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 !


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

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



“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.


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



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



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)


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.

Huty22175 038

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)


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


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.



Paul Brett´s Sage – Jubilation Foundry (1971)

OriginalFrontCover1Paul Brett (born 20 June 1947, Fulham, London) is an English classic rock guitarist. He played lead guitar with Strawbs (though he was never actually a member), The Overlanders, The Crazy World of Arthur Brown, Elmer Gantry’s Velvet Opera, The Velvet Opera, Tintern Abbey, Fire, Roy Harper, Al Stewart, Lonnie Donegan, and switched to twelve-string guitar in the 1970s.

His first twelve-string guitar suite, Earth Birth, was released on his own label, Phoenix Future, and was produced by artist Ralph Steadman of Fear and Loathing fame. Critical acclaim led to Brett being signed on a four-album deal with RCA Records. His K-tel Romantic Guitar album went platinum in the UK, but Brett stopped recording soon afterwards. He started recording again in 2000, with long-time friend and fellow twelve-string guitarist, John Joyce.

Brett wrote for music magazines Melody Maker, Sound International and International Musician and continued working in the music industry in the later part of his career. He now writes a regular column for Acoustic, a magazine specializing in acoustic guitars. He is also the Associate Editor and Features Writer for Music Maker and Live in London magazines.

He has appeared on BBC Television’s Antiques Road Show and Flog It in the mid-2000s.


There are now a range of critically acclaimed acoustic guitars available that Paul Brett designed for Vintage in the UK that are distributed Worldwide. http://www.jhs.co.uk for information. They carry individual name such as The Viator 6 and 12 string travel guitars, The Gemini, alternative baritone and 6 strings, The Viaten , tenor guitar, paul Brett signature 6 and 12 string guitars and the most recent released in 2017 is the Statesboro’ 12 string which is a tribute to the blues legend Blind Willie McTell. (by wikipedia)

And here´s the second album by his frist own group called “Paul Brett´s Sage”:

PaulBrettsSageNicky Higginbottom departed Paul Brett’s Sage after the release of the band’s eponymous debut album, and with her went the haunting flute that gave much of the album such a rich, pastoral sound. But the band was already moving in a new direction, exploring rock’s roots and the genre’s many permutations. Jubilation Foundry welds Sage’s varied influences onto their sleeves, from “Cottage Made for Two,” an homage to the Everly Brothers, to the gospel fired “Help Me Jesus” and the Stax inspired “Hold My Hand Mother.” There are tributes to Southern blues and Southern rock, nods to singer/songwriters Cat Stevens and Harry Nilsson, and even a tip of the hat to the Beatles. With the group here sporting rich harmonies, the emphasis is on great songs in a variety of musical veins and moods, with singalong choruses, memorable melodies, and flashy musicianship evident throughout the album. (by Dave Thompson)

And yes, Paul Brett is one of the finest acoustic guiar players from UK and he´s criminally underrated !


Paul Brett (guitar, piano, vocals)
Stuart Cowell (guitar, vocals, piano)
Dick Dufall (bass, vocals)
Bob Voice (drums, percussion)
Paul King (harmonica on 06.)


01. Cottage Made For Two (Dufall) 2.26
02. Hold My Hand Mother (Hutcheson) 2.48
03. Pasadena Days (Voice) 2.59
04. Keeper Of My Heart (Myers/Brett) 3.32
05. Goodbye Forever (Hutcheson) 2.53
06. Good Old-Fashioned Funky Kind Of Music (Hutcheson) 4.09
07. Bits (1) (Brett/Cowell) 0.27
08. I Fell So Far (Dufall) 2.57
09. Written In Winter (Brett) 2.44
10. Tuesday Evening (Brett) 2.15
11. Help Me Jesus (Hutcheson) 4.02
12. Jubilation Foundry (Brett) 4.35
13. Bits (2) (Brett/Cowell) 0.46


Joni Mitchell – Blue (1971)

FrontCover1Blue is the fourth studio album by Canadian singer-songwriter Joni Mitchell. Exploring the various facets of relationships from infatuation on “A Case of You” to insecurity on “This Flight Tonight”, the songs feature simple accompaniments on piano, guitar and Appalachian dulcimer. The album peaked at number 3 on the UK Albums Chart and number 15 on the Blllboard 200.Blue is the fourth studio album by Canadian singer-songwriter Joni Mitchell. Exploring the various facets of relationships from infatuation on “A Case of You” to insecurity on “This Flight Tonight”, the songs feature simple accompaniments on piano, guitar and Appalachian dulcimer. The album peaked at number 3 on the UK Albums Chart and number 15 on the Blllboard 200.
Today, Blue is generally regarded by music critics as one of the greatest albums of all time; Mitchell’s songwriting and compositions are frequent areas of praise. In January 2000, The New York Times chose Blue as one of the 25 albums that represented “turning points and pinnacles in 20th-century popular music”. In 2012, Blue was rated the 30th best album ever made in Rolling Stone’s list of the “500 Greatest Albums of All Time”, the highest entry by a female artist. In July 2017, Blue was chosen by NPR as the greatest album of all time made by a woman.

Despite the success of her first three albums and songs like “Woodstock”, January 1970 saw Mitchell make a decision to break from performing. In early spring 1970, she set off on a vacation around Europe. While on the island of Formentera, she wrote some of the songs that appear on Blue. This journey was the backdrop for the songs “Carey” and “California.” Some of the songs on Blue were inspired by Mitchell’s 1968-1970 relationship with Graham Nash. Their relationship was already troubled when she left for Europe, and it was while she was on Formentera that she sent Nash the telegram that let him know that their relationship was over.[ The songs “My Old Man” and “River” are thought to be inspired by their relationship.


Another pivotal experience in Mitchell’s life that drove the emergence of the album was her relationship with James Taylor. She had begun an intense relationship with Taylor by the summer of 1970, visiting him on the set of the movie Two-Lane Blacktop, the aura of which is referred to in “This Flight Tonight”. The songs “Blue” and “All I Want” have specific references to her relationship with Taylor, such as a sweater that she knitted for him at the time, and his heroin addiction. During the making of Blue in January 1971, they were still very much in love and involved. Despite his difficulties, Mitchell evidently felt that she had found the person with whom she could pair-bond in Taylor. By March, his fame exploded, causing friction. She was reportedly devastated when he broke off the relationship.

The album was almost released in a somewhat different form. In March 1971, completed masters for the album were ready for production. Originally, there were three old songs that had not found their way onto any of her previous albums. At the last minute, Mitchell decided to remove two of the three so that she could add the new songs “All I Want” and “The Last Time I Saw Richard”. The two songs removed were:
“Urge for Going” – her first song to achieve commercial success when recorded by country singer George Hamilton IV. It was later released as the B-side of “You Turn Me On, I’m a Radio” and again on her 1996 compilation album, Hits.)    “Hunter (The Good Samaritan)”, which has never appeared on any of Mitchell’s albums.


However, her live performance is now available on the Amchitka CD,[19] together with three other songs that later appeared on Blue, “A Case Of You”, “My Old Man” and “Carey”, which she morphs into Dylan’s “Mr. Tambourine Man” in a duet with her boyfriend at the time, James Taylor.    “Little Green”, composed in 1967, was the only old song that remained.

In 1979 Mitchell reflected, “The Blue album, there’s hardly a dishonest note in the vocals. At that period of my life, I had no personal defenses. I felt like a cellophane wrapper on a pack of cigarettes. I felt like I had absolutely no secrets from the world and I couldn’t pretend in my life to be strong. Or to be happy. But the advantage of it in the music was that there were no defenses there either.”

Mitchell continued to use alternate tunings on her guitar to allow easier access to augmented chords and notes in unexpected combinations. Due to the stark and bare revelations in the album, when it was first played for Kris Kristofferson he is reported to have commented, “Joni! Keep something of yourself!”

Today, Blue is generally regarded by music critics as one of the greatest albums of all time; Mitchell’s songwriting and compositions are frequent areas of praise. In January 2000, the New York Times chose Blue as one of the 25 albums that represented “turning points and pinnacles in 20th-century popular music”.


The album was a commercial success. In Canada, the album peaked at number nine on the Canadian RPM Albums Chart. It the United Kingdom the album peaked at number three on the UK Albums Chart and was certified double platinum by the British Phonographic Industry (BPI) for sales over of 600,000 copies in the UK. In the US the album peaked at number 15 on the Billboard 200 chart. The album was later certified platinum for sales over a million copies. The single “Carey” reached #93 on the Billboard Hot 100 chart. (by wikipedia)

Joni Mitchell

Sad, spare, and beautiful, Blue is the quintessential confessional singer/songwriter album. Forthright and poetic, Joni Mitchell’s songs are raw nerves, tales of love and loss (two words with relative meaning here) etched with stunning complexity; even tracks like “All I Want,” “My Old Man,” and “Carey” — the brightest, most hopeful moments on the record — are darkened by bittersweet moments of sorrow and loneliness. At the same time that songs like “Little Green” (about a child given up for adoption) and the title cut (a hymn to salvation supposedly penned for James Taylor) raise the stakes of confessional folk-pop to new levels of honesty and openness, Mitchell’s music moves beyond the constraints of acoustic folk into more intricate and diverse territory, setting the stage for the experimentation of her later work. Unrivaled in its intensity and insight, Blue remains a watershed. (by Jason Ankeny)


Joni Mitchell (appalachian dulcimer, guitar, piano, vocals)
Sneaky Pete Kleinow – pedal steel guitar on 06. + 07.)
Russ Kunkel (drums on 04., 06. + 09.)
Stephen Stills (bass, guitar on 04.)
James Taylor (guitar on 01., 06. + 09.)


01. All I Want 3.37
02. My Old Man 3.38
03. Little Green 3.31
04. Carey 3.07
05. Blue 3.09
06. California 3.56
07. This Flight Tonight 2.54
08. River 4.07
09. A Case Of You 4.27
10. The Last Time I Saw Richard 4.17

All songs written by Joni Mitchell



J. Geils Band – The Morning After (1971)

LPFrontCover1The Morning After is a near perfect follow-up to the J. Geils Band’s self-titled debut album. It’s more of the same winning blend of rocked-out blues, jumped-up soul, and pure rock & roll wildness with enough attitude and energy to get a club full of people from zero to sweaty in less than 60 seconds.

Featuring the original versions of songs that became radio staples in their live incarnations (“Looking for a Love,” the Magic Dick showcase “Whammer Jammer”), a batch of covers of rare soul gems (“So Sharp,” Don Covay’s “The Usual Place,” the aforementioned “Looking for a Love”), and some fine originals (the rip-roaring opener “I Don’t Need You No More,” the very funky “Gotta Have Your Love,” and the heart-rending ballad “Cry One More Time,” which was covered memorably by Gram Parsons on G.P.),

The Morning After is definite proof that the J. Geils Band were well on their way to becoming one of the best rock & roll bands of any era. (by Tim Sendra)

And I forgot how fucking good this album is !


Stephen Bladd (drums)
Magic Dick (harmonica)
J. Geils (guitar)
Seth Justman (keyboards)
Danny Klein (bass)
Peter Wolf (vocals)


01. I Don’t Need You No More (Wolf/Justman) 2.37
02. Whammer Jammer (Jimmy) 2.38
03. So Sharp (Christian) 3.11
04. The Usual Place (Covay/Randolph) 2.46
05. Gotta Have Your Love (Wolf/Justman) 4.33
06. Looking For A Love (Alexander/Samuels) 3.47
07. Gonna Find Me A New Love (Wolf/Justman) 3.25
08. Cry One More Time (Wolf/Justman) 3.23
09. Floyd’s Hotel (Wolf/Justman) 3.12
10. It Ain’t What You Do (It’s How You Do It!) (Jimmy) 5.12





Bronco – Ace Of Sunlight (1971)

FrontCover1Bronco were an English rock/country band signed to Island & Polydor Records 1969-1973.

Formed August 1969 by Jess Roden following his split from The Alan Bown Set, Bronco were signed to Island Records by Guy Stevens and, after initially recording tracks at Olympic Studios with him, recorded their first album – Country Home – at Island’s own Basing Street Studios during 1970 with the final mix being overseen by Paul Samwell-Smith. The group similarly recorded their second album Ace of Sunlight at Basing Street (1971) which was produced by the band and Richard Digby Smith.

Following a serious motorway accident between Cheltenham and Bristol (in which the group’s crew – Dick Hayes and Alan Stone – and drummer Pete Robinson and bass-player John Pasternak were badly injured) and a later, ill-fated West Coast of America tour, Roden left the band after a final British tour with label-mates Mott The Hoople and John Martyn in the spring of 1972 to start a solo career. Guitarist Robbie Blunt soon followed and the remaining members drafted in Paul Lockey on vocals (who Kevyn Gammond knew from Band of Joy) and Dan Fone on guitar. This incarnation of Bronco signed to Polydor and released one album, Smoking Mixture.

Bronco’s bass player John Pasternak died of a heart attack in September 1986. Led Zeppelin’s Robert Plant fronted a tribute event for Pasternak in December of that year that featured Plant and The Big Town Playboys, and concluded with an ensemble band featuring Plant, Jimmy Page on guitar and Jason Bonham on drums.


Two Bronco tracks are featured on Island records compilation albums: “Love” appears on Bumpers released in 1970 and “Sudden Street” appears on El Pea (1971).

“Time Slips Away” was included on the Island Records compilation Meet On The Ledge, released as part of Island’s 50th anniversary in 2009.

Singer-songwriter Clifford T. Ward guests on their début album Country Home. Trevor Lucas sings back-up vocals on Ace of Sunlight. Both Ian Hunter and Mick Ralphs from Mott The Hoople also guest on Ace of Sunlight. (by wikipedia)
I loved most of the Island acts that I heard in the early 70’s (Free, Traffic, Fairport Convention, Spooky Tooth, etc.). Many of them were on A&M here in the States. Since Bronco apparently wasn’t on any State-side label, I didn’t hear them then, although based on my “buying trends” in those days … Can’t stop playing this disc since I’ve gotten it. Marvelous stuff that’s very evocative of what I remember about being great with most of those Island/A&M artists I loved then (and still do). Very nice vibe throughout. Wonderfully sung and played. Excellent songs like Sudden Street, and New Day Avenue. How could I have lived so long without these tunes spinning in my head? What a great, soulful voice Jess had! (by John S.)

In other words: A classic Island recording from this period … a forgotten jewels of British folk-rock … Listen and enjoy !


Robbie Blunt (guitar)
Kevyn Gammond (guitar)
John Pasternak (bass)
Pete Robinson (drums, percussion)
Jess Roden (vocals, guitar, harmonica, piano)
Terry Allen (organ on 06.)
Paul Bennett (vocals on 02. + 07.)
Paul Davenport (piano on 03.)
Ian Hunter (piano on 01.)
Trevor Lucas (vocals on 02.)
Mik Ralphs (organ on 01.)


01. Amber Moon (Roden/Worth) 3.57
02. Time Slips Away (Blunt) 6.06
03. Some Uncertainty (Ward/Gammond) 3.39
04. 4 Woman (Ward/Gammond) 4.10
05. New Day Avenue (Roden/Worth) 6.34
06. Discernible (Gammond/Worth) 3.44
07. Sudden Street (Roden) 6.21
08. Joys & Fears (Roden/Worth) 3.37




Guy Stevens & Richard Digby Smith (two very important persons for Island Records)