official band members. (by wikipedia)

A concept album loosely based on man’s fascination and allure for war throughout the ages, Daughter of Time contains all the elements required to create a pure progressive rock album. Joining David Greenslade and Chris Farlowe is Louis Cennamo from Renaissance, who plucks away at the bass guitar with a heavy hand. A multitude of instruments combine to create a brilliant melange of music on every one of the eight songs. Vibrant spurts of trombone, trumpet, and flute are driven to the height of each song, which gives way to some implements of jazz fusion. Rich organ and vibraphone can be heard in behind “Three Score and Ten Amen” and “Take Me Back to Doomsday” adding to the melancholy theme.


Colossum (with Dave Clempson + Tony Reeves)

Countering this are beautiful string arrangements made up of violin, viola, and cello used effectively to conjure up mood, and doing an excellent job. Even a flügelhorn is blared from time to time on top of the accentuated drums. A spoken word passage from Dick Heckstall-Smith creates an eerie aura, as his voice echoes on about the coming of the apocalypse. Colosseum’s music works extremely well in that it builds suspense and reels the listener into the songs. As far as the lyrics go, they’re stark and foreboding and have a mediaeval taste to them, coinciding with the music perfectly. Each song, all around six minutes in length, should have been longer to let the instruments play out with their illustriousness. Except for the fact that it is a short album, Daughter of Time is a sturdy example of progressive rock. (by Mike DeGagne)


In other words: this is a classic and timeless album, a must for every serious record collection …

Listen to the great cover version of Jack Bruce´s “Theme For An Imaginary Western” … totally different from the version of Mountain … but what a version … hear Chris Farlowe, hear the drums of Jon Hiseman … and listen to the lyrics of Pete Brown:

When the wagons leave the city
For the forest, and further on
Painted wagons of the morning
Dusty roads where they have gone
Sometimes traveling through the darkness
Met the summer coming home
Fallen faces by the wayside
Looked as if they might have known
Oh the sun was in their eyes
And the desert that dries
In the country towns
Where the laughter sounds

Oh the dancing and the singing
Oh the music when they played
Oh the fires that they started
Oh the girls with no regret
Sometimes they found it
Sometimes they kept it
Often lost it on the way
Fought each other to possess it
Sometimes died in sight of day


And I got tears in my eyes, when I´m listing to he titel track of this album:

And I saw the…

Daughter to time through the lens of a dream
Reflecting the world as it seems to have been

Riding the night with a net full of stars
Her spirit is truth and her truth is ours

An unbelievable album … a monster album … each track is a classic … including the great drum solo on “The Time Machine”.


Mark Clarke (bass guitar)
Dave “Clem” Clempson (guitar, vocal on 03.)
Chris Farlowe (vocals)
Dave Greenslade (keyboards, vibes, background vocals)
Dick Heckstall-Smith (saxophone, spoken word on 01.)
Jon Hiseman (drums, percussion)
Louis Cennamo (bass on 02.,03., 04. + 06.)
Tony Reeves (bass on 08.)
Barbara Thompson (flute. saxophone; background vocals on 01. – 04.)


01. Three Score And Ten, Amen (Clempson/Greenslade/Hiseman) 5:38
02. Time Lament (Greenslade) 6:13
03. Take Me Back To Doomsday (Clempson/Greenslade/Hiseman/Heckstall-Smith 4:25
04. The Daughter Of Time (Dennen/Greenslade/Heckstall-Smith) 3:33
05. Theme For An Imaginary Western (Bruce/Brown) 4:07
06. Bring Out Your Dead (Clempson/Greenslade) 4:20
07. Downhill And Shadows (Clempson/Hiseman/Reeves) 6:13
08. The Time Machine (live) (Hiseman) 8.11



Procol Harum – New York WPLJ-FM (1971)

FrontCover1The raunchy riff of Memorial Drive opens this recording and the band quickly builds an impressive groove. This is a hard-driving and exemplary rock number. Robin Trower plays gutsy and muscular rhythm guitar and rips off multiple bluesy runs. These aggressive, snarling flourishes sound threatening and add an extra dynamic to Keith Reid’s dark lyric full of references to slavery, greed, and abuse.

Gary Brooker spits out the lyrics with nuance, bluesy strength, and considerable bluster. When you hear him sing, ‘Worked like a Mexican donkey / Used like a hole in the ground’, he delivers that line with such grit and authentic feeling that it immediately conjures the expected revulsion at the perversion that it depicts. In addition, during this spectacular performance, his powerful left hand is slamming out some inspired rock and roll piano that offers spectacular counterpoint to Trower’s guitar and BJ Wilson’s impeccable drumming.

Wilson’s drumming is a definite highlight of this performance. He plays a number of inventive fills and exhibits an innate sense of timing that sets him apart from many of his contemporaries. Another quality on full display here is his unerring finesse as he spars with both Trower and Brooker throughout the course of the song. Wilson is a criminally unheralded drummer of unusual distinction and this stellar opener offers ample evidence of his skill.

Wilson’s drums open the next song Still There’ll Be More with a series of energetic rolls before the band comes sweeping in with an amazing, fully formed ensemble sound. There are no holes in Harum’s aural tapestry; the musical dialogue between the players is seamless and complete. Trower’s thrashing rhythm guitar work is quite outstanding here.


Furthermore, his soaring leads lend an empathic edge to one of the most threatening lyrics in pop music. In a series of images that grow progressively darker as the song goes on, Keith Reid conjures a vision of a cruel, amoral force tearing through life and leaving chaos in its wake. In response to an absolutely stunning sonic assault punctuated by Trower’s brilliant lead guitar, Brooker summons all of his power as he belts out the dire threat of the chorus, ‘I’ll blacken your Christmas / And piss on your door / You’ll cry out for mercy / But still there’ll be more’. When he sings lines like, ‘I’ll waylay your daughter / And kidnap your wife / Savage her sexless / And burn out her eyes’, Brooker’s voice glows with the white heat of unhinged brilliance.

As mentioned earlier, Trower’s lead guitar on this song is muscular, inventive, and brings a distinctive edge to the song. He shows total mastery over a wide assortment of stock blues guitar phrases, but the individual touches that he brings to these phrases are quite thrilling. His playing is often audaciously generous and always sympathetic to the excellent musicians surrounding him. The rhythm section of Wilson and bassist / organist Chris Copping is simply exemplary. This band sounds so complete here in a way that few bands ever do. This is a jaw-dropping performance of one of the nastiest songs ever.


A couple of boisterous wags in the audience yell out requests for Repent Walpurgis and Homburg, but Brooker expertly cuts them off with some dismissive remarks. He introduces the next song as ‘a slow Scottish lament in D minor’ and the band launches into the plaintive dirge of Nothing That I Didn’t Know. This gorgeous, heart-rending song pays tribute to a young girl who died before her time in spare and vivid language. There is no poetic conceit in a line like ‘Twenty six, and now she’s dead / I wish that I could have died instead’ – it is a simple, unadorned expression of loss and Brooker’s sensitive, emotive vocals give additional weight to these words. In the hands of another band, this song could have easily descended to the level of commercial pap, but this is a song of great beauty and class. The interplay between Brooker, Trower, and Chris Copping is the dominant element here and weaves an evocative picture of regret. At the 3:27 mark, the band shifts gears and finishes the song with a coda of unusual beauty.

The distinctive opening riff of Simple Sister rips out at you, covered with vitriol, and Brooker’s enormous, bellowing voice matches Trower’s outstanding guitar. During the instrumental breaks between verses, listen carefully to the piano underneath Trower’s guitar. These two instruments play an amazing counterpoint with each other that gives this song its propulsive power. Trower’s solo here is outstanding and very emotional.


Lyrically, it’s another dark tale of neglect and abuse. Superficially, it has the overtones of child abuse: ‘Simple sister / Got Whooping Cough / Have to burn her toys / Take her treats / Eat her sweets / Scare off all the boys’. By the third verse, the barely concealed malice rises to the surface: ‘Simple sister / Got Whooping Cough / Lock her in a cell / Throw the key / Into the sea / Hope she never gets well’. Whew. Reid’s words have the precision of a fine surgical instrument.

Brooker introduces the next song, Luskus Delph, as a bit of ‘underhanded smut’. His dreamy, languid piano opens this delicate piece. This is a song about sexual desire, but quite unlike any you have ever heard in popular music. I certainly cannot think of another rock song about copulation this breathless and fevered. This is a raunchy song filled with multiple, explicitly sexual images that are unique in the lexicon of pop music. Despite the overwrought quality of the words, Brooker makes them work with a simple vocal melody that sounds delirious and loving.

Gary Brooker

Chris Copping’s distinctive organ work makes its presence felt once again in this song. His elegant lines possess a ghostly beauty. BJ Wilson’s thoughtful, precise drumming is another highlight here and his stylistic innovations manufacture a compelling tension in the music. Seemingly able to adopt his playing to any style, Wilson exhibits the intricacy and taste that was a hallmark of his playing. He punctuates Brooker’s vocals brilliantly and lays down a beautiful groove during the instrumental breaks. His drum fills here are things of beauty. Brooker’s piano playing is melodic and full of subtle touches that lend the song a classical, ornate quality. I think it is safe to say that only Procol Harum would have attempted a song such as this and, like it or not, I think you would be hard pressed to deny how truly unique it is.

Brooker counts the band in and they launch into Shine on Brightly. Trower’s screaming notes contribute a great deal to the song’s hallucinatory qualities and the band, once again, sounds like a fully formed ensemble. There is a complexity and depth to the band’s collective sound capable of conveying the entire range of human experience. On this recording, we have heard songs of regret, anger, desire, hatred, and destruction. The songs depict these fundamental parts of the human experience in a musical setting so vast and panoramic that it approaches the profound. Furthermore, there is a genuine and highly innovative pop sensibility at work in many of these songs. Listen closely to Copping’s stunningly beautiful organ passage that begins at the 2:26 mark and the fantastic dynamics that Trower and Wilson build as the band reaches a crescendo before launching into the third and concluding verse. This is a stately performance of a true classic from the era.


The band launches into the offbeat, jazzy groove introduction to Whaling Stories. Brooker’s piano and Wilson’s artful drumming are the stars in this opening section. The band slows it down and opens the first verse with Brooker’s voice, piano, and some spare, emotional guitar from Trower. This is a song of brooding, tormented brilliance with impenetrable lyrics suffused with apocalyptic imagery. The ominous, unnamable sense of dread that the song conjures gain momentum throughout the first two verses before dissipating on the final line of the second verse.

The extended instrumental section that follows brings us full circle with Brooker’s piano, Wilson’s drumming, and Trower’s guitar building another dramatic movement. Their work carries the band into a highly theatrical third verse that ends magnificently with a piercing scream from Brooker following its final line. Trower steps out for a blistering, torrid solo that Wilson matches with some truly powerhouse drumming. The song ends with a final verse that revisits many of the same dynamics utilized so well throughout the performance and is distinguished further by the flawless execution of the musicians involved.

A pensive, looping piano figure from Brooker opens the next song, Broken Barricades. This poetic exploration of a vibrant world that has tumbled into the abyss undoubtedly had a great deal of resonance in 1971 and remains equally relevant today. It works on many levels lyrically. Lyrics such as ‘It was all once bright jewels / And glittering sand / The oceans have ravaged / And strangled the land’ clearly hint at some sort of environmental disaster, but they also work as eloquent symbolism describing the turbulent conflicts of the late 60s and early 70s. It is a song examining a precipitous fall from grace, but it holds out no hope for redemption. It merely tallies the casualties and wonders how many more will fall.


The elegiac musical sweep that it achieves is sympathetic to these words. Notice how the instrumentation compliments the key words of the first two lines, ‘glittering’ and ‘bright’ with lovely and radiant synthesizer lines. Listen to Wilson’s drums follow the narrative of the song with remarkable finesse and artistry. The hypnotically seductive melody and Brooker’s sensitive performance amplify the power of the words. The song concludes with a remarkable duet between Wilson and Trower.

The Chicago-style blues of Juicy John Pink begins with Trower’s rabid, swaggering riff. Wilson establishes an authoritative groove that Trower and Brooker lock onto with unerring skill. Brooker’s blood-and-guts, throat-thrashing bellow rips through this brilliant blues pastiche filled with typical Keith Reid twists such as the lines, ‘I opened my eyes this morning / Thought I must be dead’. The apocalyptic strain present in so much of the band’s work is here in equal measure as well. When you hear Brooker snarl, ‘Well, the sky began to tremble / And the rain began to fall / Four angels standing around me / And it weren’t no social call’, you can believe that The End has come for Brooker and he’s none too happy about it.

Trower unleashes a blistering solo in this song that exploits every cliché in the blues player’s handbook but does so with such sure-footed intelligence and creativity that you can forgive the well-trodden paths he takes. Trower’s reputation has suffered at the hands of misguided criticism that sees him as little more than another Hendrix imitator, but the blues guitar that he offers here gives evidence of much more. It is proof that Trower is actually an attentive student of his instrument who has taken elements from a variety of artists and assimilated them into a coherent whole that has its own unique identity. His blues playing here is equal to that of any of his contemporaries.

The next song is the venerable classic A Salty Dog, probably my personal nominee for the most enduring musical achievement in the band’s history. In Walt Whitman’s poem Song of Myself, he writes, ‘I am large, I contain multitudes’. This large song contains multitudes and despite its curious, dated language, it nevertheless reaches through time and vividly evokes the bygone age of exploration when a new world sprang forth from the work of desperate, fearless men who lived with the specter of death every waking moment of their lives. Lines such as ‘We sailed for parts unknown to man, where ships come home to die / No lofty peak, nor fortress bold, could match our captain’s eye’ are shot through with imagination and Brooker delivers an impassioned reading of these words.

His vocal is dream-like and mysterious, like some garrulous, ancient ghost condemned to recite this tale of mariner woe. His voice soars and plummets through the lyric with rapt KeithReidattention to every word and proper appreciation of the drama inherent in its narrative. His piano provides much of the song’s haunted, forlorn melody, but the embellishments of Copping on organ are essential to the song. Wilson’s drumming here is extraordinarily sensitive to the cadence of the music. He weaves in and out of the band’s texture and adds blasts of percussion where appropriate. This entire performance is one of incomparable skill and is an impassioned take on a true classic.

The band plays a brief snippet of boogie blues before launching into the full on assault of Whisky Train, one of rockiest numbers in Procol Harum’s catalogue. BJ Wilson’s frantic cowbell gives this song much of its identity, but the fabulous guitar riff from Trower is the whole point. It’s catchy and immediate; it’s played with such fluid skill that it grabs you by the throat. Brooker’s chugging piano and Wilson’s frantic percussion touches give Trower an unimpeachable foundation for some blazing lead work sandwiched between the furious riffing. Brooker’s vocals are lusty and believable; he really puts a lot into this twist on the classic quit-drinking song.

The final song of the recording is a particularly Procol take on the touring life of a rock and roll band. Wilson’s busy, vaguely tribal drumming opens the song. I’m not particularly fond of this song [Power Failure], but it has the unique perspective that Procol brought to even the most clichéd of subjects for a rock band, such as the ‘life on the road’ number.

The tune revolves around a repetitive piano figure from Brooker that is played with driving, rhythmic skill. The musical arrangement features chords structured in such a way that they are well suited to action verbs littered throughout the lyrics. The words describe a landscape where disorder and chaos reigns supreme. Many of the images presented by the lyric bear only tangential relation to the problems of a touring rock and roll band, but the word play is compelling nevertheless and matched well by the song’s heavy rock groove.

Wilson takes an extended drum solo beginning at 2:41 in the curious time signature of 5 / 4, but he puts any doubts you have to rest immediately with his inspired, dramatic runs, his mastery of syncopation, and his innate skills as a timekeeper. Wilson’s performance makes this song a worthwhile experience for me. The band as a whole delivers yet another outstanding performance, but I find myself distant from the song’s repetitive structure and its remorseless catalogue of turmoil.


This is one of the final performances featuring Robin Trower as the guitarist for this band, and when the Brooker-Trower-Copping-Wilson lineup split up, an important era in this band’s history came to a premature end. There were great albums that could have laid ahead. But Procol Harum forged ahead as a much different animal and Trower went on to become an important solo artist. What we have as consolation are wonderful recordings such as this that have been preserved for posterity.

But what a consolation! This epic show displays every side of this prodigiously creative and idiosyncratic band. The level of musicianship on display here is breathtaking at times. Gary Brooker is a truly gifted singer with masterful gifts of interpretation. Robin Trower is an enormously talented guitarist distinguishable for his versatility at playing both rhythm and lead guitar. Chris Copping handles the bass and organ duties with seeming ease and BJ Wilson demonstrates why he is one of the greatest drummers in rock history on nearly every track. I find it wonderful that the band didn’t perform A Whiter Shade of Pale on this recording and instead touched on some of the more obscure selections from their discography. This is an overwhelming performance at times and sounds as fresh to me now as it did the first time I listened to it. (by


Gary Brooker (vocals, piano)
Chris Copping (bass, organ)
Robin Trower (guitar)
B.J. Wilson (drums, percussion)

01. Memorial Drive 3.48
02. Still There’ll Be More 5.21
03. Nothing That I Didn’t Know 3.42
04. Simple Sister 3:44
05. Luskus Delph 3:43
06. Shine On Brightly 5:45
07. Whaling Stories 8:54
08. Broken Barricades 2:59
09. Juicy John Pink 4:09
10. A Salty Dog 4:50
11. Whisky Train 5:30
12. Power Failure 4.23

Music: Gary Brooker
Lyrics: Keith Reid



Mott The Hoople – Live In Stockholm (1971)

FrontCover1Ian Hunter and his brilliant band MOTT THE HOOPLE plays a great concert in Stockholm 1971!

The British magazine Melody Maker once said that MTH would rock on good days like the best band in the world. ‘ That was not exaggerated, the British Power Blues band led by singer Ian Hunter and guitarist Mick Ralphs developed especially for their concerts on the stage an incredibly punchy interplay. After the live tour in 1971, when the present title was recorded, the band was about to dissolve because of the more conservative sales of their studio albums. It was the band’s big fan David Bowie, who wrote them in 1972 with ‘All The Young Dudes’ a veritable hit on the chest, placed them in glitter and on platform shoes, and Mott The Hoople became one of the leading glam rock bands of the Seventies. Without Mick Ralphs, who was replaced by Luther Grosvenor (Spooky Tooth) aka Ariel Bender on guitar.

On their Sweden tour in 1971, Ralphs was still in the process – and how! These recordings were taken from the possession of bassist Overend Watts and mean the uncut last half of the concert in Stockholm – including the encore of the furious ‘Keep A Knockin ‘.’ The first half of the concert is unfortunately missing. The original comments by Ian Hunter and Mick Ralphs were taken over by the full way. The band played mostly songs from their albums ‘Wild Life’ and ‘Mott The Hoople’. )promo text)

And … on this album you can hear a very rare coververson of Mountain´s “Long Red” !!!


Alternate front+backcover

Verden Allen (organ)
Dale Griffin (drums)
Ian Hunter (vocals, piano)
Mick Ralphs (guitar, vocals)
Pete “Overend” Watts (bass)

01. Long Red (Landsberg/Pappalardi/Ventura/West) 4.23
02. The Original Mixed Up Kid (Hunter) 4.37
03. Walkin’ With A Mountain (including Jumpin Jack Flash + I Can´t Get No Satisfaction/ (Jagger/Richards/Hunter) 7.08
04. Laugh At Me (Bono) 5.46
05. Thunderbuck Ram (Ralphs) 5.07
06. Keep A Knockin’ (Penniman) 7.21



This entry is dedicated to
Terence Dale “Buffin” Griffin (24 October 1948 – 17 January 2016)


Aged 58, Griffin was diagnosed with early-onset Alzheimer’s disease. Griffin died in his sleep on 17 January 2016 at the age of 67

Third World War – Same (1971)

FrontCover1Third World War were an English rock & roll band formed in 1970 by manager and producer John Fenton together with songwriters Terry Stamp and Jim Avery. Fenton came up with the band’s name and provided a large part of its musical direction; Phill Brown, the recording engineer on the band’s first album, quotes him as saying, “I want a no-bullshit, working class band—I’ve had enough of all this pseudo peace crap.” Due to this attitude, the band’s raucous sound and its revolutionary lyrics, they have been described as “England’s first punk band.”

In 1970 the band recorded their first album, Third World War, which was released in 1971 on Fly Records. Largely, the themes of the album espoused far-left political sentiment. It featured Stamp on rhythm guitar and vocals, Avery on bass, Mick Liber on lead guitars and Fred Smith (drums). Tony Ashton also added piano on some of the tracks, and Jim Price (trumpet and trombone) and Bobby Keyes (saxophone), American musicians who were playing with the Rolling Stones, provided some horn parts.

At the time the album was released, the band had yet to play live. In the summer of 1971 Avery, Fenton and Stamp reconfigured the group to get “the ‘best’ live grouping,” which was Stamp, Avery, John Hawken on piano, John Knightsbridge on lead guitar, and Paul Olsen on drums. They toured Finland, playing 35 gigs in 30 days, and then went on to perform at a number of festivals across Europe. 1971 also saw the release of the band’s two singles, “Ascension Day”/”Teddy Teeth Goes Sailing” and “A Little Bit Of Urban Rock”/”Working Class Man”, both of which appeared on Fly Records.

By the time Third World War went into the studio in 1972 to record their second album the management at Fly Records were becoming unhappy with the band’s lack of commercial potential. Hoping to guide the group towards more mainstream acceptability, the label demanded the song “Coshing Old Lady Blues” be removed from the album. Fenton refused to release the album without that track, so Third World War II came out instead on The Who’s Track Records label. Personnel on the record was the touring group from the previous summer, except that Craig Collinge replaced Olsen on drums. During the recording of the album, Fenton ran out of money and could no longer pay the musicians, and once the record was finished the band broke up.

Third World War01

To me, Third World War sounds kinda like an even gruffer Lemmy fronting the Groundhogs. They are very fond of the chukka-chukka school of rhythm guitar, if you know what I mean (I think Stamp even credited himself with some kind of descriptive label for his particular style a la Big Black). “Ascension Day” and “Shepherds Bush Cowboy,” from TWW’s debut LP, are as rousing as any 70’s heavy rock–including Sabbath, Zeppelin, and Humble Pie–and are far more “punk” than any of those bands ever dreamed of being. In spirit at least, they are much more deserving than the Pink Fairies of the tag “British MC5. (by Brett Eugene Ralph)

In other words: high energy rock from the early Sventies !

And “M.I.5’s Alive” is one of finest songs recorded in 1971 ! A classic tune !

Third World War02

Jim Avery (bass)
Mick Lieber (guitar)
Fred Smith (drums)
Terry Stamp (vocals, guitar)
Tony Ashton  (piano on 05. + 09.)
Bobby Keyes (saxophone on 04. + 05.)
Pete Martin (guitar on 06.)
Jim Price (trumpet, trombone)
Speedy (percussion on 02. + 04.)
Wingy (harmonica on 02.)


01. Ascension Day (Avery/Stamp/Bramley) 4.53
02 M.I.5’s Alive (Avery/Stamp/Bramley) 8.10
03. Teddy Teeth Goes Sailing (Avery/Stamp/Bramley) 1.53
04. Working Class Man (Avery/Stamp/Bramley) 4.32
05. Shepherds Bush Cowboy (Avery/Stamp/Bramley) 4.40
06. Stardom Road Part I (Avery/Stamp/Bramley) 5.37
07. Stardom Road Part II (Avery) 3.43
08. Get Out Of Bed You Dirty Red (Stamp/Bramley) 1.28
09. Preaching Violence Avery/Stamp/Bramley) 5.04



Mr Albert Show – Warm Motor (1971)

FrontCover1During the weekend of August 30th to 31st, 1969, a number of musicians from various bands active in the region of Eindhoven, The Netherlands, performed in a club in Mannheim, Germany. Some of the band members from “Moses and the Scouts” and “Dirty Underwear” discovered that they had much in common in terms of musical ideas and decided to form a new band – with Broer Bogaart drums and congas, Tom Fautubun bass, Eric Lintermans guitar, Bonki Bongaerts organ, Bertus Borgers saxophone and vocals and Inez and Moses performing as extra solo vocalists.

After some rehearsals, and on the way to the first gig, there wasn’t a name yet for the new band. To tease the shy roadie, Albert, it was decided to call the band “The Mr. Albert Show” and despite Albert’s protests, the name was never changed. After recording the new written repertoire on a cassette, Bertus and Moses hitched a ride to the Red Bullet record company. Willem van Kooten, the big boss, immediately decided to offer the band a four-year record contract, which the band members signed without any hesitation.

In 1971, the second LP, “Warm Motor”, which was also produced by Peter Koelewijn, was released and perfectly reflected the band at that time. However, Red Bullet was unable to lift a single from the LP, as the songs were too long, the band no longer had a female vocalist and the music was too freaky. The band was focussing on the new trends of the time and exploring music from around the whole world, i.e. Jazz, Underground, African, Indian and much more. We wanted to be actively involved in the cultural and social developments that were actually taking place and coming up with appropriate singles wasn’t exactly part of our daily interests.


As a result, the first signs of friction arose between the band and the record company. As a compromise, additional recordings were made in order to be able to release a single, e.g. “Show Me Your Tongue”, but in 1972, we broke all ties with Red Bullet. We continued to play, but still had two years remaining on our contract, rendering the band members unable to sign up with another record company. We decided to go our own separate way and on September 29th, 1973, The Mr. Albert Show gave their last performance at “de Effenaar” in Eindhoven, The Netherlands. (by Bertus Borgers)

AlternateFrontCover2Alternate frontcover (1977)

This album is more on the trippy side than the first one, spheric organ, flute/sax, and great guitarwork . The 6 tracks show the bands outstanding talent for progressive rock music with trippy jazz elements but also straight Hardrock. Music ranges from Golden Earring, King Crimson, Colosseum style over to several Krautrock bands.

“Warm Motor”! Big differences to debut the group is more on the trippy side than the first one, spheric organ, flute/sax, and great guitarwork . The 6 tracks show the bands outstanding talent for progressive rock music with trippy jazz elements but also straight Hardrock. However, the women’s singing is gone, all the rocks are often a little harder now and the pieces have become longer. Still the foundation of the music of the five Dutch is a bluesy-jazzy Protoprog that sometimes slightly harder rocking lives, the interplay of organ and electric guitar. Based enriched the group their sound by jazz and rock influences Brass. Especially Bertus Borgers provides – not just when he sings – with various saxophones and a flute that the music somewhat from the usual organ-heavy and hard rock of the early Protoprog apart. Colosseum, Black Widow, Warm Dust or the compatriots of Focus are perhaps quite a good comparison to the music on “Warm Motor”, then the Danish sax Progger (Burnin Red Ivanhoe, Blast Furnace, the Rainbow Band and Thor’s hammer) but the compositions of the band from Eindhoven are knitted little easier.


At the time of their second album, the band had dropped the psychedelic element of their music to concentrate more on the jazz-rock side, resulting in some first rate progressive rock. ‘Did You Really Find Somebody’ opens the album, and straight away you can hear the difference. Much more relaxed and jazz-orientated, it includes a lovely jazz guitar solo, which you hear far too little these days, and good use of the horn section. ‘Electronic Baby’ beefs up the rock element slightly, with some heavy guitars making an appearance, and also includes a good keyboard solo and a nice flute interlude. ‘Let It All Hang Out’ has a funky groove to it, and a vocal at times reminiscent of Joe Cocker, while ‘Bantal’ is the most out and out jazz track on here, featuring intricate rhythms and time changes. The generally longer tracks on this album (only six in all) work very well, and none of them drag at all, making for a truly progressive album – in that the band have actually progressed on from their debut. Now out on CD with bonus tracks – a couple of fifties style rock’n’rollers (which really do not fit in with the music on the rest of the album) in ‘I Can’t Help It’ and ‘Show Me Your Tongue’, and whether you have heard their first one or not this is definitely worth checking out


Then it apparently came into larger differences with the record company (marketed by Philip label Red Bullet Productions), with which the band then no longer wanted to work together. However, they were still under contract with the label, which, however, did not release the tape. To end the deadlock, the group finally dissolved in the fall of the 1973. The saxophonist and singer Bertus Borgers then worked with Robert Stips of Supersister in the band Sweet d’Buster,together with Robert Jan Stips of Supersister and is very active as a studio musician.

AlternateFrontCoverAlternate frontcover from Canada

In the United States this album was called Dutch Treat and had a different cover On the cover you can see singer Floortje Klomp, who sang for a short time with the band, but she doesn’t appear on this album. Although singer Floortje Klomp had left the band after a few month after replacing singer Inez (sang on 1st album), she had credits as singer. As Bertus Borgers also told me, the musicians´ statements on the US cover’s back front were a result of the group promoter’s fantasy. The band members themselves hadn’t been informed.(by adamus67)

This is one of the finest LP´s from the prog-rock era … and their song “I’m Not More Than A Sign ” is such a killer song …

And Mr. rockasteria wrote in his blog: sensational prog jazz blues rock !

That´s right !


Bertus Borgers (vocals, flute, saxophone, guitar, keyboards, vibraphone)
Bonki Bongaerts (keyboards, harmonica)
Broer Boogaart (drums, percussion)
Tom Fautubun (bass)
Erik Lintermans (guitar)


01. Did You Really Find Somebody (Borgers) 9.54
02. I’m Not More Than A Sign Borgers) 3.52
03. Electronic Baby (Borgers/Bongaerts/Sylvester) 6.45
04. Let It All Hang Out (Borgers) 4.39
05. Bantal (Borgers) 3.49
06. Woman (Borgers) 11.25
07. I Can’t Help It (Borgers) 2.33
08. Show Me Your Tongue (Borgers) 3.32
09. Can’t Find My Way Home (Winwood) 5.00
10. Hooked On You (Borgers) 4.01
11. Picking Up Your Page (Borgers) 3.26LabelB1*


Procol Harum – Live At Stockholm (1971)

FrontCover1Stockholm 1971 Pre-FM Master is an interesting release. A fifty-five minute tape of this broadcast has been circulating for years, but this new source contains twenty more minutes of the show including “Shine On Brightly”, “In The Wee Small Hours Of Sixpence”, “Repent Walpurgis”, “Look To Your Soul” and “Grand Finale”, all of which have been absent. Along with all the songs being present, they are also placed now in the proper sequence.

This is the actual tape produced that night. It is in excellent stereo sound quality with no trace of radio broadcast effects that mar other recordings that come from the radio.

Also, the Folkets Hus is a small venue and the audience are very quiet and respectful throughout the entire performance so the bottom line is this is a pristine and very enjoyable recording.

This show occurs on their Scandinavian tour during October 1971 in support of their fifth LP Broken Barricades. The two dates following Stockholm were in Göteborg on October 17th and Oslo, Norway on October 18th.

Only two songs, “Power Failure” (with drum solo) and “Simple Sister”, are performed from the new album with the rest of the set list coming from their previous three.

Dave BallDave Ball (30 March 1950 – 1 April 2015)

David Ball was the new guitarist who replaced the recently departed Robin Trower and provides capable lines over the swirling organ and lyrical drums. The tape cuts right in with “Shine On Brightly”. “Pedal or skin…we’ll do a folk song” Gary Brooker says before “Magdalene (My Regal Zonophone)”.

He also calls for the wave sound effects saying, “give me some waves” before “A Salty Dog”. But the highlight is “Repent Walpurgis”, captured brilliantly on this recording. Stockholm comes packaged with the thick glossy paper inserts and it is great to see Siréne giving the band such a high-class production. (by

What a great performance !!! One of the best Procol Harum bootlegs ever !!!

Alternate frontcovers

Dave Ball (guitar)
Gary Brooker (piano, vocals)
Alan Cartwright (bass)
Chris Copping (organ)
Barrie James “B.J.” Wilson (drums)


01. Shine On Brightly 5.17
02. In The Wee Small Hours Of Sixpence 3.32
03. Still There’ll Be More 6.01
04. All This And More 4.34
05. Magdalene (My Regal Zonophone) 3.47
06. Quite Rightly So 6.31
07. Power Failure 5.46
08. Pilgrim’s Progress 5.06
09. Simple Sister 3.56
10. A Salty Dog 6.15
11. Repent Walpurgis 8.54
12. In The Autumn Of My Madness 5.44
13. Look To Your Soul 3.20
14. Grand Finale 4.17

Music Gary Brooker
Lyrics: Keith Reid



Fields – Same (1971)

FrontCover1Fields was a progressive rock band formed in 1971 by Andrew McCulloch and Graham Field, and also containing Alan Barry. McCulloch had previously been a member of King Crimson, but left due to musical differences. Field had founded Rare Bird, and Barry was a member of Dowlands with Giles Brothers (1962-1963).

They only recorded one eponymous album in 1971, and one single from the album, “A Friend of Mine”, in 1973. According to Field, CBS management changed and “the new faces did not want to know us”, so the group disbanded. Field had the rights to the name Rare Bird, and returned to working in that area and in television themes. McCulloch went on to become a founder member of Greenslade. Barry went on to become a founder member of King Harry.

FrenchSingleFrench single

A trio formed from diverse musicians from other groups such as KING CRIMSON and RARE BIRD, which managed one sole album. FIELDS is named after Graham Field, founding member of RARE BIRD and was responsible for many of the better tracks of the first two albums. After his departure RARE BIRD will change sound rather drastically veering towards a faster tempo rock with funky grooves. As for FIELDS, this is a keyboard-led trio with bassist Alan Barry singing but also playing guitars (although very discreet) but also adding some Mellotron lines. Rounding up that trio is Andy Mc McCullough who had played on KC’s “Lizard” album and we will find him holding the drums stool for GREENSLADE later that year.
RARE BIRD fans and 70’s prog completist will enjoy FIELDS. (by Hugues Chantraine)
Quickly, Fields was Rare Bird’s main keyboard man Graham Field’s first (last?) post-Bird project. Bringing at least a little of the early Rare Bird vibe along for the ride, albeit with one keyboardist rather than two, bassist/guitarist/composer/vocalist Alan Barry and drummer Andy McCulloch (between stints in Crimson and Greenslade) shore up the incredibly full sound for a very unique and melodic prog album.

Field and McCulloch shine like you’d expect, but it’s Barry who impresses the most here. His pitch-perfect tenor sails over all these great songs and provides a real nice mechanism for exploiting these beautiful melodies. I’d love to know whatever became of Alan Barry after such a powerful performance here. Barry’s previous stints as session man for Gordon Haskell’s It Is and It Isn’t album and as part of one the Giles brothers’ pre-GG&F bands are pretty much all I can find on this guy’s skimpy resume.

Like another well known keyboard-based 3-piece band, Refugee, Fields only managed this one album before imploding. It’s been long out of print but worthy of a search for all keyboard-obsessed melodic, yet heavy prog nuts out there – you know who you are! (by Steven)

´GermanSingleGerman single

Alan Barry (bass, guitar, vocals)
Graham Field (keyboards)
Andrew McCulloch (drums, percussion)


01. A Friend Of Mine (Field) 4.31
02. While The Sun Still Shines (Field) 3.18
03. Not So Good (Friend) 3.12
04. Three Minstrels (Barry/Field) 4.31
05. Slow Susan (Field) 3.46
06. Over And Over Again (Field) 5.55
07. Feeling Free (Field) 3:12
08. Fair-Haired Lady (Batty) 3.00
09. A Place To Lay My Head (Field) 4.25
10. The Eagle (Barry/Field) 5.24