The Allman Brothers Band – No Exit From The Road Allman Brothers (The Warehouse tapes) (1972)

FrontCover1The Allman Brothers Band was an American rock band formed in Jacksonville, Florida in 1969[3] by brothers Duane Allman (founder, slide guitar and lead guitar) and Gregg Allman (vocals, keyboards, songwriting), as well as Dickey Betts (lead guitar, vocals, songwriting), Berry Oakley (bass), Butch Trucks (drums), and Jai Johanny “Jaimoe” Johanson (drums). Subsequently based in Macon, Georgia, they incorporated elements of blues, jazz, and country music, and their live shows featured jam band-style improvisation and instrumentals.

Their first two studio releases, The Allman Brothers Band (1969) and Idlewild South (1970) (both released by Capricorn Records), stalled commercially, but their 1971 live release At Fillmore East was an artistic and commercial breakthrough. It features extended versions of their songs “In Memory of Elizabeth Reed” and “Whipping Post”, and is considered among the best live albums ever made.

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Group leader Duane Allman was killed in a motorcycle accident later that year – on October 29, 1971 – and the band dedicated Eat a Peach (1972) to his memory, a dual studio/live album that cemented the band’s popularity and featured Gregg Allman’s “Melissa” and Dickey Betts’s “Blue Sky”. Following the motorcycling death of bassist Berry Oakley one year and 13 days later on November 11, 1972, the group recruited keyboardist Chuck Leavell and bassist Lamar Williams for 1973’s Brothers and Sisters. The album included Betts’s hit single “Ramblin’ Man” and instrumental “Jessica”, which went on to become classic rock radio staples and placed the group at the forefront of 1970s rock music. Internal turmoil overtook them soon after; the group dissolved in 1976, reformed briefly at the end of the decade with additional personnel changes, and dissolved again in 1982.


The band re-formed once more in 1989, releasing a string of new albums and touring heavily. A series of personnel changes in the late 1990s was capped by the departure of Betts. The group found stability during the 2000s with bassist Oteil Burbridge and guitarists Warren Haynes and Derek Trucks (the nephew of their original drummer) and became renowned for their month-long string of shows at New York City’s Beacon Theatre each spring. The band retired for good in October 2014 after their final show at the Beacon Theatre.

Butch Trucks

Butch Trucks died of a self-inflicted gunshot wound on January 24, 2017 in West Palm Beach, Florida at the age of 69. Gregg Allman died from complications arising from liver cancer on May 27, 2017 at his home in Georgia, also at 69. The band was awarded seven gold and four platinum albums, and was inducted into the Rock and Roll Hall of Fame in 1995. Rolling Stone ranked them 52nd on their list of the 100 Greatest Artists of All Time in 2004. (wikipedia)


And here´s another pretty good bootleg:

For The Allman Brothers Band, 1972 was a time of mixed blessings. Having decided to continue as a group, despite the tragic loss of visionary guitar maestro Duane Allman following his motorcycle accident on 29th October 1971, the Allmans released Eat A Peach on 12th February ’72. Featuring a mix of live and studio tracks, the new record exceeded the success of its predecessor, Live At Fillmore East. Containing such classics as ‘Melissa’ – Duane’s favourite song, chosen by Gregg Allman in tribute – ‘One Way Out’, and the Dickey Betts-penned ‘Blue Skies’, Eat A Peach eventually went Platinum in the United States while reaching number four on the Billboard chart. The band played almost 90 shows across North America that year, eager to capitalise on their recent successes and to honour Duane’s memory.

Berry Oakley

Founding bassist Berry Oakley had been profoundly affected by Duane’s passing, and took solace in drink and drugs. Ironically, on 11th November 1972, while still intoxicated, he crashed his own motorbike into the side of a bus, just three blocks away from where Duane had met his end. Initially declining treatment, he slowly sank into delirium, and died in hospital later that day.

And here´s their New Years Eve concert … with their new line-up (feat Chuck Leavell on piano and Lamar Williams on bass).

A superb selection of newer songs and fan favourites were performed, including ‘Ain’t Wastin’ Time No More’, ‘In Memory Of Elizabeth Reed’, ‘Midnight Rider’ and ‘Whipping Post’. At this juncture in their career one would be forgiven for thinking that the Allman Brothers’ hard times were in the past and it would all be plain sailing for a while.

It’s a soundboard recording, excellent sound, great show  with Elvin Bishop as guest on 4 tracks.

Recorded live at The Warehouse, New Orleans, December 31, 1972 


Gregg Allman (keyboards, vocals)
Dickey Betts (guitar, vocals)
Jai Johanny Johanson (drums)
Chuck Leavell (piano)
Butch Trucks (drums)
Lamar Williams (bass)
Elvin Bishop (guitar on 06., 14, – 16.)


01. Wasted Words (Allman) 7.05
02. Done Somebody Wrong (James/Lewis/Levy) 5.13
03. Statesboro Blues (McTell) 4.54
04. Ain’t Wastin’ Time No More (Allman) 6.23
05. One Way Out (Williamson/James) 10.10
06. Stormy Monday (Walker) 11.06
07. Midnight Rider (Allman) 4.07
08. Ramblin’ Man (Betts) 6.56
09. In Memory Of Elizabeth Reed (Betts) 19.08
10. Hot ‘Lanta (D.Allman/G.Allman/Betts/Oakley/Trucks/Johanson) 6.35
11. Whipping Post (Allman) 19.34
12. You Don´t Love Me (Cobbs) 10.16
13. Les Brers In A Minor (Betts) 18.24
14. Help Me Baby (Williamson) 10.51
15. Drunken Hearted Boy (Bishop) 8.13
16. Don’t Lie To Me (Cobbs) 5.07



More from The Allman Brothers Band:

The official website:

Lou Reed – Transformer (1972)

FrontCover1Lewis Allan Reed (March 2, 1942 – October 27, 2013) was an American musician, singer, songwriter, and poet. He was the guitarist, singer, and principal songwriter for the rock band the Velvet Underground and had a solo career that spanned five decades. Although not commercially successful during its existence, the Velvet Underground became regarded as one of the most influential bands in the history of underground and alternative rock music. Reed’s distinctive deadpan voice, poetic and transgressive lyrics, and experimental guitar playing were trademarks throughout his long career.

Having played guitar and sung in doo-wop groups in high school, Reed studied poetry at Syracuse University under Delmore Schwartz, and had served as a radio DJ, hosting a late-night avant garde music program while at college. After graduating from Syracuse, he went to work for Pickwick Records in New York City, a low-budget record company that Lou Reed03specialized in sound-alike recordings, as a songwriter and session musician. A fellow session player at Pickwick was John Cale; together with Sterling Morrison and Angus MacLise, they would form the Velvet Underground in 1965. After building a reputation on the avant garde music scene, they gained the attention of Andy Warhol, who became the band’s manager; they in turn became something of a fixture at The Factory, Warhol’s art studio, and served as his “house band” for various projects. The band released their first album, now with drummer Moe Tucker and featuring German singer Nico, in 1967, and parted ways with Warhol shortly thereafter. Following several line-up changes and three more mostly unsuccessful albums, Reed quit the band in 1970.

After leaving the band, Reed would go on to a much more commercially successful solo career, releasing twenty solo studio albums.

Velvet Underground

His second, Transformer (1972), was produced by David Bowie and arranged by Mick Ronson, and brought him mainstream recognition. The album is considered an influential landmark of the glam rock genre, anchored by Reed’s most successful single, “Walk on the Wild Side”. After Transformer, the less commercial but critically acclaimed Berlin peaked at No. 7 on the UK Albums Chart. Rock ‘n’ Roll Animal (a live album released in 1974) sold strongly, and Sally Can’t Dance (1974) peaked at No. 10 on the Billboard 200; but for a long period after, Reed’s work did not translate into sales, leading him deeper into drug addiction and alcoholism. Reed cleaned up in the early 1980s, and gradually returned to prominence with The Blue Mask (1982) and New Sensations (1984), reaching a critical and commercial career peak with his 1989 album New York.

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Reed participated in the re-formation of the Velvet Underground in the 1990s, and made several more albums, including a collaboration album with John Cale titled Songs for Drella which was a tribute to their former mentor Andy Warhol. Magic and Loss (1992) would become Reed’s highest-charting album on the UK Albums Chart, peaking at No. 6.

He contributed music to two theatrical interpretations of 19th century writers, one of which he developed into an album titled The Raven. He married his third wife Laurie Anderson in 2008, and recorded the collaboration album Lulu with Metallica. He died in 2013 of liver disease. Reed has been inducted into the Rock and Roll Hall of Fame twice; as a member of the Velvet Underground in 1996 and as a solo act in 2015.

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Reed had suffered from hepatitis and diabetes for several years. He practiced tai chi during the last part of his life. He was treated with interferon but developed liver cancer. In May 2013, he underwent a liver transplant at the Cleveland Clinic. Afterward, on his website, he wrote of feeling “bigger and stronger” than ever, but on October 27, 2013, he died from liver disease at his home in East Hampton, New York, at the age of 71. He was cremated and the ashes were given to his family.

His widow, Laurie Anderson, said his last days were peaceful, and described him as a “prince and a fighter”. David Byrne, Patti Smith, David Bowie, Morrissey, Iggy Pop, Courtney Love, Lenny Kravitz, and many others also paid tribute to Reed. Former Velvet Underground members Moe Tucker and John Cale made statements on Reed’s death, and those from outside the music industry paid their respects such as Cardinal Gianfranco Ravasi.

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Transformer is the second solo studio album by American recording artist Lou Reed. Produced by David Bowie and Mick Ronson, the album was released in November 1972 by RCA Records. It is considered an influential landmark of the glam rock genre, anchored by Reed’s most successful single, “Walk on the Wild Side”, which touched on then-controversial topics of sexual orientation, gender identity, prostitution, and drug use. Though Reed’s self-titled debut solo album had been unsuccessful, Bowie had been an early fan of Reed’s former band The Velvet Underground, and used his own fame to promote Reed, who had not yet achieved mainstream success.


As with its predecessor Lou Reed, Transformer contains songs Reed composed while in the Velvet Underground (here, four out of eleven). “Andy’s Chest” was first recorded by the band in 1969 and “Satellite of Love” demoed in 1970; these versions were released on VU and Peel Slowly and See, respectively. For Transformer, the original up-tempo pace of these songs was slowed down.

“New York Telephone Conversation” and “Goodnight Ladies”[3] were played live during the band’s summer 1970 residency at Max’s Kansas City; the latter takes its title refrain from the last line of the second section (“A Game of Chess”) of T. S. Eliot’s modernist poem, The Waste Land: “Good night, ladies, good night, sweet ladies, good night, good night”, which is itself a quote from Ophelia in Hamlet.


As in Reed’s Velvet Underground days, the connection to artist Andy Warhol remained strong. According to Reed, Warhol told him he should write a song about someone vicious. When Reed asked what he meant by vicious, Warhol replied, “Oh, you know, like I hit you with a flower”, resulting in the song “Vicious”.

Transformer was produced by David Bowie and Mick Ronson, both of whom had been strongly influenced by Reed’s work with the Velvet Underground. Bowie had obliquely referenced the Velvet Underground in the cover notes for his album Hunky Dory and regularly performed both “White Light/White Heat” and “I’m Waiting for the Man” in concerts and on the BBC during 1971–1973. He even began recording “White Light/White Heat” for inclusion on Pin Ups[citation needed], but it was never completed; Ronson ended up using the backing track for his solo album Play Don’t Worry in 1974.


Mick Ronson (who was at the time the lead guitarist with Bowie’s band, the Spiders from Mars) played a major role in the recording of the album at Trident Studios, London,[5] serving as the co-producer and primary session musician (contributing guitar, piano, recorder and backing vocals), as well as arranger, contributing the string arrangement for “Perfect Day”. Reed lauded Ronson’s contribution in the Transformer episode of the documentary series Classic Albums, praising the beauty of his work and keeping down the vocal to highlight the strings. The songs on the album are now among Reed’s best-known works, including “Walk on the Wild Side”, “Perfect Day” and “Satellite of Love”, and the album’s commercial success elevated him from cult status to become an international star.

The cover art was from a Mick Rock photograph that inadvertently became over-exposed as he was printing it in the darkroom. Rock noticed the flaw but decided he liked the fortuitous effect enough to submit the image for the album cover.

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According to Rock, “When I showed Lou the contact sheets, he zeroed in on the transformer shot. I made the print myself – as I usually did in those days. The first test I made fell out of focus in the exposure. Lou loved the result. It took me twelve attempts to reproduce this accident for the final larger print for the album cover”.

Karl Stoecker (who also shot the first three Roxy Music album covers) took the back cover photo of a woman and a man. The woman is 1960s London supermodel Gala Mitchel. The man is portrayed by Ernie Thormahlen (a friend of Reed). The man appears to have a noticeable erection, although Reed has said this was actually a banana which Thormahlen had stuffed down his jeans before the photo shoot.

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The first single from the album, “Walk on the Wild Side”, became an international success, despite its controversial subject matter. The song’s lyrics mention transgender issues, sex acts, and drugs, causing it to be edited in some countries and banned in others. It is now generally regarded by fans and critics as Reed’s signature tune. “Satellite of Love” was issued as the second single in February 1973. In 2002, a 30th anniversary edition of the album was released; in addition to demos of “Hangin’ Round” and “Perfect Day”, it includes a hidden track featuring an advert for the album. Following Reed’s death in October 2013, digital sales of Transformer, “Walk on the Wild Side”, and “Perfect Day” all rose more than 300%, and “Walk on the Wild Side” cracked the new Billboard Rock Digital Songs chart at No. 38.

In a mixed review for Rolling Stone, Nick Tosches noted the songs “Satellite of Love”, “Vicious”, “Walk on the Wild Side” and “Hangin’ ‘Round” which he felt expressed a stimulating sexuality saying “Reed himself says he thinks the album’s great. I don’t think it’s nearly as good as he’s capable of doing.

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He seems to have the abilities to come up with some really dangerous, powerful music, stuff that people like Jagger and Bowie have only rubbed knees with.” In a retrospective review for The New Rolling Stone Album Guide (2004), Tom Hull remarked that Reed “wrote a bunch of clever new songs and tried to cash in on producer David Bowie’s trendily androgynous glam rock, which worked well enough to break ‘Walk on the Wild Side.'”

In 1997, Transformer was named the 44th greatest album of all time in a “Music of the Millennium” poll conducted in the United Kingdom by HMV, Channel 4, The Guardian and Classic FM. In 2000, it was voted number 58 in Colin Larkin’s All Time Top 1000 Albums. Transformer is also ranked at number 55 on NME’s list of “Greatest Albums of All Time”. In 2003, the album was ranked at number 194 on Rolling Stone’s list of the 500 greatest albums of all time, maintaining the rating in a 2012 revised list, and is ranked 109 on the 2020 list. It is also on Q magazine’s list of the “100 Greatest Albums Ever”.

In 2018, 33⅓ published a book by musician Ezra Furman about Transformer.(wikipedia)


Ritchie Dharma (drums)
Herbie Flowers (bass, tuba)
John Halsey (drums)
Lou Reed (vocals, guitar)
Mick Ronson (guitar, piano, recorder, background vocals)
Ronnie Ross (saxophone)
Barry de Souza (drums)
Klaus Voormann (bass)
background vocals:
David Bowie
The Thunder Thighs


01. Vicious 2:55
02. Andy’s Chest 3:17
03. Perfect Day 3:43
04. Hangin’ Round 3:39
05. Walk On The Wild Side 4:12
06. Make Up 2:58
07. Satellite Of Love 3:40
08. Wagon Wheel 3:19
09.New York Telephone Conversation 1:31
10. I’m So Free 3:07
11. Goodnight Ladies 4:19
12. Hangin’ Round (previously unreleased acoustic demo)
13. Perfect Day (previously unreleased acoustic demo)

All songs written by Lou Reed



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More from Lou Reed:

A fan website:

Lou Reed02

Lighthouse – Lighthouse Live! (1972)

LPFrontCover1One of the finest (Jazz) Rock bands from Canada.

Drummer Skip Prokop formed Lighthouse in 1968 and began adding members soon after: guitarist Ralph Cole (whom Prokop had played with in the Paupers), Grant Fullerton, Pinky Dauvin, saxophonist Howard Shore, cellist Dick Armin, violinist Don DiNovo, keyboard player Paul Hoffert, saxophonist Keith Jollimore, vocalist Bob McBride, trumpeter Peter Pantaluk, trombonist Larry Smith, and bassist Louis Yackniw. The band released two albums on RCA in 1969 and played at the Newport and Monterey Jazz Festivals and the Isle of Wight Festival, though they had turned down Woodstock. In late 1970, RCA released Lighthouse’s third album, Peacing It All Together, then dropped the band, who then signed to GRT. 1971 brought One Fine Morning and Thoughts of Movin’ On, and in 1972, the group released Lighthouse Live! and Sunny Days. The band lost members, beginning in 1973 when Paul Hoffert left, followed by Bob McBride and Skip Prokop in 1974; the group eventually disbanded in 1976.


Lighthouse had released Can You Feel It (1973) and Good Day (1974), and in 1975, The Best of Lighthouse appeared. Original members re-formed for live shows in 1982 and 1993, and another greatest-hits album, The Best of Lighthouse — Sunny Days Again, was issued in 1989. Postcards from Heaven followed in 1998. Both Bob McBride and Skip Prokop had somewhat successful solo careers. Sadly, Bob McBride lost his battle with substance abuse on February 20, 1998. He was 51. (by John Bush)


But the band play on and on …

In April 2013, Skip Prokop suffered from ventricular tachycardia. A device was implanted to regulate his heart. Prokop toured with Lighthouse throughout 2013 but was diagnosed with Type 2 Diabetes, then suffered more heart trouble requiring bypass surgery. He officially retired from music in 2016 and died at the age of 73 on August 30, 2017 from heart complications. He was replaced by his son, Jamie Prokop.

The band’s most recent compilation album, Icon, was released on August 10, 2018.

They continue to perform and tour extensively across Canada. (wikipedia)


And here´s their 8th album, a live double album: This was the first time a Canadian album went platinum.

I have a special place for this album because of two reasons. I listened to the original concert which was broadcasted on a local FM station while I was at a drive-in movie back in ’72. Along with Tom Northcott and magician Doug Henning, they were the first concert I went to at the old Memorial Gardens in Victoria B.C.
This is a stong performance which yields such classic songs as “Eight Miles High”, “Take it Slow (Out in the Country)” and “One Fine Morning”. Lighthouse has great arrangements on all their songs especially the melodic “Sweet Lullabye” and “1849”. They tear a strip off on other notables such as “Insane” and “Rockin Chair”. Bob McBrides voice is powerful and blends well with the symphonic sounds of Canada’s premiere rock orchestra.

Lighthouse04If you listen to the introduction, they were hell bent on making the return to Carnegie Hall a triumph and the audience knew they were in for a great evening of music. Although slightly different order of the songs from the original vinyl, nothing is lost in the text. If you like Chicago, you’ll love Lighthouse. (Dale Caudwell)

In other words: Excellent stuff !

Recorded live at the Carnegie Hall, New York,  February 6, 1972


Richard Armin (cello)
Ralph Cole (guitar, vocals)
Paul Hoffert (keyboards, vibraphone, percussion)
Keith Jollimore (saxophone)
Mike Malone (trumpet)
Bob McBride (vocals, percussion)
John Naslen (trumpet)
Don DiNovo (violin)
Skip Prokop (drums, percussion, vocals)
Howard Shore (saxophone, flute, vocals)
Larry Smith (trombone, vocals)
Louis Yacknin (bass)


01. Intro 0.35
02. I Just Wanna Be Your Friend (Prokop/McBride) 3.09
03. Take It Slow (Out In The Country) 3.34
04. Old Man (Smith) 7.45
05. Rockin’ Chair (Prokop/Cole) 3.51
06. You And Me (Shore) 9.15
07. Sweet Lullaby (Prokop) 5.18
08. 1849 (Prokop/Cole) 6.49
09. Eight Miles High (McGuinn/Crosby/Clark) 18.10
10. Insane (Prokop/McBride) 4.48
11. One Fine Morning (Prokop) 5.19




“Been on the road 15 days all over the south. I all want you do is have one good hot shit time, man.” (Great opening banter for a great LP!!!!)

The official website:

Janus – Gravedigger (1972)

LPFrontCover1This is the history of JANUS, born as a progressive rock band made up of English musicians in Krefeld in Germany in 1970, retired broke and unknown in 1973, despite being signed to the prestigious EMI “Harvest” label, alongside such bands as Deep Purple, Pink Floyd, and Edgar Broughton…
…The original band were COLIN ORR (Guitar/Keyboards), ROY YATES (Classical Guitar), BRUNO LORD (Vocals), DEREK HYETT (Vocals), MICK PEBERDY (Bass) and KEITH BONTHRONE (Drums). Style was truly original, and it has been said that JANUS were the originators of the genre that became “acoustic rock”.


That probably misses the fact, that like the name, the band had two very distinct, schizophrenic, sides. Capable of soft, beautiful melodies, they also cranked out some megadecibel material, which a few years later would have had them tagged as a punk band. Signed to EMI Harvest in 1970, in 1971 they recorded the classic “Gravedigger” album. Remarkably, the whole album, including mixing was put together in 24 hours of studio time…

…For two years, the band lived in Holland, partied on – making the “summer of love” a 36 month event – and managed very few live appearances…
…At the tail of 1973 JANUS came to England, and managed to perform to one or two appreciative university audiences, before becoming the only band in history to be thrown out of the Cavern Club in Liverpool (too heavy…. read loud). By 1974 it was time to call it a day, so that was the first end of Janus…


1989 – A German company re-released the 1971 Gravedigger. The band had no idea until a friend in Germany saw a review in a local magazine and sent it to the now mostly out of contact band members. Colin Orr then contacted the company and they commissioned the next albums – ‘Agnus Dei’ and ‘Out Of Time’.

Colin worked with a variety of guest musicians and met Paul Phoenix through a mutual friend, who he invited to do some vocals on the friends recommendation. Colin was blown away with Paul’s voice and Paul sang most of the vocals across the two albums.

1991 – Agnus Dei charted in Holland and other countries. The next album was commissioned in the style of Agnus Dei – Journey. It was unfortunately, a commercial flop. It was however picked up in the media industry and used a lot across television, and led to more TV/Film music being commissioned.


1993 – ‘Innocence’ was created with rock vocalist, Paul May.

1994 – ‘Free Fall’ was created as a completely instrumental album. It was again popular across the media industry.

1999 – ‘Agnus Dei 2000’ was commissioned and created by major Dutch label CNR. This began to do quite well and sold around 10,000 copies in the first month, however bad luck struck again when CNR was sold to Road Runner Records and they dropped all ties with any dutch relations.Firing both Janus and Golden Earring. Here’s the video for “Agnus Dei 2000.

2002 – ‘Sea Of Sighs’ was commissioned and created.

2005 – ’The S Album’ was created and was uploaded, as a free download in exchange for voluntary donations to a children’s hospice, as a result of Colin Orr’s daughter nagging him to release material only intended for private listening.

2013 – ‘Gravedigger’ re-released. A German journalist got in touch with Colin Orr to talk about the original Gravedigger. It turned out, that ‘Gravedigger’ had been illegally sold on vinyl and CD, plus download, he estimated 250,000 copies over the last few years. EMI commissioned a re-release, but Colin Orr, who had always hated the original production, was asked to re-record and remix some of the tracks, so fans could hear Janus as the band had intended, which wasn’t the way the original “Gravedigger” album had portrayed. The remix was done in the magic Studio B at Mid-Tennessee university in Nashville, with Chris Haseleu.

‘Under The Shadow Of The Moon’ was also commissioned. UTSOTM had been partially written in 1971-1972, during the party period. It had however, never been recorded. But in 2013 some of the original band reunited, with other musicians, and recorded the album, 42 years late. A wonderfully creative and crazy music video was also recorded, and can be seen here.(


And here´s their legendary debutalbum:

The band hails from the U.K., but did their recording in Germany. Hmmmm…..that’s a common point with another Brit band who had to leave the U.K. to make it: Nektar. There really is no similarity between those two bands other than that.

Janus could have gone on to have a legendary career, based on the music on this album. There are a smattering (not sure…..probably the last 3 or 4 track?) that were added later, like in 1993 or thereabouts.


The original tracks from this gem are mesmerizing, to say the least. They utilize many strong effects such as guitar played and re-played and recorded backwards, tripped out, effects-heavy riffs just brimming with spacey overtones.

I had told myself that I was going to be extremely conservative in ever handing out 5-star reviews ever again, so I will be a little sparing for this, the only effort by Janus. It needs to be heard: by fans of Hendrix, the whole psychodelic genre, the spacerock genre, and progressive rock fans alike. (by beebs)

And I add an interview with Colin Orr about the history of Janus.


Keith Bonthrone (drums, vocals on 08.)
Derek Hyett  (vocals)
Bruno Lord (vocals, harmonica on 08.)
Colin Orr (guitar, keyboards)
Mick Peberdy (bass)
Doug Boyes (cello, synthesizer, percussion on 08. + 10.)
David Harold (bass on 08.)
Bruno Lord (all instruments on 07.)
Paul May (bass, percussion on 06.. guitar on 10. )
Nick O´Connor (keyboards on 08.)
Paul Phoenix (vocals on 08.)
Roy Yates (classical guitar on 05.)


01. Red Sun (Orr) 8.55
02. Bubbles (Orr/Hyett) 3.53
03. Watcha’ Trying To Do? (Orr) 3.54
04. I Wanna’ Scream (Lord/Orr) 2.43
05. Gravedigger (Lord/Orr/Hyett/Bonthrone/Peberdy/Yates) 20.48
06.  Red Sun (studio version, 1980) (Orr) 5.31
07. Napalm (Sticks To Kids) / Watergarden (1984) 6.56
08. War Machines (Single 1990) (
Producer – Janus (5)
09. Yesterday Has Turned To Shapeless Life (Orr/Lord/Harrold/May/Janssen) 5.35
10. Dark Christmas (Single, 1981) (Orr/Boyes/May) 3.52
11. No Idea (live 1969) (unknown) 4.30
10 Yesterday Has Turned To Shapeless Life (Instrumental) (Orr)



The official website:

King Earl Boogie Band – Trouble At Mill (1972)

LPFrontCover1Ad here´s the story of a short-live group called King Earl Boogie Band, formed by Paul King:

Paul King (born January 9, 1948, Dagenham, UK), was a member of Mungo Jerry between 1970 and 1972. He contributed occasional lead vocals, and played acoustic guitar (6 and 12 string), banjo, harmonica, kazoo and jug. His songs on the first Mungo Jerry album and on the early maxi-singles were generally more folksy and lighter in style than those of group leader Ray Dorset, and he was frustrated when his own songs were constantly rejected for subsequent albums.

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On the second album, Electronically Tested, his composition “Black Bubonic Plague” appeared on European copies only, but not on the British release. King recorded a solo album, Been in the Pen Too Long in 1972, and left Mungo Jerry shortly afterwards.

He and the group’s keyboard player Colin Earl (born 6 May 1942, Hampton) formed the King Earl Boogie Band with guitarist Dave Lambert, bassist Russell John Brown and washboard player Joe Rush, who had been a part-time Mungo member. Their album Trouble at Mill was well reviewed, but a single “Plastic Jesus” was banned by the BBC on grounds of blasphemy. The group disbanded a few months later, and Lambert later joined Strawbs.

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King then pursued a solo career, releasing occasional records under the names P. Rufus King and D’Jurann D’Jurann (no connection with the British group Duran Duran), as well as under his usual name.

King and Earl later formed Skeleton Krew, though in the 1990s they reverted to the name of King Earl Boogie Band. King retired to Cornwall in 1996, though since then he has occasionally joined his colleagues and former members for one-off gigs, sometimes under the name Skeleton Krew or Skeleton Crew. (wikipedia)

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Less than a year after delivering his superlative Been in the Pen Too Long debut album, Paul King was back at the head of the King Earl Boogie Band and armed with a second clutch of songs that is as much a direct follow-up to the earlier set as it is the birth of what should have been a far more successful band than it actually became. That the King Earl Boogie Band were ultimately scuppered by the failure of the surefire Christmas hit “Plastic Jesus” is a matter of record; it is indeed an indictment of the prevailing super-morality of the era that so lighthearted a poke at junk-store piety could “offend” anyone at all, least of all the program controllers of the BBC. Today, it wouldn’t merit a second glance. But, while “Plastic Jesus” inevitably dominates Trouble at Mill, the remainder of the album has a warm, folky bluegrass feel that is just as captivating.


The neo-Cockney “Bovver Blues” boogie, one of four songs composed by guitarist Dave Lambert (soon to become such a force within the Strawbs), has a charm that completely predicts such mid-’90s excursions as Blur’s “Parklife,” while “Keep Your Hands off My Woman” is the sound of Slade if they were forced to dress up as Steeleye Span. But the other must-hear highlight is the beautiful, near-a cappella version of Ewan MacColl’s “Go Down Your Murderers” that wraps up the album — and, sadly, the band’s career — with haunted finality. (by Dave Thompson)


Russell John Brown (bass, flute, background vocals)
Colin Earl (piano, background vocals)
Paul King (vocals, acoustic guitar, 12-string acoustic guitar, harmonica, recorder, kazoo), Dave Lambert (vocals, slide guitar, guitar, harmonica, tambura), Colin Earl (piano, background vocals), , Joe Rush (percussion)


01. Bad Storm Coming (Evans/O’Donnell/Collier) 5-13
02. Take Me Back (Lambert) 4.44
03. Live Your Own Life P. Mc (Lambert) 2.27
04. Bovver Blues (Lambert) 2.03
05.  Plastic Jesus (King) 4.14
06. If The Lord Don’t Get You (Lambert) 3.46
07. Goin’ To German (Traditional) 2.35
08. Keep Your Hands Off My Woman (Levy/Minter/Glover) 4-59
09. Go Down You Murderers (McColl) 5.35



Well I listened to it the other day (1989) for the first time in 15 years and to be quite honest, it just doesn’t make it. I don’t know what we were trying to achieve, but somewhere along the line we got terribly lost. Apart from ‘Plastic Jesus’, that is – that really makes it, and in my opinion was the best song the Boogie Band ever recorded and should really have done something, but unfortunately it was blacklisted. (Paul King)

Pye gave us £3,000 to produce an album. We chose Richard Branson’s ‘The Manor’ at Oxford, to make it. Good atmosphere, but the single, ‘Plastic Jesus’ was immediately banned by the BBC, which effectively killed the commercial possibilities of the album. ‘Plastic Jesus’, a song despising the morality of; ‘I’ve got a plastic charm, I can do what I like to anyone’. To the Beeb, it meant ‘Plastic Jesus’. You tell me that a jock listens to the discs he plays – I’ll tell you b******s. (Colin Earl)

King Earl Boogie Band02

We spent, I dunno how long rehearsing and we made the record, and then I’m sitting at home waiting to go on the first gig, I think it was supposed to be Barnstable and they said the car would arrive, pick you up. So there I am, waiting all day long and all of a sudden, I get a phone call late in the afternoon, “Oh Joe, we’re not going, Dave Lambert’s left the band, he’s joined The Strawbs! I thought f**k me, here we go! So that was the end of that, sort of, brief experience”. (Joe Rush)

The official Paul King website:

Jesse Ed Davis – Ululu (1972)

LPFrontCover1Jesse Edwin Davis (September 21, 1944 – June 22, 1988) was a Native American guitarist. He was well regarded as a session artist and solo performer, was a member of Taj Mahal’s backing band and played with musicians such as Eric Clapton, John Lennon, and George Harrison. In 2018, Davis was posthumously inducted into the Native American Music Hall of Fame at the 18th Annual Native American Music Awards.

Davis was born in Norman, Oklahoma. He was the son of Jesse Edwin (Bus) Davis II, whose ancestry was a blend of Comanche, Seminole, and Muscogee (Creek), and Vivian Mae (Bea) Saunkeah, a Kiowa. His father was an accomplished painter in the Flatstyle Southern Plains painting; his works were exhibited in the state capitol in Oklahoma City.

Davis began his musical career in the late 1950s in Oklahoma City and surrounding cities with John Ware (later a drummer for Emmylou Harris, and Michael Nesmith during the First National Band era), John Selk (later a bass player for Donovan), Jerry Fisher (later a vocalist with Blood, Sweat & Tears), Mike Boyle, Chris Frederickson, drummer Bill Maxwell (later with Andrae Crouch and Koinonia) and others.


He graduated from Northeast High School in 1962. Davis graduated with a degree in English literature from the University of Oklahoma; even into his later years, he was remembered to enjoy quoting Socrates and Plato. By the mid-1960s, he had quit school and went touring with Conway Twitty.

Davis eventually moved to California. For eight years, he lived in Marina del Rey with his companion, Patti Daley, and her son, Billy. Through his friendship with Levon Helm, he became friends with Leon Russell, who introduced him to recording session work.

Davis joined Taj Mahal and played guitar and piano on Mahal’s first four albums. He played slide, lead and rhythm, country and even jazz during his three-year stint with Mahal. Mahal and his band were invited to England by the Rolling Stones, and they appeared as a musical guest in The Rolling Stones Rock and Roll Circus.


He played in the “electric” disc of Mahal’s double album Giant Step/De Ole Folks at Home (1969) and appeared in two songs of his fourth album Happy Just to Be Like I Am (1971).

In 1970, he played on and produced Roger Tillison’s only album for Atco Records, a division of Atlantic. Davis and Tillison − both Oklahoman − were joined at the Record Plant by Bobby Bruce (fiddle), Larry Knechtel (organ and harmonica), Stan Szelest (piano); Billy Rich (bass); Jim Keltner (drums) and Sandy Konikoff (percussion); Don Preston and Joey Cooper were vocal accompanists. Roger Tillison’s Album was recorded live. It was finally released on CD by Wounded Bird Records in 2008, with Davis playing electric guitar, bottleneck (slide) guitar and banjo. The Woody Guthrie song “Old Cracked Looking Glass” has become a standard for Oklahoma bands.

JesseEdDavis02In 1971, Davis recorded his first solo album after Atco Records signed a contract with him to record two albums with the label. The first was the album ¡Jesse Davis! (1971), which featured backing vocals by Gram Parsons and performances by Leon Russell and Eric Clapton, among others.[16]

Davis was close friends with Gene Clark. In 1971, he played on and produced Clark’s second solo album, White Light, and provided lead guitar on Clark’s album No Other in 1974. On Jackson Browne’s 1972 debut album, Davis played the electric guitar solo on Browne’s hit song “Doctor, My Eyes”.

After guesting with Russell on Bob Dylan’s 1971 single “Watching the River Flow”, and collaborating in Albert King’s Lovejoy, Davis went on to work with George Harrison, performing at the ex-Beatle’s 1971 Concert for Bangladesh at Madison Square Garden, along with Ringo Starr, Billy Preston, Russell, Keltner, Clapton and others.

Two more solo albums followed: in 1972 Ululu, which included the original release of Harrison’s “Sue Me, Sue You Blues”, and in 1973 Keep Me Comin, occasionally listed as Keep On Coming. Around this time, Davis began playing with John Lennon, for whom he played lead guitar on the albums Walls and Bridges (1974) and Rock ‘n’ Roll (1975). In addition, Davis was a guest performer on other albums by former Beatles: Harrison’s Extra Texture (1975) and Starr’s Goodnight Vienna (1974) and Ringo’s Rotogravure (1976).


In the late summer and fall of 1975, he performed with the Faces as second guitarist throughout their final US tour. It was on this tour that Davis became addicted to drugs.

After the Faces tour, Davis continued to work as a session player. In addition to the artists listed above, Davis contributed to albums by Eric Clapton, Rod Stewart, Keith Moon, Steve Miller, Guthrie Thomas, Harry Nilsson, Ry Cooder, David Cassidy, Willie Nelson, Neil Diamond, Rick Danko, Van Dyke Parks and others. He played on Leonard Cohen’s Death of a Ladies’ Man (1977), produced by Phil Spector.

In 1977, Davis moved to Hawaii. In 1981, he returned to Los Angeles broke and ravaged by drug and alcohol addiction.[8] In and out of clinics, Davis disappeared from the music industry for a time, spending much of the 1980s dealing with alcohol and drug addiction. In 1985 he formed and played in the Graffiti Band, which coupled his music with the poetry of the Native American activist John Trudell (American Indian Movement). The result of this collaboration was the album, released initially only on cassette, called “AKA Grafitti Man”, which Bob Dylan called the best album of the year.


In the spring of 1987, the Graffiti Band performed with Taj Mahal at the Palomino Club in North Hollywood, California. At this show, George Harrison, Bob Dylan and John Fogerty got up from the audience to join Davis and Mahal in an unrehearsed set which included Fogerty’s “Proud Mary” and Dylan’s “Watching the River Flow”, as well as classics such as “Blue Suede Shoes”, “Peggy Sue”, “Honey Don’t”, “Matchbox” and “Gone, Gone, Gone”.

Davis had a relationship with Patti Daley for about ten years. Then he married twice, first to Tantalayo Saenz and then Kelly Brady.

In his last years, he served as drug and alcohol counselor at the American Indian Free Clinic in Long Beach.


Davis collapsed in the laundry room of an apartment building and was pronounced dead in Venice, California, on June 22, 1988. Police stated his death appeared to be the result of a drug overdose. Davis had a fresh needle mark on one arm and burned matches and tin foil were scattered on the ground nearby. He was 43 years old.

In 2002, he was posthumously inducted into the Oklahoma Jazz Hall of Fame.

In 2018, Jesse Ed Davis was inducted into the Native American Music Hall of Fame at the 18th Annual Native American Music Awards. A performance tribute was held by his former Graffiti band members, Mark Shark and Quiltman. His cousins Richenda Davis Bates and Constance Davis Carter accepted the induction (wikipedia)

Jesse Ed Davis

Though this album is far more a collector’s record than an actual “turntable staple,” it is a significant improvement from Davis’ first solo outing. During the title track in particular, as well as a cover of Merle Haggard’s “White Line Fever,” Davis’ voice achieves a ragged glory that makes the listener realize why sloppy rock & roll can be so much fun. Other standout moments include a version of the tune that Davis co-wrote with Taj Mahal, “Further on Down the Road,” and the Davis-penned “Reno St. Incident.” In all, it is the fun record that you would expect from a standout session player like Davis. (by Steve Kurutz)


This is the most underrated album by critics, including Jesse Ed Davis himself. But come on, George Harrison, Taj Mahal, Leon Russell, Robbie Robertson, Levon Helms, Dr John and many others contribution to this album make it stellar! JED’s vocals and songwriting are fantastic. Whit Line Fever is a Merle Haggard cover. Further Down the Road was a co-write with JED & Taj Mahal. Sue Me Sue You Blues was a George Harrison original. My Captain & Make A Joyful Noise are Gospel in nature. Ululu is a love song that may have deeper meanings as maybe Alcatraz too with JED’s Native heritage. Strawberry Wine is a Robbie Robertson (The Band) song. Red Dirt Boogie Brother seems to be JED’s autobiography song. This is just a great album with a stellar cast of JED’s true friends that pitched in to help him produce his second album. (John Wayne)


Donald “Duck” Dunn (bass)
Jesse Ed Davis (guitar, vocals)
Albhy Galuten (piano)
Jim Keltner (drums)
Larry Knechtel (organ)
Mac Rebennack (keyboards)
Billy Rich (bass, piano)
Stan Szeleste – Piano
Arnold Rosenthal (bass)
Leon Russell (piano)
background vocals:
Charles Chalmers Singers – Clydie King – Merry Clayton – Vanetta Fields – Chuck Kirkpatrick


01. Red Dirt Boogie, Brother (Davis) 3.45
02. White Line Fever (Haggard) 3.08
03. Farther On Down The Road (You Will Accompany Me) (Davis/Mahal) 3.14
04. Sue Me, Sue You Blues (Harrison) 2.43
05. My Captain (Davis) 3.23
06. Ululu (Davis) 3.49
07. Oh! Susannah (Traditional) 2.50
08. Strawberry Wine (Helm/Robertson) 2.18
09. Make A Joyful Noise (Davis) 3.41
10. Alcatraz (Russell) 3.12



More from Jesse Ed Davis.

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Aphrodite´s Child – 666 (1972)

LPFrontCover1Aphrodite’s Child was a Greek rock and pop band formed in 1967, by Vangelis Papathanassiou (keyboards, flutes), Demis Roussos (bass, acoustic and electric guitar, vocals), Loukas Sideras (drums and vocals), and Silver Koulouris (guitar). They initially found success in Europe with hit singles like “Rain and Tears”, “End of the World”, “I Want to Live”, and “It’s Five O’Clock”, before pivoting to progressive rock with their third and final album, 666 (1972). An ambitious concept album inspired by the Book of Revelation, it later gained critical acclaim and has appeared on a number of lists of the top progressive and psychedelic albums of all time.

Aphrodite's Child01

666 (subtitled The Apocalypse of John, 13/18) is the third and final studio album and only double album by Greek progressive rock band Aphrodite’s Child, released in June 1972 by Vertigo Records. Ostensibly an adaptation of Biblical passages from the Book of Revelation, it is the group’s most critically acclaimed project. Due to internal tensions during the recording process and conflict with the record company, by the time it was released the band had already disbanded and its members had begun work on solo projects.

The concept for 666 was created by Vangelis and film director Costas Ferris, who served as the project’s lyricist. Ferris cited as influences the nonlinear narrative style of the films Intolerance, Rashomon, Citizen Kane and The Killing, as well as the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band and the Who’s Tommy.

Aphrodite's Child02

The central concept is a countercultural interpretation of the Book of Revelation, in which a circus show based on the apocalypse performs for an audience at the same time that the real apocalypse takes place outside the circus tent, and at the end the two merge into one. Ferris described the result as a “concept book”, and stated that he intended for the narration to be looser than Tommy, but more rigid than Sgt. Pepper.

The band commenced work on the album at the Europa Sonor studio in Paris in late 1970. They took just over three months to record it and finished in early 1971. The overall cost of album’s recording was estimated as $80,000 or $90,000. The recording was marked by tension, as the ambitious nature of Vangelis and Ferris’ concept clashed with Demis Roussos, Loukas Sideras and Silver Koulouris’ wish to continue with the psychedelic pop direction that had brought them success. Vangelis, Roussos and Sideras were also accompanied by their partners, further adding to the strain. Engineer Roger Roche reported that they enjoyed playing together but would not speak to each other after they finished a take. Vangelis blamed commercial pressures for the tensions, stating, “It was too sophisticated for the group. I realised that I couldn’t follow the commercial way anymore, it was very boring.”


Giorgio Gomelsky, in France at the time due to his work with Magma and Gong, made several contributions to the album and by his own description served as “a sort of ‘acting producer'”. He believed that his contributions were not enough to warrant a producer’s credit. Accordingly, on the album sleeve, he is credited as “passing by”. Gerard Fallec, credited on the sleeve with “production coordination”, did not play a part in the production process, but became involved during the year-long battle to have the record released. Ferris credited him with suggesting the album’s final title and working on its sleeve. Additional contributors to the album included Harris Halkitis, who had filled in for Vangelis when the band toured in support of It’s Five O’Clock, horn player Michel Ripoche, Greek painter Yannis Tsarouchis, actress Irene Papas, John Forst and Daniel Koplowitz.

Upon the album’s completion, Mercury Records refused to release it, objecting to its uncommercial material and in particular the song “∞”. In 1971, the band organised a “one-year anniversary party” at Europa Sonor, to protest the album not being released. According to Ferris, Salvador Dalí was in attendance at the party, and listened to the album. Dalí was highly impressed with the work, stating that it reminded him of the Sagrada Família, and planned an ambitious happening in Barcelona to mark the album’s release. The plan was canceled when Dalí angrily broke off further contact after a friend of Ferris’ referred to Gala Dalí as “Madame Éluard” during a visit in Rome.

Special Radio Cuts

Despite Vangelis editing “∞” from its original 39 minutes to merely five, the band continued to struggle with Mercury’s obstruction. During this period, the band drifted apart. Vangelis released his first solo album Fais que ton rêve soit plus long que la nuit. Sideras began work on his own solo album, One Day, which featured arrangements by Koulouris. Roussos released his debut solo album Fire and Ice (also known as On the Greek Side of My Mind), obtaining a hit single in Europe with the song “We Shall Dance”.

Eventually, Mercury agreed to release 666 on its progressive rock subsidiary Vertigo Records in June 1972. The album was promoted with one single, “Babylon”/”Break”, released in November. Mercury also produced a four-song EP to encourage radio play, and ran a contest where they would give $666 to the first three promoters who could get their market’s share of 40,000 sales. Although Melody Maker stated that “Break” “could easily have made the chart if it had been released as a single”,[8] neither the album nor single were commercially successful on release, the album failing to chart and the single only entering the Dutch charts at #24. Two years later, Vangelis said that the album sold well in the United States.


Vertigo also released a single vinyl edition of the album in Brazil, titled Break and leaving out most of the album’s instrumental songs. An extended vinyl edition of 666 was released in Greece in 1974, containing alternative mixes of songs with music cut from other versions of the album, in a gatefold sleeve displaying the painting originally on the inner sleeve; some of these versions had appeared on the Brazilian release.

The music of 666 is more ambitious and experimental than previous Aphrodite’s Child releases, containing greater use of electronic keyboards, studio experimentation, expanded instrumentation,[29] and influences from genres such as jazz, musique concrète and world music.[30][31] Reflecting this character, only six of the album’s 24 songs have vocals and lyrics, four by lead singer Demis Roussos and two by Loukas Sideras. The rest are either instrumental, instrumentals with narration, or use vocals as an instrument. Although the album’s material is often acknowledged as challenging and uncommercial, it has also been described as tuneful, “fun”, and retaining elements of pop music. Authors Paul Hegarty and Martin Halliwell interpreted the album as reflecting “the turmoil in Greece at the time”, while Vangelis argued that its theme was highly relevant in general, stating in Sounds in 1974, “The answer to the question 666 is today.” The Mojo Collection argues that “the album’s lush arrangements were as startling as any of the progressive era and have aged better than most”, in part due to Vangelis not relying excessively on contemporary synthesizers and the prominent role of guitarist Silver Koulouris.

The first song on the album, “The System”, fades in with a choir chanting “We got the system, to fuck the system!” and a drum roll by Loukas Sideras. The lyric is inspired by Abbie Hoffman’s pamphlet Fuck the System.

Aphrodite's Child04

“Babylon” is an acoustic rock song with an energetic guitar riff that Head Heritage compared to Pete Townshend’s work on “Pinball Wizard”, melodic bass playing by Roussos, and crowd noise similar to that of Sgt. Pepper. The lyrics introduce the apocalyptic theme by referring to the fall of Babylon the Great from Revelation 18.

“Loud, Loud, Loud” combines a two-chord piano melody by Vangelis with narration by Daniel Koplowitz, described by a fansite as “the son of [a] diplomat”. The title is sung by a choir, who are not credited on the album sleeve. The narration reflects a spirit of countercultural optimism, speaking of “The day young boys will stop becoming soldiers/And soldiers will stop playing war games”.

“The Four Horsemen” deals with the Four Horsemen of the Apocalypse, its lyrics mostly paraphrasing the text of Revelation 6. The song’s structure is marked by a dynamic contrast, with Roussos singing over an echoed keyboard drone and wind chimes in the verses,[30][32] and the chorus containing traditional rock instrumentation highlighted by Sideras’ drumming.[30] The song culminates in a two-minute wah guitar solo by Koulouris over heavy drumming by Sideras and a repeated “fa fa fa” background chant by Roussos. One of the best known songs of 666, “The Four Horsemen” influenced Beck’s “Chemtrails”, which has a similar structure,[34] and The Verve’s “The Rolling People”, which quoted the “fa fa fa” chant.[35] The chorus was also sampled, in a slowed-down fashion, on Daniel Lopatin’s “A7”, from Chuck Person’s Eccojams Vol. 1.

“The Lamb” is a world music-influenced instrumental, featuring vocal chants following the main melody, and sounds reminiscent of traditional Greek instruments.

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“The Seventh Seal” is an instrumental with a repeated keyboard and string instrument melody, and British-accented narration by John Forst describing the lamb opening the last of the Seven seals, again based on Revelation 6. The narration does not mention the earthquake that the Book of Revelation attributes to the breaking of the sixth seal, but is otherwise faithful to the biblical description. Forst’s line, “And when the lamb opened the seventh seal, silence covered the sky” was sampled in the Enigma song, “The Rivers of Belief”.

Side two begins with “Aegian Sea”, an instrumental featuring another lengthy guitar solo by Koulouris, elaborate keyboard work by Vangelis, and wordless vocalising. Narration by John Forst is included under Koulouris’ guitar solo, restating the breaking of the two seals in “The Seventh Seal” in first person, and featuring three repetitions of the phrase “They’ll no more suffer from hunger, they’ll no more suffer from thirst”. Forst’s narration is slowed down in pitch and panned to the right stereo channel, with echo being heard on the left channel.

“Aegian Sea” is followed by “Seven Bowls”, a sound effect-laden piece in which a chorus narrates the effects of the seven bowls (changing the Euphrates drying up and earthquake of the last two bowls to the stars going out and the air turning to poison), which in turn crossfades into the eerie instrumental “The Wakening Beast”, which uses reverbed wind chimes. The narration of “Seven Bowls” was sampled on the Enigma song “The Voice and the Snake”.

Aphrodite's Child06

“Lament” begins with a repeated vibraphone note played by Vangelis, followed by Roussos singing a lament for “the human race” over a minimal backing. Vangelis provides additional backing vocals, which reflect his interest in Byzantine music.

“The Marching Beast” is an instrumental piece with a repeated melody played on guitar, bass and saxophone, with a gradually developing arrangement that includes a piano solo and a Jethro Tull-influenced flute trill.

“The Battle of the Locusts” and “Do It” are aggressive rock instrumentals,[39] variously perceived by reviewers as being influenced by jazz[30][33] and heavy metal.[9] Both begin with Forst reciting their titles, and are played in a power trio format, with intricate drumming and rapid guitar solos. The title of “Do It” comes from Jerry Rubin’s book DO IT!: Scenarios of the Revolution. Both songs were compared by Head Heritage to “Ash Ra Tempel meets Santana”.

“Tribulation” is a jazz-influenced instrumental with overdubbed saxophone by Harris Halkitis.

Aphrodite's Child07

“The Beast” has been described as a “bizarre funky singalong”. It is the first song with lead vocals by Loukas Sideras, who sings “Who can fight the beast?” in his normal voice and “She’s big/She’s bad/She’s wicked/She’s sad” in a deeper, lower voice. The song features a funk-influenced rhythm and studio experimentation, with the first snare hit of the verses having plate reverb applied to it. During recording, Vangelis had a microphone in order to direct the band, and the final mix of the song includes some of his rhythmic scat singing and studio commentary. He says Pame! (“Let’s go!”) near the song’s climax, and Teliounome edho pera, etsi? (“We’re closing here, remember?”) on the song’s final measure. Reviewer Jon Bryan considered the song “a little kooky” but “fun and memorable”.

The last song on the second side, “Ofis”, is a brief interlude in which Yiannis Tsarouchis recites a line from the shadow puppet play Alexander the Great and the Accursed Serpent with slapback echo applied to his voice. The line, Exelthe ofi katiramene, dhioti an dhen exelthe essy, tha se exelthe ego! Ou! Ou! Ou!, translates to “Come out, cursed serpent, because if you don’t come out yourself, I will make you come out!”.

“Seven Trumpets” is a dramatic narration that serves to introduce “Altamont”. Head Heritage interpreted it to represent the moment where the “curtain of reality” is torn down, and thus the real apocalypse and the circus show apocalypse begin to intertwine as per Ferris’ concept.

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“Altamont”, chosen as one of the highlights of the album by AllMusic, contains a repetitive funk-influenced groove, Roussos scatting along with the bassline, vibraphone by Vangelis, and overdubbed horns by Halkitis. The second half of the song introduces additional narration, referring to the imagery of previous songs and describing the sight of the apocalypse as “the pictures of what was, of what is, of what has to come”. One of the lines of the narration, “We are the people/The rolling people”, later inspired the title of The Verve’s “The Rolling People”.

“Altamont” ends by crossfading into “The Wedding of the Lamb”, a world music-influenced instrumental that contains an electronic keyboard melody backed by wordless vocalising and syncopated, rhythmic drumming. The instrumental in turn crossfades into “The Capture of the Beast”, a drum solo by Sideras that makes heavy use of toms and percussion instruments, performed over Vangelis’ keyboard drones and effects. The songs are linked together by brief spoken lines recited in a halting manner which announce their titles, “That was ‘The Wedding of the Lamb'” at the end of the former, and “Now comes ‘The Capture of the Beast'” at the beginning of the latter.

Unpublished frontcover design:
Unpublished frontcover design

“∞” (“Infinity”), the most controversial song on the album, consists of the Greek actress Irene Papas chanting “I was, I am, I am to come” over a sparse percussion track, gradually building into an orgasmic frenzy. Vangelis described the track as conveying “the pain of birth and the joy of intercourse.”[ Ferris originally sought a narrator with a heavy British accent to recite the lyric, in order to create a contrast with the climactic frenzy, but Papas’ improvisation was chosen instead because it made a stronger impression. Hegarty and Halliwell describe the song as part of the “increased cacophony” that marks the progression towards the apocalypse.[39] Melody Maker remarked in 1972 that in light of the publicity received by Serge Gainsbourg’s “Je t’aime… moi non plus”, it was “odd” that the media overlooked 666, but that it would have been a “pity” if it achieved notoriety solely due to Papas’ contribution. A sample of Papas taking sharp breaths was used in Enigma’s “Principles of Lust”.

“Hic et Nunc” (Latin for “here and now”) is an upbeat pop song with phased piano, tenor saxophone by Michel Ripoche, a crowd chanting “Here and now!” in the chorus, a reuse of the audience sound effect from “Babylon” and the “We got the system to fuck the system” chant from “The System” during Vangelis’ piano solo, foreshadowing the concluding “montage”.

The longest song on the album, “All the Seats Were Occupied” begins as a slow raga-influenced instrumental before incorporating other genres such as funk and culminating in a musique concrète “montage” that incorporates samples from “Seven Trumpets”, “The System”, “The Four Horsemen”, “Loud, Loud, Loud”, “The Capture of the Beast”, “Ofis”, “∞”, “Seven Bowls”, “The Lamb”, “The Wakening Beast”, “The Marching Beast” and “Altamont”. The sentence “all the seats were occupied” was taken from a BBC Teaching English record. The song concludes with a chaotic ending and a sample of Papas’ pained groaning from “∞”. This track was later included on the compilation album A Monstrous Psychedelic Bubble Exploding in Your Mind: Volume 3.

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“Break”, the closing song, is a ballad sung by Sideras, backed by piano and organ. Vangelis scat sings backing vocals, meant to make fun of the song’s dramatic mood. Ferris’ lyrics originally had an additional verse that began the song, starting “Now/Got no place to go”, which was left out of the final version. Hegarty and Halliwell describe the last lines, “Fly/High/And then/You make it”, as lacking in narrative link to the rest of the album, but ending on a “melancholic high”. The song ends with a piano and organ chord, which is followed after 6 seconds of silence by a sample of Forst saying “Do it!”, the final sound of the album.

The album’s sleeve was created by production coordinator Gerard Fallec. Ferris stated that Fallec’s initial idea was to have a black cover with “666” printed in white in the middle, inspired by the white background of The Beatles, and created the original design with three plastic car numbers. Ferris and Vangelis liked the idea but preferred a red background with the number printed white on black in the middle, similar to a vehicle registration plate. This became the final design, although several vinyl issues of the album use the original white number on black background sleeve.

Fallec also brought to the band a surreal, Dalí-influenced painting of a car crash that became the inner sleeve. Ferris stated that the band forgot to ask for the name of the artist (although the signature “M. Dubre” appears on the image), and that while Fallec was unsure about the relation of the painting to the work apart from the “car” theme of the cover, he and Vangelis considered it “the absolute representation of the stupidity of man.”

The liner notes state “This album was recorded under the influence of Sahlep.” Intended as a joke by the band, the statement provoked some controversy at the time of the album’s release, as some groups interpreted it to mean that the album was drug-inspired, demonic, or blasphemous.

Colin Larkin’s Encyclopedia of Popular Music states that “the album was applauded for its ambition and execution”, but it did not attract many contemporary reviews.

IGN ranked the album number 3 on their list of Top 25 Prog Rock Albums. In the Q & Mojo Classic Special Edition ‘’Pink Floyd & The Story of Prog Rock’’, the album came number 40 in its list of “40 Cosmic Rock Albums”.

Although Ferris has been identified as the lyricist, the album explicitly states that all tracks — even the instrumentals — are composed by Vangelis Papathanassiou and Costas Ferris.(wikipedia)

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An amazingly bombastic concept album about the Apocalypse of St. John seen as a rock spectacle. Demis Roussos wails the lyrics in a frantically operatic falsetto, while the band pound fiercely through Vangelis’ furiously complex music. It certainly has its moments, but the entire set eventually becomes too overwhelming to sit through. (by Steven McDonald)

European psychedelia never went further out than this weighty concept album about The Book Of Revelation, delivered by a mercurial band that included Vangelis and a pre-superstar Demis Roussos. Utterly at odds with the vaporous sunshine pop of Aphrodite’s Child’s earlier stuff, 666 brought great dollops of proggy weirdness, wildly experimental forms, eerie vocal chants and, via the imperious The Four Horsemen, heavy intimations of the apocalypse. All The Seats Were Occupied is a mammoth 20-minute jam, while actress Irene Papas simulates an orgasm on the genuinely startling Infinity. (


Vangelis Papathanassiou (Evangelos Odysseas Papathanassiou) (keyboards, vibraphone, bass, flute, percussion, background vocals  on 10., 15. + 24.)
Demis Roussos (Artemios Ventouris Roussos) (vocals, bass, guitar, trumpet)
Silver Koulouris (Anargyros Koulouris) (guitar, percussion)
Loukas Sideras (drums, lead vocals on 15. + 24., background vocals)
John Forst (english narration)
Harris Halkitis (bass, saxophone, percussion, background vocals)
Daniel Koplowitz (narration on 03.)
Irene Papas (vocals on 21.)
Michel Ripoche (trombone, saxophone on 02. + 22.)
Yannis Tsarouchis (greek narration on 16.)


01. The System 0.27
02. Babylon 2.54
03. Loud, Loud, Loud 2.43
04. The Four Horsemen 5.55
05. The Lamb (Instrumental) 4.36
06. The Seventh Seal 1.31
07. Aegian Sea 5.25
08. Seven Bowls 1.30
09. The Wakening Beast (Instrumental) 1.13
10. Lament 2.46
11. The Marching Beast (Instrumental) 2.01
12. The Battle Of The Locusts (Instrumental) 0.56
13. Do It 1.45
14. Tribulation (Instrumental) 0.32
15. The Beast 2.27
16. Ofis 0.15
17. Seven Trumpets 0.36
18. Altamont 4.35
19. The Wedding Of The Lamb (Instrumental) 3.40
20. The Capture Of The Beast (Instrumental) 2.18
21. ∞ (Infinity) 5.17
22. Hic et Nunc 2.58
23. All The Seats Were Occupied 19.31
24. Break 3.00

Music and lyrics:
Vangelis Papathanassiou and Costas Ferris



Aphrodite’s Child on facebook:

Ronnie Hawkins – Rock And Roll Resurrection (1972)

FrontCover1Ronald Hawkins, OC (January 10, 1935 – May 29, 2022) was an American/Canadian rock and roll musician whose career spanned more than half a century. His career began in Arkansas, where he was born and raised. He found success in Ontario, Canada, and lived there for most of his life. He is considered highly influential in the establishment and evolution of rock music in Canada.

Also known as “Rompin’ Ronnie”, “Mr. Dynamo”, or simply “The Hawk”, he was one of the key players in the 1960s rock scene in Toronto. Throughout his career, Hawkins performed all across North America and recorded more than twenty-five albums. His hit songs included covers of Chuck Berry’s “Thirty Days” (entitled “Forty Days” by Hawkins) and Young Jessie’s “Mary Lou”, a song about a “gold-digging woman”. Other well-known recordings are a cover of Bo Diddley’s “Who Do You Love?” (Hawkins’ version was released without the question mark), “Hey Bo Diddley”, and “Susie Q”, which was written by his cousin, rockabilly artist Dale Hawkins.

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Hawkins was also notable for his role as a talent scout and mentor of musicians he recruited for his band the Hawks. Roy Buchanan was an early Hawks guitarist on the song “Who Do You Love”. The most successful example of this were the musicians who left him to form The Band. Other musicians Hawkins had recruited went on to form Robbie Lane and the Disciples, Janis Joplin’s Full Tilt Boogie Band, Crowbar, Bearfoot, and Skylark.

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Hawkins was born on January 10, 1935, in Huntsville, Arkansas, two days after the birth of Elvis Presley. When he was nine years old, his family moved to nearby Fayetteville, Arkansas. After graduating from high school, he studied physical education at the University of Arkansas, where he formed his first band, the Hawks. He toured with them throughout Arkansas, Oklahoma and Missouri. Hawkins also owned and operated the Rockwood Club in Fayetteville, where some of rock and roll’s earliest pioneers came to play including Jerry Lee Lewis, Carl Perkins, Roy Orbison and Conway Twitty.

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On advice from Twitty, Hawkins began touring Canada in 1958. His first gig there was at the Golden Rail Tavern in Hamilton, Ontario, where he became an overnight success. Hawkins decided to move to Canada, and in 1964 became a permanent resident, eventually making Peterborough, Ontario area, his home in 1970.[5] Hawkins moved from their Stoney Lake Manor in Douro-Dummer after selling in 2017 to live in Peterborough.

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After the move, the Hawks, with the exception of Hawkins and drummer Levon Helm, dropped out of the band. Their vacancies were filled by Canadians Robbie Robertson, Rick Danko, Richard Manuel and Garth Hudson, all hailing from Southwestern Ontario. Helm and the rest of those Hawks would leave Hawkins in 1964 to form an act of their own, which eventually came to be named The Band.

In December 1969, Hawkins hosted John Lennon and Yoko Ono for a stay at his home in Mississauga, Ontario, during the couple’s campaign to promote world peace. Lennon signed his erotic “Bag One” lithographs during his stay there. Lennon also did a radio promo for a Hawkins single, “Down in the Alley”.

In the early 1970s, Hawkins noticed guitarist Pat Travers performing in Ontario nightclubs and was so impressed with the young musician that he invited him to join his band. Travers later had a very successful recording career and became one of the most influential guitarists of the 1970s hard rock genre.

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In 1975, Dylan cast Hawkins to play the role of “Bob Dylan” in the movie, Renaldo and Clara. The following year he was a featured performer at the Band’s Thanksgiving Day farewell concert, which was documented in the 1978 film The Last Waltz.[8] His 1984 LP, Making It Again, garnered him a Juno Award as Canada’s best Country Male Vocalist. In addition to his music, he has also become an accomplished actor, hosting his own television show Honky Tonk in the early 1980s and appearing in such films as Heaven’s Gate with his friend Kris Kristofferson, Hello Mary Lou: Prom Night II and Snake Eater.

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On January 10, 1995, Hawkins celebrated his 60th birthday by throwing a concert at Massey Hall in Toronto, which was documented on the album Let It Rock. The concert featured performances by Hawkins, Carl Perkins, Jerry Lee Lewis, the Band and Larry Gowan. Jeff Healey sat in on guitar for most, if not all, of the performances. Hawkins’s band, the Hawks, or permutations of it, backed most, if not all, of the acts. All of the musicians performing that night were collectively dubbed “the Rock ‘n’ Roll Orchestra”.[citation needed]
Ronnie Hawkins’s star on Canada’s Walk of Fame

In 2002, October 4 was declared “Ronnie Hawkins Day” by the city of Toronto as he was inducted into Canada’s Walk of Fame, in recognition of his lifetime contribution to music and his generous support of the Schizophrenia Society of Ontario and other charitable organizations. Hawkins was inducted into the Canadian Music Industry Hall of Fame at the Canadian Music Industry Awards on March 4, 2004. His pioneering contribution to the genre was also recognized by the Rockabilly Hall of Fame.

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In later years, Hawkins developed pancreatic cancer. His state of health, attributed to everything from psychic healers to native herbal medicine, was featured in the 2012 film Ronnie Hawkins: Still Alive and Kicking.

In 2005, he was awarded an honorary degree from Laurentian University. On May 2, 2013, Hawkins was made an Honorary Officer of the Order of Canada. He was invested on May 7, 2014. The citation read:

For his contributions to the development of the music industry in Canada, as a rock and roll musician, and for his support of charitable causes. For more than 50 years, musician Ronnie Hawkins has demonstrated a strong devotion to Canada’s music industry. Often referred to as the “father of Canadian rock n’ roll”, he was a key player in the 1960s rock scene, with his band The Hawks serving as a launching pad for a host of Canadian musicians. In addition to producing scores of singles and albums, he has performed in support of many charitable causes, notably the Peterborough Flood Relief and the Schizophrenia Society of Ontario.

Hawkins later reissued most of his albums on CD through Unidisc Music Inc.[citation needed]

Hawkins died on May 29, 2022, at age 87. (wikipedia)

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And here´s one of his real hot albums:

Recorded a couple of years after the premature end of his contract with Atlantic Records, and three years after he parted company with Roulette (where he’d spent the late 1950s and all of the ’60s), Ronnie Hawkins’ Rock & Roll Resurrection was the result of a chance meeting between Hawkins and Kris Kristofferson, who was signed to Fred Foster’s Monument Records at the time, and was persuaded that the oldies boom made it the right time to record Hawkins anew. Cut in Nashville in August of 1972, with a band that included Grady Martin, Pete Drake, Charlie McCoy, Stan Szelest, and Boots Randolph, Rock & Roll Resurrection captures captures Hawkins in amazingly good form, not quite a decade past his prime hit-making years.


Though the first day’s sessions reportedly degenerated into a drunken party — or perhaps because they did, and Foster was forced to seize the reins of what was going on — the ten songs that were issued are stripped down, highly energetic, and well-performed classics of the rock & roll genre, by Chuck Berry, Fats Domino, Larry Williams, Bo Diddley, et al, augmented by one great Hawkins original, “Cora Mae,” plus a Kristofferson original composed for the occasion, “The Same Old Song”.” The latter, released as a single, was, alas, the one miscalculation in the body of music cut for the album, a slow-tempo, much too serious and over-produced number that utterly failed to capture what the rest of the sessions had been about, the spirit of the album, or the imagination of either the country or the oldies audiences — it isn’t bad listening,, and to be fair, it is a good compositional effort by Kristofferson, but in the context of this album it stands outside of the rest of what’s here. The rest of Rock & Roll Resurrection has held up well, and certainly was to the credit of all involved, most especially Hawkins, who delivered his requisite energy and a good, raw performance. (Bruce Eder)


David Briggs (organ)
Kenneth Buttrey (drums)
Jerry Carrigan (drums)
Fred Carter (guitar)
Pete Drake (pedal steel-guitar)
Tim Drummond (bass)
Dave Kirby (guitar)
Grady Martin (guiar)
Charlie McCoy  (organ, harmonica)
Farrell Morris (percussion)
William Puett (saxophone)
Boots Randolph (saxophone)
Norman Ray (saxophone)
Don Sheffield (trumpet)
Stan Szelest (piano)
The Holiday Sisters (background vocals:
D. Bergen White – James Cason – Jeanie Greene – June Page

01. Lawdy Miss Clawdy (Price) 2.42
02. When My Dreamboat Comes Home (Friend/Franklin) 2.26
03. Cora Mae (Hawkins) 2.12
04. Memphis, Tennessee (Berry) 2.46
05. Ain’t That A Shame (Domino/Bartholomew) 2.19
06. Bony Moronie (Williams) 2.27
07. Diddley Daddy (MacDaniel/Fuqua) 2.27
08. I’m In Love Again (Domino/Bartholomew) 2.11
09. Maybellene (Freed/Berry/Fratto) 2.33
10. The Same Old Song (Kristofferson) 3.01



The official website:

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Vinegar Joe – Same (1972)

FrontCover1Vinegar Joe were an English Blues rock band, formed in 1971 in London. They released three albums on Island Records, but were best known for their live shows and launching the solo careers of Elkie Brooks and Robert Palmer.

Vinegar Joe evolved out of Dada, a 12-piece Stax-influenced, jazz/blues rock fusion band. Dada released one eponymous album in 1970, with a line up including vocalist Elkie Brooks and guitarist Pete Gage. Singer Robert Palmer, formerly with The Alan Bown Set joined Dada after the album had been recorded. Dada were signed by Ahmet Ertegun for Atlantic Records. After their US tour, Ahmet sub-licensed them to Chris Blackwell of Island Records for the UK and rest of the world, with instructions to reduce the line up to form Vinegar Joe in 1971, adding keyboard player Dave Thompson, but the band was still without a drummer. Phil Collins had unsuccessfully applied for the job. Conrad Isidore and Rob Tait drummed on the first album. Tim Hinkley added keyboards alongside Dave Thompson and it was Hinkley who appeared on the cover of the first album. Their debut LP Vinegar Joe was released in April 1972 on Island Records in the UK and Atco Records in the US. The album cover featured plasticine models of the band created by John Padley.

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Tim Hinkley took over from Thompson on keyboards and was succeeded by John Hawken. Drummer Rob Tait played the first series of live shows succeeded by John Woods. Mike Deacon took over on keyboards. During recording of their second album, Rock’n Roll Gypsies, also released in 1972, Keef Hartley played drums. Guitarist Jim Mullen also joined the band for this record and played on the US tour. The artwork for the album was supplied by Hipgnosis. Drummer Pete Gavin joined the band prior to the US tour and recording of their third and final album Six Star General released in 1973. The band dissolved in the spring of 1974. Alan Powell played drums during the band’s final weeks.

Subsequently, Brooks and Palmer went on to enjoy success as solo musicians. Gage became a record producer and arranger, working with Brooks, his wife, until their divorce, and a range of musicians such as Joan Armatrading and specialising in upcoming rockabilly and punk bands including as Restless and King Kurt. (wikipedia)

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And here is their first album:

When I first heard of the semi-obscure soulful progressive blues rockers Vinegar Joe, I was intrigued. To have not one but two future solo stars with legitimate top ten hit single radio staples was one thing, but for those stars to be pop soul star Elkie Brooks (yes, she of “Pearl’s a Singer” fame) and Robert Palmer (yes, the “Addicted to Love” guy), let’s just say I struggled to imagine what that might sound like. Then I saw archive footage of them performing on The Old Grey Whistle Test and I was on board. I resolved to keep an eye out for a Vinegar Joe album.

SingleTurned out they aren’t so easy to track down. Something to do with the fact that they didn’t come close to denting the charts.

Then one day, shortly after the comprehensive Finer Things: The Island Recordings 1972-1973 compilation was released, I found two thirds of their discography in my favourite music exchange, and I duly purchased them out of sheer surprise.

Even when I first listened to Vinegar Joe’s self titled debut album, there wa s a certain reassuring familiarity about it. Not that I’d heard it before, I just have a things for early 70s rock, so sonically, I immediately found Vinegar Joe appealing. While I’m at best lukewarm to Brooks and Palmer’s respective solo outputs, them being the vocalists for a band that seemed determined to bring blue-eyed soul marinated rock music is just pleasing to my ears.

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Something which is interesting is that Brooks and Palmer don’t perform any traditional duets on Vinegar Joe, instead one tends to act as the backing vocalist for the other, or they blend their vocals together, and yeah, it works well. Musically there’s the sense that there was a real ambition for Vinegar Joe to have a slightly funky Southern rock edge about them, and led by Brooks’ then husband Pete Gage on guitar and ably backed up by Steve York and a rotating cast of keyboard players and drummers, yeah, they were a hell of a band that could pretty much adapt their sound to anything the individual songs required.

The fact that the music of Vinegar Joe hasn’t been played to death on classic rock radio gives it a sort of weird vintage freshness. For me the absolute highlights of this debut are the first and second side openers “Rusty Red Armour” and “See the World”, “Never Met a Dog”, “Ride Me Easy Rider”, and “Circles”, a tune which, if we lived in a just and fair world, would have seen Vinegar Joe enjoy a well deserved top ten hit rather than languish in semi-obscurity.

A re-issue edition:
Re-Issue Edition

If I have a criticism of Vinegar Joe, it’s that they perhaps didn’t know exactly what they wanted the sound of their band to me, so tried to cover a few too many bases. Also, there was a tendency to overstretch some of the songs to slightly longer than they needed to be. Having said that, this was an album released in 1972, the height of progressive rock’s commercial success, so they certainly weren’t the worst offenders by any means. (P.Q.)


Elkie Brooks (vocals, percussion)
Pete Gage (guitar, slide-guitar)
Tim Hinkley (keyboards)
Robert Palmer (vocals, guitar)
Dave Thompson (keyboards, saxophone)
Steve York (bass, harmonica)
Roger Ball (horn)
Dave Brooks (saxophone, flute)
Malcolm Duncan (horn)
Keef Hartley (drums)
Conrad Isidore (drums)
Gasper Lawal (percussion)
Mike Rosen (horn)
Rob Tait (drums)
The Vinegrettes (background vocals)

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01. Rusty Red Armour (Palmer) 5.02
02. Early Monday Morning (Gage) 4.44
03. Ride Me Easy, Rider (Gage) 5.42
04. Circles (Palmer) 4.03
05. Leg Up (Palmer) 4.55
06. See The World (Gage) 6.16
07. Never Met A Dog (Palmer) 6.30
08. Avinu Malkenu (Gage/Brooks) 3.24
09. Gettin’ Out (Gage/Thompson/York) 5.04
10. Live A Little, Get Somewhere (Gage) 5.21
11. Speed Queen Of Ventura (Single-B side) (Gage) 4.10
12. Speed Queen Of Ventura (long version) (Gage) 7.06




Jukin´ Bone – Whiskey Woman (1972)

LPFrontCover1In December 1966 Joe Whiting would go on to team with Auburn native the legendary Mark Doyle to form the “New Ridgewoods” and after adding drummer Tom Glaister, bassist Barry Maturevity (a Ridgewood) and rhythm guitarist Chuck Baron plus changed their name to “Free Will”. In the summer of 1967, Baron was replaced by John Dean and Bill Irwin added. In the spring of 1967 bassist Maturevitz was replaced by George Egosarian.

A year later Egosarian was replaced by John DeMaso. In 1969 Bill Irwin left and George Egosarian rejoined the band. Freewill zoomed onto the music scene first covering their home base playing Lake Dances in Auburn, Fabins in Skaneateles, Jordan-Elbridge High School and at East High School (Auburn) where they were one of the first to play a concert at a sit down auditorium, rather than a gym. They exploded into the Syracuse market playing the Scene (Dewitt), Jabberwocky (SU Campus) and Country Tavern.

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Their music was based on British Blues playing Savoy Brown, Fleetwood Mac, John Mayall etc. They played the entire “Arthur” album by the Kinks and incredible melody by Spirit. We remember those famous Chuck Berry covers & Roy Orbison’s version of “Candyman”. They also performed several originals as “Carry Me Home”, “Ridin’ With The Devil”, and “Get That Shinning Sun”. During this time period Free Will ventured to Connecticut recording several demo tunes in late 1969 . That session included the only recorded versions of the legendary songs “Are You Gone” and “State Police Googie” both originals.

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With its lineup finally set in the fall of 1971, Free Will changed its name to “Jukin Bone.” Now with a recording contract with RCA Records the band entered Jimi Hendrix’s Electric Ladyland Studio in New York City in 1972 and recorded their first album for RCA “Whiskey Woman”. Heavy guitar riffs, solid rhythm section and great vocals. It’s worth noting that all tracks were recorded completely live with a small, invited audience. Unfortunately, the album went almost unnoticed, although the band got at least a chance to record their second album. (by Ron Wray, John D’Angelo, Pete Shedd)


A stunning and awesome hard blues rock from this period of Rock music !


Mark Doyle (lead guitar, piano, vocals)
George Egosarian (guitar)
Tom Glaister (drums, percussion)
John DeMaso (bass, percussion, vocals)
Joe Whiting (vocals)
The Kennels (background vocals)

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01. Jungle Fever (Whiting/Doyle) 4.48
02. Candy Man (Neil/Ross) 4.30
03. Spirit In The Dark (Franklin) 4.23
04. Can’t Judge What You Miss (Egosarian/Doyle) 4.14
05. Whiskey Woman (Whiting/Doyle) 4.18
06. Going Down (Nix) 3.54
07. The Hunter (Jones/Wells/Cropper/Dunn/Jackson, Jr.) 3.59
08. Got The Need (Whiting/Doyle) 3.02
09. Let Loose (Joe Whiting, Mark Doyle) 4.19



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The official website: