Hot Tuna – Historic Live (1985)

FrontCover1Hot Tuna is an American blues band formed in 1969 by former Jefferson Airplane members Jorma Kaukonen (guitarist/vocals) and Jack Casady (bassist). Although it has always been a fluid aggregation, with musicians coming and going over the years, the band’s name has essentially become a metonym for Kaukonen and Casady’s ongoing collaboration.

Historic Live Tuna is an album by the band Hot Tuna. It was released in 1985. Side A contains previously unreleased tracks from a live acoustic performance played on KSAN radio in 1971. Side B contains previously unreleased material from a live electric performance in 1971 recorded at the Fillmore West auditorium in San Francisco. The album was Hot Tuna’s second release on Relix Records, and would be their last release until after the 1989 Jefferson Airplane reunion tour and reunion album, when they were signed to Epic Records for a short time before returning to Relix.

In 1996 the A-side of Historic Live Tuna was expanded and released as the CD Classic Hot Tuna Acoustic, and the B-side was expanded and released as the CD Classic Hot Tuna Electric.

Another song from the Fillmore West concert, “Keep Your Lamps Trimmed and Burning”, was included in the album Fillmore: The Last Days. (wikipedia)


Relix’s second Hot Tuna release was another archival work, its two sides containing two KSAN-FM radio broadcasts from the spring and summer of 1971; one side was taped at the station, the other chronicles the band’s appearance at the closing of the Fillmore West. In his liner notes, Jorma Kaukonen acknowledges that the band has encountered criticism for releasing such “so-called antique material,” but counters that “If you like it, you like it … if you don’t you don’t.” Hardcore Tuna fans will be pleased with the existence on record of these performances by a Hot Tuna that featured Kaukonen (acoustic guitar on side one, electric on side two), Jack Casady, Papa John Creach, and Sammy Piazza. Others may find that the rudimentary sound quality and the generally restrained performing level render this inessential. (by William Ruhlmann)

And I m pleased, because I´m a real Hot Tuna fan …


Jack Casady (bass)
Papa John Creach (violin)
Jorma Kaukonen (guitar, vocals)
Sammy Piazza (drums)

01. New Song (for the Morning) (Kaukonen) 5.06
02. Been So Long (Kaukonen) 4.16
03. Oh Lord, Search My Heart (Davis) 4.31
04. True Religion (Traditional) 7.01
05. Space Jam (Casady/Kaukonen) 0.09
06. Intro by Bill Graham / Rock Me Baby (King/Josea) 9.24
“Want You to Know” (Bo Carter) – 4:58
“Come Back Baby” (Lightning Hopkins) – 9:14




More from Hot Tuna:


Ahmad Jamal – Live In Paris (1971)

FrontCover1For five decades, American pianist, composer, bandleader, and educator Ahmad Jamal has been one of the most successful small-group leaders in jazz. In 1958, he released the live album, At the Pershing: But Not for Me, which stayed on the Ten Best-selling charts for 108 weeks. Ahmad’s recording of the well known song “Poinciana” was first released on this album. Clint Eastwood featured two recordings from Ahmad’s But Not For Me album – “Music, Music, Music” and “Poinciana” – in the 1995 movie The Bridges of Madison County. Ahmad is the main mentor of jazz piano virtuosa Hiromi Uehara. On June 25, 2019, The New York Times Magazine listed Ahmad Jamal among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire. (by wikipedia)

Joining him is Jamil Suliemann on bass and Frank Gant on drums in this 1971 Radio France studio concert, rebroadcast in 2014 by France Musique. One of the most eloquent practitioners of America’s Classical Music – which Jamal considers Jazz to be and a sentiment I agree 1000% with, Ahmad Jamal continues at 86, performing, recording and spreading the message throughout the world. And this 1971 concert gives some indication just how strong and luxuriant that message has always been.


If you’re just getting into Jazz, discovering bits and pieces here and there, either on your own or via samples, since Jazz has been a base-coat of sounds in contemporary Hip-Hop/Trip-Hop/Trance over the years; here’s the real deal – where some of it came from. With the vast spectrum of music out there, being a sponge soaking everything up is practically a requirement – and not being familiar with the work of Ahmad Jamal really deprives you of a great experience.

Check out this concert and go exploring – all you need are ears and an open mind. (

Recorded live at the Studio 104 de la Maison de la Radio, Paris, France; June 25, 1971. Very good satellite broadcast.


Frank Gant (drums)
Ahmad Jamal (piano)
Jamil Sulieman Nasser (bass)

01. Intro 0.26
02. Bogota (Evans) 15.25
03. Effendi (Tyner) 13.47
04. Manhattan Reflections (Jamal) 10.24
05. Extensions (Jamal) 23.51
06. Poinciana (Simon) 10:38



Alternate frontcover:

Keith Tippett Group – Dedicated To You, But You Weren’t Listening (1971)

FrontCover1Keith Tippett (born Keith Graham Tippetts; 25 August 1947 – 14 June 2020) was a British jazz pianist and composer. According to AllMusic, Tippett’s career “..spanned jazz-rock, progressive rock, improvised and contemporary music, as well as modern jazz for more than half-a-century”. He held ” an unparalleled place in British contemporary music,” and was known for “his unique approach to improvisation”. Tippett appeared and recorded in many settings, including a duet with Stan Tracey, duets with his wife Julie Tippetts (née Driscoll), solo performances, and as a bandleader, and appeared on King Crimson albums.

Born in Southmead, Bristol, Tippett was the son of an English father who was a policeman and an Irish mother named Kitty. He wrote music dedicated to her after she died. He was the oldest of three siblings and went to Greenway Secondary Modern school in Southmead. As a child he played piano, church organ, cornet, and tenor horn.
At fourteen he formed his first band, KT Trad Lads, with school friends Richard Murch, Mike Milton, Terry Pratt, and Bob Chard, performing traditional jazz. He formed a modern jazz trio in Bristol and played regularly at the Dugout Club in Park Row, Bristol.


In 1967 Tippett moved to London to pursue a career in music, taking menial jobs while performing in jazz clubs. With a scholarship he attended the Barry Summer School Jazz Course in Wales, where he met Elton Dean, Nick Evans, and Marc Charig and with them started a band.The Keith Tippett Sextet was hired for a residency at the 100 Club in Oxford, leading to a contract with Vertigo Records, which released their first two albums, You Are There… I Am Here (1970) and Dedicated to You, but You Weren’t Listening (1971). Robert Fripp hired Tippett to play piano on the King Crimson album In the Wake of Poseidon. Evans and Charig joined Tippett on the King Crimson album Lizard. Tippett performed on the single “Cat Food” and appeared with King Crimson on Top of the Pops.

Tippett declined the offer to join King Crimson in order to continue to lead his own group, but he and Charig played on the band’s album Islands. After leaving Vertigo, Tippett formed Centipede, a 50-piece band that included his wife Julie Driscoll as well as members of King Crimson and Soft Machine, and brought together much of a generation of young British jazz and rock musicians.[2] As well as performing some concerts (limited economically by the size of the band), they recorded one double-album, Septober Energy, a Tippett composition, which was released on the RCA label in 1971. Despite substantial publicity, the album failed to sell in sufficient numbers to justify the expense of maintaining the project.


For his next album, Blueprint (1972), he used a smaller group comprising himself and Julie Tippetts with bassist Roy Babbington and drummer Frank Perry. The band then expanded slightly to become Ovary Lodge, who recorded two albums, one for RCA (produced by Robert Fripp of King Crimson) and a second for the Ogun label. Tippett and his band also recorded in the 1970s for Giorgio Gomelsky’s label, Utopia, releasing the Julie Tippetts album Sunset Glow. Tippett continued to play with various combinations of musicians through the 1970s, playing improvisational jazz and jazz-rock with such musicians as Stan Tracey, Robert Wyatt, Dudu Pukwana, Harry Miller, Elton Dean, Hugh Hopper, and Louis Moholo. From 1979, he also started to release many live albums of solo piano performances, beginning with The Unlonely Raindancer.

Keith+Julie Tippett

In the late 1980s, he, along with Paul Dunmall saxes, Paul Rogers bass, and Tony Levin drums, formed the quartet Mujician, playing purely improvised jazz. Mujician released 6 albums from 1990-2002. He also formed a trio with Julie Tippetts and Willi Kellers, and wrote film and television scores. He also wrote music for string quartets and piano, and taught at summer schools. Tippett also continued to record and to tour in Britain and Europe with various ensembles. He also worked with musicians Andy Sheppard, as well as with his frequent collaborators Elton Dean, Louis Moholo, and Howard Riley.

He married singer Julie Driscoll in 1970.

In 2018, he had a heart attack and pneumonia but returned to performing in 2019.

He died on 14 June 2020 at the age of 72. (by wikipedia)

4 stars With an arresting artwork, depicting a brainchild, on its cover, the KTG managed to climb up from the Phillips generalist label to the Vertigo Swirl prestigious and progressive label, and I can’t think of a better promotion. Line-up wise, Jeff Clyne shares the bass with Roy Babbington and the drums are shared between Wyatt, Brian springs and Phil Howard (who would go on to replace Wyatt in Soft Machine), but on the horns, the Dean/Charig/Evans trio remained. Please note the pun title is from Soft Machine’s “Dedicated To Hugh…”

The album opens on a conga-driven groovy track that gets its inspiration between the three horn players, but in the background, Keith’s piano is the one thing that makes this piece so rollicking. Followed up by the tough to grasp Thoughts To Geoff, a 10-mins corker that often veers dissonant and improvisational, which strangely enough becomes more fluid and melodic as it unravels. Even young Gary Boyle (out of auger’s trinity) manages to follow this difficult track, which had to faded out to be stopped. In Green & Orange Night Park, McCoy Typpett then shows with all three horns holding the Trane in the station, until Elton pulls his best solo (I would almost add ever in such a fanboy moment) while the other two are providing a descending line behind him that slowly morphs into another lead line, which had to be terminated again by a fade-out. Absolutely flabbergasting and jaw-dropping piece.

Keith Tippett Group

The flipside starts on the most difficult Gridal Suite, an Elton Dean improvised piece that he shares well with Phil Howard (just think of side 1 of Soft Machine’s 5 album), this track probably being the low point of the album. Five After Dawn might appear at first to be just as difficult, but it’s not quite the same nature, this one is written and impressionist track, evoking early life movement after the dead of night. After your stupor segued into surprise, it should normally give into joy and eventually glee. The short but sweet reprise of SM’s theme is only a wink, leading us to Black Horse, which is a bit the book- ending of the opening track (both tracks are written by trombonist Nick Evans, a very rhythmic groove with plenty of enthralling horn-section arrangements (a bit ala brass-rock), and it comes complete with a superb guitar solo from future Isotope Gary Boyle.

Not that this second album is that much better than their debut, but it grabbed all of the sunshine, shadowing all of the debut album, which consistently remains more difficult to find. Both are much worth the discovery and are excellent early UK jazz-rock. (by Sean Trane)


Marc Charig (cornet)
Elton Dean (saxophone, saxello)
Nick Evans (trombone)
Keith Tippett (piano)
Roy Babbington (bass)
Gary Boyle (guitar)
Phil Howard (drums)
Bryan Spring (drums)
Tony Uta (percussion)
Neville Whitehead (bass)
Robert Wyatt (drums)


01. This Is What Happens (Evans) 4.58
02. Thoughts To Geoff (Tippett)
03.Green And Orange Night Park (Tippett)
04. Gridal Suite (Dean)
05. Five After Dawn (Tippett)
06. Dedicated To You, But You Weren’t Listening (Dean/Hopper/Charig)
07. Black Horse (Dean)



KeithTippett04Keith Tippett (25 August 1947 – 14 June 2020)

Mott The Hoople – Two Miles From Heaven (1980)

FrontCover1Mott the Hoople are an English rock band, popular in the glam rock era of the early to mid-1970s. They are best known for the song “All the Young Dudes”, written for them by David Bowie and appearing on their 1972 album of the same name.

Two Miles From Heaven is a compilation album of tracks recorded by British rock band Mott the Hoople during their period with Island Records from 1969 to 1972. It features the original band line-up of Ian Hunter (vocals, piano, guitar), Mick Ralphs (guitar, vocals), Peter Watts (bass guitar, vocals), Dale Griffin (drums) and Verden Allen (organ). Incomplete tracks from original sessions were supplemented by overdubs of vocals, keyboards (by later Mott the Hoople and Mott member Morgan Fisher) and guitar (including contributions from Mott guitarist Ray Majors).

Of significance to followers of the group were the inclusion of alternative versions of extant Mott the Hoople songs (a vocal version of “You Really Got Me”, the discarded mix of “Thunderbuck Ram” and early demo tapes of songs that were later recorded for their All the Young Dudes album once the band had left Island and signed to Columbia Records: “One of the Boys”, “Ride on the Sun” (better known as “Sea Diver”) and “Black Scorpio” (Momma’s Little Jewel). “Until I’m Gone” was an otherwise unreleased Ralphs track.


The initial vinyl release was on Island’s German label (202 429-270), in 1980, but it has subsequently been re-released on Angel Air SJPCD 161 in 2003 with additional bonus tracks. (by wikipedia)

After British Lions broke up, Dale Griffin, Overend Watts, Ray Majors and Morgan Fisher went in the studios to put together this compilation of rare and unreleased Mott The Hoople material from Island’s vaults. Mott recorded virtually everything they wrote, and just about any day not spent gigging was spent in the studio. As a result, there is a lot of unreleased (and unfinished) material in there.

What an absolute peach this collection is. Unreleased tracks, rare b-sides and early versions of songs that would be recorded later on… this album has long been sought after by fans, and is now at long last available on CD.


It starts with a rare vocal version of the Kinks’ You Really Got Me. Next up is Ian’s first stab at social commentary, Road To Birmingham which was the b-side to Rock And Roll Queen, Mott’s first single. Then there’s the alternate version of Thunderbuck Ram, with Verden’s organ featuring much higher in the mix. The studio version of Keep a Knockin’ is fast and furious, and an absolute belter.

Movin’ On is next – slated for the original vinyl but withdrawn at the last minute is a medium-paced rocker that Mick Ralphs would eventually re-record with Bad Company. Ride On The Sun is beautiful – this again would be re-recorded (as Sea Diver) later on – and is possibly one of Ian’s best ballads. Growin’ Man Blues is another fast rocker which I never grow tired of hearing. Till I’m Gone is another ballad, beautifully sung by Mick Ralphs (for a version of him sharing the vocals with Ian, check out the Anthology). One Of The Boys is an acoustic version of the song that would be re-recorded later on. Black Scorpio (Momma’s Little Jewel) is faster than the version that would be recorded for the Dudes album.


Two more bonus tracks close the album, The Debt (which was the b-side to Midnight Lady) and the non-LP single Downtown, with Mick Ralphs again supplying the vocals for this Neil Young/Crazy Horse cover.

Sound quality throughout is excellent (a lot better than the original LP). Strangely, tho’ the running order on the “Bald At The Station” side is different from the original LP. No matter – this is an important album in Mott’s history, and I for one am glad it’s finally available on CD! (

An even more overlooked album from an already overlooked band, this was released at the beginning of the 80’s without too much fanfare. Having heard the album I have no idea why; this is so much more than just a collection of B-Sides and out-takes. 75% of this album is made up of songs that could have been on albums in their present state. I hardly know where to begin; “The Road to Birmingham” for example is a song that should have been on “Brain Capers” or “Wildlife” and the re-mix of “Thunderbuck Ram” actually outshines the original and it’s interesting to hear the pre-Bad Company version of “Movin’ On” and a few of the covers thrown in as well. This was such an interesting band and this is a real gem of a collection that would do YOUR collection well. (by Jacob Koehler)


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


01. You Really Got Me (Davies) 3.08
02. The Road To Birmingham (Hunter) 3.30
03. Thunderbuck Ram (Ralphs) 4.41
04. Going Home (Ralphs) 3.00
05. Little Christine (Ralphs) 3.06
06. Keep A Knockin'” (Richard Penniman) 3.25
07. Black Hills (Ralphs) 1.32
08. Movin’ On (Ralphs) 2.44
09. Ride On The Sun (Hunter) 3.38
10. Growin’ Man Blues (Hunter) 2.46
11. Until I’m Gone (Ralphs) 3.14
12. One Of The Boys (Ralphs, Hunter) 4.19
13. Surfin’ U.K. (Ralphs) 2.37
14. Black Scorpio (Hunter/Watts) 3.36
15. I´ll Wind Blowing (Hunter) 3.53
16. The Debt (Hunter) 4.15
17. Downtown (Whitten/Young) 3.03

Dale Griffin tried hard during the production process to improve on the original recordings. All material was transferred from the original 8- and 16-track tapes to 24-track tape. All were remixed, and many were overdubbed, as follows:

The Road to Birmingham: extra acoustic and electric guitars were added by Overend Watts, together with a few minor edits
Thunderbuck Ram: some keyboard fills were added by Morgan Fisher
Going Home: Overend Watts and Dale Griffin added backing vocals
Keep a Knockin’: Morgan Fisher added piano
Black Hills: Morgan Fisher added piano and mellotron
Ride On The Sun: Morgan Fisher added Hammond organ and mellotron
Growin’ Man Blues: in reality only a minute and a half long, they had to do two dub edits and some covering vocals and instrumental fills
Till I’m Gone: Overend Watts added acoustic guitar
One Of The Boys: Overend Watts added guitar; Dale griffin and Overend added backing vocals
Surfin’ UK: Dale Griffin added backing vocals and percussion
Black Scorpio: Ray Majors added slide guitar, Dale Griffin added backing vocals and percussion
Ill Wind Blowing: Dale Griffin added backing vocals and percussion ((




More from Mott The Hoople:

Neil Ardley & The New Jazz Orchestra – On The Radio BBC Sessions (1971)

FrontCover1Neil Richard Ardley (26 May 1937–23 February 2004) was a prominent English jazz pianist and composer, who also made his name as the author of more than 100 popular books on science and technology, and on music.

Neil Ardley was born in Wallington, Surrey. He attended Wallington County Grammar School and at the age of thirteen started to learn the piano and later the saxophone. He read Chemistry at Bristol University, where he also played both piano and saxophone in jazz groups, and from which he graduated in 1959 with a BSc.

Ardley moved to London and studied arranging and composing with Ray Premru and Bill Russo from 1960 to 1961. He joined the John Williams Big Band as pianist, writing both arrangements and new compositions, and from 1964 to 1970 was the director of the newly formed New Jazz Orchestra, which employed some of the best young musicians in London, including Ian Carr, Jon Hiseman, Barbara Thompson, Dave Gelly, Mike Gibbs, Don Rendell, and Trevor Tomkins.

In the late 1960s, encouraged by record producer and impresario Denis Preston, Ardley began composing in earnest, combining classical and jazz methods. His rich orchestrations were augmented in the 1970s by the addition of synthesisers. His contemporary jazz album Kaleidoscope Of Rainbows was number 22 in the New Musical Express top 24 albums of 1976. However, as he began work on an all-electronic album in 1980, Ardley’s recording contract was suddenly terminated, and he fell back on his writing and publishing career. He continued to play and compose, especially with Zyklus, the electronic jazz group he formed with composer (and former student) John L. Walters, Derbyshire musician Warren Greveson and Ian Carr.


Singing in local choirs in the later 1990s led Ardley to start composing choral music, and this occupied most of his musical attention until his death. At the time of his death, Ardley had begun to gig and record again with a slimmed down Zyklus consisting of himself, Warren Greaveson, and Nick Robinson.

Ardley joined the editorial staff of the World Book Encyclopedia in 1962, when the London branch of the American publisher was producing an international edition. This took four years, during which time he developed the skill of editing and writing introductory material for the young. After a brief period working for Hamlyn, he became a freelance editor in 1968 (which enabled him to continue with his musical career). In the 1970s, he moved into writing introductory books, mostly for children, on natural history (especially birds), science and technology, and music, such as What Is It?.

Just as his composing and performance had been moved forward by the introduction and development of technology, so too with his publishing career, as computers began to become more and more important. In 1984 Ardley began to write mainly for Dorling Kindersley, producing a series of books which included the best-selling (over three million copies worldwide) and award-winning The Way Things Work, illustrated by David Macaulay.

When he retired in 2000 Ardley had written 101 books, with total sales of about ten million.


In 1960, Ardley married Bridget Gantley, and the couple had one daughter. In 2003 he married Vivian Wilson. He died in Milford, Derbyshire. (by wikipedia)

The polymath British composer and bandleader Neil Ardley foresaw much of today’s genre-bending, often via his leadership of the south London rehearsal band that became the New Jazz Orchestra in the mid-60s. These two 1971 BBC radio sessions join music from Ardley, Mike Gibbs, the shortlived piano visionary Mike Taylor, Barbara Thompson and Cream’s Jack Bruce, with Ardley’s and electronicist Keith Winter’s chamber-jazzy experimental suite, The Time Flowers.

Gibbs’s Tanglewood ’63 combines the NJO’s subtlety and rock-savvy rhythm section with characterful improv from trumpeter Harry Beckett and the bluesy saxist Dick Heckstall-Smith. A standout segue of Taylor’s pensive and harmonically audacious Half Blue and Pendulum is warmed by Ian Carr’s glowing flugelhorn sound. The Time Flowers joins glimpses of Miles Davis and Gil Evans’s Sketches of Spain with soft classical strings, electronic chimes and empathic dialogue between Carr and the Coltrane-esque saxophonist Don Rendell, in textural collages that only occasionally have a treading-water feel. Progressive music from almost half a century back, it sounds remarkably fresh. (by John Fordham)


Clem Clempson (guitar)
Jeff Clyne (bass)
Dave Greenslade (keyboards)
Dick Hart (tuba)
Jon Hiseman (drums)
Frank Ricotti (vibraphone, percussion)
Barbara Thompson – Brian Smith – Dick Heckstall-Smith – Don Rendell – Dave Gelly
trumpet, flugelhorn:
Bud Parkes – Harry Beckett – Henry Lowther – Ian Carr – Nigel Carter
Derek Wadsworth – Mike Gibbs Robin Gardner
+on 12:
Barry Guy (bass)
Reginald Leopold (violin)
Don Rendell (saxophone)
Keith Winter (electronics)
London Studio Strings

conducted by Neil Ardley

Colosseum as a part of The New Jazz Orchestra:

‘Jazz Club’, BBC Radio 2 And 3, February 14th 1971:
01. Stratusphunk (Russell) 5.52
02. Introduction by Humphrey Lyttelton 1.03
03. Tanglewood ’63 (Gibbs) 6.31
04. Anouncement 0.35
05. Half Blue (Taylor) 2.21
06. Pendulum (Taylor) 4.35
07. Anouncement 0.48
08. Terre De Miel (Thompson) 5.16
09. Anouncement 0.29
10. The Immortal Ninth (Bruce) 6-09

‘Jazz In Britain’ On BBC Radio 3, September 27th 1971:
11. Anouncement by Brian Priestley 1.01
12. The Time Flowers (Winter/Ardley) 27.54

Tracks 01. to 11. pre-recorded live at the Camden Theatre, London, for ” Jazz Club ” on BBC Radio 2 and 3
Track 12. re-recorded without audience at the Aeolian Hall, London, for ” Jazz in Britain ” on BBC Radio 3




Keef Hartley Band – British Radio Sessions 1969 – 1971 (2013)

FrontCover1And here´s the story of a forgotten but really great musician, Keef Hartley:

Keith “Keef” Hartley (8 April 1944 – 26 November 2011) was an English drummer and bandleader. He fronted his own eponymous band, known as the Keef Hartley Band or Keef Hartley’s Big Band, and played at Woodstock. He was later a member of Dog Soldier, and variously worked with Rory Storm, The Artwoods and John Mayall.

born in Plungington, north-west Preston, Lancashire. He studied drumming under Lloyd Ryan, who also taught Phil Collins the drum rudiments. His career began as the replacement for Ringo Starr as a drummer for Rory Storm and the Hurricanes, a Liverpool-based band, after Ringo joined The Beatles. Subsequently he played and recorded with The Artwoods, then achieved some notability as John Mayall’s drummer (including his role as the only musician, other than Mayall, to play on Mayall’s 1967 “solo” record The Blues Alone). He then formed The Keef Hartley (Big) Band, mixing elements of jazz, blues, and rock and roll; the group played at Woodstock in 1969. However, the band was the only artist that played at the festival whose set was never included on any officially released album (prior to 2019), nor on the soundtrack of the film.

They released five albums, including Halfbreed and The Battle of North West Six (characterised by a reviewer for the Vancouver Sun as “an amazing display of virtuosity”).

Keef Hartley Band01

While in John Mayall, Mayall had pushed Hartley to form his own group. A mock-up of the “firing” of Hartley was heard on the Halfbreed album’s opening track, “Sacked.” The band for the first album comprised: Miller Anderson, guitar and vocals, Gary Thain (bass), later with Uriah Heep; Peter Dines (organ) and Ian Cruickshank (as “Spit James”) (guitar). Later members to join Hartley’s fluid lineup included Mick Weaver (aka Wynder K. Frog) organ, Henry Lowther (b. 11 July 1941, Leicester, England; trumpet/violin), Jimmy Jewell (saxophone), Johnny Almond (flute), Jon Hiseman and Harry Beckett. Hartley, often dressed as an American Indian sometimes in full head-dress and war-paint, was a popular attraction on the small club scene.

Keef Hartley Band

His was one of the few British bands to play the Woodstock Festival, where his critics compared him favourably with Blood Sweat And Tears. “The Battle Of NW6” in 1969 further enhanced his club reputation, although chart success still eluded him. By the time of the third album both Lowther and Jewell had departed; however, Hartley always maintained that his band was like a jazz band, in that musicians could come and go and would be free to play with other aggregations.

Keef Hartley Band02

After that Hartley released a ‘solo’ album (Lancashire Hustler, 1973) and then he formed Dog Soldier with Miller Anderson (guitar), Paul Bliss (bass), Derek Griffiths (guitar) and Mel Simpson (keyboards). They released an eponymous album in 1975, which had a remastered release in early 2011 on CD on the Esoteric label.

In 2007, Hartley released a ghostwritten autobiography, Halfbreed (A Rock and Roll Journey That Happened Against All the Odds). Hartley wrote about his life growing up in Preston, and his career as a drummer and bandleader, including the Keef Hartley Band’s appearance at Woodstock.

Hartley died on 26 November 2011, aged 67, at Royal Preston Hospital in Fulwood, north Preston (by wikipedia)

Gary Thain & Keef Hartley

Jazz/Rock perfection !
In its pomp, the Keef Hartley Band was an extraordinarily powerful combination of rock and jazz. These sessions recapture the excitement of their live performances. A laconic introduction by John Peel gives way to the wonderfully driving medley Overdog/Roundabout/Just to Cry/Sinning for you, where the musicianship and sheer musical exuberance leave you gasping. Congratulations to whoever dug these forgotten gems out of the lockers. The BBC sound engineers did a top job. If you want to understand why some many modern sound so pallid, just sit back and enjoy this amazing collection. (Amazon Customer)

Jimmy Jewell
I wasn’t expecting much. Despite Keef Hartley being a superb drummer, always surrounded by incredible musicians – including Henry Lowther on trumpet and Gary Thain on bass and making some seminally robust albums- I wasn’t expecting much. Of course the musicianship is always top-notch but what about the sound quality…? Well, I needn’t have worried. The musicianship is amazing and the sound quality excellent (and on the latter point, I am very fussy). The release includes material from their best albums (the first four – where Miller Anderson provided lead vocals) with the tracks being extended (particularly with more brass) than the original studio versions. the very small downside is that Spit James doesn’t appear anywhere on this platter. [He was the lead guitarist on the incredible first album Halfbreed and a bit on the second…]. Anyway an essential purchase for any Keef fan which includes two tracks at the end from the Miller Anderson Band which fit in perfect. Essential !  (by Camarillo Brillo)


Another of those great BBC recordings that make one wish they had been around in those days. John Mayall really knew how to pick guitar players and drummers. Keef Hartley band along with Jon Hiseman’s Colosseum are just two of the many fine bands that came from the Mayall school of band leading. We also get to hear the fantastic Miller Anderson on this album (by Peter Hodgson)

Miller Anderson01

Indeed: What a wonderful way to discover the fanststic sound, that great power of the Keef Hartley Band … and if you love Colosseum … than ist his album a must !!!

And I add the story of Keef Hartley by the deleted


Miller Anderson (guitar, vocals)
Harry Beckett (trumpet)
Mike Davis (trumpet)
Peter Dines (organ)
Lyn Dobson (saxophone, flute)
Dave Gaswell (trumpet, flugelhorn)
Keef Hartley (drums, percussion)
Spit James (guitar)
Lyle Jenkins (saxophone, flute)
Jimmy Jewell (saxophone)
Henry Lowther (trumpet, violin)
Chris Mercer (saxophone)
Gary Thain (bass)
Mick Weaver (keyboards)

Alternate front + backcover:

01. Medley 25.12
01.1. Overdog (Anderson)
01.2. Roundabout (Anderson)
01.3. Just To Cry’ (Lowther/Finnegan)
01.4. Sinnin’ For You (Anderson/Hartley/Dines/Finnegan) 3.20
02. You Can’t Choose (Anderson) 5.56
03. You Can’t Take It With You (Anderson) 8.00
04. Sinnin’ For You (Anderson/Hartley/Dines/Finnegan) 3:40
05. Inerview with Keef Hartley 1.09
06. Me And My Woman (Barge) 3.37
07. Too Much Thinkin’ # 1 (studio reccording) 5.43
08. Waiting Around (Anderson/Hartley/Thain) 2.24
09. Just To Cry (Lowther/Finnegan) 3.40
16. Shadows Across The Wall (Anderson) 4.36
17. To Whom It May Concern (Live Miller Anderson Band) (Anderson) 3.19
18. High Tide, High Water (Live Miller Anderson Band) (Anderson) 7.27

Track 01.: Recorded Live At The Paris Theatre London For “Sunday Concert” On 25th March 1971
Tracks 02. – 03.: Recorded Live In London For “Sunday Concert” On 23rd January 1970
Tracks 04. – 05: Recorded In London For “Top Gear” On 29th April 1969
Tracks 06. – 11.: Recorded In London For “Sunday Concert” On 12th November 1970
Track 12.: Recorded In London For “Top Gear” On 29th April 1969
Tracks 13. – 14.: Recorded In London For “Top Gear” On 14th November 1969
Tracks 15. – 16.: Recorded In London For “Sounds Of The Seventies” On 17th June 1971
Tracks 17. – 18.: Recorded Live At The Paris Theatre London On 13th September 1971



Keith “Keef” Hartley (8 April 1944 – 26 November 2011)

Circle (Chick Corea) – Circle 1 – Live In German Concert (1971)

FrontCover1Circle was an avant garde jazz ensemble active in 1970 and 1971. The group arose from pianist Chick Corea’s early 1970s trio with Dave Holland on bass and Barry Altschul on drums and percussion with the addition of Anthony Braxton in a leading role on several reed instruments. The group’s earliest (and only studio) recordings were made in 1970 for the Blue Note label but not released until 1975 under Corea’s name. A live double album appeared on the ECM label in 1972. These recordings document a period in which Corea’s work was steeped in the jazz avant garde, prior to his complete shift to the jazz fusion orientation. Corea, Holland and Altschul also recorded the album A.R.C. for ECM in 1971, but it was not released under the band name “Circle.” (wkipedia)

And here is the rare “Circle 1: Live in Germany Concert” (released in Japan only)


“Circle 1: Live in Germany Concert” shares a setlist with the latter half of Circle’s other famous live album—though at this gig, the band pushes prettiness and aggression to greater extremes. A long suite of two compositions by Holland opens the record. Corea gives “Toy Room” a haunted solo introduction that keeps the childhood nostalgia of the main theme from seeming too innocent when it arrives. With the rhythm section offering free-time support, Corea’s long feature only gives brief glimpses of the prickly side of his playing. Braxton’s entrance on flute has a similarly lyrical quality, even when his lines create strange harmonies. Corea occasionally follows Braxton into freer vistas before pulling the saxophonist back to the underlying tune. Despite the fact that the song never gets that far “out,” there’s a compelling drama to the way the players negotiate this loveliness.


After an improvised, transitional section in the suite, another Holland tune follows. (In keeping with a typo from the original pressing, the song “Q & A” is once again spelled “O & A” on this reissue.) Given its jabbing, repetitive hook, this composition was well suited to demonstrations of Circle’s collective power. But this take from Germany sounds particularly energetic. From the outset of his first soprano solo, Braxton is heard mixing all the paints from his “language music” palette—with harsh overblowing quickly giving way to longer-held tones, then wide-interval attacks.


In addition to the timbral intensity of the performance, the quick juggling of such different sound styles has its own hardcore feel. And when the band relents, they keep the experimental vibe afloat by rustling around with miscellaneous percussion instruments and whistles. Later on, Corea flashes some powerful cluster-chords (which owe a debt to Cecil Taylor), and then Braxton helps thrash through Holland’s theme again, this time on alto. (by Seth Colter Walls)

Attention: This is Free Jazz and when I write Free Jazz, I mean Free Jazz !

Recorded live at the Parktheater Iserlohn, Iserlohn, Germany (radio broadcast)  


Barry Altschul (drums, percussion)
Anthony Braxton (saxophone, flute, clarinet, percussion)
Chick Corea (piano)
Dave Holland (bass, cello)

CD front + backcover:

01. Medley : Toy Room / O And A (Holland) 28.13
02. There Is No Greater Love (Jones/Symes) 21.32




Bill Withers – Just As I Am (1971)

FrontCover1Bill Withers, the influential US soul singer who wrote Lean on Me, Ain’t No Sunshine and Lovely Day has died aged 81 of heart complications, according to a statement from his family.

Withers wrote and recorded several other major hits including Use Me and Just the Two of Us, before retiring in the mid-1980s and staying out of the public eye.

He is survived by his wife Marcia Johnson and their two children, Todd and Kori. The family statement reads:

We are devastated by the loss of our beloved, devoted husband and father. A solitary man with a heart driven to connect to the world at large, with his poetry and music, he spoke honestly to people and connected them to each other. As private a life as he lived close to intimate family and friends, his music forever belongs to the world. In this difficult time, we pray his music offers comfort and entertainment as fans hold tight to loved ones.

Lin-Manuel Miranda was among those paying tribute, writing: “Rest In Peace, maestro Bill. What a legacy.” Chance the Rapper said Withers “was really the greatest”, while Chic’s Nile Rodgers described him as “class, class and more class”

Withers’ songs are some of the most beloved in the American songbook. Ain’t No Sunshine is regarded as one of the all-time great breakup tracks, while Lean on Me, an ode to the supportive power of friendship, was performed at the inaugurations of presidents Barack Obama and Bill Clinton. Heavily influenced by the church hymns and gospel music of his childhood, it was his first and only No 1 single on the US Billboard pop charts, in 1972.

Bill Withers01

It has also become an anthem during the coronavirus outbreak, sung by schoolchildren and in impromptu balcony renditions to show support for one another. Donald Trump’s daughter Ivanka wrote on Twitter: “There is no more appropriate time to reflect on his words than now as we lean on each other.”
Sign up for the Sleeve Notes email: music news, bold reviews and unexpected extras
Read more

Just the Two of Us, another song of solidarity, was successfully covered by Will Smith and sampled by Eminem (as well as being spoofed by Bill Cosby and Mike Myers).

The joyous Lovely Day, with its signature 18-second-long held note, was his only UK Top 10 hit, reaching No 7 in 1977 and No 4 in 1988. Withers also won three Grammy awards from nine nominations and entered the Rock and Roll Hall of Fame in 2015.

Bill Withers02

Born William Harrison Withers Jr in 1938, he faced a difficult childhood in Slab Fork, West Virginia. A stutter held him back from making friends, and, after his father died when Bill was 13, his grandmother helped to raise him. Withers would write a tribute to her with the song Grandma’s Hands from his 1971 debut album Just As I Am: “Grandma’s hands / Used to issue out a warning / She’d say, ‘Billy don’t you run so fast / Might fall on a piece of glass / Might be snakes there in that grass.’” The intro was memorably sampled by Blackstreet for their 1996 R&B classic, No Diggity.

Withers spent nine years in the US Navy before pursuing a career in music. After moving to Los Angeles in 1967, he found a job making toilet seats and recorded demos through the night. Possessed of a smooth and soulful baritone, he signed to Sussex Records and enlisted Booker T Jones to produce Just As I Am. That album spawned the hit Ain’t No Sunshine, which won Withers his first Grammy for best R&B song.

Bill Withers03

His time with Sussex Records didn’t end well. “They weren’t paying me,” he told Rolling Stone in 2015. “They looked at me and said, ‘So, I owe you some money, so what?’ I was socialised in the military. When some guy is smushing my face down, it doesn’t go down well.” He claims to have erased an entire album that he had recorded for the label in a fit of pique. “I could probably have handled that differently,” he said.

Withers signed with Columbia Records and married his second wife, Marcia Johnson, shortly afterwards, in 1976; she eventually became his manager. Withers continued having hit records with Columbia, including the laid-back and optimistic Lovely Day. After three albums in three years, Withers claimed Columbia’s head of A&R, Mickey Eichner, prevented him from going into the studio, leaving a gap of seven years between ’Bout Love (1978) and Watching You Watching Me (1985).

Bill Withers05

After the latter failed to chart, Withers went into early retirement. The 2009 documentary, Still Bill, explored his reasons for quitting the music industry and painted the picture of a fulfilled musician and human being. Writing in the Chicago Sun-Times, film critic Roger Ebert said: “[Withers] still lives and survives as a happy man. Still Bill is about a man who topped the charts, walked away from it all in 1985 and is pleased that he did.” (by Tim Jonze and Ben Beaumont-Thomas)


Though low-key by the standards of early-’70s soul, Withers’ debut record is by most measures an astonishing maiden outing. Perhaps being at a relatively advanced age for a singer/songwriter doing his first album (Withers was in his early thirties by the time it was released) helped give the songs a maturity and weight lacking in most initial efforts. Withers immediately carved a distinct niche for himself within soul music by integrating folkier, more introspective elements than what was being heard almost anywhere else within the style. While gentle orchestration and jazz-funk rhythms could often be heard, he didn’t forsake some down-home blues and gospel influences, which really came to the forefront on songs like “Grandma’s Hands.” The lilting, melancholy “Ain’t No Sunshine” was the deserved smash hit from the record, but there were a bunch of fine effervescently grooving songs on the rest of the album that remain unjustly familiar to the general audience, like “Harlem,” “Sweet Wanomi,” “Moanin’ and Groanin’,” and “Better Off Dead.” All the material was original save covers of Fred Neil’s “Everybody’s Talkin'” and the Beatles’ “Let It Be,” both of which Withers made over into his own memorable acoustic-based soul style. (by Richie Unterberger)


Donald “Duck” Dunn (drums)
Chris Ethridge (bass)
Al Jackson (drums)
Booker T. Jones (keyboards, guitar)
Jim Keltner (drums)
Bobbie Hall Porter (percussion)
Stephen Stills (guitar)
Bill Withers (vocals, guitar)

Bill Withers06

01. Harlem (Withers) 3.23
02. Ain’t No Sunshine (Withers) 2.07
03. Grandma’s Hands (Withers) 2.03
04. Sweet Wanomi (Withers) 2.35
05. Everybody’s Talkin’ (Neil) 3.28
06. Do It Good (Withers) 2.54
07. Hope She’ll Be Happier (Withers) 3.49
08. Let It Be (McCartney/Lennon) 2.37
09. I’m Her Daddy (Withers) 3.18
10. In My Heart (Withers) 4.20
11. Moanin’ And Groanin’ (Withers) 2.59
12. Better Off Dead (Withers) 2.17


  • (coming soon)

Bill Withers
William Harrison Withers Jr. (July 4, 1938 – March 30, 2020)

Erroll Garner – Turin Concert (2007)

FrontCover1Erroll Louis Garner (June 15, 1921 – January 2, 1977) was an American jazz pianist and composer known for his swing playing and ballads. His best-known composition, the ballad “Misty”, has become a jazz standard. Scott Yanow of Allmusic calls him “one of the most distinctive of all pianists” and a “brilliant virtuoso.” He received a star on the Hollywood Walk of Fame at 6363 Hollywood Blvd. His live album, Concert by the Sea,[10] first released in 1955, sold over a million copies by 1958 and Scott Yanow’s opinion is: “this is the album that made such a strong impression that Garner was considered immortal from then on.”(b wikipedia)

One of the more criticized omissions of Ken Burns’ ambitious documentary on Jazz was not even mentioning Erroll Garner among the most influential Jazz pianists ever. The omission may not seem accidental. For many critics, Garner’s own unpretentious and happy music seemed more akin with popular piano music than with Jazz. The extraordinary popularity Garner achieved during his career helped to propagate this idea, which nevertheless is thoroughly unacceptable when judging Garner’s work on a strictly musical basis.


The live performance heard here, recorded in Turin, Italy, on May 9, 1971, shows Garner in a late phase of his extended career, playing in one of his most usual formats, the classic Jazz trio of piano, bass and drums plus a conga drummer. The same group is heard on a studio session recorded a few months later in New York, on December 2, 1971 (the album was titled Gemini). As a curiosity, Garner plays harpsichord on two tunes from this studio session, ‘When a Gipsy Makes His Violin Cry’ and ‘Tea for Two’. (by Gambit)

This superb and very well-recorded concert, from May of ’71, is at long last available here in the states, and will prove to be a real treat for anybody acquainted with the genius of Mr. Garner. Erroll, heavily into the Latin groove at this time, swings his *** off here with his stellar quartet, on several very different versions of Misty and on other timeless standards. This dazzling concert is intelligently paired with the Gemini album, a brilliant, high energy studio date also from the early 70’s, recorded with the same sideman. Great, great music–don’t miss this one. A treasure from one of jazz’s greatest gaints. (by Jazz Pianist)


Erroll Garner (piano)
Jose Mangual (percussion)
Ernest McCarty(bass)
Jimmie Smith (drums)


01. The Shadow of Your Smile (Mandel/Webster) 4.42
02. The Girl From Ipanema (Jobim/Gimbel/Moraes) 5.41
03. Misty (Garner) 4.24
04. There Will Never Be Another You (Jacobs/Tinturin) 2.47
05. Misty #2 (Garner) 2.17
06. Variations on “Misty” (Garner) 1.40
07. Yesterday (Lennon/McCartney) 5.19
08. I’ll Remember April (DePaul/Johnston/Raye) 4.06
09. Tell It Like It Is (Garner) 4.38
10. How High the Moon? (Hamilton/Lewis) 5.07
11. It Could Happen To You (Burke/Van Heusen) 3.48
12. Gemini (Garner) 4.04
13. When A Gipsy Makes His Violin Cry (Deutch/Winegar/Smith/Rogan) 6.24
14. Tea For Two(Caesar/Youmans) 5.27
15. Something (Harrison) 1.51
16. Eldorado (Garner) 5.49
17. These Foolish Things (Link/Marvell/Strachey) 7.00




Erroll Garner
Erroll Louis Garner (June 15, 1921 – January 2, 1977)

Aretha Franklin – Montreux (1971)

FrontCover1Aretha Louise Franklin (March 25, 1942 – August 16, 2018) was an American singer, songwriter, pianist, and civil rights activist. Franklin began her career as a child singing gospel at New Bethel Baptist Church in Detroit, Michigan, where her father C. L. Franklin was minister. At the age of 18, she embarked on a secular-music career as a recording artist for Columbia Records. While Franklin’s career did not immediately flourish, she found acclaim and commercial success after signing with Atlantic Records in 1966. Hit songs such as “Respect”, “Chain of Fools”, “Think”, “(You Make Me Feel Like) A Natural Woman”, “I Never Loved a Man (The Way I Love You)”, and “I Say a Little Prayer”, propelled her past her musical peers. By the end of the 1960s, Aretha Franklin had come to be known as “The Queen of Soul”.

Franklin continued to record acclaimed albums such as I Never Loved a Man the Way I Love You (1967), Lady Soul (1968), Spirit in the Dark (1970), Young, Gifted and Black (1972), Amazing Grace (1972), and Sparkle (1976) before experiencing problems with her record company. Franklin left Atlantic in 1979 and signed with Arista Records. She appeared in the 1980 film The Blues Brothers before releasing the successful albums Jump to It (1982), Who’s Zoomin’ Who? (1985), and Aretha (1986) on the Arista label. In 1998, Franklin returned to the Top 40 with the Lauryn Hill-produced song “A Rose Is Still a Rose”; later, she released an album of the same name which was certified gold.

Aretha Franklin01

That same year, Franklin earned international acclaim for her performance of “Nessun dorma” at the Grammy Awards; she filled in at the last minute for Luciano Pavarotti, who canceled his appearance after the show had already begun. In a widely noted performance, she paid tribute to 2015 honoree Carole King by singing “(You Make Me Feel Like) A Natural Woman” at the Kennedy Center Honors.

Franklin recorded 112 charted singles on Billboard, including 77 Hot 100 entries, 17 top-ten pop singles, 100 R&B entries, and 20 number-one R&B singles. She is the most charted female artist in history. Franklin’s well-known hits include “Rock Steady”, “Call Me”, “Ain’t No Way”, “Don’t Play That Song (You Lied)”, “Spanish Harlem”, “Day Dreaming”, “Until You Come Back to Me (That’s What I’m Gonna Do)”, “Something He Can Feel”, “Jump to It”, “Freeway of Love”, “Who’s Zoomin’ Who”, and “I Knew You Were Waiting (For Me)” (a duet with George Michael). She won 18 Grammy Awards, including the first eight awards given for Best Female R&B Vocal Performance (1968–1975). Franklin is one of the best-selling music artists of all time, having sold more than 75 million records worldwide.

Aretha Franklin02 (1971)

Franklin received numerous honors throughout her career. She was awarded the National Medal of Arts and the Presidential Medal of Freedom. In 1987, she became the first female performer to be inducted into the Rock and Roll Hall of Fame. She also was inducted into the UK Music Hall of Fame in 2005 and into the Gospel Music Hall of Fame in 2012.[7] In 2010, Rolling Stone magazine ranked her number one on its list of the “100 Greatest Singers of All Time”[8] and number nine on its list of “100 Greatest Artists of All Time”.[9] The Pulitzer Prize jury in 2019 awarded Franklin a posthumous special citation “for her indelible contribution to American music and culture for more than five decades. (by wikipedia)

Aretha Franklin03

Obviously there has been a great loss that leaves an irreparable void in the musical firmament of our world, but as we know the only way to memorialize the giants is to play the music, so here we are. This tape’s been around for a while and I always loved the performance, but felt it was imbalanced and that Aretha’s voice was a bit buried in the orchestral maelstrom of brass and horns. So I sat down when she passed this morning and spent the day excavating it from the soup so it’d be more prominent and audible. [Aretha Franklin passed away on August 16, 2018 at the age of 76.]

Aretha Franklin07

I used Sound Forge 11’s Graphic EQ and Graphics Dynamics tools, and increased the left channel volume to create a better balance with more lead vocal in the mix. I repaired the dropout in the transition between Dr Feelgood and Spirit In the Dark to be less egregiously disturbing, chopped off the filler track at the end of the original files, which seemed to have nothing at all to do with this performance (I think it was Traffic, and I have no idea how it got there, but no matter), and tracked the medleys into separate files. I created a new cover, made new fingerprints, and got everything titled and tagged properly as well. I also clarified who is playing on it and amended this text file.

Alternate frontcovers:

This is a stunner of a set from the Aretha & King Curtis “Live at the Fillmore” era, taped as they both were just a few months before Curtis was so tragically murdered. We are all devastated that The Queen has left us, but hopefully this reworking of this magical tape will turn a little of that grief into the necessary celebration of a life lived as well as a human life can be lived. Farewell to Aretha Franklin – an artist whose music will never, ever die – and enjoy. (by Emperor Nobody)

Thanks to original uploader grooveon; and to Emperor Nobody (EN) for the remaster and for sharing the show at Dime.

Okay … Arthea Franklin … one of the greates ever … okay … lie at Montrreux … what a concert

Recorded live at the Montreux Jazz Festival. Casino, Montreux, Switzerland; June 12, 1971 (Early show). Fairly to very good FM broadcast.


King Curtis (saxophone)
Cornell Dupree (guitar)
Aretha Franklin (vocals, piano)
Jerry Jemmott (bass)
Pancho Morales (percussion)
Bernard Purdie (drums)
Truman Thomas (organ)
The Memphis Horns:
Jack Hale (trombone)
Roger Hopps (trumpet)
Wayne Jackson – trumpet
Andrew Love (saxophone)
Jimmy Mitchell (saxophone)
background vocals, percussion
Brenda Bryant – Margaret Branch – Pat Smith

Aretha Franklin04

01. Soul Serenade (Ousley/Dixon) 3.23
02. Respect (Redding) 4.15
03. (You Make Me Feel Like) A Natural Woman (Goffin/King/Wexler) 4.28
04. I Say A Little Prayer (Bacharach/David) 3.40
05. Call Me (Franklin) 6.55
06. Brand New Me (Gamble/Butler) 4.16
07. Share Your Love With Me (Braggs/Malone) 4.01
08. Don’t Play That Song (You Lied) (Ertegün/Nelson) 3.59
09. Bridge Over Troubled Water (Simon) 5.53
10. Dr. Feelgood (Franklin/White) 6.50
11. Spirit In The Dark (Franklin) 6.04

Aretha Franklin05


Aretha Franklin06
Aretha Louise Franklin (March 25, 1942 – August 16, 2018)