Santana – Santana III (1971)

FrontCover1Santana is the third studio album by Santana. The band’s second self-titled album, it is often referred to as III or Santana III to distinguish it from the band’s 1969 debut album. The album was also known as Man with an Outstretched Hand, after its album cover image. It was the third (and until the group’s 2016 reunion, the last) album by the Woodstock-era lineup, and it was also considered by many to be the band’s peak commercially and musically, as subsequent releases aimed towards more experimental jazz fusion and Latin music. The album featured two singles, “Everybody’s Everything”, which hit #12 in October 1971, and “No One to Depend On”, a staple in FM radio. The album also marked the addition of 17-year-old guitarist Neal Schon (who performed notable solos on both singles) to the group.Santana is the third studio album by Santana. The band’s second self-titled album, it is often referred to as III or Santana III to distinguish it from the band’s 1969 debut album. The album was also known as Man with an Outstretched Hand, after its album cover image. It was the third (and until the group’s 2016 reunion, the last) album by the Woodstock-era lineup, and it was also considered by many to be the band’s peak commercially and musically, as subsequent releases aimed towards more experimental jazz fusion and Latin music.

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The album featured two singles, “Everybody’s Everything”, which hit #12 in October 1971,[1] and “No One to Depend On”, a staple in FM radio. The album also marked the addition of 17-year-old guitarist Neal Schon (who performed notable solos on both singles) to the group.
The original album was recorded at Columbia Studios, San Francisco, and released in both stereo and quadraphonic.
Santana III was also the last Santana album to hit #1 on the charts until Supernatural in 1999. According to Guinness Book of World Records 2005, this is the longest delay between #1 albums ever occurring. The original album was re-released in 1998 with live versions of “Batuka”, “Jungle Strut” and a previously unreleased song, “Gumbo”, recorded at Fillmore West in 1971 which features lead guitar solos by both Santana and Schon. /by wikipedia)

Singles

Singles from all over the world

Santana III is an album that undeservingly stands in the shadows behind the towering legend that is the band’s second album, Abraxas. This was also the album that brought guitarist Neal Schon — who was 17 years old — into the original core lineup of Santana. Percussionist Thomas “Coke” Escovedo was brought in to replace (temporarily) José Chepitó Areas, who had suffered a brain aneurysm, yet who recovered quickly and rejoined the band. The rest were Carlos, organist Gregg Rolie, drummer Michael Schrieve, bassist David Brown, and conguero Michael Carabello. “Batuka” is the powerful first evidence of something being very different. The band was rawer, darker, and more powerful with twin leads and Schon’s harder, edgier rock & roll sound paired with Carlos’ blend of ecstatic high notes and soulful fills.

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It cooks — funky, mean, and tough. “Batuka” immediately transforms itself into “No One to Depend On,” by Escovedo, Carabello, and Rolie. The middle section is highlighted by frantic handclaps, call-and-response lines between Schon and Rolie, and Carlos joining the fray until the entire track explodes into a frenzied finale. And what’s most remarkable is that the set just keeps on cooking, from the subtle slow burn of “Taboo” to the percussive jam workout that is “Toussaint l’Overture,” a live staple in the band’s set list recorded here for the first time (and featuring some cooking Rolie organ work at its beginning). “Everybody’s Everything” is here, as is “Guajira” and “Jungle Strut” — tunes that are still part of Santana’s live show.

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With acoustic guitars, gorgeous hand percussion, and Santana’s fragile lead vocal, “Everything’s Coming Our Way” is the only “feel good” track here, but it’s a fitting way to begin winding the album down with its Schon and Santana guitar breaks. The album ends with a completely transformed reading of Tito Puente’s “Para los Rumberos,” complete with horns and frantic, almost insanely fast hand drumming and cowbell playing. It’s an album that has aged extremely well due to its spare production (by Carlos and the band) and its live sound. This is essential Santana, a record that deserves to be reconsidered in light of its lasting abundance and vision. (by Thom Jurek)

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Personnel:
José “Chepito” Areas (percussion, conga, timbales, drums)
David Brown (bass)
Mike Carabello (percussion, conga, tambourine, vocals)
Gregg Rolie (vocals, keyboards)
Carlos Santana (guitar, vocals)
Neal Schon (guitar)
Michael Shrieve (drums, percussion)
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Greg Errico (tambourine)
Thomas “Coke” Escovedo (percussion, vocals)
Luis Gasca (trumpet on 09.)
Mario Ochoa (piano on 06.)
Rico Reyes (percussion, vocals on 06.)
Linda Tillery (background vocals)
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Tower Of Power (horn section on 08.)

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Tracklist:
01. Batuka (Areas/Brown/Carabello/Rolie/Shrieve) 3.35
02. No One to Depend On (Carabello/Rolie/Escovedo) 5.31
03. Taboo (Areas/Rolie) 5.34
04. Toussaint L’Overture (Areas/Brown/Carabello/Rolie/Shrieve/C.Santana) 5.56
05. Everybody’s Everything (C.Santana/Brown/Moss) 3.31
06. Guajira (Areas/Brown/Reyes) 5.43
07. Jungle Strut (Ammons) 5.20
08. Everything’s Coming Our Way (C.Santana) 3.15
09. Para los Rumberos (Puente) 2.47
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10. Batuka (Areas/Brown/Carabello/Rolie/Shrieve) 3.41
11. Jungle Strut (Ammons) 5.59
12. Gumbo (Santana/Rolie) 5.26

The three bonus tracks were recorded live at the Fillmore West, San Francisco, California, July 4, 1971

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Hot Tuna – First Pull Up, Then Pull Down (1971)

FrontCover1First Pull Up, Then Pull Down is the second album by Hot Tuna, released in 1971 as RCA Victor LSP-4550. The album was recorded live with electric instruments, instead of the acoustic instruments used on the previous album, Hot Tuna. The album rose to #43 on the Billboard charts. In 1996, RCA released the CD box set Hot Tuna in a Can, which included a remastered version of this album, along with remasters of the albums Hot Tuna, Burgers, America’s Choice and Hoppkorv.Helmut Qualtinger (Remigius)First Pull Up, Then Pull Down is the second album by Hot Tuna, released in 1971 as RCA Victor LSP-4550. The album was recorded live with electric instruments, instead of the acoustic instruments used on the previous album, Hot Tuna. The album rose to #43 on the Billboard charts.  (by wikipedia)

While the first Hot Tuna album had comprised an acoustic trio featuring Jorma Kaukonen, Jack Casady, and Will Scarlet, the second album added violinist Papa John Creach and drummer Sammy Piazza, and most significantly, it added electricity. Now the sound was closer to Kaukonen’s features in Jefferson Airplane. The highlight was the eight-minute “Keep Your Lamps Trimmed and Burning,” although “Candy Man” also became a concert favorite. (by William Ruhlmann)

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The name First Pull Up, Then Pull Down reminds me of uh, an aerobics class! I can totally see the instructor giving the students athletic lessons that require several up and down movements. I’m sure the album title means something else entirely though. This is a pretty good live album. Not as good as their self-titled live album where the songwriting was a little sharper, but still very very impressive. An authentic blues/country album. At least it’s more energetic compared to their debut with a greater variety of instruments. Sometimes these songs drag due to jamming a bit longer than necessary, but otherwise a pretty good album.

“John’s Other” is a great instrumental. At first it seems like the kind of instrumental that might drag or seem too obvious. By that I mean for example the violin playing in the beginning. The notes aren’t very impressive and it feels safe. You’ve heard violins like this a lot. However as the song moves forward the violin gradually gets more intense, a guitar solo comes in that’s even better and the harmonica part is probably my favorite aspect of the song. Still, I wish for more violin perhaps because it’s not a very popular instrument in the world of rock compared to guitars and harmonicas so I secretly desire more of it. An impressive song either way.

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“Come Back Baby” is plodding sloppy blues with more splendid guitar playing, but at 9 minutes it’s a bit much to take. It should’ve probably been shortened a few minutes. Not one of my favorite songs. The vocal melody is typical blues and nothing extraordinary. Even the violin and harmonica plays it safe and that’s just wrong! The guitar solo in the middle and again later on is really good however. “Candy Man” opens with a gentle series of country guitar notes before the steady rhythm comes in. The vocal melody is pretty good though nothing brilliant or anything, clearly influenced by the country genre. Enjoyable harmonica too. Of course the violin is the best part. Too bad that part doesn’t jam longer! Oh wow, the bass part at the end is pretty awesome too. The violin comes back in a subtle way which is unique.

“Keep Your Lamps Trimmed and Burning” is a familiar song. I probably heard it a bunch of times several years ago somewhere. I love the guitar intro that always reminded me of somewhere down south in the deep woods. The steady foot-tapping pace of the rhythm is really good as well. The vocals are kind of tucked in the back behind the guitar work and drumming so it’s hard to make out the lyrics, but otherwise a terrific song. The violin solo makes a wonderful appearance a few minutes in, and it’s my favorite part (especially when the pace picks up). Then again how cool is the violin/guitar jam occurring at the same time? VERY cool indeed! The song remains jamming the entire way through.

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“Want You to Know” opens with a nice guitar part. Really solid vocal melody too. This song blends country with blues in a really magnificent, stunning and authentic kind of way. One of the most underrated songs on the album. The violin even tears a hole wide open and explodes in all kinds of beauty when it makes an appearance. “Been So Long” is vocally sentimental but perhaps not quite as hard-hitting on an emotional level as the band is going for. Then again silly me! I’m still expecting Jefferson Airplane-level quality songwriting with psychedelic leanings. “Never Happen No More” is lazy day blues. Not bad but nothing that blows me away either. The song moves along at a pretty good pace at least. It does improve in a big way once the vocals come in however.

Overall First Pull Up, Then Pull Down is a mighty good Hot Tuna album. It’s not their best effort but even a weaker Hot Tuna album is enjoyable to some extent anyway right? (by Bryanam)

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Hot Tuna in 1972. Casady and Kaukonen are in front; Creach and Piazza are in back.

Personnel:
Jack Casady (bass)
Papa John Creach (violin)
Jorma Kaukonen – vocals, guitar)
Sammy Piazza (drums)
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Will Scarlett (harmonica)

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Tracklist:
01. John’s Other (Creach)  8.22
02. Candy Man (Davis) 5.53
03. Been So Long (Kaukonen) 3.45
04. Want You To Know (Carter) 4.36
05. Keep Your Lamps Trimmed And Burning (Davis) 8.19
06. Never Happen No More (Blake) 3.54
07. Come Back Baby (Traditional) 9.39

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Jethro Tull – Aqualung (1971)

LPFrontCover1Aqualung is the fourth studio album by the rock band Jethro Tull. Released in 1971, Aqualung, despite the band’s disagreement, is regarded as a concept album featuring a central theme of “the distinction between religion and God”. The album’s “dour musings on faith and religion” have marked it as “one of the most cerebral albums ever to reach millions of rock listeners”. Aqualung’s success signalled a turning point in the band’s career, who went on to become a major radio and touring act.Aqualung is the fourth studio album by the rock band Jethro Tull. Released in 1971, Aqualung, despite the band’s disagreement, is regarded as a concept album featuring a central theme of “the distinction between religion and God”. The album’s “dour musings on faith and religion” have marked it as “one of the most cerebral albums ever to reach millions of rock listeners”. Aqualung’s success signalled a turning point in the band’s career, who went on to become a major radio and touring act.
Recorded at Island Records’ studio in London, it was their first album with John Evan as a full-time member, their first with new bassist Jeffrey Hammond, and last album featuring Clive Bunker on drums. Something of a departure from the band’s previous work, the album features more acoustic material than previous releases; and—inspired by photographs of homeless people on the Thames Embankment taken by singer Ian Anderson’s wife Jennie—contains a number of recurring themes, addressing religion along with Anderson’s own personal experiences.

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Aqualung has sold more than seven million units worldwide according to Anderson, and is thus Jethro Tull’s best selling album. The album was generally well-received critically, and has been included on several music magazine “best of” lists. The album spawned two singles, “Hymn 43” and “Locomotive Breath”.

After an American tour in 1970, bass player Glenn Cornick was fired from the band,[4] and was replaced with Jeffrey Hammond, an old friend of Ian Anderson’s. Aqualung would be the first recording Hammond would do with the band. It would also mark the first time John Evan had recorded a full album with the band, as his only prior involvement was to provide several keyboard parts on the previous 1970 album, Benefit.

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The album was one of the first to be recorded at the newly opened studios of Island Records in Basing Street, London. Led Zeppelin were recording their untitled fourth album at the same time. In an interview on the 25th anniversary edition of the album, Tull’s bandleader Ian Anderson said that trying to record in that studio was very difficult, because of its “horrible, cold, echoey” feel. There were two recording studios at the location; Led Zeppelin worked in the smaller studio while Tull got the larger, which was the main body of a converted church. The orchestrals were arranged by David Palmer, who had worked with the band since 1968’s This Was, and would later join as a keyboard player. Aqualung would be the last Jethro Tull album to include Clive Bunker as a band member, as he retired shortly after recording to start a family.

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The songs on the album encompass a variety of musical genres, with elements of folk, blues, psychedelia, and hard rock.[8] The “riff-heavy” nature of tracks such as “Locomotive Breath”, “Hymn 43” and “Wind Up” is regarded as a factor in the band’s increased success after the release of the album, with Jethro Tull becoming “a major arena act” and a “fixture on FM radio” according to AllMusic.[2][9] In a stylistic departure from Jethro Tull’s earlier albums, many of Aqualung’s songs are acoustic. “Cheap Day Return”, “Wond’ring Aloud” and “Slipstream” are short, completely acoustic “bridges”, and “Mother Goose” is also mostly acoustic. Anderson claims his main inspirations for writing the album were Roy Harper and Bert Jansch.
Aqualung has widely been regarded as a concept album, featuring a central theme of “the distinction between religion and God”. The album’s “dour musings on faith and religion” have marked it as “one of the most cerebral albums ever to reach millions of rock listeners”. Academic discussions of the nature of concept albums have frequently listed Aqualung amongst their number.

In The Beginning
The initial idea for the album was sparked by some photographs that Anderson’s wife Jennie took of homeless people on the Thames Embankment. The appearance of one man in particular caught the interest of the couple, who together wrote the title song “Aqualung”. The first side of the LP, titled Aqualung, contains several character sketches, including the eponymous character of the title track, and the schoolgirl prostitute Cross-Eyed Mary, as well as two autobiographical tracks, including “Cheap Day Return”, written by Anderson after a visit to his critically ill father.

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The second side, titled My God, contains three tracks—”My God,” “Hymn 43” and “Wind-Up”—that address religion in an introspective, and sometimes irreverent, manner. However, despite the names given to the album’s two sides and their related subject matter, Anderson has consistently maintained that Aqualung is not a “concept album”. A 2005 interview included on Aqualung Live gives Anderson’s thoughts on the matter:

I always said at the time that this is not a concept album; this is just an album of varied songs of varied instrumentation and intensity in which three or four are the kind of keynote pieces for the album but it doesn’t make it a concept album. In my mind when it came to writing the next album, Thick as a Brick, was done very much in the sense of: ‘Whuh, if they thought Aqualung was a concept album, Oh! Okay, we’ll show you a concept album.’ And it was done as a kind of spoof, a send-up, of the concept album genre. … But Aqualung itself, in my mind was never a concept album. Just a bunch of songs.

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Drummer Clive Bunker believes that the record’s perception as a concept album is a case of “Chinese whispers”, explaining “you play the record to a couple of Americans, tell them that there’s a lyrical theme loosely linking a few songs, and then notice the figure of the Aqualung character on the cover, and suddenly the word is out that Jethro Tull have done a concept album”.
The thematic elements Jethro Tull explored on the album—those of the effects of urbanisation on nature, and of the effects of social constructs such as religion on society—would be developed further on most of the band’s subsequent releases. Ian Anderson’s frustration over the album’s labelling as a concept album directly led to the creation of Thick as a Brick (1972), intended to be a deliberately “over the top” concept album in response.

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“Lick Your Fingers Clean” was recorded for Aqualung, but was not included on the album. The song was drastically re-worked as “Two Fingers” for Tull’s 1974 album, War Child. “Lick Your Fingers Clean” was eventually released in 1988 on the 20 Years of Jethro Tull collection. It was then released as a bonus track on the 1996 and 2011 reissues of Aqualung.

Another song, “Wond’ring Again” was recorded in early sessions in 1970 and considered for release on the album before Anderson decided to drop it from the final track listing. It was subsequently released on the compilation album, Living in the Past, in 1972. However, elements of the song—essentially its coda—were included on Aqualung as “Wond’ring Aloud”. Glenn Cornick played bass on the song and says it is his favourite song he recorded with the band.[6] Cornick also played bass on early studio recordings of “My God” and “a couple of other songs”, though he did not say which they were.

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The album’s original cover art by Burton Silverman features a watercolour portrait of a long-haired, bearded man in shabby clothes. The idea for the cover came from a photograph Anderson’s wife took of a homeless man on Thames Embankment, and Anderson later felt it would have been better to have used the photograph rather than commission the painting. Ian Anderson recalls posing for a photograph for the painting, though Silverman claims it was a self-portrait. The artwork was commissioned and purchased by Chrysalis Records head Terry Ellis. Artist Silverman claims the art was only licensed for use as an album cover, and not for merchandising; and approached the band seeking remuneration for its further use. Silverman and Anderson have different accounts of level of enmity involved in this. The original artwork for both the front and back covers are now privately owned by an unknown family, apparently having been stolen from a London hotel room.
In April 1971, Aqualung peaked at number four on the UK Album Chart; when the CD version was released in 1996, it reached number 52. It peaked at No. 7 on the Billboard Music Charts’ North American pop albums chart; the single “Hymn 43” hit No. 91 on the Billboard Hot 100 chart. The album would go on to sell over seven million copies, and is the band’s best-selling album. Aqualung was one of only two Jethro Tull albums released in quadraphonic sound, the other being War Child (1974). The quadraphonic version of “Wind Up”, which is in a slightly higher key, is included on the later CD reissue of the album as “Wind Up (quad version)”.

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The single “Hymn 43” was released on 14 August 1971, and reached number 91 on the Billboard Hot 100 charts, spending two weeks in the chart. The song was the first single released by the band in the United States. It was later included in the video game Rock Band 2 as downloadable content; which also featured the album’s title track.
The album was re-released in a 40th anniversary edition on 31 October 2011. The release contains a new stereo and 5.1 surround remix of the album by British musician and producer Steven Wilson, and comes in two different editions—a “collector’s edition” containing the album on LP and two CDs, as well as DVD and Blu-ray discs and a hardback book; and a “special edition” containing the two CDs and an abridged version of the book.

Justifying the remix, Steven Wilson said: “Jethro Tull’s Aqualung is … a masterpiece, but was sonically a very poor-sounding record. So, some didn’t rate it as highly as they should have. What we did with Aqualung was really make that record gleam in a way it never gleamed before. I think a lot of people, including myself, have come around to thinking that the album is a lot better than they even gave it credit for previously. So, there is certainly something very gratifying about being able to polish what was already a diamond and making it shine in a way it never has before”. Additionally, according to mastering engineer Steve Hoffman there were tape stretching problems with the original session mixdown master, implying that many editions of the album used multigeneration copies as their source.

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Aqualung received mixed to favourable reviews from contemporary music critics. Rolling Stone magazine’s Ben Gerson lauded its “fine musicianship”, calling it “serious and intelligent”, although he felt that the album’s seriousness “undermined” its quality. Sounds said that its “taste and variety” made it the band’s “finest” work. Aqualung was voted the 22nd best album of 1971 in The Village Voice’s annual Pazz & Jop critics’ poll.[34] Robert Christgau, the poll’s creator, was more critical of the album in a 1981 review, and described Anderson’s undeveloped cultural interests and negative views on religion and human behaviour as both boring and pretentious.
In retrospective reviews the album is generally lauded and viewed as a classic. AllMusic’s Bruce Eder called Aqualung “a bold statement” and “extremely profound”. In a review of the album’s 40th anniversary re-release, Sean Murphy of PopMatters said that Aqualung “is, to be certain, a cornerstone of the then-nascent prog-rock canon, but it did—and does—exist wholly on its own terms as a great rock album, period”. Murphy also praised the additional material featured on the release, finding that the new content was “where a great album gets even better”.

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Steve Harris, the bass player for the heavy metal band Iron Maiden, has called Aqualung “a classic album”, lauding its “fantastic playing, fantastic songs, attitude [and] vibe”. Iron Maiden would go on to cover “Cross-Eyed Mary” as the B-side of their 1983 single “The Trooper”.
Aqualung has also been appraised highly in retrospective listings, compiled by music writers and magazines (see Accolades). Even Martin Barre’s solo on the album’s title track was included in Guitarist magazine’s list of “The 20 Greatest Guitar Solos of All Time” at number 20. (by wikipedia)

Without any doubt … Aqualung ist one of the most important albums of the early 70´s.

And … in my first band, called “Dying Sun” we played a wild version of “Locomotive Breath”, but, to be honest — the original version was much better *smile*

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Personnel:
Ian Anderson (vocals, guitar, flute)
Martin Barre (guitar, recorder)
Clive Bunker (drums, percussion)
John Evan (keyboards)
Jeffrey Hammond-Hammond (bass, recorder, background vocals on 04.)
Clive Bunker (drums, percussion)

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Tracklist:
01. Aqualung (I.Anderson/J.Anderson) 6.37
02. Cross-Eyed Mary (I.Anderson) 4.10
03. Cheap Day Return (I.Anderson) 1.23
04. Mother Goose (I.Anderson) 3.53
05. Wond’ring Aloud (I.Anderson) 1.56
06. Up To Me (I.Anderson) 3.15
07. My God (I.Anderson) 7.13
08. Hymn 43 (I.Anderson) 3.19
09. Slipstream (I.Anderson) 1.13
10. Locomotive Breath (I.Anderson) 4.27
11. Wind-Up” (I.Anderson) 6.08
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12. Lick Your Fingers Clean (I.Anderson) 2.46
13. Wind Up (Quad Version) (I.Anderson) 5.24
14. Excerpts from the Ian Anderson Interview (Mojo Magazine) 13.59
15. Song For Jeffrey (BBC) (I.Anderson) 2.51
16. Fat Man (BBC) (I.Anderson) 2.57
17. Bouree (BBC) (Bach) 3.58

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Harvey Mandel – Baby Batter (1971)

OriginalFrontCover1Along with Christo Redentor, his best album full of great instrumental guit man prowess. He really is an unheralded great guitar player, up there with the best. Harvey’s records may give us a good jumping off point, but his best work is probably captured in a live setting, where you can hear his amazing searing sound. A true instrumental guitarist, maybe he hasn’t found a voice like Bob Hite’s, from his days with Canned Heat , and the great work on albums like Future Blues . (by Oswego)

” Baby Batter ” is a very unheralded platter by a great lead guitarist. Harvey Mandel can pick it with most of the great guitar slingers of that era. This vinyl is full of real smooth cool jazz rock. The B side is the better side but the whole recording is top notch blues guitar. (by rod45)

Legendary unsung guitar hero, owner of a extremely personal technique, an instantly recognisable sound and highly influential on ANY guitar player in 70’s/80’s. Even if all his albums are patchy I’ve choose this one, for some reason my favourite Harvey Mandel LP. All three tracks in side B are simply unbeliable, full of crawling snakey Leslie-guitar solos. (by metaxa)

In other words: another milestone in the history of the great Harvey Mandel !

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Personnel:
Colin Bailey (drums)
Big Black (percussion)
Paul Lagos (drums)
Harvey Mandel (guitar)
Mike Melvoin (keyboards)
Larry Taylor (bass)
Howard Wales (keyboards)
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Sandra Crouch (tambourine on 01. + 02.)
Joe Picaro (percussion on 06.)
Emil Richards (percussion on 03. + 07.)

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Tracklist:
01. Baby Batter 3.45
02. Midnight Sun 6.15
03. One Way Street 4.20
04. Morton Grove MaMa 4.53
05. Freedom Ball 6.15
06. El Stinger 7.15
07. Hank The Ripper 5.11

All songs written by Harvey Mandel

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James Gang – Rides Again (1971)

FrontCover1James Gang Rides Again (alternatively known as simply Rides Again) is the second studio album by American rock band James Gang. The album was released in mid 1970, on the label ABC Records. It is the James Gang’s first album to feature bassist Dale Peters.

Writing for AllMusic, critic Stephen Thomas Erlewine wrote of the album “With their second album Rides Again, the James Gang came into their own… Walsh’s songwriting had improved, giving the band solid support for their stylistic experiments. What ties the two sides of the record together is the strength of the band’s musicianship, which burns brightly and powerfully on the hardest rockers, as well as on the sensitive ballads.”

JamesGang01On the initial pressings of James Gang Rides Again, a 1:25 electric rendition of Maurice Ravel’s “Boléro” is interpolated into the song “The Bomber.” Ravel’s estate threatened suit against both the James Gang and ABC Records for its unauthorized use. As a result, the track was edited, and the “Boléro” section was removed on most subsequent pressings of the album. The edited song’s running time on such pressings is 5:39. Some late 70’s LP pressings included “Boléro” by mistake, and the most recent CD re-issue of Rides Again contains the full version of “The Bomber,” with the “Boléro” section restored. (by wikipedia)

With their second album Rides Again, the James Gang came into their own. Under the direction of guitarist Joe Walsh, the group — now featuring bassist Dale Peters — began incorporating keyboards into their hard rock, which helped open up their musical horizons. For much of the first side of Rides Again, the group tear through a bunch of boogie numbers, most notably the heavy groove of “Funk #49.” On the second side, the James Gang departs from their trademark sound, adding keyboard flourishes and JamesGang02elements of country-rock to their hard rock. Walsh’s songwriting had improved, giving the band solid support for their stylistic experiments. What ties the two sides of the record together is the strength of the band’s musicianship, which burns brightly and powerfully on the hardest rockers, as well as on the sensitive ballads. (by Stephen Thomas Erlewine)

Led by future Eagle Joe Walsh, the James Gang establishes a power-trio template for all times on it’s 1970 sophomore album. Home to the top-down favorite ‘Funk #49,’ Rides Again sparks with a stylistic versatility, hard-rocking edge, and balladic vulnerability united by tight-knit musicianship. The quartet’s penchant for crunch-laden boogies and focused jamming pours out on the first half of the record before the band pulls it’s trick bag out on the second half and injects keyboards into the stylistically varied mix. From start to finish, Rides Again is a 70s rock classic – and, now, one that at last features first-rate sonics to match the music.

JamesGang03The FM radio staple ‘Funk #49’ – kick-started by the irresistible declaration ‘I sleep all day, out all night/I know where you’re goin’ – continues to be identified by many as a Walsh solo tune. Yet it, as well as the sexual thrust of the head-bobbing ‘Woman’ and proto-metal slash of the multi-part ‘The Bomber,’ fully represents the pure chemistry and locomotive momentum of the James Gang. With Walsh’s Echoplex-equipped slide guitar making psychedelic- and blues-leaning comments, his mates pick up on the direction and answer with melodic responses. Throughout the record, the trio’s synergy clicks at every turn. Such interplay extends to the more diverse, country-tinged fare on Side B. Streaked with throaty organ passages and reflective moods, sincere midtempo ballads like ‘Tend My Garden’ tease with rave-up structures and express a softer side of the group. Similarly, the acoustic-based ‘Garden Gate’ and Jack Nitzsche-orchestrated ‘Ashes the Rain and I’ showcase sincerity and diversity suggesting the James Gang prepared to defy limitations afforded most of it’s peers. Yet Walsh’s departure in 1971 changed the group’s fortunes – and, by extension, upped the value of Rides Again, which survives as a near-flawless example of earnest 70s rock and organic playing. Experience this stellar album …

Listen to “Tend My Garden” and you´ll hear a guitar … years later a group called “Boston” made this sound very popular …

And … “The Bomber” is one of the most exciting hard rock songs ever recorded ! The song is a monster James Gang combines heavy metal guitar riffs with Ravels “Bolero” … Listen and enejoy !

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Personnel:
Jim Fox (drums, vocals, percussion, keyboards)
Dale Peters (bass, vocals, guitar, keyboards, percussion)
Joe Walsh (guitar, vocals, keyboards, percussion)
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Rusty Young (pedal steel guitar on 07.)

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Tracklist:
01. Funk #49 (Fox/Peters/Walsh) 3.56
02. Asshtonpark (Fox/Peters/Walsh) 2.02
03. Woman (Fox/Peters/Walsh) 4.38
04. The Bomber: Closet Queen/Boléro/ Cast Your Fate To The Wind (Fox/Peters/Wals/Ravel/Guaraldi) 7.05
05. Tend My Garden (Walsh) 5.40
06. Garden Gate (Walsh) 1.42
07. There I Go Again (Walsh) 2.50
08. Thanks (Walsh) 2.20
09. Ashes The Rain And I (Peters/Walsh) 4.59

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“The Bomber (Closet Queen / Bolero / Cast Your Fate To The Wind)”:

When I became of age, my mama sat me down
She said, “Son, you’re growing up, it’s time you looked around.”
So I began to notice some things I’ve never seen before
That’s what brought me here knockin’ at your back door
Oh, yeah

A closet queen, a bus stop fiend
It wants to shake my hand.
I don’t want to be there, she decides she can
It’s Apple Dan, he’s just the man to pick fruit off your branches
I can’t sleep and we can’t keep this cattle off our ranches
Oh, oh… yeah

[Instrumental Bridge – Bolero – Cast Your Fate To The Wind]

It’s too strong, something’s wrong, I guess I lost the feeling
I don’t mind the games you play, but I don’t like you dealing
The cards looked bad, the luck’s been had and there’s nothing left to smoke
We’ll all be back tomorrow for the punchline of the joke

Oh, Oh… Oh, Oh…

 

Stan Getz Quartet – Paris + The Netherlands (1971)

FrontCover1Stan Getz (born Stanley Gayetski; February 2, 1927 – June 6, 1991) was an American jazz saxophonist. Playing primarily the tenor saxophone, Getz was known as “The Sound” because of his warm, lyrical tone, his prime influence being the wispy, mellow timbre of his idol, Lester Young. Coming to prominence in the late 1940s with Woody Herman’s big band, Getz is described by critic Scott Yanow as “one of the all-time great tenor saxophonists”. Getz performed in bebop and cool jazz groups. Influenced by João Gilberto and Antônio Carlos Jobim, he popularized bossa nova in America with the hit single “The Girl from Ipanema” (1964). (by wikipedia)

Between 1969 and 1972, Stan Getz, for the second time, moved from the United States to Europe where he lived with his family in Marbella (Spain) performing essentially in Europe with a quartet composed of three European musicians: Eddy Louiss (organ); René Thomas (guitar) and Bernard Lubat (drums). During this period the quartet never entered a recording studio and only three concerts have surfaced. The first one at Ronnie Scott’s Club in London (March 15, 16 and 17, 1971) issued as Dynasty, one in Paris on March 28, 1971; and another in The Netherlands (August 7, 1971).

Thanks to cosmikd for sharing the Paris show at Dime.

Recorded live at theStudio 104, Maison de la Radio, Paris, France; March 28, 1971. International Jazz Festival, Loosdrecht, The Netherlands; August 7, 1971.
Very good FM broadcasts.

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Personnel:
Stan Getz (saxophone)
Bernard Lubat (drums)
Eddy Louiss (organ)
René Thomas (guitar)

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Tracklist:

Paris 1971:
01. Annie From Abyssinia (Lubat) 10.58
02. Our Kind Of Sabi (Louiss) 17.21
03. Mona (Mangelsdorff) 4.48
04. Theme For Emmanuel (Thomas) 15.40
05. I Remember Clifford (Golson )4.34
06. Dum Dum (Louiss) 11.25
07. Invitation (Kaper) 7.04
08. Chega de Saudade (Jobim) 15.33
09. Ballad For Leo (Thomas) 13.42
10. ‘Round Midnight (Monk) 5.27

The Netherlands 1971:
11. Dum Dum (Louiss) 7.21
12. Announcement 2.18
13. Theme For Emmanuel (Thomas) 11.47
14. Announcement 0.29
15. ‘Round Midnight (Monk) 4.54
16. Announcement 1.08
17. Invitation (Kaper) 5.41
18. Announcement 0.21
19. Ballad For Leo (Thomas) 14.13
20. Announcement 1.39
21. Dynasty (Louiss) 6.00

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Roy Harper – Stormcock (1971)

FrontCover1Stormcock is the fifth album by English folk / rock singer-songwriter and guitarist Roy Harper. It was first released in 1971 by Harvest Records and is widely considered his best record.

Harper was inspired by a trip to, and time spent in, Big Sur, California. “Me And My Woman” is a love song backed by David Bedford’s orchestral arrangements (Bedford would also collaborate on some of Harper’s later releases). “Hors D’Oeuvres” was inspired by the fate of Caryl Chessman who spent nearly 12 years on death row – at the time the longest ever in the United States – before being executed in a gas chamber in May 1960. “One Man Rock’n’Roll Band” is a critique on the pointlessness of violence.

“Same Old Rock” is an attack on government, the history of war, and organized religion featuring both guitar work and a final intense solo by Jimmy Page.

The album’s four extended songs showcase Harper’s talents, both as a songwriter and guitarist. But, significantly, Stormcock “…epitomized a hybrid genre that had no exclusive purveyors save Harper — epic progressive acoustic.”.

At the time, the album was not particularly well promoted by Harper’s record label. Harper later stated:

RoyHarper01They hated Stormcock. No singles. No way of promoting it on the radio. They said there wasn’t any money to market it. Stormcock dribbled out.

Nonetheless, Stormcock would remain a favourite album of Harper’s fans. In October 2013 NME placed Stormcock at 377 in their list of “The 500 Greatest Albums Of All Time”

Although the album features Jimmy Page on guitar, upon its release, Page was credited as “S. Flavius Mercurius” for contractual reasons.

In 2006, 35 years after its initial release, fellow Mancunian Johnny Marr of English alternative rock band The Smiths said:

If ever there was a secret weapon of a record it would be Stormcock. I don’t know why it’s such a secret. If anyone thinks it might be a collection of lovely songs by some twee old folkie then they’d be mistaken. It’s intense and beautiful and clever: [Bowie’s] Hunky Dory’s big, badder brother.

The album’s title, Stormcock, is an old English name for the Mistle thrush (Turdus viscivorus). The male of this species “is most vocal in the early morning” and has a “tendency to sing after, and sometimes during, wet and windy weather” which “led to the name “Stormcock””. It is also, perhaps, a metaphor for Harper himself. Harper has an appreciation of birdlife and has made reference to many birds within songs on his albums. (by wikipedia)

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Roy Harper achieved some acclaim with releases like his debut, Sophisticated Beggar, and Flat Baroque and Berserk, but 1971’s Stormcock was his first effort that was a fully realized success. Even though all four long songs on the record were arguably superior in subsequent live versions, this is one of only a handful of Harper’s albums that has no weak cuts. “Hors d’Oeuvres” had been previewed two years earlier in a faster incarnation, but this version is pleasingly lethargic in a way much like Pink Floyd’s “Fearless.” “The Same Old Rock” is an extended musical poem about the narrow-mindedness of organized religion and features several movements, including one of Jimmy Page’s best solos, even though the notes list Page as S. Flavius Mercurius. After the strangely melodic “One Man Rock and Roll Band,” the album ends with the grand “Me and My Woman.” This version, while slower than the definitive live take from Flashes From the Archives of Oblivion, features lush orchestration by David Bedford. All four lyrics could stand on their own, showing Harper’s vision to be much more profound than the typical stoned poet.

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His musicianship on acoustic guitar is revelatory, at once thoughtful and hard-edged. Stormcock, in fact, epitomized a hybrid genre that had no exclusive purveyors save Harper — epic progressive acoustic. In this style, Harper amalgamated the best elements of associates Pink Floyd, Led Zeppelin, and folk artists like Bert Jansch into a winning stew of thought-provoking acoustic music. Harper dabbled in this style with mostly good results for the rest of his career, but never again would one of his albums exclusively have these type of songs on it. Stormcock represents a truly original vision comprised of oft-heard parts rarely assembled and therefore is on par with other heavyweights from the class of 1971 such as Led Zeppelin IV or Meddle. (by Brian Downing)

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Personnel:
Roy Harper (guitar, vocals, piano)
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David Bedford (organ)
S. Flavius Mercurius (Jimmy Page) (guitar on 02.)

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Tracklist:
01. Hors d’œuvres 8.37
02. The Same Old Rock 12.24
03. One Man Rock And Roll Band 7.23
04. Me And My Woman 13.01

All somgs  written by Roy Harper.

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