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.

Vinegar Joe01

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)

Vinegar Joe02

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.

Vinegar Joe03

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)

Vinegar Joe04

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.

Free Will01

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.

Jukin´ Bone03

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)

Jukin´ Bone02

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



Jukin´ Bone01

The official website:

Scorpions – Lonesome Crow (1972)

FrontCover1Scorpions are a German rock band formed in 1965 in Hanover by Rudolf Schenker. Since the band’s inception, its musical style has ranged from hard rock, heavy metal, glam metal, and soft rock.

The lineup from 1978 to 1992 was the most successful incarnation of the group, and included Klaus Meine (vocals), Rudolf Schenker (rhythm guitar), Matthias Jabs (lead guitar), Francis Buchholz (bass), and Herman Rarebell (drums). The band’s only continuous member has been Schenker, although Meine has appeared on all of Scorpions’ studio albums, while Jabs has been a consistent member since 1978, and bassist Paweł Mąciwoda and drummer Mikkey Dee have been in the band since 2003 and 2016 respectively.


During the mid-1970s, with guitarist Uli Jon Roth (who replaced Schenker’s younger brother Michael) part of the line-up, the music of the Scorpions was defined as hard rock. After Roth’s departure in 1978, Schenker and Meine managed to take control of the group, giving them almost all the power to compose music and write lyrics. Matthias Jabs joined in 1978, and with the melodic rock he played and the influence of producer Dieter Dierks in the band, the Scorpions changed their sound to melodic heavy metal mixed with lyrical “power rock ballads”, which is evident in the album Lovedrive (1979), which began the evolution of the band’s sound, developed later in several of their albums. Over the next decade, the band achieved influence, approval from music critics, and significant commercial success with the albums Animal Magnetism (1980), Blackout (1982), Love at First Sting (1984), the live recording World Wide Live (1985), Savage Amusement (1988), their best-selling compilation Best of Rockers ‘n’ Ballads (1989), and Crazy World (1990), all awarded at least one platinum award in the United States.


The band has released thirteen consecutive studio albums that were in the top 10 in Germany, one of which reached No. 1, as well as three consecutive albums that were in the top 10 in the Billboard 200 in the United States. Their latest studio album, Rock Believer, was released in February 2022.

Scorpions are estimated to have sold over 100 million records around the world, making them one of the best-selling hard rock and heavy metal bands.[12] One of their most recognized hits is “Wind of Change” (from Crazy World), a symbolic anthem of the political changes in Eastern Europe in the late 1980s and early 1990s and the fall of the Berlin Wall, and it remains as one of the best-selling singles in the world with over 14 million copies.[13][14] Two of the songs on their ninth studio album Love at First Sting, “Rock You Like a Hurricane” and “Still Loving You”, are regarded as some of the most influential and popular works, both in heavy metal music and among rock ballads, defined as “rock anthem” and “a true hymn of love”.


Rudolf Schenker, the band’s rhythm guitarist, launched the band in 1965. At first, the band had Merseybeat influences and Schenker himself handled the vocals. He played in a band with Lothar Heimberg before he founded Scorpions. Karl Heinz Vollmer left the band in 1967 because of his military obligations, then he could not associate anymore with the concerts and the military life. Things began to come together in 1970 when Schenker’s younger brother Michael and vocalist Klaus Meine joined the band. With this line-up they won a music contest in 1972 and recorded two songs for a single that was never released on the CCA label, but the songs, “Action” and “I’m Going Mad” were later released on different compilation albums including Psychedelic Gems 2

In 1972, the group recorded and released their debut album Lonesome Crow, with Lothar Heimberg on bass and Wolfgang Dziony on drums and re-recorded versions of their CCA songs.[18] During the Lonesome Crow tour, the Scorpions opened for upcoming British band UFO. Near the end of the tour, guitarist Michael Schenker accepted an offer of lead guitar for UFO. Uli Jon Roth, a friend of Michael’s, was then introduced to the band and he helped them to finish off the tour.


The departure of Michael Schenker led to the breakup of the band. In 1973, Uli Roth, who had helped the Scorpions complete the Lonesome Crow tour, was offered the role as lead guitarist, but turned the band down, preferring instead to remain in the band Dawn Road. Rudolf Schenker eventually decided he wanted to work with Roth, but did not want to resurrect the last Scorpions lineup. He attended some of Dawn Road’s rehearsals and ultimately decided to join the band, which consisted of Roth, Francis Buchholz (bass), Achim Kirschning (keyboards) and Jürgen Rosenthal (drums). Uli Roth and Buchholz persuaded Rudolf Schenker to invite Klaus Meine to join on vocals, which he soon did. While there were more members of Dawn Road than Scorpions in the band, they decided to use the Scorpions name because it was well known in the German hard rock scene and an album had been released under that name. (wikipedia)

Early concert poster:

And here´s their debut album from 1972:

Every rock and roll story starts somewhere. The Scorpions, hailing from Germany, gained mass international fame in the 1980s with mega hits like “Rock You Like a Hurricane,” “No One Like You,” “The Zoo,” “Big City Nights,” “Still Loving You,” and countless others. As one of the biggest bands of the 1980s, you likely had no idea that their history goes all the way back to 1965! The group was founded by Rudolf Schenker, and was eventually joined by vocalist Klaus Meine; these two are the only individuals to appear on every Scorpions album. Rudolf’s brother Michael Schenker joined the band as lead guitarist, with the lineup for the group’s first record being rounded out by bassist Lothar Heimberg and drummer Wolfgang Dziony.

The tour van in 1972:
Tour Van

Lonesome Crow, the first Scorpions studio album, was released in 1972, and was largely overlooked at the time of release; it would be a decade before the band achieved the international success and stardom that we know them for. Before the glory days in which Matthias Jabs became their lead guitarist, and even before the band’s iconic pre-international fame years with axeman Uli Jon Roth, this was the record that the band gave the world. Over four decades later, how does the debut record from the band hold up? Does this one bring the sting, or is it a relic best left forgotten?

Lonesome Crow is an uneven mess of an album from a young up-and-coming band that had no idea what the hell they were doing. It is also a ton of fun to revisit! Somewhere between psychedelia and hard rock, this is the record that introduced the world to the Scorpions, and served as something of a premonition to their later successes. This was the only album the band ever recorded with Michael Schenker as a full time member of the band, although he did return a few years later to play on a few of the Lovedrive songs.

LP poster:

So what are the songs like on Lonesome Crow? To say they are all over the place would be a serious understatement. Right from the get go on “I’m Goin’ Mad” you will hear tribal drum beats, chanting, distorted guitar, and a myriad of other elements that establish from the first track that this will be a very different Scorpions album from what you are accustomed to. Hell, the first half of the song is instrumental (unless chanting counts as singing)! “It All Depends” is probably the most straight up hard rock thing on the album; this bluesy-tinged rocker would not have been out of place on Black Sabbath’s first record. The slow and eerie “Leave Me” is one of the record’s true highlights, with bizarre keyboards and equally unsettling backing vocals and chanting. A young Michael Schenker even gets a chance to shine on a guitar solo in the song’s second half. “In Search of the Peace of Mind” is an odd hodgepodge of musical sounds, combining acoustic and electric guitars, going from soft and melodic to unsettling and intense in mere seconds.


“Inheritance” is driven by heavy bass, but also serves as one of this album’s showcases for Michael Schenker’s guitar prowess, something evident even in his mid teens! “Action” proves to be equally frantic, featuring some wild vocals from Meine, and some intense instrumental passages as well. The entire experience culminates with the 14 minute title track. The most ambitious and epic work on this debut record from the band (it even has a bass solo!), it too goes all over the place with no real sense of direction, but being so fast, frantic, and interesting a musical experience, you are going to be too infatuated by the band here to care.

The experience of Lonesome Crow is a tough one to sum up, because things do not come together in the traditional sense; this is a young band that, while they lacked direction and did not know where they wanted to go musically, clearly had talent. It is the premonition of greater future successes, and an interesting time capsule for fans. For die-hard fans of the Scorpions, Lonesome Crow definitely comes recommended. More casual Scorpions fans may want to explore the band’s peak years a little more before taking this trip back in time, though. (by Taylor Carlson)


Wolfgang Dziony (drums)
Lothar Heimberg (bass)
Klaus Meine (vocals)
Michael Schenker (leadguitar)
Rudolf Schenker (guitar)


01. I’m Goin’ Mad 4.52
02. It All Depends 3.25
03. Leave Me 5.02
04. In Search Of The Peace Of Mind 4.53
05. Inheritance 4.39
06. Action 3.53
07. Lonesome Crow 13.28

All songs written by:
Wolfgang Dziony – Lothar Heimberg – Klaus Meine – Michael Schenker – Rudolf Schenker



More from the Scorpions:

The official website:

Carly Simon – No Secrets (1972)

FrontCover1Carly Elisabeth Simon (born June 25, 1945) is an American singer, songwriter, and children’s author. She rose to fame in the 1970s with a string of hit records; her 13 Top 40 U.S. hits include “Anticipation” (No. 13), “Haven’t Got Time for the Pain” (No. 14), “Attitude Dancing” (No. 21), “You Belong to Me” (No. 6), “Coming Around Again” (No. 18), and her four Gold-certified singles “You’re So Vain” (No. 1), “Mockingbird” (No. 5, a duet with James Taylor), “Nobody Does It Better” (No. 2) from the 1977 James Bond film The Spy Who Loved Me, and “Jesse” (No. 11). She has authored five children’s books as well as two memoirs.

In 1964, Simon began a brief stint with her sister Lucy Simon as the Simon Sisters. The duo released three albums, beginning with Meet The Simon Sisters, which featured “Winkin’, Blinkin’ and Nod”. Based on the poem by Eugene Field, the song became a minor hit and reached No. 73 on the Billboard Hot 100.


After Lucy left the group, Carly found great success as a solo artist with her 1971 self-titled debut album, which won her the Grammy Award for Best New Artist, and spawned her first Top 10 single, “That’s the Way I’ve Always Heard It Should Be” (No. 10), which earned her a Grammy Award nomination for Best Female Pop Vocal Performance. Her second album, Anticipation, followed later that year and became an even greater success, spawning the successful singles “Anticipation” and “Legend in Your Own Time”, earning her another Grammy Award nomination, and becoming her first album to be certified Gold by the RIAA. Simon achieved international fame with her third album, No Secrets (1972), which sat at No. 1 on the Billboard 200 for five weeks, was certified Platinum, and spawned the worldwide hit “You’re So Vain”, which sat at No. 1 on the Billboard Hot 100 for three weeks, and earned her three Grammy Award nominations, including Record of the Year and Song of the Year. The albums second single, “The Right Thing to Do”, as well as its B-side, “(We Have) No Secrets”, were also successful.


Her fourth album, Hotcakes (1974), soon followed and became an instant success, reaching No. 3 on the Billboard 200, going Gold almost immediately, and spawning the hit singles “Mockingbird” and “Haven’t Got Time for the Pain”. In 1977, Simon recorded “Nobody Does It Better” as the theme song to the Bond film The Spy Who Loved Me, and it became a worldwide hit. The song garnered her another Grammy Award nomination, and was the No. 1 Adult Contemporary hit of 1977. Retrospectively, it has been ranked one of the greatest Bond themes. Simon began recording more songs for films in the 1980s, including “Coming Around Again” for the film Heartburn (1986). The song became a major Adult Contemporary hit, and the Coming Around Again album appeared the following year, to further critical and commercial success, earning Simon another Grammy Award nomination, and spawning three more Adult Contemporary hit singles. With her 1988 hit “Let the River Run”, from the film Working Girl, Simon became the first artist to win a Grammy Award, an Academy Award, and a Golden Globe Award for a song composed and written, as well as performed, entirely by a single artist.


No Secrets is the third studio album by American singer-songwriter Carly Simon, released by Elektra Records, on November 16, 1972.

The album was Simon’s major commercial breakthrough; it spent five weeks at No. 1 on the US Billboard 200 chart and quickly went Gold,[2] as did its lead single, “You’re So Vain”, which remained at No. 1 on the Billboard Hot 100 chart for three weeks, and the Adult Contemporary chart for two weeks.[3] Twenty-five years after its initial release, No Secrets was officially certified Platinum by the Recording Industry Association of America (RIAA) on December 12, 1997. The album is ranked No. 997 in All-Time Top 1000 Albums (3rd. edition, 2000).


“Angel from Montgomery” was recorded by Carly Simon in her first session for the No Secrets album which was produced by Paul Buckmaster and featured James Taylor’s vocals and Danny Kortchmar on guitar. Simon recalls: “Elektra rejected [the tracks from that session] and…asked me to work with Richard Perry. [Elektra] didn’t think Buckmaster would produce a hit record for me”.

At the invitation of producer Richard Perry, Simon recorded the album at Trident Studios in London, where Perry was keen for Simon to work with engineer Robin Cable. Trident Studios had previously been the venue for the recording of notable albums including The Beatles’ White Album, David Bowie’s Space Oddity and Elton John’s second album.

The photograph for the cover, taken by Ed Caraeff, was shot in front of the Portobello Hotel, on Stanley Gardens in London’s Notting Hill.

“You’re So Vain” is ranked at No. 72 on Billboard’s Greatest Songs of All-Time. The song was also voted No. 216 in RIAA’s Songs of the Century. It remains Simon’s biggest hit and is considered her signature song.

The making of the album, including commentary from many of the main musicians and production staff, was examined in the 2017 documentary Carly Simon: No Secrets directed by Guy Evans for Eagle Rock Film Productions. (wikipedia)


arly Simon’s best album, No Secrets was also her commercial breakthrough, topping the charts and going gold, along with its leadoff single, “You’re So Vain.” That song set the album’s saucy tone, with its air of sexually frank autobiography (“You had me several years ago/When I was still quite naïve”) and its reflections on the jet-set lifestyle. But Simon’s honesty meant that her lyrical knife was double-edged; now that she felt she had found true love (“The Right Thing to Do,” another Top Ten hit, was her celebration of her relationship with James Taylor), she was as willing to acknowledge her own mistakes and regrets as she was to point fingers. But it wasn’t only Simon’s forthrightness that made the album work; it was also Richard Perry’s simple, elegant pop/rock production, which gave Simon’s music a buoyancy it previously lacked. And Perry paid particular attention to Simon’s vocals in a way that made her more engaging (or at least less grating) to listen to. (by William Ruhlmann)


Paul Buckmaster (synthesizers on 06. + 10.)
Ray Cooper (percussion on 01. + 09.)
Lowell George (slide guitar on 07.)
Jim Gordon (drums on 03. + 05.)
David Hentschel (synthesizer on 04.)
Nicky Hopkins (piano on 07, + 09.)
Kirby Johnson (piano on 05.)
Jim Keltner (drums on 07. + 09.)
Paul Keough (guitar on 05. + 08.)
Bobby Keys (saxophone on 09.)
Bill Payne (organ on 07.)
Richard Perry (percussion on 03.)
Peter Robinson (piano on 06,)
Jimmy Ryan (guitar, bass  on 01, + 10.)
Carly Simon (vocals, piano on 01. – 04. + 10., guitar on 05. – 08.)
Klaus Voormann (bass on 02., 03., 05. – 09.)
Andy Newmark – drums (1, 2, 6, 8, 10)
background vocals:
Vicki Brown – Liza Strike – James Taylor – Bonnie Bramlett – Linda McCartney – Paul McCartney – Doris Troy
Mick Jagger (uncredited on 03.)


01. The Right Thing To Do (Simon) 3.00
02. The Carter Family (Simon/Brackman) 3.31
03. You’re So Vain (Simon) 4.26
04. His Friends Are More Than Fond Of Robin (Simon) 3.02
05. We Have No Secrets (Simon) 3.58
06. Embrace Me, You Child (Simon) 4.10
07. Waited So Long (Simon) 4.29
08. It Was So Easy (Simon/Brackman) 3.09
09. Night Owl (Taylor) 3.51
5. “When You Close Your Eyes (Simon/Mernit) 2.59



You walked into the party like you were walking onto a yacht
Your hat strategically dipped below one eye
Your scarf it was apricot
You had one eye in the mirror, as you watched yourself gavotte
And all the girls dreamed that they’d be your partner
They’d be your partner and

You’re so vain
You probably think this song is about you
You’re so vain (you’re so vain)
I bet you think this song is about you
Don’t you don’t you?

You had me several years ago when I was still quite naive
Well you said that we made such a pretty pair and that you would never leave
But you gave away the things you loved
And one of them was me
I had some dreams they were clouds in my coffee clouds in my coffee and

You’re so vain
You probably think this song is about you
You’re so vain (you’re so vain)
I bet you think this song is about you
Don’t you don’t you don’t you?
I had some dreams they were clouds in my coffee clouds in my coffee and
You’re so vain
You probably think this song is about you
You’re so vain (you’re so vain)
I bet you think this song is about you
Don’t you don’t you?

Well I hear you went up to Saratoga
And your horse naturally won
Then you flew your lear jet up to Nova Scotia
To see the total eclipse of the sun
Well you’re where you should be all the time
And when you’re not, you’re with some underworld spy
Or the wife of a close friend wife of a close friend and

You’re so vain
You probably think this song is about you
You’re so vain (so vain)
I bet you think this song is about you
Don’t you don’t you don’t you?
You’re so vain
You probably think this song is about you
You’re so vain
Probably think this song about you
You’re so vain

The official website:

Mike Quatro Jam Band – Paintings (1972 )

FrontCover1Michael Quatro (born 12 June 1943, Detroit, Michigan, USA) is a keyboard player and songwriter who has released eleven albums starting in 1972. He specialized in keyboard-driven progressive rock.

Quatro’s albums became especially popular in Detroit, Michigan, where Quatro was popular on the club scene. He also received some airplay on FM radio. Quatro’s 1972 album Paintings contains his popular single “Circus (What I Am)”, which peaked at No. 8 on Billboard Magazine’s Bubbling Under Hot 100 Singles chart. It peaked at No. 91 on the Cash Box Top 100 Singles chart. He has sold 20 million records worldwide. Ted Nugent played guitar on one track on his second album, while his third album featured some well known rock musicians including Rick Derringer on guitar and the team of Mark Volman and Howard Kaylan.

He is also an independent entertainment executive and the older brother of musician Suzi Quatro. When Mickie Most was in Detroit, Quatro persuaded him to see Cradle perform. Suzi Quatro was part of the band. Most decided to sign her as a solo act, but did not want to break up Cradle, which was a family band. When Cradle eventually did break up, Suzi Quatro signed up with Most.: 76–79  As a result, she became a major rock star, the first female bass player to do so. (wikipedia)


A product of the same musical Detroit family that spawned rocker Suzi Quatro and the all-girl garage band the Pleasure Seekers, Mike Quatro also enjoyed a lengthy career on the Motor City club circuit, issuing a series of solo records during the 1970s. The son of jazz bandleader Art Quatro, he began playing piano at a young age, and as a teen earned a spot performing on The Lawrence Welk Show during the late ’50s. By the end of the following decade, however, Quatro had largely turned away from performing to become a promoter, booking live dates throughout Michigan; his shows were notable for their pioneering use of closed-circuit video technology, anticipating the increasing reliance on video over the years to follow. By the early ’70s, he returned to performing, soon signing to the Evolution label and issuing his solo debut Paintings in 1972; Look Deeply in the Mirror followed a year later, and in 1975, Quatro moved to United Artists to release In Collaboration with the Gods. Despite a fervent local following, he failed to reach a national audience, and subsequent efforts like 1976’s Dancers, Romancers, Dreamers and Schemers, 1977’s Live and Kickin’, and 1979’s Getting Ready made little impact on the charts. Out of the public eye for well over a decade, during the ’90s Quatro formed his own music and video production venture, Quatrophonics; in 1995, he also issued Vision, his first solo LP in 16 years. (y Jason Ankeny)


Born in 1943, US composer, promoter, producer and songwriter Michael Quatro received Classical education on piano already at the age of seven and during the 60’s he established a succesful promoting/management agency, developing talents such as Ted Nugent, Alice Cooper, his sister Susie Quatro or Iggy Pop, highlighted by a great number of music festivals.In the 70’s Quatro focused on his personal compositions and came up with a solo debut entitled ”Paintings” in 1972 on Evolution Records as Mike Quatro Jam Band.He was responsible for the analog keyboard parts and collaborated with Ted Nugent on guitars, Terry Mullen on drums as well as vocalists John Finley, Pat and Nancy Quatro.

The album contains some excellent Symphonic Rock pieces next to some dull moments and it is quite uneven, however its value is to be desired.The first two compositions ”Paintings” and ”Time Spent In Dreams” are fantastic examples of Romantic-period Classical/Symphonic Rock with strong NOVALIS, OCEAN and ELP vibes, offering majestic Mellotron waves, superb piano interludes and melodic moog synth parts of the highest caliber.The short ”Circus (What I Am)” features the Quatro’s vocals but this one totally uninspired catchy American/Boogie/Blues Rock mixed with Soul, pretty awful regarding Michael’s talent.Side A closes with the piano ballad ”Each Day I Want You More”, which is pretty nice and emotional with a good performance on piano.”Life” opens the flipside, the keyboard/piano work of Quatro is still pretty good, but the style of Funky Rock chosen is just unsuccesful.”Rachmaninoff’s Prelude” is a long instrumental piece in the style of the opening tracks.


Superb Mellotron, spacey moog synths and grandiose piano themes of the best symphonic quality, this man can really mix up Rock with Classical Music in an awesome way.”Detroit City Blues” says it all.Uninspired piano-based grooves with a bluesy touch and horendous vocal arrangements, just skip this one.The closing re-edition of KING CRIMSON’s ”The Court Of The Crimson King” is absolutely personal and satisfying.Featuring Quatro’s own voice and respecting the grandiose sound of Mellotron, the track is added the lovely moog synths and piano of the composer to make it less darker and more sensitive as a composition.

One of the best Symphonic Rock albums I have ever listened to.The couple of dull tracks in this release prevent this from being a masterpiece, but the symphonic arrangements of Quatro are of first class and easily compared to the best of KEITH EMERSON or RICK WAKEMAN. Absolutely recommended. (pps79)


John Finley (vocals)
Terry Mullen (percussion)
Mike Quatro (keyboards, ynthesizer, flute,effects, percussion, vocals on 08.)
background vocals:
Nancy Quatro – Pat Quatro


01. Paintings (M.Quatro) 8.22
02. Time Spent In Dreams (M.Quatro) 4.04
03. Circus (What I Am) (M. Quatro/S. Quatro) 4.02
04. Each Day I Want You More (M. Quatro/S. Quatro) 3.45
05. Life (M.Quatro) 3.33
06. Rachmaninoff’s Prelude (M.Quatro) 7.53
07. Detroit City Blues (M.Quatro) 3.09
08. Court Of The Crimson King (Sinfield/McDonald) 5.46



Ray Charles – A Message From The People (1972)

FrontCover1Ray Charles Robinson, Sr. (September 23, 1930 – June 10, 2004) was an American singer, songwriter, pianist, and composer. Among friends and fellow musicians he preferred being called “Brother Ray”. He was often referred to as “the Genius”. Charles was blinded during childhood, possibly due to glaucoma.

Charles pioneered the soul music genre during the 1950s by combining blues, jazz, rhythm and blues, and gospel styles into the music he recorded for Atlantic. He contributed to the integration of country music, rhythm and blues, and pop music during the 1960s with his crossover success on ABC Records, notably with his two Modern Sounds albums. While he was with ABC, Charles became one of the first black musicians to be granted artistic control by a mainstream record company.

Charles’s 1960 hit “Georgia On My Mind” was the first of his three career No. 1 hits on the Billboard Hot 100. His 1962 album Modern Sounds In Country And Western Music became his first album to top the Billboard 200. Charles had multiple singles reach the Top 40 on various Billboard charts: 44 on the US R&B singles chart, 11 on the Hot 100 singles chart, 2 on the Hot Country singles charts.

Ray Charles

Charles cited Nat King Cole as a primary influence, but his music was also influenced by Louis Jordan and Charles Brown. He had a lifelong friendship and occasional partnership with Quincy Jones. Frank Sinatra called Ray Charles “the only true genius in show business,” although Charles downplayed this notion. Billy Joel said, “This may sound like sacrilege, but I think Ray Charles was more important than Elvis Presley”.

For his musical contributions, Charles received the Kennedy Center Honors, the National Medal of Arts, and the Polar Music Prize. He won 18 Grammy Awards, including 5 posthumously. Charles was honored with the Grammy Lifetime Achievement Award in 1987, and 10 of his recordings have been inducted into the Grammy Hall of Fame. Rolling Stone ranked Charles No. 10 on their list of the 100 Greatest Artists of All Time, and No. 2 on their list of the 100 Greatest Singers of All Time.

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A Message from the People is a studio album by the American R&B musician Ray Charles, released in 1972. MusicHound R&B: The Essential Album Guide called it “a protest album of sorts.”

The album was produced by Quincy Jones. Sid Feller worked on some of the song arrangements.

Robert Christgau thought that Charles “turns Melanie’s ‘What Have They Done to My Song, Ma’ into the outcry of black musicians everywhere—which is probably why it rocks (and swings) like nothing he’s done in years.” Ebony praised Charles’s ability to give “wholly new dynamics to those patriotic vintages ‘Lift Every Voice And Sing’ and ‘America The Beautiful’.” The New York Times deemed the album “not one of his more memorable outings,” writing that “the miracle of Ray Charles’ music is his constant ability to survive his material.”

AllMusic wrote that “a gospel feel mixed with R&B locomotion is the engine that drives things here, but [Charles] also uses it to transform Melanie’s ‘What Have They Done to My Song, Ma’ into a syncopated strut, and bring a Sunday Baptist church feel to the Dion hit ‘Abraham, Martin and John’.” Rolling Stone stated that the interpretation of “America the Beautiful” “added gospel overtones and soulful sway to its source material, pushing Charles’ audience to view the song in a new light.”

The recording of “Hey Mister”, a song about government ignoring the needs of poor people, was played during a 1972 Joint Hearing Before the Special Subcommittee on Human Resources and the Subcommittee on Aging of the Committee on Labor and Public Welfare, where it was praised by Senator Alan Cranston.

Although not licensed for political use until the 2020 United States presidential campaign—when the Lincoln Project placed it in a video that urged people to vote out Donald Trump—Charles performed his version of “American the Beautiful” at the 1984 Republican National Convention (wikipedia)

A good, but not an essential album !


Ray Charles (vocals, keyboards)
The musicians remained uncredited. But Don Peake remembered playing his 1931 Gibson L5 acoustic on America The Beautiful, and Donnie Eubank played his congas on #6. Other session musicians: Freddie Hubbard, Joe Newman, Ernie Royal – trumpets; Hubert Laws, Jerome Richardson – reeds; Eric Gale, Jim Hall, Toots Thielemans – guitars; Carol Kaye (on #6, #7, #8 and #10), Bob Cranshaw, Chuck Rainey – electric bass; Ray Brown – upright acoustic bass; Grady Tate – drums; uncredited – strings; The Raelettes (almost certainly: Vernita Moss, Susaye Green, Mable John, and Dorothy Berry; maybe also Estella Yarbrough). (


01. Lift Every Voice And Sing (Traditional) 3.08
02. Seems Like I Gotta Do Wrong (Ervin/Farr) 4.11
03. Heaven Help Us All (Miller) 4.05
04. There’ll Be No Peace Without All Men As One (Shepard) 3.51
05. Hey Mister (Lapcevic) 3.52
06. What Have They Done To My Song, Ma (Safka) 3.40
07. Abraham, Martin And John (Holler) 4.53
08. Take Me Home, Country Roads (Danoff/Denver/Nivert) 3.31
09. Every Saturday Night (Collins) 3.20
10. America The Beautiful (Traditional) 3.34



More from Ray Charles:

Alexis Korner & Snape – The Accidental Band (Accidentally Borne In New Orleans) (1972)

FrontCover1Without 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 the war, Korner started playing piano and then guitar, and in 1947 he tried playing electric blues, but didn’t like the sound of the pick-ups that were then in use, and returned to acoustic playing. In 1949, he joined Chris Barber’s Jazz Band and in 1952 he became part of the much larger Ken Colyer Jazz Group, which had merged with Barber’s band. Among those whom Korner crossed paths with during this era was Cyril Davies, a guitarist and harmonica player. The two found their interests in American blues completely complementary, and in 1954 they began making the rounds of the jazz clubs as an electric blues duo. They started the London Blues and Barrelhouse Club, where, in addition to their own performances, Korner and Davies brought visiting American bluesmen to listen and play. Very soon they were attracting blues enthusiasts from all over England.

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Korner and Davies made their first record in 1957, and in early 1962, they formed Blues Incorporated, a “supergroup” (for its time) consisting of the best players on the early-’60s British blues scene. Korner (guitar, vocals), Davies (harmonica, vocals), Ken Scott (piano), and Dick Heckstall-Smith (saxophone) formed the core, with a revolving membership featuring Charlie Watts or Graham Burbridge on drums, Spike Heatley or Jack Bruce on bass, and a rotating coterie of guest vocalists including Long John Baldry, Ronnie Jones, and Art Wood (older brother of Ron Wood). Most London jazz clubs were closed to them, so in March of 1962 they opened their own club, which quickly began attracting large crowds of young enthusiasts, among them Mick Jagger, Keith Richards, and Brian Jones, all of whom participated at some point with the group’s performances; others included Ian Stewart, Steve Marriott, Paul Jones, and Manfred Mann. In May of 1962, Blues Incorporated was invited to a regular residency at London’s Marquee Club, where the crowds grew even bigger and more enthusiastic. John Mayall later credited Blues Incorporated with giving him the inspiration to form his own Bluesbreakers group.

Alexis Korner02

Record producers began to take notice, and in June of 1962 producer Jack Good arranged to record a live performance by the band. The resulting record, R&B from the Marquee, the first full-length album ever made by a British blues band, was released in November of 1962. The album consisted of largely of American standards, especially Willie Dixon numbers, rounded out with a few originals. At virtually the same time that Blues Incorporated’s debut was going into stores, Cyril Davies left the group over Korner’s decision to add horns to their sound. Korner soldiered on, but the explosion of British rock in 1963, and the wave of blues-based rock bands that followed, including the Rolling Stones, the Animals, and the Yardbirds undercut any chance he had for commercial success. His more studied brand of blues was left stranded in a commercial backwater — there were still regular gigs and recordings, but no chart hits, and not much recognition. While his one-time acolytes the Rolling Stones and the Cream made the front pages of music magazines all over the world, Korner was relegated to the blues pages of England’s music papers, and, though not yet 40, to the role of “elder statesman.”

Alexis Korner03

For a time, Korner hosted Five O’Clock Club, a children’s television show that introduced a whole new generation of British youth to American blues and jazz. He also wrote about blues for the music papers, and was a detractor of the flashy, psychedelic, and commercialized blues-rock of the late ’60s, which he resented for its focus on extended solos and its fixation on Chicago blues. He continued recording as well, cutting a never-completed album with future Led Zeppelin vocalist Robert Plant in early 1968. Korner’s performing career in England was limited, but he could always play to large audiences in Europe, especially in Scandinavia, and there were always new Korner records coming out. It was while touring Scandinavia that he first hooked up with vocalist Peter Thorup, who became Korner’s collaborator over the next several years in the band New Church. After his dismissal from the Rolling Stones, Brian Jones considered joining New Church; Korner, however, rejected the idea, because he didn’t want his new band to be caught up in any controversy. In 1972, he became peripherally involved in the breakup of another band, inheriting the services of Boz Burrell, Mel Collins, and Ian Wallace when they quit King Crimson.

Alexis Korner04It was during the ’70s that Korner had his only major hit, as leader (with Peter Thorup) of the 25-member big-band ensemble CCS. Their version of Led Zeppelin’s “Whole Lotta Love” charted in England, and led to a tour and television appearances. In response, Korner released Bootleg Him, a retrospective compiled from tapes in his personal collection, including recordings with Robert Plant, Mick Jagger, and Charlie Watts. Korner played on the “supersession” album B.B. King in London, and cut his own, similar album, Get Off My Cloud, with Keith Richards, Peter Frampton, Nicky Hopkins, and members of Joe Cocker’s Grease Band. When Mick Taylor left the Rolling Stones in 1975, Korner was mentioned as a possible replacement, but the spot eventually went to Ron Wood. In 1978, for Korner’s 50th birthday, an all-star concert was held featuring Eric Clapton, Paul Jones, Chris Farlowe, and Zoot Money, which was later released as a video.

Alexis Korner06

In 1981, Korner formed the last and greatest “supergroup” of his career, Rocket 88, featuring himself on guitar, Jack Bruce on upright bass, Ian Stewart on piano, and Charlie Watts on drums, backed by trombonists and saxmen, and one or two additional keyboard players. They toured Europe and recorded several gigs, the highlights of which were included on a self-titled album released by Atlantic Records. In contrast to the many blues-rock fusion records with which Korner had been associated, Rocket 88 mixed blues with boogie-woogie jazz, the group’s repertory consisting largely of songs written by W. C. Handy and Pete Johnson.

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)
Alexis Korner07Some great musicians were playing the 1972 New Orleans circuit when they serendipitously got together and jammed. That association lead to this outstanding album. It is my favorite album. Every song is a gem. If you like Blues you’ll love this album. If you like Rock, you’ll love this album too. Alexis Korner’s throaty vocals enhance both traditional tunes and those he authored, along with great harmony and musical backing by some terrific talent. Play any song, and I’m sure you’ll want to hear more. (by Gary Shelton)

The US edition “Accidentally Borne In New Orleans” (1973):

Alexis Korner was a down and dirty bluesman. He wasn’t afraid to throw himself into his music completely, even if it meant at times sounding raw and unrehearsed. That’s not the case in these sessions. Recorded with a pickup band from members of King Krimson (who allegedly walked off their tour with Mr. Fripp to play with Alexis), these sessions are tight and flawless.


The arrangements are tight, and Alexis’s signature Gallois tobacco voice out on top. Simply great tracks. If you want to know what they really sounded like live, you can hunt down the live double vinyl set that was issued only in Germany. There you’ll get the loose music that made Alexis Alexis. Here you’ll get polished, well crafted songs from the master of British blues. (J. Murry Middleton)

One of the finest Alxis Korner albums ever !

Recorded at Wally Heider Studios, San Francisco/Island Studios, London, April-July 1972


Boz Burrell (bass)
Mel Collins (saxophone, flute, piano)
Alexis Korner (vocals, guitar)
Peter Thorup (guitar, slide-guitar, vocals)
Ian Wallace (drums)
Tim Hinkley (piano on 07.)
Stevie Marriott (organ on 08.)
Zoot Money (piano on 01.)
background vocals:
Mike Patto – Olly Halsall – Sappho Korner – Stevie Marriott – Tim Hinkley


01. Gospel Ship (Traditional) 3.35
02. One Scotch, One Bourbon, One Beer (Toombs) 3.04
03. Sweet Sympathy (Korner) 3.53
04. Rock Me (Traditional) 6.30
05. Don’t Change On Me (Reeves/Holiday) 3.46
06. You Got The Power (To Turn Me On) (Chambers) 4.45
07. Lo And Behold (Taylor) 6.56
08. Country Shoes (Korner) 4.11



Read the very intersting and detailed liner notes by drummer Ian Wallace !

More from Alexis Korner:

Alexis Korner05

Juan Carlos Caceres & Malon – El Camino Dale Negro (1972)

FrontCover1Juan Carlos Cáceres (4 September 1936 – 5 April 2015) was an Argentine musician.

Born in the 1930s in Buenos Aires, Juan Carlos Cáceres became intimately involved with the existentialist movement that thrived in the city during the years of his youth. Cáceres was an accomplished jazz trombonist by his mid-twenties, and though he studied fine arts at the university rather than music, he quickly became a fixture in the Buenos Aires jazz community. He became a mainstay at the Cueva de Passarato jazz club, which was not only an important musical venue, but a gathering place for revolutionary and existential thinkers. In the late ’60s Caceres relocated to Paris, where he engaged in a wide variety of artistic pursuits, including painting, producing, teaching, and above all, playing.


During this period, he became an expert on the music surrounding the Río de la Plata – styles such as tango, milonga, murga, and candombe. His musicianship flourished as he earned a reputation not only as a proficient trombonist, but as a pianist, vocalist, and songwriter as well. His debut record, entitled Sudacas (this is not true  (*)), was released on the French/American label Celluloid Records. His second release, Tocá Tangó, was deeply influenced by his studies on the African origins of tango and its relationship with murga and candombe. It featured a non-traditional, fusion-oriented ensemble and the stunning candombe compositions “Tango Negro” and “Tocá Tangó.” His fourth original release, Murga Argentina, found a home on the Mañana Music label. Caceres’ 2007 release Utopia was the first to earn him the moniker The Lion, heralded as a triumph of both performance and musicology..

Juan Carlos Cáceres01

His interest in the various styles of tango led him to start other projects in widely different formats than his more percussion-guided solo records. He also founded the more traditional “golden age” tango group París Gotán Trío, along with Sedef Ercetin on cello and Sasha Rozhdestvensky on violin. He also started a project in the increasingly popular electronic tango genre, Maquinal Tango.

He died of cancer at his home in Paris on 5 April 2015 at the age of 78. (wikipedia)

(*) And here´s his second album with his first group called Malon … and this is not only a very rare album, but a exellent album.

A wonderful and  great mixture ofRock, Latin, Funk / Soul, Pop … a superb album with many influences by Carlos Santana.and his sound fro the early Seventies..

And I add a single from him from this period … with a strange daption of a Mozart piano concert (KV 467) and another great tune with this Santana touch)


Miguel Abuelo (guitar, percussion, vocals)
Juan Carlos Caceres (vocals, piano, flue, percussion, flute, trombone, trumpet, xylophone, mbira)
Serge Chauveau (guitar, vocals)
Henri Géniaux (bass, vocals)
Stéphane Habert (piano, percussion)
Jean-Paul Proix (percussion, vocals)

Single (German edition):

01. Dale Negro (Caceres) 3.43
02. Noche Negra (Proix/Caceres) 3.01
03. Love Me Now (Chauveau) 4.04
04. Excusa (Caceres) 3.15
05. Vamos Juntos (Caceres) 3.43
06. El Camino (Caceres) 4.11
07. Shunko (Caceres) 3.01
08. Go Home (Caceres) 3.22
09. Dulce (Caceres) 2.47
10. Sabroso (Caceres) 3.43
11. Chamane (Caceres) 0.56
12. Contigo Mi Vida (Mozart/Bergmann/Cáceres) 3.21
13. Rompe Con Todo (Cáceres) 3.13



Alternate frontcover from Spain:

Juan Carlos Cáceres01

Ten Years After – Rock And Roll Music To The World (1972)

LPFrontCover1Ten Years After are a British blues rock band, most popular in the late 1960s and early 1970s. Between 1968 and 1973, Ten Years After scored eight Top 40 albums on the UK Albums Chart. In addition they had twelve albums enter the US Billboard 200, and are best known for tracks such as “I’m Going Home”, “Hear Me Calling”, “I’d Love to Change the World” and “Love Like a Man”. Their musical style consisted of blues rock and hard rock.

Rock & Roll Music to the World is the seventh studio album by the English blues rock band Ten Years After, released in 1972. It includes several Ten Years After standards, including “Standing at the Station”, “Choo Choo Mama”, and the title track. (wikipedia)


Here, Ten Years After expanded on their boogie base and continued the hits. The title cut was the hit, and while they continued to groove along in the boogie atmosphere, things on Rock & Roll Music to the World sounded a bit too tame for the thundering hordes to chant along to at the time. “Turned Off T.V. Blues” showed just how tiring touring was getting for the band, and there wasn’t much else here to bring out the beast to party with. A little too much of the same thing was starting to stunt this band’s growth, except in their wallets. (by James Chrispell)


After the inspired songwriting and more acoustic feel of A Space in Time, TYA got back to solid rock ‘n roll on this album. And while it’s true they’re not breaking any new ground with cuts like Choo Choo Mama, Tomorrow I’ll Be Out of Town and Rock ‘n Roll Music to the World, no one ever did boogie better than Alvin Lee and company, except maybe Savoy Brown. When you’ve got a first-class rhythm section like Leo Lyons on bass and Ric Lee on drums—as capable of occasional jazz stylings as of blues and rock—you can’t ask for much more. Chick Churchill turns in some of his best keyboard work ever on this album, pushing the boundaries with haunting barn burners like Standing at the Station and adding just the right ambience to Religion, one of Alvin Lee’s best lyrics. When it comes to blues, the band has never sounded so gritty and all-out as on Turned Off TV Blues; Lee pushes his voice to the limit, sounding more like John Fogerty than himself. And of course Lee’s blistering guitar work here keeps him firmly in guitar hero territory. This is a quintessential album for lovers of blues-based rock, one of the best of its era. (Sean Arthur Joyce)

Chick Churchill (organ)
Alvin Lee (guitar, vocals)
Ric Lee (drums)
Leo Lyons (bass)

01. You Give Me Loving 6.31
02. Convention Prevention 4.23
03. Turned-Off TV Blues 5.13
04. Standing At The Station 7.09
05. You Can’t Win Them All 4.04
06. Religion 5.46
07. Choo Choo Mama 3.59
08. Tomorrow I’ll Be Out Of Town 4.28
09. Rock & Roll Music To The World 3.47

All songs written by Alvin Lee.



More Ten Years After:

Mill Valley Bunch (Mike Bloomfield & Nick Gravenites) – Casting Pearls (1972)

FrontCover1In 1972 a group of American musicians united by friendship & a common passion for good music (blues, in particular), came together in Mill Valley to give life to these amazing jam sessions … a typical early 70s set by Bloomfield and assorted friends:

Mike Bloomfield performs here with some of his long-time collaborators, including Mark Naftalin and Barry Goldberg, as well as some stellar Bay Area soul and rock artists such as the Pointer Sisters and Spencer Dryden. The music sometimes sounds a lot like a cross between his first solo effort, the disappointing “It’s Not Killing Me,” and the also disappointing re-grouped Electric Flag’s “The Band Kept Playing.” Some of the songs on this album, however, plainly out-rock those other efforts, making this a worthwhile listen. Probably the weakest part of the album are the vocals by the men singers, especially Bloomfield. Too bad Jellyroll Troy wasn’t along on this one! (by Rex Chickeneater)

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This album’s got it all! Blues, R&B, Country, Gospel, Blues-Rock, and Ballads are all featured here. I bought this cd on a whim and the music floored me – though it took a few listens to fully appreciate it.

While Michael Bloomfield seems to be the creative force throughout, as well as, the glue that makes the concept work, there are many notable musicians featured here: Nick Gravenites, Barry Goldberg, Michael Shrieve, Lee Michaels, Mark Naftalin, John Kahn, The Ace of Cups, and The Pointer Sisters, among many others – though its hard to tell who is playing and singing when, as the individual songs are uncredited. The song writing on this album is exceptional, the singing is awesome, and the musicianship, which features a wailing (unlike much of his later stuff) electric guitar from Mike Bloomfield, is great.

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This is truely energetic and inspired music. It’s hard to believe these various musicians, many of whom didn’t normally play together, just threw these songs together in the studio. It’s also hard to understand why this album is so obscure.

Its difficult to describe this eclectic compilation, it’s that unique. If you like what I was able to put into words, buy this cd, I doubt you will be disappointed. (by Dire Wolf)

In other words: A San Francisco Super Session !!!

Alternate frontcovers:

Dino Andino (percussion)
Mike Bloomfield (guitar, vocals, bass, piano)
Ron Cimille (guitar)
Russel Dashiel (guitar, vocals)
Rick Dey (bass, guitar, vocals)
Spencer Dryden (drums)
Barry Goldberg (piano)
Nick Gravenites (guitar, vocals)
Rich Jagger (drums)
Jeffrey James (drums)
Jeanette Jones (vocals)
John Kahn (bass, piano)
Ira Kamin (keyboards)
Lee Michaels (keyboards)
Mark Naftalin (keyboards)
Fred Olsen (guitar)
Tom Richards (guitar)
Mark Ryan (bass)
Michael Shrieve (drums)
Ron “Rev” Stallings (vocals)
Craig Tarwater (guitar)
Chicken Billy Thorton (vocals),
Bill Vitt (drums)
background vocals:
The Ace Of Cups – The Pointer Sisters

01. Honky-Tonk Blues (Williams) 2.02
02. Betty & Dupree (Bloomfield) 3.40
04. Ooh-Ooh-Ooh,La,La,La (Bloomfield) 3.24
05. Run For Cover (Dey) 3.36
06 What Would I Do Without My Baby (Bloomfield) 5.23
07. Mellow Mountain Wine (Bloomfield) 4.49
08. Let Me Down Easy (Bloomfield) 6.32
09. Jimmy’s Blues (Bloomfield) 2.59
10. Young Girl’s Blues (Bloomfield) 3.46
11. Letting Go Ain’t Easy (Bonura/Ceroni) 4.23
12. Bye Bye , I’m Goin’ (Bloomfield) 2.20
13. Bells Are Going To Ring  (Gravenites) 3.59
14. I’ve Had It (Bloomfield) 3.33
15. Bedroom Blues (Gravenites) 7.14
16. Your Hollywood Blues (Bloomfield)
17. Go Home Blues (Gravenites) 5.05



More Mike Bloomfield:

More Nick Gravenites: