Miller Anderson – Bright City (1971)

FrontCover1Miller Anderson (born 12 April 1945, Houston, Renfrewshire, Scotland) is a UK-based blues guitarist and singer. In the formative years of the 1960s, before either of them achieved significant success, he worked extensively with Ian Hunter in bands such as The Scenery and At Last The 1958 Rock ‘n’ Roll Show (later called Charlie Woolfe) and is referenced in the title track of Hunter’s 1976 album All American Alien Boy (“well I remember all the good times me and Miller enjoyed, up and down the M1 in some luminous yo-yo toy”). Anderson would later guest on two Hunter solo albums.

Apart from pursuing his own solo career, he was a member of the Keef Hartley Band. Other groups Anderson has been associated with are; the Spencer Davis Group, Broken Glass, The Dukes, Mountain, Savoy Brown, T.Rex and Chicken Shack. In early 2006, he joined The British Blues Quintet with Maggie Bell, Zoot Money, Colin Hodgkinson and Colin Allen.

Miller Anderson01In the Spring of 2016 Miller returned to the studio and in July 2016 released a new album, Through The Mill.. (by wikpedia)

Miller Anderson, the Scots born singer, guitarist, and songwriter, came to fame with the Keef Hartley band, which established him as a well respected frontman. He joined the band in 1968 and stayed with Hartley for some three years, during which time the\d hard, became However it seemed that Miller and Keel didn’t always get on too well and Miller left the band in 1971.

“Bright City” was Andersons first solo album for which he additionally wrote all the material. It was first released on Deram Records in 1971. The songs, including, Alice Mercy from(Whom It Max Concern)”. “The Age of Progress”, “Nothing In This World”, and “Bright City”, remind us what a line singer has been missing from mainstream rock these past few years.

Among those helping him out were Neil Hubbard (guitar), the late Gary Thain (bass), who later joined Uriah Heep, Mick Weaver, (sometimes known as Wynder K. Frogg) and Peter Dines, on keyboards. Session man Lynn Dobson from the Manfred Mann band played flute, while Eric Dillon was on drums. Producer Neil Slaven sat in on percussion. Adding backing vocals were Madeline Bell, Tracey Miller and Liza Strike. Thain, Dines, and Weaver all played on Keel Hartley’s albums, so Miller was using mostly familiar faces to present his own music to the world. But getting a “name” in the music biz is harder than it looks, and back in the early seventies at least, Keel Hartley still had the pulling power that Miller Anderson lacked on his own.

Miller Anderson02For a while Miller had his own band called Hemlock with James Leveron (bass) and Eric Dillon (drums). It was a struggle to establish themselves and they joined forces with Ken Simmonds and Stan Webb (ex-Chicken Shack), to form a new version of the Savoy Brown Blues Band which went on a brief tour of America in the Spring of 1974. In the same year, Anderson rejoined Keef Hartley and the\d a new band called Dog Soldier.

The group released only one album of the same name for United Artists, Anderson then teamed up with Man Nolan, in 1976, in what proved to be the last version of T.Rex, working alongside Dino Dines (keyboards), Herbie Flowers (bass), and Tony Newman (drums). T.Rex hit the road with the punk group The Damned on the “Dandy In the Underworld Tour” in 1977. Bolan was sadly killed in a car accident in 1977, and the- band broke up.

Miller carried on working and earned the respect, if not the fame and fortune, of his contemporaries, Today he continues to write and perform and reminds us of a regarding aspect of the thriving Seventies music scene that now seems like a bye gone age.

Look at the line-up .. a real good debut of a crimnally underrated musician !


Miller Anderson (guitar, vocals)
Harold Beckett (flugelhorn)
Eric Dillon (drums)
Peter Dines (keyboards)
Lyn Dobson (flute)
Gary Thain (bass)
Mick Weaver (keyboards, harpsichord, percussion)
background vocals:
Madeline Bell – Tracy Miller – Liza Strike
Neil Hubbard (guitar on 01. + 06.)


01. Alice Mercy (To Whom It May Concern) 6.44
02. The Age Of Progress 3.26
03. Nothing In This World 4.14
04. Bright City 3.04
05. Grey Broken Morning 4.25
06. High Tide, High Water 7.52
07. Shadows ‘Cross My Wall 6.02

All songs written by Miller Anderson






Amazing Blondel – Fantasia Lindum (1971)

LPFrontCover1Fantasia Lindum was an album released by the band Amazing Blondel in 1971. It featured the style of music which they described as “pseudo-Elizabethan/Classical acoustic music sung with British accents”. The album title is taken from the musical sequence which makes up the first side of the album: a fantasia is a free musical composition with its roots in the art of improvisation; Lindum is the Latin name for the city of Lincoln.

The dog which appears on the album cover was Terry Wincott’s great dane, called Jacob.

The music throughout the album features Amazing Blondel’s unique blend of their own compositions with folk themes and renaissance music. The album’s cover art (credited to Visualeyes) suggests a historical setting around the Civil War period, but the music has more of the vitality of the Elizabethan period. A variety of instruments were used, but the central sound is of the two lutes, played by Gladwin and Baird, with wind instruments played by Wincott.

The “Fantasia Lindum” sequence, which makes up the first side of the album, is the band’s musical tribute to the city of Lincoln, the Lincolnshire countryside and the mediaeval Lincoln Cathedral. It is an ambitious suite of songs and instrumental pieces featuring recurring musical themes.


The second side includes two madrigal-like songs (“To Ye” and “Three Seasons Almaine”) and two instrumental dance tunes. There is a hymn-like song (“Safety In God Alone”), which sounds much more based in the twentieth-century than the remainder of the album, having a harmonic structure more like that developed by bands such as the Eagles. The album concludes with the brash “Siege of Yaddlethorpe”, a “pipe and drum” instrumental piece featuring Wincott’s (presumably multi-tracked) crumhorns and a guest appearance of Jim Capaldi playing (again presumably multi-tracked) military-style snare drums. (by wikipedia)

The concept album rears its head — and rears back about 500 years. While other progressive rock groups were doing album-length suites dealing with apocalyptic themes, Amazing Blondel were doing 20-minute multi-part pieces (“fantasia” is the best classical music term) depicting idealized love between man and woman, man and nature, and man and God. It all plays a little like the Strawbs’ work of this same era without the sardonic edge, and is all achingly beautiful. (by Bruce Eder)

Edward Baird (lute, vocals, glockenspiel, dulcimer, guitar)
John David Gladwin (vocals. lute, bass, theorboe)
Terence Alan Wincott (recorders, vocals, piano, crumhorn, jarpsichord, harmonium, woodwind)
Jim Capaldi (drums on 06.)


01. Fantasia Lindum 20.11
01.01 Prelude And Theme (Gladwin)
01.02. Song: Swifts, Swains, Leafy Lanes (Gladwin)
01.03. Dance: Jig Upon Jig; Theme (Lutes And Recorder) (Gladwin)
01.04. Dance (Galliard): God Must Doubt (Gladwin)
01.05. Song: Lincolnshire Lullaby (Gladwin)
01.06. Basse Dance Theme (Lute Duet) (Gladwin)
01.07. Dance: Quatre Dance Pavan (Gladwin)
01.08. Song: Celestial Light (For Lincoln Cathedral) (Gladwin)
01.09. Dance: Coranto; Theme (Lutes And Recorder) (Gladwin)
01.10. End (Gladwin)
02. To Ye (Gladwin) 3.27
03. Safety In God Alone (Gladwin) 4.23
04. Two Dances  2.01
04.01. Almaine (Edward Baird)
04.02. Bransle For My Ladys’ Delight (Gladwin)
05. Three Seasons Almaine (Gladwin) 3.35
06. Seige of Yaddlethorpe (Wincott) 2.33



Michael Gatley – Gately’s Cafe (1972)


FrontCover1.JPGIt´s hard to find some informations about Michael Gatley.

Michael Gately is unknown purely for reasons unknown. He shares the same melodic stage and songwriting prowess as Harry Nilsson and Curt Boettcher (of Millenium/Sagittarius) yet he’s basically never been mentioned anywhere as far as I’ve ever read. He’s largely replaced the latter artists as my unconscious wafting into head, bits of chorus sung aloud while aimlessly wandering song source. AKA highest melody regards. He recorded two singles, released two unbelievably good solo albums within the same year then disappeared without a trace.

It took a long time to find out more about the mysterious A.M. Gately and his recording career. It turns out that he wrote and recorded mostly under the name Michael Gately, releasing several singles (perhaps the least obscure with Robert John, a rather lovely Beach Boys inflected bit of sunshine pop called If You Don’t Want My Love) and two US albums, Gately’s Cafe (1971) and Still Round (1972), both on the Janus label.


Both LPs feature contributions from Gately’s regular collaborator Al Kooper (for whom he seems to have returned the favour, appearing as a writer, arranger and backing vocalist on Kooper’s own records) but despite his links to better-known musicians, a berth on a major label, and the fact that it’s clear he was a highly distinctive singer-songwriter, with plenty of commercial promise, it seems none of Gately’s various releases left the kinds of mark they deserved to, and Gately himself eventually died of a heart condition in 1982 at the age of 39.

Before is death in 1982 aged 39, Gately was working as the night recepcionist in Record Plant studio in Hollywood.

On this firt album he was accompanied by musician from british group Hookfoot (some of this musician are in the Elton John Band, too).


Initialy the sound is soft, melancholy, whimsical, almist aimless. Then Gatley´s intensity manifests itself, given purpose and direction by a superb Al Kooper production. Hßghlights are his own “Karo” and “Love Of My Life” and “Color All The World” oenned jointly with Robert John who also handeld background vocals. Reaction to this deut LP should bbe  immediate favorable. (Billboard, January 1972)


Ian Duck (guitar)
Herbie Flowers (bass)
Michael Gately (vocals, guitar)
Robert John (background vocals)
Al Kooper (keyboards)
Roger Pope (drums)
Caleb Quaye (guitar)
Jerry Goodman (violin)
Paul Kossoff (guitar)


01. Introduction (My Heart Sings) (Gately) 2.07
02. The Way Your Love Is Going (Gately) 3.18
03. Love Of My Life (Gately(John) 3.22
04. Karo (Gately) 2.00
05. Lonesome Song (‘Bout Someone Who’s Gone He’s Got To Carry On I Wonder Can He Make It?) (Kooper/Major) 3.05
06. The Piano Player’s (Kooper) 4.33
07. Sometimes I Get A Notion (Gotta See The Country) (Gately) 2.10
08. You’re What’s Been Missing From My Life (Gately(John) 3.00
09. Hook Another Horse (To Your Love Carriage) (Gately) 3.52
10. Over Now (Gately(John) 2.51
11. Color All The World (Gately(John) 5.13





Michael Gately
(October 28, 1942 in New Jersey – April 12, 1982 in Los Angeles, California)


Juicy Lucy – Get A Whiff A This (1971)

FrontCover1Blues-rock band “Juicy Lucy” was founded in London in 1970 on the ruins of the American band “The misunderstood”, moved from California town of Riverside in the British capital in 1965.
Back in America, “The misunderstood” released on the label “Blues Sound” heels singles, starting with “You Do not Have To Go”. After the release of the single “I Can Take You To The Sun” band leader, vocalist Rick Brown raked into the army. Guitarist Tony Hill went into “Hightide”. The team was disbanded, but in 1969 the band back together. At that time, the composition was as follows: “oldies” Glenn Ross Campbell (guitar) and Guy Evans (drums), former lead singer of “Grease band” Steve Hord, guitarist Neil Hubbard (ex- “Graham Bond organisation”), bassist Nick Potter and former member of the “Bluesbreakers” John Mayall keyboardist Chris Mercer.
Revived team has released three singles, the latter, “Never Had A Girl (Like You Before)”, was released under the guise of a stupid long “The misunderstood featuring Glenn ‘Fernando’ Campbell”.
Juicy Lucy next year the team changed its name to “Juicy Lucy”. By the time Harry went to the “Van Der Graaf generator”. His place was taken by “vandergrafovets” Keith Ellis. In addition, the group has a new vocalist Ray Owen. The debut album “Juicy Lucy” took the 41 th position in the British charts, and the first single “Who Do You Love?” was also present in the charts. Owens briefly stayed in the team and soon left to organize his solo project “Ray Owen’s moon”, issued the 1971 self-titled album.

Paul Williams

The next singer “Juicy Lucy” was Paul Williams of “Blue whale”. But staff turnover has not ended, as soon piled up at the same time guitarist and drummer. For drums now sat Rod Coombs, and new guitarist Micky Moody became (ex- “Roadrunners” and “Tramline”).
After the release of their second album “Lie Back And Enjoy It” was a regular change in the composition – China Ellis took place former member of the “Fat mattress” Jim Leverton. The group slowly progressed, but still constant rearrangements hampered business. In 1971, the “Juicy Lucy” signed “Bronze Records”.

Micky Moody
Juicy LucyTogda as the team came keyboardist Gene Russell. After the release of their third album, “Get A Whiff Of This”, the band have Leverton, joined the “Hemlock”, and he was replaced by Andy Pyle (ex- “Savoy brown” and “Blodwyn pig”). Coombs also served on the side, in the “Steeler’s wheel”, replaced by Ron Berg. From the “old men” at that time were only Campbell and Mercer. In 1972 came the last album, “Pieces”. After his record Pyle decided to return to “Savoy brown”, taking with him Berg. Unable to endure the constant routine work “Juicy Lucy” ceased to exist. Williams then played in “Tempest”, Moody beat a bunch of different teams, starting with “Snafu” and ending with “Whitesnake”, Pyle “marked” Gary Moore in “Kinks” and “Wishbone Ash”.
In 1997, Moody’s re-assembled “Juicy Lucy” in Addiction with Paul Williams, Andy Pyle and drummer Henry Spinetti. As always, they played together for long, and at the end of the millennium, Ray Owen has once again revived “Lyuska.” This time he helped Glenn Campbell, Chris Mercer and Neil Hubbard. (by 60’s-70’s ROCK)

Glenn Campbell

Juicy Lucy’s third album in 18 months, and the third to draw as much attention for its artwork as its contents, would prove to be the band’s last. Although a fourth Juicy Lucy album would appear in 1972, not a single founding member was left on board. Get a Whiff of This itself was very much the son of its predecessor, still locked firmly into a country groove (the twanging “Mr. A. Jones,” the fast-pickin’ “Jessica”), but looking out toward more unexpected pastures.


The funky “Big Lil.” and the blistering antiwar anthem “Midnight Sun” were both strong inclusions, while a take on the Allmans’ “Midnight Rider” remains one of that particular anthem’s most dynamic revisions. Despite at least half an album’s worth of highlights, however, still there was nothing that really leaped out and grabbed the listener — and nothing that could ever displace the band’s debut from its sacred spot on the turntable, a fate that Glenn Campbell admitted he predicted when he conjured up that most distinctive title. It was his way of saying “the whole thing stinks.” (by Dave Thompson)

Chris Mercer.jpg

Glenn Campbell (steel-guitar)
Rod Coombes (drums)
Jim Leverton (bass)
Chris Mercer (saxophone, keyboards)
Micky Moody (guitar)
Paul Williams (vocals)


01. Mr. Skin (California) 3.46
02 Midnight Sun (Williams) 3.40
03. Midnight Rider (Allman) 3.16
04. Harvest (Darin) 4.19
05. Mr. A. Jones (Williams) 3.08
06. Sunday Morning (James/Williams) 3.52
07. Big Lil (Campbell/Coombes/Leverton/Mercer/Moody/Williams) 4.38
08. Jessica (Moody/Williams) 4.06
09. Future Days (James) 4.07



Cactus – Rochester (1971)

FrontCover1Cactus was initially conceived in late 1969 by former Vanilla Fudge members bassist Tim Bogert and drummer Carmine Appice after plans to team up with guitarist Jeff Beck were scuppered when Beck had an automobile accident and was out of the music scene for over a year. In early 1970, Bogert and Appice brought in blues guitarist Jim McCarty from Mitch Ryder’s Detroit Wheels and The Buddy Miles Express, and singer Rusty Day (born Russell Edward Davidson) from The Amboy Dukes.

This lineup released three albums on Atco Records, Cactus (1970), One Way… or Another (1971), and Restrictions (1971), before intraband troubles led to McCarty quitting at the end of 1971. Day was fired from the group shortly afterwards. The fourth and last original Cactus album, ‘Ot ‘n’ Zweit (1972), featured original rhythm section Bogert and Appice joined by Werner Fritzschings on guitar, Duane Hitchings on keyboards and Peter French (ex-Leaf Hound and Atomic Rooster) on vocals. After Cactus’s dissolution in 1972, Bogert and Appice finally joined with Beck to form Beck, Bogert & Appice. (by wikipedia)

And here´s a nice bootleg, recorded live at Auxiliary Studios, Rochester, NY; October 18, 1971.

Enjoy the Blues-Power of Cactus ! And you can hear a great bass solo by Tim Bogert on “Oleo” !

Fairly to very good WCMS-FM

Carmine Appice (drums)
Tim Bogert (bass)
Rusty Day (vocals, harmonica)
Jim McCarty (guitar)

01. The Sun Is Shining (Abner/Carter/Reed) 5.57
02. Evil (Burnett) 5.48
03. Sweet Sixteen (Appice/Bogert/Day/McCarty) 4.30
04. Oleo (Appice/Bogert/Day/McCarty) 14.15
05. No Need To Worry (Appice/Bogert/Day/McCarty) 19.35
06. On Air Spot + Long Tall Sally (Penniman/Johnson(Blackwell) 9.13
07. Big Mama Boogie – Pt. 1 (Appice/Bogert/Day/McCarty) 9.21
08. Big Mama Boogie – Pt. 2 (Appice/Bogert/Day/McCarty) 5.06



Dusko Goykovich – It’s About Blues Time (1972)

FrontCover1Pianist Tete Montoliu recorded two fine albums under trumpeter Duško Gojković’s leadership in November 1971 in Barcelona, Spain. In quintet formation, with the Spanish pianist regular rhythm backing of German bassist Robert Langereis and drummer Joe Nay, they did It’s About Blues Time (Ensayo, reissued on CD by Fresh Sounds) and a day later in quartet they did Ten To Two Blues (Ensayo, reissued as After Hours on Enja). The rhythm section on both is the same and both albums are recommended. Rare Spanish LP (also on the Musical Heritage Society Inc. release in the USA) from the early 1970s It’s About Blues Time is a very soulful quintet session that features fantastic performances from two of excellent European players—Gojković and tenor player Ferdinand Powell (Ferdinand Povel), along with Langereis and Nay. The marathon blues “It’s About Blues Time” which opens the set hits a formidable high. Gojković’s tone is wonderful, and is a real mix of jazz and non-jazz European influences. He is in spanking form throughout and his superb eastern modal at “Bosnia Calling” is impressive.

Tete Montoliu.jpg

Other tracks include “Old Folks,” “The End Of Love,” “You Know I Care,” and “Nameless Tune.” Gojković and Powell groove hard in the frontline, bringing a hard edge to the session that jazz fans do not always hear on some of Montouliu’s sessions from the time. Nay makes a tremendous noise at the drums, with Powell coming on like he has just heard his first John Coltrane record. The one who suffers ironically is Montoliu; the fierce studio separation shunts him to one side, but he is well down in the mix anyway. This set grooves like a classic Blue Note, or some of the best straight ahead jazz on MPS with lines that have their roots in soul jazz, but also show a real preference for modal grooving and lyrical soloing.  (by lobodan Mihajlović)

Dusko Goykovich.jpg

Dusko Goykovich (trumpet)
Rob Langereis (bass)
Tete Montoliu (piano)

Joe Nay (drums)
Ferdinand Povel (saxophone)


01. It’s About Blues Time (Goykovich) 14.05
02. Old Folks (Hill/Robison) 5.54
03. The End Of Love (Hampton) 5.30
04. Bosna Calling (Goykovich) 6.06
05. You Know I Care (Pearson) 5.26
06. Nameless Tune (Povel) 5.21



Mike Harrison – Same (1971)

FrontCover1.jpgOne of the best blues singers… soul singers… hard rock singers… Mike Harrison, who passed away today, March 25th, at the age of 72, was as impossible to pigeonhole as SPOOKY TOOTH, the band he used to front, were. But when Mike delivered the likes of “Better By You, Better Than Me” nobody cared for categorization – being carried away with the sheer emotionality of Harrison’s voice. Either stood at the microphone or sat at the piano, he seemed to symbolize any group, though, despite the presence of great instrumentalists such as Keith Emerson, a fellow member of THE V.I.P.s in the ’60s, and “Supernatural Fairy Tales” – which he recorded when that ensemble became ART – is a minor psychedelic classic. Still, it’s the TOOTH that the vocalist found fame with.

From 1966 to 1970 and in 1972-1973, Mike shone in the vast variety of SPOOKY styles, on both covers like Dylan’s “The Weight” and originals, mostly written by keyboard player Gary Wright. The collective got resurrected, with some of the musicians absent, in 1998 and 2004, the latest – last ever – reunion resulting in “Nomad Poets” which would serve as their epitaph now that the singer and drummer Mike Kellie died. There were also less celebrated records with Harrison on: “Ceremony”, the band’s collaboration with Pierre Henry, who recently checked out from this mortal coil, too, a document of his stint with HAMBURG BLUES BAND, and Mike’s solo albums. The brilliant likes of “Rainbow Rider” featured stellar line-ups, including Mick Jones and Morgan Fisher, and were covers-heavy – and there could have been much more if the vocalist didn’t disappear from public view for long periods of time, as he did between 1975 and 1997 and from 2006 until now. (by

And here´s his debut Album as a solo act:

MikeHarrison2.jpgFollowing the release of 1970’s aptly titled “The Last Puff”, Spooky Tooth called it quits with singer Mike Harrison striking out in pursuit of a solo career. Signed by Chris Blackwell’s Island Records (which had been Spooky Tooth’s label), Harrison made his solo debut with the release of 1971’s cleverly-titled “Mike Harrison”. Self-produced, the album found Harrison teamed with the band Junkyard Angel (who were from his hometown of Carlisle), showcasing the talents of bassist Peter Batey, guitarist/keyboard player Ian Herbert, drummer Kevin Iverson, and lead guitarist Frank Kenyon.

Anyone expecting to hear a pseudo-Spooky Tooth album was probably going to be disappointed by the collection. Mind you, Harrison’s voice was enough to ensure there were some comparisons to Spooky Tooth (check out the ballad ‘Damian’), but the very fact Harrison kept things low keyed and somewhat un-commercial had a lot to do with making the album such a pleasure to hear. None of the eight tracks was particularly flashy; the majority firmly in the mid-tempo folk-rock, blues-rock realm, but the performances were all energetic – you got the distinctive impression that Harrison and company were having a blast recording music for themselves. (by Bad-Cats)


Peter Batey (bass, percussion)
Mike Harrison (vocals, keyboards, harmonica)
Lan Herbert (guitar, Keyboards vibraphone, vocals)

Kevin Iverson (drums, percussion, vocals)
Frank Kenyon (guitar, vocals)
Arthur Belcher (saxophone on 07.)


01. Mother Nature (Batey) 2.06
02. Call It A Day (Batey/Harrison/Herbert/Iverson) 6.19
03. Damian (Harrison/Herbert) 3.19
04. Pain (Herbert/Iverson/Kenyon) 3.48
05. Wait Until The Morning (Griffin/Harrison) 4.26
06. Lonely People (Batey) 2.30
07. Hard Headed Woman (Stevens) 6.30
08. Here Comes The Queen (Grosvenor) 2.32



Mike Harrison (born 3 September 1945 – March 25, 2018)

Thanks a lot for all the Music you gave to us