Pentangle – BBC In Concert (1971)

FrontCover1.jpgPentangle (or The Pentangle) are a British folk-jazz band with an eclectic mix of folk, jazz, blues and folk rock influences. The original band were active in the late 1960s and early 1970s, and a later version have been active since the early 1980s. The original line-up, which was unchanged throughout the band’s first incarnation (1967–1973), was: Jacqui McShee, vocals; John Renbourn, vocals and guitar; Bert Jansch, vocals and guitar; Danny Thompson, double bass; and Terry Cox, drums.

The name Pentangle was chosen to represent the five members of the band, and is also the device on Sir Gawain’s shield in the Middle English poem Sir Gawain and the Green Knight which held a fascination for Renbourn.

Pentangle 01In 2007, the original members of the band were reunited to receive a Lifetime Achievement award at the BBC Radio 2 Folk Awards and to record a short concert that was broadcast on BBC radio. In June 2008, the band, comprising all five original members, embarked on a twelve-date UK tour. (by wikipedia)

And here´s another item from my bootleg collection .. .and pretty good BBC concert … full of romantic tunes form the past !

Without any doubts, Pentangle was one of the finest britisch bands from the British Folk Scene in the early Seventies ..

Listen to the BBC concdert and you´ll know what I mean.

Pentangle 04.jpg

Terry Cox (drums, percussion, vocals)
Bert Jansch (vocals, guitar)
Jacqui McShee (vocals)
John Renbourn (vocals, guitar)
Danny Thompson (bass)

Pentangle 03.jpg

01. Train Song (Traditional) 4.04
02. Hunting Song (Traditional) 7.37
03. Light Flight (Thompson/Jansch/Renbourn/Cox/McShee) 3.25
04. Blues In Time (Thompson/Jansch/Renbourn/Cox) 4.25
05. House Carpenter (Traditional) 6.02
06. I`ve Got A Feeling (Thompson/Jansch/Renbourn/Cox/McShee) 4.16

Pentangle 05


Brian Auger´s Oblivion Express – Same (1971)

FrontCover1.jpgAfter the last throes of Trinity, Brian decided to form a new band from scratch and allow for more instrumental space in his music. And what a departure this was from the Trinity days. Here the music took a more severe turn away from his previous sound while remaining accessible, but being much more energetic as well and combined jazz and rock even further. With Dean and McIntosh as a solid rhythm section, Brian had to look for a guitarist that wouldn’t be tempted to overdo his own antics on the keyboards and eventually he chose Jim Mullen. With the artwork depicting our favourite Ogre unleashing his Oblivion Express out of his chest and straight into your face and ears, it’s easy to see that Brian is the boss with the majority of the compositions to his name. It wouldn’t be the case every time as the following Better Land (but much poorer album) is mostly penned by Mullen.

Opening on the fantastic McLaughlin’s Dragon Song, Brian’s crew is out for your throat and eardrums tight from the starting blocks, with Brian unleashing all hell from his Hammond, while Mullen backs him up quite complementarily. On the 11-mins+ Total Eclipse, however, I find that they over-stretched a bit too much the track duration: the rhythm section finds the groove almost instantly and go on to maintain for the full duration, allowing lengthy solos from Mullen and Auger. At the start of the track, Auger changes from piano to organ to electric piano, but later seem unfortunately to get his finger stuck on his Hammond. The hard-driving jazz-rock The Light gives us a chance to hear Brian’s voice, which is apt, but he’s strongly helped out by Dean and Mullen in the chorus. The track strolls on 100 MPH on the Hammond Express before fading out electronically a bit too early only to come back and add further electronics death throes.


On the flipside, Brian shows his vocal limits (and lyrical ideas all the same) with the up-tempoed On The Road, Mullen’s guitar sizzling in its middle section with our Ogre’s organ covering him from all sides. Another up-tempoed Sword has some Purple accents, especially coming from Lord’s many chord changes rather than Blackmore’s metallic riffs, Mullen’s play remaining less chunky (thankfully) than Ritchie’s. This leaves us with the anthemic eponymous track, where Brian shows that, vocals excepted, he feared nothing from crunchier guitar-lead groups. Again very much in the line of what Jon Lord would do, Brian changes chords constantly, allowing Mullen boulevards to expand and exploding his organ into saturation and leaving you the fan to lift the needle back onto that slice of wax.

Certainly one of the better hard Hammond-driven rock albums coming out of the early 70’s from England, BA’s OE is a 100 MPH album that gives no rest, bar in the longer groove of Total Eclipse. Indeed Brian’s train is one jazzier than Jon Lord’s Purple tram, but than again the tram would show more regularity in the long run and gather much more success. Definitely very close to a five star, but not quite partly because of their main weakness, the vocals. (by Seane Trane)


Brian Auger (keyboards, vocals)
Barry Dean (bass, background vocals)
Robbie McIntosh (drums)
Jim Mullen (guitar, background vocals)


01. Dragon Song (McLaughlin) 4.30
02. Total Eclipse (Ball) 11.38
03. The Light (Auger) 4.24
04. On The Road (Auger/Mullen) 5.25
05. The Sword (Auger) 6.36
06. Oblivion Express (Auger) 7.45



REO Speedwagon – Same (1971)

LPFrontCover1REO Speedwagon (originally styled as R.E.O. Speedwagon) is an American Rock band from Champaign, Illinois. Formed in 1967, the band cultivated a following during the 1970s and achieved significant commercial success throughout the 1980s. Hi Infidelity (1980) contained four US Top 40 hits and is the group’s best-selling album, with over ten million copies sold.

Over the course of its career, the band has sold more than 40 million records and has charted thirteen Top 40 hits, including the number ones “Keep On Loving You” and “Can’t Fight This Feeling”. REO Speedwagon’s mainstream popularity waned in the late 1980s, but the band remains a popular live act. (by wikipedia)

After all those power ballads it’s easy to forget that REO Speedwagon started out as a by-the-numbers boogie band with 1971’s REO, kicking odes to the “Anti-Establishment Man” and a “Gypsy Woman’s Passion.” This is a band that’s quite different from the arena-conquering rockers of a decade later, but they were no different than their time, embodying almost every cliché of the era from the spacy hippie meditation of “Five Men Were Killed Today” to the numbing nine-minute venture into the heavy jams of the closing “Dead Ayear of rect Last,” where a flute is hauled out, presumably to compete with Jethro Tull.

REOSpeedwagon - 1971

As captivating as they are, these are but detours from the main road of straight-ahead blues boogie, a road that hits its highlight early on with the rollicking shuffle “157 Riverside Avenue,” a piano-driven rocker that in no way points toward REO Speedwagon’s later strengths; if anything it sounds like a leaner Chicago fronted by a Rod Stewart wannabe in Terry Luttrell. There are a few other noteworthy moments scattered throughout — an able aping of the Jeff Beck Group on “Lay Me Down,” for instance — but this pretty much is generic ’70s hard boogie that needed a little more flair in some area, any area, to be memorable. (by Stephen Thomas Erlewine)

And “Lay Me Down” was one of the first classic Songs by REO Speedwagon !

REOSpeedwagon - 1972.jpg

Neal Doughty (keyboards)
Alan Gratzer (drums)
Gregg Philbin (bass)
Terry Luttrell (vocals)
Gary Richrath (guitar)
Freedom Soul Singers (background vocals on 08.)

01. Gypsy Woman’s Passion 5:17
02. 157 Riverside Avenue 3:57
03. Anti-Establishment Man 5:21
04. Lay Me Down 3:51
05. Sophisticated Lady 4:00
06.  Five Men Were Killed Today
07. Prison Women 2:36
08. Dead At Last 10.09

All songs written by:
Neal Doughty – Alan Gratzer – Gregg Philbin – Terry Luttrell – Gary Richrath



Paladin – Same (1971)

FrontCover1Paladin were a British progressive rock band which released two albums on the Bronze Records label.

They were founded 1970 by classically trained multi-instrumentalist Peter Solley and jazz drummer Keith Webb, two members of Terry Reid’s band which was part of the opening act for the Rolling Stones on their 1969 American tour.

The other members of the band were Derek Foley (guitar and vocals) who previously played in Grisby Dyke; Lou Stonebridge (keyboards and vocals) from Glass Menagerie, which had released five progressive rock and psychedelic rock singles; and Peter Beckett (bass guitar, vocals) who came from Liverpool-based Winston G and The Wicked, and later in the final incarnation of World of Oz.

They played in venues across the UK as they worked to develop their sound, performing a mix of rock, blues, soul, jazz, and latin music. Paladin’s use of dual keyboards also created a unique sound. These performances were noticed by Bronze Records (who also recorded Uriah Heep and Manfred Mann). On January 8, 1971, Paladin entered Olympic Studios in London to record their debut eponymous first album, produced by Philamore Lincoln. The reviews were good, but the sales were disappointing.


Despite the poor performance of Paladin, the band was allowed to record a second album, Charge! produced by Geoff Emerick and released in 1972. The album is notable for the cover art by Roger Dean which unfortunately did not help sales. In 1972, Stonebridge and Foley left in frustration and the band recruited guitar/vocalist Joe Jammer to replace them. Then the group finally disbanded near the end of 1973.

Peter Solley would later play in a variety of bands and acted as a producer. He played with Eric Clapton, Whitesnake and Procol Harum, playing keyboards opposite Gary Brooker, and did production work for Peter Frampton and Wreckless Eric. Keith Webb played in several different bands and ended up in Spain. Lou Stonebridge went to McGuinness Flint and later to David Byron (ex-Uriah Heep). Peter Beckett moved to the United States, founding Player and scoring a No. 1 hit called “Baby Come Back”, co-written with J.C. Crowley, and later touring with the Little River Band. Derek Foley went on to play with Graham Bond.

The band recorded several jazz tracks which were finally released as Jazzatack in 2002. (by wikipedia)


In the late 60s and early 70s when most bands were looking to the English musical world for inspiration, there were the occasional few examples of the opposite being true. Although emerging from the village of Arlingham in the Gloucestershire region of SW England, PALADIN were getting much of their inspiration from the other side of the Atlantic all the while garnering attention through a series of tours up and down the English countryside and finally winning over Island Records with live performances alone. The band released their eponymous debut in 1971 with critical acclaim for their eclectic incorporations of many of the sounds that had caught the Americas by storm around the same period including Afro-Cuban rhythms, jazzy rock fusion, psychedelia, ethnic embellishments and most of all solid strong catchy hooks that had all the addicting popular music attributes even upon first listen. The band consisted of only five members but many doubled up on their instrumental duties which gives this debut release quite the variation in sounds that lead you to believe that you are listening to a compilation album instead of one that is performed by the same band for its seven tracks.

Right from the beginning track ‘Bad Times’ it’s obvious that PALADIN was very much influenced by Santana with some tight percussion that sounds like it could’ve been lifted off of ‘Black Magic Woman,’ however that’s only true with the percussive drive as the slightly jazzy rock groove reminds me more of Steely Dan and other crossover jazz rock artists of the decade. Wasting no time deviating from a single style the second track makes you think that somehow a Lynyrd Skynyrd track was somehow mistakenly inserted between tracks, however despite sounding like Alabama’s greatest contribution to Southern Rock, this retro sound actually came out two years before Skynyrd’s debut album. Following the trend of no two tracks sounding even remotely alike, ‘Dance Of The Cobra’ emerges as a strange hybrid of 60s psychedelia with the Afro-Cuban Santana influenced percussion section that is augmented by bantering organ runs and a jazz-rock laden groove that could’ve rocked the Copacabana only with a touch of 60s stonerism oozing out of the mystic musical cracks.


Most surprisingly is how it morphs into a heavier rock section and then commences with an over-the-top drum solo that builds to a staggering feat of stamina that sounds like something that would be perfect in a live performance setting but feels sort of strange on a studio album track. Once it ends it is replaced by a super groovy bass line that cedes to some outstanding guitar work that usher the longest track of the album to completion.

‘Third World’ is yet another complete left turn. While the Cuban percussion section is still in effect, it is the only musical section to be heard as the vocalist actually sort of raps around it going through each year of the 70s with clever little lyrical tales of how the future will unfold as the backing vocalists engage in an energetic call-and-response session. The lyrical style kind of reminds me of Debbie Harry on ‘Rapture.’ It concludes as the vocals stop and a piano run steals the show and fades out. ‘Fill Up Your Heart’ is an uplifting little positive number that sounds like a jazz laced rocker that probably sounds most like Steely Dan. ‘Flying High’ changes things up completely again. This one sounds like a late 70s AOR ballad! It reminds me of some of the sappiest of the sappy like something 10CC did at their poppiest or even something Hall & Oates would have cranked out during their pop charts run. And just when i have absolutely no idea where this album will go next, it takes yet another totally opposite approach and ends with the Lalo Schifrin cover track ‘The Fakir’ which of all things some sort of Middle Eastern groovy trance inducing number with seducing Arabesque musical scales that make me feel like i’ve woken up on the Silk Road!


This really has to be one of THE most unfocused albums of the early 70s. I’ve never heard so many genres and styles of music mixed and alternated together at least until Mr Bungle came along in the 90s! While i find this album very pleasing to listen to, it is a mixed bag for several reasons. All of the tracks are really well done for their retrospective styles but for some reason all this eclecticism feels a little hollow since the band is merely copying different styles and not really simmering them down into something tangibly their very own. The album comes across as a smorgasbord sampling of what the era had to offer with a few original twists and turns that do take me by surprise. After all is said and done, i actually like listening to this despite it not being the most original sound ammalgation of the era. The musicians are all quite talented and the compositions are quite catchy and are excellent representations of the styles they incorporate however as much as i enjoy listening to PALADIN’s debut there is no denying that it simply regurgitates the swath of sonic samplings that were en vogue during the era and something just seems off and missing from the mix. (by siLLy puPPy)

Peter Beckett.jpg

Peter Beckett (bass, vocals)
Derek Foley (guitar, vocals)
Peter Solley (keyboards, violin, vocals)
Lou Stonebridge (piano, vocals)
Keith Webb (drums, percussion)


01. Bad Times (Solley) 6.50
02. Carry Me Home (Stonebridge/Beckett) 3.23
03. Dance Of The Cobra (Webb) 7.41
04. Third World  (Solley) 3.50
05. Fill Up Your Heart (Solley) 5.41
06. Flying High (Solley) 5.01
07. The Fakir (Schifrin) 4.37


Clydie King – Direct Me (1971)

FrontCover1.jpgClydie King (born August 21, 1943, Texas) is an American singer, best known for her session work as a backing vocalist.

Discovered by songwriter Richard Berry, King began her recording career in 1956 with Little Clydie and the Teens; before she was a member of Ray Charles’ Raelettes for three years and contributed to early 1960s recordings by producer Phil Spector. She recorded solo singles for Specialty Records, Kent Records and others.

King provided backing vocals for Humble Pie, which had great success in the United States, and she went on to become an in-demand session singer, worked with Venetta Fields and Sherlie Matthews and recorded with B.B. King, The Rolling Stones, Steely Dan, Barbra Streisand, Bob Dylan, Linda Ronstadt, Joe Cocker, Dickey Betts, Joe Walsh, and many others.

She was a member of The Blackberries with Fields and Matthews and sang on Joe Cocker’s Mad Dogs and Englishmen tour, which became a feature film.

In 1971 she was featured on the Beaver and Krause album Gandarva. She sang the lead vocal on the gospel-inflected “Walkin’ By the River.” Ray Brown played bass on the cut.

Along with Merry Clayton, she sang the background vocals on Lynyrd Skynyrd’s seminal hit “Sweet Home Alabama”. (by wikipedia)


Over the years King had worked with both Vennetta Fields and Sherlie Matthews. They’d done sessions work together in various combinations and Matthews co-wrote a song King had recorded (‘My Love Grows Deeper’). In 1968 Matthews approached Fields and King with a proposal that they join forces. The original intent was they serve as an independent entity, singing, writing, arranging, and producing their own material. They approach Motown which agreed to sign them and as The Blackberries (a nod to their cultural heritge and new boss Berry Gordy), began working, appearing on scores of Motown and outside projects.

And that gets you to 1971 and King’s first album. I’d love to know the marketing and politics behind 1971’s “Direct Me” – How did King get hooked up with hard rock producer Gabriel Mekler? How did she get signed to Mekler’s short-lived Lizard label? Why wasn’t this album credited as a Blackerries release? I could speculate on the reasons (I’m sure i t had nothign to do with her slinky good looks), but I’m sure someone out there knows and perhaps they’ll take the time to share their knowledge …

Unfortunately, nothing on the album line notes answers those earlier questions – “Clydie King. Does the name sound familiar? It should. When she was eight years old, Art Linkletter called her “the next Marian Anderson.” But that’s not really where it’s at. Clydie has sung with almost every major artist in the pop field – from Dean Martin to B.B King to Crosby, Stills & Nash to the Beatles. And her voice has been heard in the background of well over 500 albums. And that’s not where it’s at either. If her face looks familiar, that shouldn’t come as any surprise; she has appeared on every major television variety show including Ed Sullivan, Kraft Music Hall, The Smothers Brothers Comedy Hour, Red Skelton, and several appearances on Hollywood Palace with Sammy Davis. But that’s only part of the story. Clydie also spent three years with Ray Charles as one of the Raelets (sic) getting it all together and then finally stepping out for duets with the master. But where it’s really at is right here – ten songs – some written especially for her – that give Clydie King an opportunity to stand alone, a major new talent doing her own thing for the first time.”


As mentioned, released on the small Lizard label, 1971’s “Direct Me” teamed King with producer Gabriel Mekler and an impressive roster of studio talent, including long-time friend Billy Preston (King and Preston had known each other since they were children). Musically the set was quite diverse and thoroughly enjoyable, serving to showcase King’s amazing and flexible voice. Listening to these ten tracks it was easy to see why King was such an in-demand back-up singer. Blues (‘I Can’t Go On Without Love’), hardcore soul (‘Direct Me’), funk (‘You Need Love Like I Do’), pop ballads (‘B Minor’), and even rock (”Bout Love’), King was capable of handling it all. With some wonderful arrangements from William Allen (who also provided percussion throughout the album), King made this sound effortless. Interestingly, judging by the two Mekler originals (‘B Minor’ and ‘First Time, last Time’), the producer apparently envisioned casting King as a pop star. And that hints at the album’s main shortcoming. The ten tracks are so diverse you never get a feel for who King was. Mind you, she handled it all with grace and style, but the album’s very diversity made it hard to get a handle on King and probably didn’t help sales. And that encapsulates the albunm’s biggest problems – for soul fans King was probably too rock oriented for comfort, while for rock fans she was too soulful. How do you get out of such a corner ?

Written by bassist Bob West, ”Bout Love’ was a wonderful, up-tempo track that managed to find a sweet spot between rock and soul. If you’ve ever wondered what Diana Ross would have sounded like if she’d really cut lose on a rock song, this is a good place to start. The track was also tapped as the second single.

Co-written by Delaney Bramlett and Carl Radle, ‘There’s A Long Road Ahead’ sounded like a strong Delaney and Bonnie track – blue-eyed soul performed by one of the most soulful singers I’ve ever heard. Great tune with a funky, muscle shoals-styled feel. The rest of The Blackeberries simply kill on this one.


– For a guy known for his work with the like of Steppenwolf, I have to admit being surprised at how pretty the Gabriel Mekler-penned ‘B Minor’ was. Easily the album’s prettiest song and would have sounded great on the radio … Not sure if King’s vocal was multi-tracked, or if that was Venetta Fields and Shirley Matthews (the other two members of The Blackberries) sharing lead vocals.

‘You Need Love Like I Do’ found King and the Blackberries literally slashing their way through one of the best early ’70s slices of hard core soul I’ve ever heard. Seriously, try sitting still through this one … even by eight year old dances when I play this one.

While it wasn’t bad and served to underscore King’s higher vocal registers, her heavily orchestrated cover of The Beatles’ ‘The Long and Winding Road’ just didn’t match up to the rest of side one.

So how could you go wrong with an Otis Redding and Steve Cropper composition ? Well, you can, but King doesn’t, trotting out her rawest, throatiest voice to turn in a killer take on ‘Direct Me’. The woman literally sounded like she gargled with a cup of nails. Great tune.

Written by Shirley Matthews and previous recorded by The Mirettes (it was also released as a single), ‘Ain’t My Stuff Good Enough for You?’ was another track that sounded like a full fledged Blackberries effort (love their backing vocals on this one).

The second Mekler original, ‘First Time, Last Time’ was another sweet pop ballad. To my ears if almost had an early-’60s girl group feel that was old fashioned, quaint, and lovely.

King’s blazing cover of Booker T.’s ‘Never Like This Before’ placed her right back in Stax soul territory. With Fields and Matthews chirping along in the background, this was simply wonderful with a gigantic amount of commercial potential, which is probably why it was tapped as the lead-off single.

Much to my surprise, the bluesy closer ‘I Can’t Go On Without Love’ was also one of my personal favorites. Kicked along by Billy Preston’s keyboards and David T. Walker’s lead guitar, King turned in a dazzling. (by


William Allen (percussion)
Sandra Crouch (percussion)
Sonny Fortune (reeds)
Paul Humphrey (drums)
Clydie King (vocals)
Billy Preston (keyboards)
David T. Walker (guitar)
Bob West (bass)
The Blackberries (background vocals)


01. Direct Me (Cropper/Redding) 2.26
02. Ain’t My Stuff Good Enough? (Matthews) 2.41
03. First Time, Last Time (Mekler) 2.14
04. Never Like This Before (Jones/Hayes/Porter) 2.49
05. I Can’t Go On Without Love (Williams) 3.22
06. ‘Bout Love (West) 2.58
07. Long Road Ahead (Bramlett/Radle) 3.00
08. B Minor (Mekler/Francen) 2.29
09. You Need Love Like I Do, Don’t You (Whitfield/Strong) 3.14
10. The Long And Winding Road (Lennon/McCartney) 3.23



Carole King – Tapestry (1971)

LPFrontCover1Tapestry is the second studio album by American singer-songwriter Carole King, released in 1971 on Ode Records and produced by Lou Adler. It is one of the best-selling albums of all time, with over 25 million copies sold worldwide. In the United States, it has been certified Diamond by the RIAA with more than 10 million copies sold.[3] It received four Grammy Awards in 1972, including Album of the Year. The lead single from the album — “It’s Too Late”/”I Feel the Earth Move” — spent five weeks at number one on both the Billboard Hot 100 and Easy Listening charts. In 2003, Tapestry was ranked number 36 on Rolling Stone list of the 500 greatest albums of all time

King wrote or co-wrote all of the songs on the album, several of which had already been hits for other artists such as Aretha Franklin’s “(You Make Me Feel Like) A Natural Woman” and The Shirelles’ “Will You Love Me Tomorrow” (in 1960). Three songs were co-written with King’s ex-husband Gerry Goffin. James Taylor, who encouraged King to sing her own songs and who also played on Tapestry, would later have a number one hit with “You’ve Got a Friend”. Two songs were co-written with Toni Stern: “It’s Too Late” and “Where You Lead”.

The album was recorded at Studio B, A&M Recording Studios during January 1971 with the support of Joni Mitchell and James Taylor, plus various experienced session musicians. Several of the musicians worked simultaneously on Taylor’s Mud Slide Slim album.


The cover photograph was taken by A&M staff photographer Jim McCrary at King’s Laurel Canyon home. It shows her sitting in a window frame, holding a tapestry she hand-stitched herself, with her cat Telemachus at her feet.

Along with being selected Album of the Year, it also received Grammys for Best Female Pop Vocal Performance, Record of the Year (“It’s Too Late”), and Song of the Year (“You’ve Got a Friend”), making King the first solo female artist to win the Grammy Award for Record of the Year, and the first woman to win the Grammy Award for Song of the Year.

The album remained on the Billboard charts for 313 weeks (second only to Pink Floyd’s 724 weeks with The Dark Side of the Moon).
Grammy Awards
Year Winner Category
1972 Tapestry Album of the Year
1972 “It’s Too Late” Record of the Year
1972 “You’ve Got a Friend” Song of the Year
1972 Tapestry Best Pop Vocal Performance, Female


Tapestry was number one on the Billboard 200 for 15 consecutive weeks, and held the record for most weeks at number one by a female solo artist for over 20 years until surpassed by Whitney Houston’s The Bodyguard: Original Soundtrack Album in 1993, which spent 20 weeks at number one. It still holds the record for most consecutive weeks at number one by a female solo artist. The album was listed on the Billboard 200 for 318 weeks between 1971 and 2011 (302 weeks consecutively from April 10,1971 to January 15, 1977), the longest by a female solo artist until Adele’s 21 surpassed it in 2017. In terms of time on the charts, it ranks fifth overall, and in terms of length on the charts for solo musical acts it ranks second. Of all the albums by female artists to be certified Diamond, it was the first released, although it was not the first being certified. In Canada, the album was number one for 9 weeks beginning July 3, 1971

Several songs on Tapestry were recorded by other artists and became hits while the album was still on the charts: James Taylor’s 1971 cover of “You’ve Got a Friend” hit number one in the US and number four in the UK, and Barbra Streisand’s 1971 studio recording of “Where You Lead” reached number 40 while a live recording of a medley in which Streisand paired the song with the Sweet Inspirations hit “Sweet Inspiration” reached number 37 the following year.

Tapestry Recording Sessions

Various artists combined to re-record all the original tracks for more than one tribute album. The first, released in 1995 and entitled Tapestry Revisited: A Tribute to Carole King, was certified gold. The second, in 2003, was entitled A New Tapestry — Carole King Tribute. In 2010 Australian recording artist Marcia Hines recorded a tribute album, Marcia Sings Tapestry.

“Her songs are like stories or sonic movies,” observed Tori Amos. “You want to walk into them. With ‘I Feel the Earth Move’ or ‘It’s Too Late’, you’re right there.”

In 2003, Tapestry was named number 36 on Rolling Stone’s 500 Greatest Albums of All Time, was listed by VH1 as number 39 on their list of 100 Greatest Albums, and was one of 50 recordings chosen to be added to the National Recording Registry. Recordings added to the National Recording Registry are picked to be preserved in the Library of Congress as they are “culturally, historically, or aesthetically important.”

In March 2016 it was announced that Carole King would perform the album live in its entirety for the first time at the British Summer Time Festival in Hyde Park, London on 3 July 2016.. The performance was released the next year as Tapestry: Live at Hyde Park. (by wikipedia)


Carole King’s second album, Tapestry, has fulfilled the promise of her first and confirmed the fact that she is one of the most creative figures in all of pop music. It is an album of surpassing personal-intimacy and musical accomplishment and a work infused with a sense of artistic purpose. It is also easy to listen to and easy to enjoy.

Miss King’s past accomplishments have become something of a pop music legend. She and her former husband and lyricist, Gerry Goffin, were one of the three great independent pop song-writing teams of the Sixties, the other two being Burt Bacharach and Hat David, and Barry Mann and Cynthia Weil. It is as much to their credit that they not only wrote one of Aretha Franklin‘s best songs, “Natural Woman,” but Steve Lawrence and Edyie Gorme’s best, “Go Away Little Girl,” as well. They wrote the Animals’ best pop record, “Don’t Bring Me Down,” and Bobby Vee’s best seller, “Take Good Care of My Baby.” Then there was “Chains” and “Don’t Say Nothing Bad About My Baby” for the Cookies, “One Fine Day” for the Chiffons, “The Locomotion” for Little Eva, and “Oh, No, Not My Baby” for Maxine Brown. And, of course, there were some for the groups: They wrote Herman’s Hermits best song, “Something Tells Me I’m Into Something Good,” two for the Righteous Brothers, “For Once In My Life” and the overlooked and under-rated “Hung On You,” and “Goin’ Back” and “Wasn’t Born to Follow” for the Byrds. She even had a hit for herself about ten years ago called “It Might As Well Rain Until September.” On top of them all, there was “Will You Still Love Me Tomorrow” for the Shirelles and “Up On the Roof” for the Drifters.


A Gerry Goffin-Carole King song was always engagingly sentimental. It was boy-girl, loneliness-togetherness, “Don’t Bring Me Down” versus “Hung On You.’ ‘My baby’s got me locked up in chains” versus “Will you still love me tomorrow” music the very core of the rock & roll lyric sensibility. The music expressed the outlook with a sweetness that ultimately shine through no matter what the context. The chorus of “Hung On You” is simply a beautiful tune. “Chains” has a blues structure but the melody is pretty, pretty pop music. Even “The Locomotion” has an amazingly distinctive melody line for a dance song. (And Little Eva ten years ago sounds so exactly like Carole King today one can only assume that Carole taught it to her note for note and breath for breath.)

The songs of Goffin and King are superb examples of the song writing craft of the Sixties. Finely honed to meet the demands of the clients who commissioned them, and written with the requirements of AM radio always firmly in mind, they still managed to express themselves in a rich and personal way. Like Hollywood directors who learned how to make the limitations of the system work for them by the use of their own imagination, Goffin and King made the limitations of AM music work for them and in the process created something of their own pop vision.


Towards the late Sixties the independent song-writing system broke down as more and more artists preferred to write their own material. Feeling the pressure, Miss King, now separated from Goffin, struck out as a performer, first in the unsuccessful group the City, and now as a solo artist. Not surprisingly, the music she is making today is closely related to the music she created in the Sixties.

The theme of both Writer and Tapestry is the search for lasting friendship, friendship that can be trusted, friendship that can be felt. Those feelings are expressed in a music that is substantially looser and more far ranging than the early melodies. No longer confined to the requirements of writing for someone else and for AM radio the music has grown more intricate, more subtle, and more technically impressive. Similarly, the production on both her albums has been in a soft-sounding, FM-oriented approach, eschewing AM style altogether. These changes have not been altogether positive.

Carole King: Writer was a blessing despite its faults. The rhythm section was made up mainly of her musical friends from Jo Mama and the arrangements sounded like they were pieced together in the studio. The production was poor, managing to sound both labored and sloppy at the same time. Carole herself was mixed too low on many cuts and the band would up with an unusually tinny sound, considering the kind of music they were playing. And yet Carole’s own personal determination and talent transcended these irritants to make the whole thing very worthwhile. (by Jon Landau, Rolling Stone, April 29, 1971)


Curtis Amy (flute, saxophone, strings)
David Campbell (cello, viola)
Carole King (keyboards, vocals)
Terry King (cello, saxophone)
Danny “Kootch” Kortchmar (guitar, percussion, vocals)
Russ Kunkel (drums)
Charles “Charlie” Larkey (bass)
Joel O’Brien (drums)
Tim Powers (drums)
Ralph Schuckett (piano)
Barry Socher (violin, saxophone, viola)
Perry Steinberg (bass, violin, saxophone)
James Taylor (guitar, background vocals)
background vocals:
Joni Mitchell – Julia Tillman – Merry Clayton


01. I Feel The Earth Move (King) 3.00
02. So Far Away (King) 3.55
03. It’s Too Late (King/Stern) 3.54
04. Home Again (King) 2.29
05. Beautiful (King) 3.08
06. Way Over Yonder (King) 4.49
07. You’ve Got A Friend (King) 5.09
08. Where You Lead (King/Stern) 3.20
09. Will You Love Me Tomorrow? (Goffin/King) 4.13
10. Smackwater Jack (Goffin/King) 3.42
11. Tapestry (King) 3.15
12. (You Make Me Feel Like) A Natural Woman (Goffin/King/Wexler) 3.59
13. Out In The Cold (bonus track) (King) 2.44
14. Smackwater Jack (Live in Boston, May 21, 1973) (bonus track) (Goffin/King) 3.21





Mott The Hoople – AC/DC (1971)

FrontCover1.jpgAfter the musically weak and commercially failed Wildlife (released in March 1971), Mott The Hoople recorded several songs in studio sessions planned in April, May and August for purposed singles and further album. They were back to their heavy sound although they did some (unsuccessful) attempts to record more commercial songs. They tried to produce themselves, but in September, they called back the great and weird Guy Stevens for helping them on the production of what will become their Brain Capers LP (released in November 1971). Few songs recorded during these spring and summer sessions will feature in this late LP and even “The Journey” will be re-recorded. The putative album was designed to be called AC/DC but the explicit sexual content made them abandon this idea. An Australian band would, some years later, make this name one of the most famous on the planet. Listening to the 10 songs recorded during this time period (only 8 are on the album cos the 2 others would be A-sides of released singles I’ll post later, are quite unusual for the band and certainly not appropriate in such an LP), it’s clear the band is begining to adopt the singular approach of rock that will lead them to celebrity. But the most important is how loud and heavy they could be. This mix between old time rock ‘n’ roll, the Rolling Stones, Bob Dylan and heavyness, is what makes this music rather eternal. So, if you agree, imagine this album is the 4th MTH one and enjoy it this way. I hesitated quite a long time before chosing the order of the songs and their place on each side, but I think I finally ended on a good one, with songs opening and closing each side where they should be. The cover sleeve was the inner cover of Brain Capers. (by dkandroughmix-forgottensongs.blogspot)

This album include “Journey” a early masterpiece of Mott The Hoople !


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

Ian Hunter, Mott The Hoople
The Jack Tar Hotel , San Francisco Francisco 8/70  
sheet 693 frame 27

01. One Of The Boys (Hunter/Ralphs) 4.13
02. Black Scorpio (Hunter/Watts) 3.36
03. The Debt (Hunter) 4.15
04. Long Red (West/Pappalardi(Ventura/Landsberg) 3.48
05. Until I’m Gone (Ralphs) 3.09
06. It’ll Be Me (Clement) 2.57
07. Mental Train (Hunter/Ralphs) 4.58
08. The Journey (Hunter) 9.46
09. How Long (Hunter/Allen) 3.53
10. Wind Blowing (Hunter) 3.53