Black Sabbath – Master Of Reality (1971)

FrontCover1.jpgMaster of Reality is the third studio album by English rock band Black Sabbath, released on 21 July 1971. It is widely regarded as the foundation of doom metal, stoner rock, and sludge metal. It was certified double platinum after having sold over 2 million copies. Master of Reality was Black Sabbath’s first and only top 10 album in the US until 13, forty-two years later. (by wikipedia)

The shortest album of Black Sabbath’s glory years, Master of Reality is also their most sonically influential work. Here Tony Iommi began to experiment with tuning his guitar down three half-steps to C#, producing a sound that was darker, deeper, and sludgier than anything they’d yet committed to record. (This trick was still being copied 25 years later by every metal band looking to push the limits of heaviness, from trendy nu-metallers to Swedish deathsters.) Much more than that, Master of Reality essentially created multiple metal subgenres all by itself, laying the sonic foundations for doom, stoner and sludge metal, all in the space of just over half an hour. Classic opener “Sweet Leaf” certainly ranks as a defining stoner metal song, making its drug references far more overt (and adoring) than the preceding album’s “Fairies Wear Boots.”


The album’s other signature song, “Children of the Grave,” is driven by a galloping rhythm that would later pop up on a slew of Iron Maiden tunes, among many others. Aside from “Sweet Leaf,” much of Master of Reality finds the band displaying a stronger moral sense, in part an attempt to counteract the growing perception that they were Satanists. “Children of the Grave” posits a stark choice between love and nuclear annihilation, while “After Forever” philosophizes about death and the afterlife in an openly religious (but, of course, superficially morbid) fashion that offered a blueprint for the career of Christian doom band Trouble.


And although the alternately sinister and jaunty “Lord of This World” is sung from Satan’s point of view, he clearly doesn’t think much of his own followers (and neither, by extension, does the band). It’s all handled much like a horror movie with a clear moral message, for example The Exorcist. Past those four tracks, listeners get sharply contrasting tempos in the rumbling sci-fi tale “Into the Void,” which shortens the distances between the multiple sections of the band’s previous epics. And there’s the core of the album — all that’s left is a couple of brief instrumental interludes, plus the quiet, brooding loneliness of “Solitude,” a mostly textural piece that frames Osbourne’s phased vocals with acoustic guitars and flutes. But, if a core of five songs seems slight for a classic album, it’s also important to note that those five songs represent a nearly bottomless bag of tricks, many of which are still being imitated and explored decades later. If Paranoid has more widely known songs, the suffocating and oppressive Master of Reality was the Sabbath record that die-hard metalheads took most closely to heart. (by Steve Huey)


Geezer Butler (bass)
Tony Iommi (guitar, synthesizer on 02., flute, piano on 07.)
Ozzy Osbourne (vocals)
Bill Ward (drums, percussion)

01. Sweet Leaf (Iommi/Butler/Osbourne/Ward) 5.05
02. After Forever (Iommi/Butler/Osbourne/Ward) 5:27
03. Embryo (Iommi) 0.28
04. Children Of The Grave (Iommi/Butler/Osbourne/Ward) 5.18
05. Orchid (Iommi) 1.31
06. Lord Of This World (Iommi/Butler/Osbourne/Ward) 5.27
07. Solitude (Iommi/Butler/Osbourne/Ward) 5.02
08. Into The Void (Iommi/Butler/Osbourne/Ward) 6.12

All lyrics written by Geezer Butler




My name it means nothing, my fortune is less
My future is shrouded in dark wilderness
Sunshine is far away, clouds linger on
Everything I possessed, now, they are gone
They are gone, they are gone…

Oh, where can I go to and what can I do?
Nothing can please me, only thoughts are of you
You just laughed when I begged you to stay
I’ve not stopped crying since you went away
Went away, you went away…

The world is a lonely place, you’re on your own
Guess I will go home, sit down and moan
Crying and thinking is all that I do
Memories I have remind me of you
Of you, of you…


Mr. Fox – The Gypsy (1971)

FrontCover1.jpgMr. Fox was a septet formed in 1970 by Bob Pegg (vocals, guitar, bass, keyboards) and Carolann Pegg (then known as Carole Pegg) (vocals, fiddle). Contemporaries of Steeleye Span and Fairport Convention, Mr. Fox was unusual in that they avoided relying on electric guitars and their music’s deep origins in the folklore of the Dales. Mr. Fox, whose other members were Alun Evans (drums), Barry Lyons (bass, dulcimer), Andrew Massey (cello), John Myatt (winds), Richie Bull (banjo), and Nick Strutt (multiple instruments), started out with a self-titled debut album on Transatlantic that generated a massive amount of enthusiasm and controversy, over their mix of traditional folk forms and experimental touches in the rhythms and other embellishments. They were serious rivals to acts like Steeleye Span for a time, especially upon the release of their second album, The Gipsy, which featured a smaller line-up and a more experimental approach to their material. Multi-instrumentalist Nick Strutt, in particular, was heavily showcased along with the Peggs on that album. This was to prove their last album, however, as the group splintered soon after. Bob Pegg and Carolann Pegg cut one album together on the Trailer label in 1971, and later emerged on separate solo albums on Transatlantic. (by Bruce Eder)


Mr. Fox’s second and final album was lively British folk-rock from the halcyon days of that genre. They lacked the one or two vocal or instrumental personalities that would have lifted them to the Fairport Convention/Steeleye Span/Pentangle level, but anyone who likes the early 1970s recordings of those bands will like this too. The group really shone when they favored the moodiest material and let a spooky drone come to the fore, as on the lengthy opener, “Mendle,” where the unnervingly shrill organ and Carole Pegg’s vocals established an uneasy yet seductive atmosphere. It should be said, though, that it was an admirably diverse album as well, with sparsely arranged numbers that sound much like gypsies of centuries-old vintage, more straightforward and modern folk-rock treatments of traditional songs, and the upbeat finale “All the Good Times,” where the Gridley Tabernacle Choir and Orchestra join in on the chorus.


Important note: although this was reissued as part of the apparent two-for-one CD of their two early 1970s albums on Transatlantic, that release is missing “Mendle” — a vital omission, as that’s the best track on The Gipsy. Don’t despair, however, as all of the songs, “Mendle” included, are on the 180-gram gatefold LP reissue of the album by Get Back in 2001. (by Richie Unterberger)

And we here again ,exquiste acid folk tunes and marvellous male/female vocals and harmonies including a composition of Wolfgang Amadeus Mozart !!!


Bob Pegg (vocals, organ, accordion, tin whiste, guitar, piano, bass drum)
Carole (Carolanne) Pegg (vocals,fiddle)
Alan Eden (drums, percussion, vocals)
Barry Lyons (bass, vocals, dulcimer, recorder, tambourine)
The Gridley Tabernacle Choir And Orchestra (on 06.)


01. Mendle (C.Pegg) 7.14
02. The Gypsy (Mozart/B.Pegg) 12.58
03. Aunt Lucy Broadwoo (B. Pegg) 2.22
04. House Carpenter (Traditional) 5.13
05. Elvira Madigan (B.Pegg) 4.20
06. Dancing Song (B. Pegg) 3.06
07. All The Good Times (B.Pegg/Traditional) 5.28



And this albums you can hear both Mr. Fox albums from the early Sevenies:


I got this rare item from Mr. Sleeve — and I had to say thanks again !


Don Sugarcane Harris – Sugar Cane´s Got The Blues (1971)

FrontCover1.jpgOne of the greatest definers of late-1960s and early-1970s jazz was the collaboration of musicians from disparate backgrounds, a perfect example being Charlie Mariano’s 1976 MPS release, Helen Twelve Trees (Promising Music/MPS, 2008), featuring ex-Mahavishnu keyboardist Jan Hammer alongside ex-Cream bassist Jack Bruce. Equally, 1972’s Sugar Cane’s Got the Blues—another MPS album demonstrates that stylistic differences can often come together to create music that’s exciting and completely unexpected.

Violinist Don “Sugar Cane” Harris seemed to burst onto the scene with two appearances on Frank Zappa’s classic Hot Rats (Rykodisc, 1969), resulting in a flurry of recording activity that mysteriously died out by the mid-1970s. Got the Blues captures two electrifying performance at Berlin’s Philharmonic Hall from November, 1971, a potent combination of groove and improvisational freedom that makes Harris’ later disappearance from the scene (he passed away in 1999) all the more curious.

The quintet of musicians come from diverse backgrounds: from Britain, Soft Machine drummer Robert Wyatt and bassist Neville Whitehead, who traveled in similar circles; and from Germany, keyboardist Wolfgang Dauner and guitarist Volker Kriegel, two multi-disciplinary players comfortable across a broad spectrum of styles, one example being Kriegel’s work on The Dave Pike Set’s Live at the Philharmonie. Norwegian guitarist/ECM mainstay Terje Rypdal replaces Kreigel on Got the Blues’s most purely jazz-centric track, Horace Silver’s “Song for My Father,” which may sport the album’s most relaxed vibe, but still can’t seem to restrain Harris’ fiery delivery.


The balance of the disc’s four extended tracks belong to Harris. “Liz Pineapple Wonderful” may at first revolve around a simple set of changes and, later, a one-chord vamp, but it grooves mightily with relentless energy. In addition to a “burning down the house” solo from Harris, he also sings on the track, as he does on the pseudo-swinging minor-keyed title track which, after another introductory two-chord vamp, turns modal and double time for individual and in tandem solos from Dauner and Kriegel before a finale with everyone in the pool for three minutes of spirited free play. Harris also sings on the funky closer, “Where’s My Sunshine,” another lengthy vamp that morphs into a blues, with a surprisingly authentic piano solo from Dauner.

Harris’ unrelenting and passionate delivery keeps the excitement level high throughout, despite Got the Blues’ largely simple and vamp-based tunes. And while Kriegel’s jazz/rock tendencies are no surprise to those familiar with him, hearing the usually free jazz-DonSugarcaneHarris02.jpgentric Dauner and Whitehead kick out the jams alongside Wyatt’s powerful drumming is an eye and ear-opener. In many ways, it’s this very multi-disciplinary nature of this collective that allows an album this compositionally spare to be so viscerally compelling. (by John Kellman)

Don “Sugar Cane” Harris’ drug addiction curtailed his career long prior to his death in 2000, but this performance at the 1971 Berlin Jazz Festival stands out as his best overall recording. Taped during the same day as the highly recommended New Violin Summit (which features Harris with fellow violinists Jean-Luc Ponty, Nipso Branther, and Michal Urbaniak), Harris delivers a terrific performance with his high energy “Liz Pineapple Wonderful”; “Sugar Cane’s Got the Blues,” a sometimes lyrical but often intense number featuring great solos by keyboardist Wolfgang Dauner and guitarist Volker Kriegel; the unusually structured blues “Where’s My Sunshine”; and finally an extended very percussive treatment of Horace Silver’s “Song for My Father,” during which Terje Rypdal takes over on guitar. Harris is clearly influenced by fellow violinist Stuff Smith on this outing with an often piercing sound and frequently fierce attack; he also has a somewhat hoarse singing style like Smith’s. This record has been difficult to find since BASF quit making records in the mid-’70s, but it is well worth acquiring and thanks to a reissue in 2008 by SPV, easier than ever. (by Ken Dryden)

Recorded live at Berlin Jazz Festival (Berliner Philharmonie)
November 4th and 7th, 1971 


Wolfgang Dauner (keyboards, electronics)
Don ‘Sugar Cane’ Harris (violin, vocals)
Volker Kriegel (guitar)
Neville Whitehead (bass)
Robert Wyatt (drums)
Terje Rypdal (guitar on 03.)


01. Introduction (in German)/Liz Pineapple Wonderful (Harris) 10.30
02. Sugarcane’s Got The Blues (Harris) 15.23
03. Song For My Father (Silver) 10.52
04. Where’s My Sunshine (Harris) 12.42


  • (coming soon)


Don Francis Bowman “Sugarcane” Harris (June 18, 1938 – November 30, 1999)

Melanie – In Concert – Live At Montreux (1973)

FrontCover1.jpgMelanie Anne Safka-Schekeryk (born February 3, 1947) is an American singer-songwriter. Known professionally as Melanie (and sometimes as Melanie Safka), she is best known for her hits “Brand New Key”, “Ruby Tuesday”, “What Have They Done to My Song Ma”, and her song about performing at the 1969 Woodstock Music Festival, “Lay Down (Candles in the Rain)”.

Melanie was born and raised in the Astoria neighborhood of Queens, New York City. Her father, Frederick M. Safka (1924-2009), was of Ukrainian ethnic background and her jazz singer mother, Pauline “Polly” Altomare (1926-2003), was of Italian heritage. Melanie made her first public singing appearance at age four on the radio show Live Like A Millionaire, performing the song “Gimme a Little Kiss”. She attended Red Bank High School in Red Bank, New Jersey, after transferring from Long Branch High School, graduating in 1966.

In the 1960s, when she was starting out, Melanie performed at The Inkwell, a coffee house in the West End section of Long Branch, New Jersey. After school, her parents insisted that she go to college, so she studied acting at the American Academy of Dramatic Arts in New York, where she began singing in the folk clubs of Greenwich Village, such as The Bitter End, and signed her first recording contract.

Melanie01.jpgInitially signed to Columbia Records in the United States, Melanie released two singles on the label. Subsequently, she signed with Buddah Records and first found chart success in Europe in 1969 with “Bobo’s Party” which reached Number 1 in France. Melanie’s popularity in Europe resulted in performances on European television programs, such as Beat-Club in West Germany. Her debut album received positive reviews from Billboard which heralded her voice as “wise beyond her years. Her non-conformist approach to the selections on this LP make her a new talent to be reckoned with.”

Later in 1969, Melanie had a hit in the Netherlands with “Beautiful People”. She was one of only three solo women who performed at the Woodstock Festival in 1969 and the inspiration for her first hit song, “Lay Down (Candles in the Rain)”, apparently arose from the Woodstock audience lighting candles during her set (although most of the “candles” were actually matches or lighters). The recording became a hit in Europe, Australia, Canada, and the United States in 1970. The B-side of the single featured Melanie’s spoken-word track “Candles in the Rain”. “Lay Down” became Melanie’s first Top Ten hit in America, peaking at Number 6 on the Billboard singles chart and achieving worldwide success. Later hits included “Peace Will Come (According To Plan)” and a cover of the Rolling Stones’ “Ruby Tuesday”.


In 1970, Melanie was the only artist to ignore the court injunction banning the Powder Ridge Rock Festival scheduled to be held on July 31, August 1 and August 2, 1970. She played for the crowd on a homemade stage powered by Mister Softee trucks. Shortly following this performance, she played at the Strawberry Fields Festival held from August 7 to 9, 1970, at Mosport Park, Ontario. She also performed at the Isle of Wight Festival held between August 26 and 30, 1970, at Afton Down, where she was introduced by Keith Moon and received four standing ovations (she also appeared at the 2010 Isle of Wight festival). She was also the artist who sang to herald in the summer solstice at Glastonbury Fayre (later the Glastonbury Festival) in England in June 1971.

Melanie left Buddah Records when they insisted that she produce albums on demand. In 1971 she formed her own label, Neighborhood Records, with Peter Schekeryk, who was also her producer and husband. (by wikipedia)


I guess, this was her last album for Buddah Records and it´s a very rare one:

This LP is perhaps the rarest of all Melanie albums. Buddah Records released the record in 1973. Initially it was thought to only have been released in Germany however, copies printed in Yugoslavia also exist,

Like Leftover Wine it features a solo concert, this time recorded in Montreux on June 12th, 1971. Whether the album was issued in limited numbers or whether it was withdrawn after release I cannot say. I came across my copy several years ago, it being the first one I had seen in many years of searching. Though copies now appear regularly on auction sites. (

And this ist not only a rare album, but it´a pretty good one … Melanie at her best, believe me ! What a woman, what a voice, what great songs and lyrics …

Oh yes, I´m still in love with Melanie!

Recorded live at Montreux on June 12th, 1971


Melanie Safka (vocals, guitar)


01. Chords Of Fame (Ochs) 4.50
02. Baby Guitar (Safka) 3.00
03. Alexander Beetle (Safka) 2:50
04. Nickel Song (Safka) 3.16
05. Carolina On My Mind (Taylor) 5.14
06. Peace Will Come (Safka) 5.18
07. Babe Rainbow (Safka) 5.50
08. What Have They Done To My Song, Ma (Safka) 4.23
09. Lay Down (Candles In The Rain) (Safka) 5.35



Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown

Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown

We were so close, there was no room
We bled inside each other’s wounds
We all had caught the same disease
And we all sang the songs of peace

Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown

Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown
So raise candles high
‘Cause if you don’t we could stay black against the night
Oh, raise them higher again
And if you do we could stay dry against the rain

Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown

Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown

We were so close, there was no room
We bled inside each other’s wounds
We all had caught the same disease
And we all sang the songs of peace

Some came to sing, some came to pray
Some came to keep the dark away

So raise candles high
‘Cause if you don’t we could stay black against the sky
Oh, oh, raise them higher again
And if you do we could stay dry against the rain

Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown

Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown

Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown

Lay down, lay down, lay it all down

Black Oak Arkansas – If An Angel Came To See You Would You Make Her Feel At Home (1971)

LPFrontCover1.jpgIf an Angel Came to See You, Would You Make Her Feel at Home? is a studio album released by Southern rock band Black Oak Arkansas in 1972. It is the recording debut of drummer Tommy Aldridge. (by wikipedia)

Produced by Iron Butterfly’s Lee Dorman and Mike Pinera, Black Oak Arkansas introduced a three-guitar thunderstorm underpinning the scary basso profundo growls of lead singer Jim “Dandy” Mangrum. This was a sound unlike any other on the then-nascent Southern rock scene. With songs like “Hot and Nasty,” “Lord Have Mercy on My Soul,” and an otherworldly cover of Guy Mitchell’s hit “Singing the Blues,” Black Oak found a cult following through incessant touring with the likes of the Allman Brothers Band. This is not pretty music, but it does have a propulsive kick to it, with the guitars going in several directions at once while Jim Dandy’s Howlin’ Wolf-influenced vocals lay out a strange blend of macho sexual and religious imagery. Although the sound would quickly become cartoonish over subsequent releases, this initial release contained the spark of the new and different. (by Jim Newsome)


These guys are a trip. It’s the sound of Ozarks, electrified. Bluesy, gospelly, a little glam rocky. This was their best album, a great play start to finish, with a handful of classics from the genre that is Southern Rock. The washboard jam that closes out the album is nothing less than legendary. (by Michael McKinnon)

Real good southern rock … but … The voice of Jim “Dandy” Mangrum: I can´t stand it, sorry !


Tommy “T.A.” Aldridge (drums)
Pat “Dirty” Daugherty (bass, background vocals)
Harvey “Burley” Jett (guitar, banjo, piano, background vocals)
Stanley “Goober” Knight (guitar, organ, background vocals)
Jim “Dandy” Mangrum (vocals, washboard)
Rickie “Ricochet” Reynolds (guitar, background vocals)


01. Gravel Roads 3.11
02. Fertile Woman 5.19
03. Spring Vacation 3.02
04. We Help Each Other 3.13
05. Full Moon Ride 3.47
06. Our Minds Eye 4.15
07. To Make Us What We Are 4.55
08. Our Eyes Ere On You 3.46
09. Mutants Of The Monster 4.45

All selections written by Aldridge – Daugherty – Jett – Knight – Mangrum – Reynolds




Manfred Mann’s Earth Band – Same (1972)

LPFrontCover1Manfred Mann’s Earth Band is the eponymous debut studio album by English rock band Manfred Mann’s Earth Band, released in January 1972 by Philips Records (and Polydor Records inthe USA). The album spent six weeks on the US Billboard 200 charts, peaking number 138 on 18 March 1972.

Manfred Mann’s Earth Band was first released in January 1972 by Polydor Records in the United States, where it sold modestly and received positive reviews from critics. Henry Edwards of High Fidelity said the Earth Band had proved themselves greatly superior to other acts in the “British Blues Invasion of the Seventies” by displaying a dedication to the music rather than flaunting their individual abilities. He also applauded bandleader Manfred Mann’s performances of “Part Time Man” and “I’m Up and I’m Leaving”, writing that they possessed “that haunting, urgent quality that has always marked Mann not only as a quality rocker but also as a musician with serious intentions and the ability to realize them”. Ramparts magazine called the album a respite from the “excessively abstracted psychedelic/hard rock” of the time, as well as an exceptional-sounding record that would prove to be “a landmark in the assimilation of new technology into rock without yielding to any impulse to make it a gimmick”. The record was less successful with critics and consumers in the United Kingdom, where it was released one month later on 18 February by Philips Records.


At the end of 1972, Manfred Mann’s Earth Band was named the third best album of the year in Robert Christgau’s column for Newsday. The music critic applauded Mann’s innovative synthesizer parts and both the “original and borrowed” lyrics, while calling the album “one of those future-rock records that will probably spawn no heirs, even by the group that made it”. Christgau later ranked it number 17 on a decade-end list for The Village Voice, and described it as “an extraordinary cult record” that achieved rock’s dichotomous “art-commerce” synthesis, something he said Mann had espoused since the early years of his music career.

The single “Living Without You” spent seven weeks on the US Billboard Hot 100 chart, reaching No. 69 on 8 April 1972. (by wikipedia)


Most folks know Manfred Mann from his ’60s hits, but too few have ever heard the brilliant Manfred Mann’s Earth Band album. Exploring arty and progressive directions, the Earth Band was a wholly different group from Mann’s earlier lineup. Unlike the heavier art rock groups that would follow (Emerson, Lake & Palmer, Yes), the Earth Band never became burdened by its own seriousness. Manfred Mann’s Earth Band combines hypnotic instrumentals (“Tribute”), exhilarating original songs (“Captain Bobby Stout”), and three definitive covers all laden with hooks worthy of “Do Wah Diddy Diddy.” Mann mines Dylan’s basement tapes again for “Please Mrs. Henry” (see “Quinn the Eskimo” and “Get Your Rocks Off” on other releases). An obscure Dr. John song, “Jump Sturdy” nearly jumps off the record. The synthesizer solo “Sloth” segues into the album’s centerpiece, “Living Without You.” With its thumping bassline and “So hard” chorus, this might be the best version of a Randy Newman song ever recorded. Closing the album, the Mann himself takes vocal turns on “Part Time Man” and “Up & Leaving,” quiet acoustic tales that contrast with the complex instrumentals of the rest of the record. On whole, Manfred Mann’s Earth Band is a completely satisfying album and one of the most underrated of the ’70s. (J.P. Ollio)


Manfred Mann (organ, synthesizer, vocals)
Colin Pattenden (bass)
Mick Rogers (guitar, vocals)
Chris Slade (drums)


01. California Coastline (Meskell/Martin) 2.50
02. Captain Bobby Stout (Tietgen) 7.00
03. Sloth (Mann/Rogers) 1.29
04. Living Without You (Newman) 3.39
05. Tribute (Mann) 5.38
06. Please Mrs Henry (Dylan) 4.37
07. Jump Sturdy (Creaux) 4.54
08. Prayer (Mann) 5.44
09. Part Time Man (Sadler/Mann) 3.06
10. I’m Up And I’m Leaving (Mann/Sadler) 3.08



And here´s a great live version from “Mighty Queen”, recorded in Sydney/Australia in 1972 … nearly 20 minutes !

Procol Harum – Broken Barricades (1971)

FrontCover1.jpgBroken Barricades is the fifth studio album by English rock band Procol Harum, released in 1971. It was guitarist Robin Trower’s last recording with the group until The Prodigal Stranger (1991).

“Song for a Dreamer” is a tribute to late Jimi Hendrix from Trower who was stunned by Hendrix’s death at the age of 27.[ (by wikipedia)

Despite the departure of organist Matthew Fisher, Procol Harum survived, and this album is ample proof. Fisher was one of the prime architects of the Harum sound, and his work on such classics as “Shine on Brightly” and, of course, “Whiter Shade of Pale” underline that. Procol continued as a four-piece, and it was indeed a good thing that they decided not to replace Fisher. The sound of the band on this album is a bit sparser, but definitely not without dimension and dynamics. “Simple Sister,” one of the finest Gary Brooker/Keith Reid compositions, is truly glorious, with Robin Trower’s frightening lead guitar work juxtaposed nicely against a wonderful string arrangement. Several other tracks are first rate, including “Power Failure” and “Playmate of the Mouth.” Along with Little Feat, Procol Harum was a great survivor among rock bands that lost a key member. The proof is in these grooves. (by Matthew Greenwald)

Procol Harum 1971.jpg

With their album, Broken Barricades, Procol Harum hit the supreme spot, a perfect confluence of composers, musicians, singer(s) and lyricist that produced one of the Heaviest Rock Albums of 1971 – and that’s a bold statement as 1971 was one of the Three Best Years for Rock Album releases.

There are some Hard Core Rock ‘n’ Roll Monster tracks on this album; Memorial Drive, Power Failure, the epic, transcendent Song For A Dreamer (tribute to Hendrix), Poor Mohammed and it all starts with Simple Sister. (by

Indeed, one of the finest Procol Harum albums, including one of the best guitar solo by Rower Trower on “For A Dreamer”


Gary Brooker (piano, vocals)
Chris Copping (bass, organ)
Robin Trower – guitar, vocals on 06. + 08.)
B.J. Wilson (drums)


01. Simple Sister (Brooker) 5.50
02. Broken Barricades (Brooker) 3.12
03. Memorial Drive (Trower) 3.46
04. Luskus Delph (Brooker) 3.46
05. Power Failure (Brooker) 4.32
06. Song For A Dreamer (Trower) 5.39
07. Playmate Of The Mouth (Brooker) 5.05
08. Poor Mohammed (Trower) 3.08

All lyrics written by Keith Reid




Singles from all over the world