Status Quo – Dog Of Two Head (1971)

1971 Dog Of Two Head - Status Quo (L.P Francia Pye Records SLDPY 818)Dog of Two Head is the fourth studio album by the English rock band Status Quo released by Pye Records. At the time of recording, the band consisted of Francis Rossi (credited on the sleeve as Mike Rossi), Rick Parfitt (credited as Ritchie Parfitt), Alan Lancaster and John Coghlan (credited as John Coughlan).

March 1971 saw the new four-man lineup of the band release another non-album single: a Rossi/Young song called “Tune to the Music”. The single was not a hit. The band then set to work writing and recording a new album. A couple of the songs, such as the opening track “Umleitung” (German for ‘diversion’) had been written as far back as 1970.

In November 1971 the album was released.

A single from the album, Rossi and Young’s “Mean Girl”, was to become a UK #20 hit some time later, in April 1973, after they had their third top ten British hit single with “Paper Plane”, from their next album Piledriver.

When “Mean Girl” charted, the record company decided to release another single from the album: a rerecording of “Gerdundula”, the B-side to their 1970 single “In My Chair”. This was released in July 1973, and failed to chart. The B-side to this single was Rossi and Parfitt’s “Lakky Lady”, taken from the band’s previous album Ma Kelly’s Greasy Spoon. (by wikipedia)


The change was going on. In 1971, while Led Zeppelin, Deep Purple, and Black Sabbath were competing to be considered the genuine pioneers of the hard rock genre, Status Quo was involved in an inner struggle to find themselves and their own sound. Nobody would have said then that a few years later, Francis Rossi, Rick Parfitt, Alan Lancaster, and John Coghlan would be fighting in the peak of European charts with the groups before mentioned. Dog of Two Head was going to be their first step, a very powerful one, in being considered a serious and significant rock band and not another easy-come, easy-go psychedelic group. This was their first record where the basic wall of sound formed by mighty guitar-bass-drums won the game to the more flavored sound of their beginnings. The band forsook psychedelic experimentation and delved into more blues-oriented rock rhythms.


The record contained the revision of the Arabesque “Gerdundula,” one of their most intriguing tunes and a favorite in the concerts of years to come. They began to show that year their love for boogie rock in the long and powerful “Umleitung” and in “Someone’s Learning,” which proved to be one of the rare occasions the band touched on political issues (Irish terrorist quarrels, in this case). The album also contains the intimate ballad “Na Na Na,” a two-minute résumé of the composition techniques and humble philosophy of Status Quo (“Writing words that I feel I should change/It’s all right if they sound just like other songs/Making sounds that can go on and on/It’s all right if you stay right on to the end”). Finally, Dog of Two Head includes one of the most brilliant compositions of the band, the stunning “Railroad.” Maybe the record is not as representative of Status Quo’s sound as Hello! or On the Level, but it keeps being one of the band’s more unusual and inspired achievements. They were going to find their characteristic sound in their posterior effort, Piledriver, but never again were they going to sound as innovative and inventive as they sound here. (by Robert Aniento)


John Coghlan (drums, percussion)
Alan Lancaster (bass, guitar)
Rick Parfitt (guitar, piano, vocals on 07.,  background vocals)
Francis Rossi (guitar, vocals)
Bruce Foster (piano)
Grass (background  vocals on 02.)
Bob Young (harmonica)


01. Umleitung (Lancaster/Lynes) 7.11
02. Nanana (Extraction I) (Rossi/Young) 0.53
03. Something’s Going On In My Head (Lancaster) 4.45
04. Mean Girl (Rossi/Young) 3.54
05. Nanana (Extraction II) (Rossi/Young) 1.13
06. Gerdundula (Manston/James) 3.51
07. Railroad (Rossi/Young) 5.29
08. Someone’s Learning (Lancaster) 7.09
09. Nanana (Rossi/Young) 2.30
10. Tune To The Music (previously unreleased version (Rossi/Young) 3.36
11. Good Thinking (previously unreleased version) (Rossi/Parfitt/Coghlan/Young) 3.41
12. Time To Fly (Lancaster) 4.18
13. Nanana (previously unreleased version) (Rossi/Young) 2.59
14. Mean Girl (previously unreleased version) (Rossi/Young) 3.58




Quiver – Same (1971)

FrontCover1.jpgQuiver was a melodic UK progressive rock band, Quiver occasionally followed a country rock path but achieved more success following their merger with the Sutherland Brothers. The line-up comprised Tim Renwick (b. 7 August 1949, Cambridge, England; guitar, vocals, flute) and Cal Batchelor (guitar, vocals, keyboards). Renwick had formerly been with Junior’s Eyes, and he and Batchelor recruited Cochise drummer John ‘Willie’ Wilson (b. 8 July 1947, Cambridge, England). Subsequently, the line-up of Wilson, Renwick, Batchelor, and ex-Village bass player Bruce Thomas (b. 14 August 1948, Middlesbrough, Cleveland, England; bass/vocals), recorded the self-produced Quiver. For the recording, they were augmented by Dick Parry (saxophone). The same line-up recorded Gone In The Morning, but due to lack of commercial success the band was subsequently dropped by Warner Brothers Records. The members were not coming up with new songs, and so they decided to join the Sutherland Brothers, the two line-ups merging in late 1972 with the addition of Pete Wood (b. Middlesex, England, d. 1994, New York, USA; keyboards).


Shortly afterwards they were signed to Island Records, and with a number of personnel changes, achieved a degree of chart success. Renwick went on to form 747 and Kicks and is now an in-demand session guitar player, touring with bands such as Pink Floyd and Mike And The Mechanics. Wilson plays with the Coyotes, and Thomas with Elvis Costello’s backing band the Attractions. Quiver’s greatest claim, however, is being the first ever band to play the legendary Rainbow Theatre in London. (by allmusic)
I give this release 4 stars because the playing is just so good.Where it falls down slightly is due to the lack of really memorable tunes.When they palled up with Iain and Gavin Sutherland the Sutherlands got a red hot band to replace the workmanlike but dull band on their debut album and Quiver got some tunes and what tunes they were.Tim Renwick is one of my favourite guitar slingers,his work on Al Stewarts “Modern Times” album is ace. (woody123)

One of my all-time favorite albums but I can see that is not the case with most reviewers. It’s kinda mellow country rock with a couple toe tappers. The guitar player is masterful and the bass player is excellent.

I guess it takes a few listens and some mental adjustments but I think this is an outstanding recording. It just pushes all the right buttons for me and I seem to be alone in that regard.

Killer Man is a killer track and Tim Renwick is a killer guitarist. From the best year for music ever … 1971. (rod45)

Surprising progressive folk band. Its progressiveness derives of the fact that Quiver plays a folk rock in a low pace with elaborated arrangements and excellent execution of instruments. An special comment deserve the bass player (Bruce Thomas). Voices are relaxed and the band do harmonies, according to the general ambient: relaxed and beautifully executed.
Some songs are normal folk songs, But some songs like “Cool Evening” are extra reflective songs including flutes to create the ambience.
t’s hard to understand why the low rate as this band deserve more. IMHO people who likes folk with an special touch can’t miss this first attempt of Quiver band. (DaremoS)

USFront+BackCoverUS front + back cover

Cal Batchelor (guitar, keyboards, vocals)
Tim Renwick (guitar, flute, vocals)
Bruce Thomas (bass, vocals)
Willie Wilson (drums, percussion, vocals)
Dick Parry (saxophone)


01. Glad I Came Around (Batchelor) 5.05
02. Down Your Way (Batchelor) 3.47
03. Killer Man (Renwick) 7.54
04. Take A Train (Batchelor) 5.08
05. Cool Evening (Batchelor) 4.16
06. Barnes County (Renwick/Batchelor/Thomas/Wilson) 4.27
07. Back On The Road (Thomas) 3.28
08. Just Loving You (Batchelor) 2.00
09. Reason For Staying (Batchelor/Renwick) 7.02



Cal Batchelor.jpgCal Batchelor has been a long time fixture in the music scene both here (Canada) and in the UK.
Born Calvin Batchelor, he was a fantastic Canadian guitarist (also a skilled keyboardist).
Cal went to England in 1969, and he helped form Quiver. They were the first group to play at Rainbow Theatre in London (supporting The Who). After leaving Quiver, Cal formed a band called 747. He then joined Long John Baldry for a while (as supporters for Faces). There, he met Ronnie Lane, joining his band later.
In February 1977, Cal formed another notable band called Kicks. In the 80s, Cal returned to Canada. He fronted his own Cal Batchelor Band for a number of years in Vancouver.

Cal’s beloved wife Yvonne passed away in recent weeks from cancer, and Cal certainly missed her in his life. Cal passed away on Sunday December 20, 2015. (

Jerry Reed – Ko-Ko Joe (1971)

FrontCover1.jpgJerry Reed Hubbard (March 20, 1937 – September 1, 2008) was an American country music singer, guitarist, composer, and songwriter, as well as an actor who appeared in more than a dozen films. His signature songs included “Guitar Man”, “U.S. Male”, “A Thing Called Love”, “Alabama Wild Man”, “Amos Moses”, “When You’re Hot, You’re Hot” (which garnered a Grammy Award for Best Country Vocal Performance, Male), “Ko-Ko Joe”, “Lord, Mr. Ford”, “East Bound and Down” (the theme song for the 1977 blockbuster Smokey and the Bandit, in which Reed co-starred), “The Bird”, and “She Got the Goldmine (I Got the Shaft)”.

Reed was announced as an inductee into the Country Music Hall of Fame on April 5, 2017, and was officially inducted by Bobby Bare on October 24.

Reed died in Nashville, Tennessee, on September 1, 2008, of complications from emphysema at the age of 71. One week later, during their debut at the Grand Ole Opry, Canadian Country Rockers The Road Hammers performed “East Bound and Down” as a tribute. In a tribute in Vintage Guitar Magazine, Rich Kienzle wrote that “Reed set a standard that inspires fingerstyle players the way Merle and Chet inspired him.” He was Jerry Reed01survived by Mitchell and their two daughters. Mitchell died following a short illness on September 24, 2014, at the age of 73.

Reed was a smoker for many years. Thom Bresh, son of Merle Travis and a close friend of Reed’s, produced a 1990s video with Reed acting out his desire to quit smoking the addictive cigarettes (“Jerry Reed-Another Puff”) that serves as a public service video from Reed himself on the dangers of smoking cigarettes. (by wikipedia)

A largely eclectic and overproduced work, Ko-Ko Joe isn’t a great Jerry Reed album. From the loose Creedence Clearwater Revival meets the Charlie Daniels Band boogie of the title cut, to the countrified Tom Jones-like quality of the more pop-oriented “You’ll Never Walk Alone” and “A Stranger to Me,” the set lacks consistency. A four-minute mock anti-smoking dialogue, which appears to be more of a comedy piece than anything, is followed by a dead-serious cover of Gordon Lightfoot’s “Early Morning Rain.” Anthemic pop songs, straight country, and more blues-oriented songs are also included, making this a rather confusing and difficult listen. (by Matt Fink)

Jerry Reed02

Jerry Reed (vocals, guitar)
a bunch of unknown studio musicians


01. Ko-Ko Joe (Reed) 2.31
02. Another Puff (Reed) 4.07
03. Early Morning Rain (Lightfoot) 3.04
04. Brand New Day (Dennie/Dugan/Reed) 2.49
05. Not As A Sweetheart (But Just As A Friend) (Walker) 2.56
06. You’ll Never Walk Alone (Hammerstein II/Rodgers) 2.33
07. Love Is A Stranger To Me (Reed) 2.26
08. Country Boy’s Dream (Dennie/Dugan/Reed) 2.35
09. Seasons Of My Mind (Dennie/Dugan/Reed) 2.54
10. Framed (Leiber/Stoller) 2.29




Alexis Korner – Live In Bremen (1971)

FrontCover1.jpgWithout Alexis Korner, there still might have been a British blues scene in the early 1960s, but chances are that it would have been very different from the one that spawned the Rolling Stones, nurtured the early talents of Eric Clapton, and made it possible for figures such as John Mayall to reach an audience. Born of mixed Turkish/Greek/Austrian descent, Korner spent the first decade of his life in France, Switzerland, and North Africa, and arrived in London in May of 1940, just in time for the German blitz, during which Korner discovered American blues. One of the most vivid memories of his teen years was listening to a record of bluesman Jimmy Yancey during a German air raid. “From then on,” he recalled in an interview, “all I wanted to do was play the blues.”

After a well-received appearance at the Cambridge Folk Festival in the early ’80s, there were rumors afterward that he intended to become more active musically, but his health was in decline by this time. A chain smoker all of his life, Korner died of lung cancer at the beginning of 1984. (by Bruce Eder)

And here´s a pretty good and extremly rare and good broadcast recording from 1971 …

… it´s another item from my large tape collection.

And you can hear this very special blues musician … who was so important for the Blues scene in UK.

And all the stage announcements are in German, because Alexis Korner´s mother comes from Austria.

Enjoy this rarity !

Recorded live at the Theater am Goetheplatz, Bremen/Germany,
June 6, 1971


Alexis Korner (guitar, vocals)
Zoot Money (piano, vocals, guitar)
Peter Thorup (guitar, vocals)


01. Mary Open The Door (Power) 5.57
02. Tuning 0.58
03. Mighty Mighty (Spade And Whitey) (Mayfield) 7.25
04. Will The Circle Be Unbroken (Traditional) 5.53
05. Going Down Slow (Oden) 3.34
06. Announcement 0.19
07. It Ain´t Easy (Davies) 3.35
08. Cannon Ball Blues (Rider/Morton/Bloom) 2.30
09. You Got The Power (To Turn Me On) (Chambers) 8.14
10. Lo And Behold (Taylor) 6.24
11. Six Days On The Road (Montgomery/Greene) 3.32
12. The Wind Cries Mary (Hendrix) 4.39
13. Live in Bremen (uncut edition) (Part 1) 30.51
14. Live in Bremen (uncut edition) (Part 2) 23.31



Pink Floyd – Meddle (1971)

FrontCover1.jpgMeddle is the sixth studio album by English progressive rock group Pink Floyd, released on 31 October 1971 by Harvest Records. It was produced between the band’s touring commitments, from January to August 1971. The album was recorded at a series of locations around London, including Abbey Road Studios and Morgan Studios.

With no material to work with and no clear idea of the album’s direction, the group devised a series of novel experiments which eventually inspired the album’s signature track, “Echoes”. Although the band’s later albums would be unified by a central theme with lyrics written entirely by Roger Waters, Meddle was a group effort with lyrical contributions from each member, and is considered a transitional album between the Syd Barrett-influenced group of the late 1960s and the emerging Pink Floyd. The cover has been explained by its creator, Storm Thorgerson, to be an ear underwater. As with several previous albums designed by Hipgnosis, though, Thorgerson was unhappy with the final result.

The album was well-received by music critics upon its release, and was commercially successful in the United Kingdom, but lackluster publicity on the part of their United States-based label led to poor sales there upon initial release. (by wikipedia)

At night of Royaumont

Meddle represents the birth of Pink Floyd as we now know them today. After flailing somewhat after Syd Barrett’s departure in 1968, they had a surprise hit in 1970 with Atom Heart Mother, an album comprised of a difficult side-long suite, backed with individual group pieces. In many respects, Meddle, released a little over a year later, is the same again, only with much, much, better tunes and less clutter.

Everything about Meddle is allowed to breathe and grow. Rocking opener “One Of These Days” rises out of nearly a minute of wind effects; “Fearless” delivers its slightly stoned punch over six minutes. Even the throwaway track, “Seamus”, with the howling of Steve Marriott’s dog over David Gilmour’s blues, has a lazy charm which undermines the intelligence and ambition of the remainder of the record.


Originally titled “Return Of The Son Of Nothing”, the side-long piece, “Echoes” dominates the entire work. It has a majestic grace, filling every one of its 23 minutes with the sophisticated mystery that came to define everything about Pink Floyd; slightly obscure; extremely special. Starting with a sonar pulse, the song – with one of Roger Waters’ finest lyrics – leisurely unfolds before climaxing with a funk workout; after another four minutes it dissolves to atmospherics before finally returning to the main theme. This is everything right about progressive rock; engaging, intelligent and compelling.

By the time the group began to hone this innovation and vision into bite-sized chunks on their next two albums, they were to become very big indeed. (Daryl Easlea)


David Gilmour – guitar, vocals, bass (in unison with Waters) on 01. , harmonica on 05.)
Roger Waters (bass, guitar and vocals on 04.)
Nick Mason (drums, percussion, vocal phrase on 01.)
Rick Wright (keyboards, vocals on  – organ (Hammond and Farfisa), piano, co-lead vocals on 06.)


01. One Of These Days (Gilmour/Waters/Wright Mason) 5.43
02. A Pillow Of Winds (Gilmour/Waters) 5.30
03. Fearless (including “You’ll Never Walk Alone”) (Gilmour/Waters/ Rodgers/ Hammerstein II) 6.08
04. San Tropez (Waters) 3.43
05. Seamus Gilmour/Waters/Wright Mason) 2.14
06. Echoes Gilmour/Waters/Wright Mason) 23.31




Woody Herman – Brand New (1971)

FrontCover1.JPGWoody Herman recorded with many different types of musicians over his years as a soloist and as a mainstream big-band leader. This was an idea that jazz writer Ralph Gleason suggested: to record an album with guitarist Mike Bloomfield, a young blues & rock musician, who had already established himself with Paul Butterfield’s Blues Band and some record dates under his own name. Woody and Mike were both excited about the prospect of working together. The band had the charts ready for Mike, so he just stepped in, plugged in and wailed. Maybe some “purists” would find this album beneath the bulk of the band’s work, but that is just NOT WOODY!! He was always looking to expand horizons and try the new things. (And since jazz is not a “pure” music, but mostly borrows from other forms, that’s what keeps it FRESH).
The band was WAILING! Soloists were Bobby Burgess, Sal Nistico, Tony Klatka, Tom Harrell, Alan Broadbent and Frank Tiberi, with Ed Soph kicking the band along on drums! Mix in Michael’s guitar riffs on a blues album by “the band that plays the blues,” and you have PURE FUN! Alan Broadbent pulls off the classic, “After Hours” on the Fender-Rhodes piano in awesome fashion. Bloomfield helps kick the bejeezus out of “Proud Mary,” done at one of those incredible “Woody” tempos. Bobby Burgess plays a gorgeous ballad solo on “Love In Silent Amber.” Also, Alan Broadbent contributes original blues charts “Sidewalk Stanley” (named after a familiar character the band got to know), “Hitch Hike On The Possum Trot Line” and one of the greatest, swinging, big band charts ever written (without mercy for the trumpet section), “Adam’s Apple!” Yes, indeed…there’s some REALLY GOOD STUFF on this album…particularly if you like hearing the Herman band play the blues (are you KIDDING??) !! This is a MUST HAVE album for Woody Herman fans and an interesting blend of pop culture and hardcore big-band jazz for the rest of you. I would recommend this to anyone interested!!! (by C. Law)

Woody Herman 1971

Woody Herman always went out of his way to keep his band’s repertoire and style modern and contemporary. Certainly there were few other swing era big-band leaders who would have welcomed the electric blues guitarist Michael Bloomfield as a guest on four selections, as Herman did for 1971’s Brand New. Although not a complete success, it was a noble effort. The best selections  are Ivory Joe Hunter’s “I Almost Lost My Mind” and “After Hours.” Alan Broadbent (heard throughout on electric piano) contributed five of the eight arrangements, although Nat Pierce’s reworking of “After Hours” is most appealing. Other key soloists include Herman (on alto, soprano, and clarinet in addition to taking two vocals), trumpeter Tony Klatka, and Frank Tiberi on tenor. (by Scott Yanow)


Alan Broadbent (piano)
Bill Bryne (trumpet)
Forrest Buchtel (trumpet)
Bobby Burgess (trombone)
Tom Harrell (trumpet)
Woody Herman (clarinet, saxophone, vocals)
Tony Klatka (trumpet)
Steve Lederer (saxophone)
Ira Nepus (trombone)
Sal Nistico (saxophone)
Buddy Powers (trumpet)
Alan Read (bass)
Gene Smookler (saxophone)
Ed Soph (drums)
Don Switzer (trombone)
Frank Tiberi (saxophone)
Michael Bloomfield (guitar)


01. Sidewalk Stanley (Broadbent) 5.19
02. After Hours (Parrish) 6.39
03. Since I Fell For You (Johnson) 4.02
04. Proud Mary (Fogerty) 4.16
05. Hitch Hike On The Possum Trot Line (Broadbent) 7.09
06. Love Is Silent Amber (Broadbent) 4.36
07. I Almost Lost My Mind (Hunter) 4.45
08. Adam’s Apple (Broadbent) 6.00



Henry Townsend – Henry T. Music Man (Cairo Blues) (1973 – 1999)

LPFrontCover1Henry “Mule” Townsend (October 27, 1909 – September 24, 2006) was an American blues singer, guitarist and pianist.

Townsend was born Henry Jesse James Townsend, in Shelby, Mississippi, and grew up in Cairo, Illinois. He left home at the age of nine because of an abusive father and hoboed his way to St. Louis, Missouri. He learned guitar while in his early teens from a locally renowned blues guitarist known as Dudlow Joe.

By the late 1920s he had begun touring and recording with the pianist Walter Davis and had acquired the nickname Mule, because he was sturdy in both physique and character. In St. Louis, he worked with some of the early blues pioneers, including J. D. Short.

Townsend was one of the only artists known to have recorded in nine consecutive decades. He first recorded in 1929 and remained active up to 2006. By the mid-1990s, Townsend and his one-time collaborator Yank Rachell were the only active blues artists whose careers had started in the 1920s. He recorded on several different labels, including Columbia Records, Bluesville Records, and Folkways Records.

HenryTownsend01Articulate and self-aware, with an excellent memory, Townsend gave many invaluable interviews to blues enthusiasts and scholars. Paul Oliver recorded him in 1960 and quoted him extensively in his 1967 work Conversations with the Blues. Thirty years later, Bill Greensmith edited thirty hours of taped interviews with Henry to produce a full autobiography, giving a vivid history of the blues scene in St Louis and East St Louis in its prime.

In 1979, Bob West recorded Townsend in St. Louis. That recording was released on CD in 2002 on Arcola Records as “Henry Townsend the Real St. Louis Blues.”

In 1985 he received the National Heritage Fellowship in recognition of his status as a “master artist”. In 1995 he was inducted into the St. Louis Walk of Fame.

Townsend died on September 24, 2006, at the age of 96, at St. Mary’s Ozaukee Hospital, in Mequon, Wisconsin, just hours after having been the first person to be presented with a “key” in Grafton’s Paramount Plaza Walk of Fame.


On February 10, 2008, Townsend was posthumously awarded a Grammy, his first, at the 50th Annual Grammy Awards. The award, in the category Best Traditional Blues Album, was given for his performances on Last of the Great Mississippi Delta Bluesmen: Live In Dallas, released by the Blue Shoe Project. Townsend’s son, Alonzo Townsend, accepted the award on his behalf.

On December 4, 2009, a marker commemorating Townsend was added to the Mississippi Blues Trail (by wikipedia)


The Mississippi Blues Trail was created by the Mississippi Blues Commission in 2006 to place interpretive markers at the most notable historical sites related to the birth, growth, and influence of the blues throughout (and in some cases beyond) the state of Mississippi. Within the state the trail extends from the Gulf Coast north along several highways to (among other points) Natchez, Vicksburg, Jackson, Leland, Greenwood, Clarksdale, Tunica, Grenada, Oxford, Columbus, and Meridian. The largest concentration of markers is in the Mississippi Delta but other regions of the state are also represented. Several out-of-state markers have also been erected where blues with Mississippi roots has had significance. (by wikipedia)


And here is one of these hard to find albums by Henry Townsend:

Several related factors come together here to make this a particularly wonderful blues album, something in the nature of a sleeper that may become a listener’s favorite choice when it comes time for some blues. For one thing, there’s the surprise factor in that this is not one of the “star” names in blues, due to the fact that Henry Townsend mostly recorded as a sideman, or under a bogus name such as St. Louis Jimmy. His is a top-quality blues voice and he is a sharp and accurate blues picker on both the electric and acoustic model, in the Lightnin’ Hopkins and Skip James mode but with a harder edge. And he even throws in some decent blues piano, although the out-of-tune model he uses moves the whole thing into the rarified realm of microtonal blues.


Over-familiarity can sometimes take the luster off a performance by a big-name artist, but that is guaranteed not to happen with Townsend because very few blues fans can say they have heard too much of him. Material was recorded over a five-year period, and the wandering and ever-changing sound quality also helps the album, as do the different instrumental combinations. The tandem guitar picking really sounds good, with that wooden back-porch quality that escaped most of the primitive recording machines in the old days, and couldn’t possibly be recreated in a modern studio. One track worthy of special mention — they are all really good — is the vocal duet performance with Vernell Townsend, a song entitled “Why Do We Love Each Other?” This has a sound that really sticks with you. (by Eugene Chadbourne)

And here I can offer the CD-version from 199 with two bonus tracks


Henry Townsend (vocals, guitar, piano on 04. + 10.)
Henry Brown (piano on 08.)
Andrew Cauthen (harmonica on 02.)
Mike Stewart (guitar on 03. – 06., 09. – 13. )
Vernell Townsend (vocals on 07.)


01. Cairo Blues (*) 3.27
02. Tired Of Being Mistreated (*) 2.57
03. Biddle Street Blues 2.52
04. She Walked Away 3.32
05. Every Day Of My Life 3.22
06. Sloppy Drunk Again 3.47
07. Why Do We Love Each Other? 3.23
08. Deep Morgan Stomp 3.07
09. Buzz,Buzz,Buzz,… 2.45
10. Heart Trouble 3.40
11. Doing Better In Life 3.15
12. Don’t You Remember Me 4.04
13. Now Or Never 5.06

All ongs ritten by Henry Towshend

(*) CD bonus tracks)

Recorded St. Louis, Mo., September 1969 (tracks 1 to 5), and April 1974 (tracks 8, 10, 13).
Recorded at Potomac, Md., August 1970 (tracks 3, 6), August 1971(tracks 9, 11, 12).
Recorded at Silver Spring, Md., August 1971 (tracks 3, 7).




While Henry Townsend did not scorn his old recordings, he had no taste for spending his later years simply recreating them.
Blues, for him, was a living medium, and he continued to express himself in it, most remarkably in his songwriting.
(Tony Russell, The Guardian)