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). (http://raycharlesvideomuseum.blogspot.com)


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.

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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.”

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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.

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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:

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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..

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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:


Little Feat – Sailin Shoes (1972)

LPFrontCover1Little Feat is an American rock band formed by singer-songwriter, lead vocalist and guitarist Lowell George and keyboardist Bill Payne in 1969 in Los Angeles. George disbanded the group due to creative differences in 1979, shortly before his death. Surviving members re-formed Little Feat in 1987 and the band has remained active to the present.

Over its 50-year history, the band’s music has remained an eclectic blend of swamp pop, rock and roll, blues, boogie, country, folk, blues rock, soul, New Orleans R&B and swamp rock influences..

Guitarist Jimmy Page stated Little Feat was his favorite American band in a 1975 Rolling Stone interview.

Sailin’ Shoes is the second studio album by the American rock band Little Feat, released in 1972.

Little Feat’s sophomore effort, the Ted Templeman produced Sailin’ Shoes marked a shift from the sound of the band’s first album, Little Feat, to that of their next album, Dixie Chicken. It also introduced the cover artwork of Neon Park to the group, and was the last album appearance of original bassist Roy Estrada.


Highlighted by a reworked group version of “Willin'”, it also featured such enduring tracks as “A Apolitical Blues,” “Easy to Slip” and the title track, all by guitarist and lead vocalist Lowell George, the second co-written with Martin Kibbee, credited as “Fred Martin”, a former bandmate from The Factory, and the first appearance of the “George/Martin” credit on a Little Feat record.

The track “Texas Rose Cafe” is a tribute to a post-Houston concert visit by Lowell George and others to the hippie restaurant/club/beer garden. During refreshments upstairs George had said that he liked the place so much that he was going to write a song about it and it would be on their next album. It turned out to be true and not just so much “beer talk”.

It was the last full Little Feat record to be produced by an outsider until 1977’s Time Loves a Hero, with each of the three interim albums being produced almost entirely by Lowell George.

Lowell George01

Noted Los Angeles-based session percussionist Milt Holland played percussion on “Easy to Slip” and “Trouble” and he also played tabla on the follow-up album Dixie Chicken. Ron Elliott of the Beau Brummels played rhythm guitar on “A Apolitical Blues” and Debbie Lindsey provided the female vocals on “Cold, Cold, Cold” and the title track.

In 1972 Van Dyke Parks covered “Sailin’ Shoes” on his album Discover America, while in 1973, the Scottish hard rock band Nazareth covered “Teenage Nervous Breakdown” on their album Loud ‘n’ Proud.

In 1974 backed by The Meters and Lowell George, Robert Palmer covered “Sailin’ Shoes” on his debut solo album Sneakin’ Sally Through the Alley.

In 1988 Van Halen recorded a cover of “A Apolitical Blues” on their album, OU812, although the song is not included on some cassette and some original vinyl copies of the album.

It was voted number 469 in the third edition of Colin Larkin’s All Time Top 1000 Albums (2000).


With his design for a “sailing shoe” of a cake swinging on a tree swing, the album’s front cover by Neon Park seems to be an allusion to The Swing by painter Jean-Honoré Fragonard. Park himself said of the cover: “The Sailin’ Shoes cover was inspired by Louis XIV. I’d just seen Rossellini’s film about Louis XIV. And it seemed to relate a lot to Hollywood. A situation ruled by someone who kept everybody under his thumb by keeping them in hock from buying fancy clothes seemed to relate to Hollywood somehow. Actually, the only thing that was missing was the Hollywood sign, which I was going to put in the background. I thought that would be gauche. But I had a chance to pick up on that later with The Last Record Album.”

The cover design also includes a giant snail and Mick Jagger dressed as Gainsborough’s The Blue Boy – Park had been inspired by the film Performance. (wikipedia)


Little Feat’s debut may have been a great album but it sold so poorly, they had to either broaden their audience or, in all likelihood, they’d be dropped from Warner. So, Sailin’ Shoes is a consciously different record from its predecessor – less raw and bluesy, blessed with a varied production and catchier songs. That still doesn’t make it a pop record, since Little Feat, particularly in its first incarnation, was simply too idiosyncratic, earthy and strange for that. It is, however, an utterly thrilling, individual blend of pop, rock, blues and country, due in no small part to a stellar set of songs from Lowell George. If anything, his quirks are all the more apparent here than they were on the debut, since Ted Templeman’s production lends each song its own character, plus his pen was getting sharper.


George truly finds his voice on this record, with each of his contributions sparkling with off-kilter humor, friendly surreal imagery and humanity, and he demonstrates he can authoritatively write anything from full-throttle rock & roll (“Teenage Nervous Breakdown”), sweet ballads (“Trouble,” a sublimely reworked “Willin'”), skewered folk (“Sailin’ Shoes”), paranoid rock (“Cold, Cold, Cold”) and blues (“A Apolitical Blues”) and, yes, even hooky mainstream rock (“Easy to Slip,” which should have been the hit the band intended it to be). That’s not to discount the contributions of the other members, particularly Bill Payne and Richie Hayward’s “Tripe Face Boogie,” which is justifiably one of the band’s standards, but the thing that truly stuns on Sailin’ Shoes is George’s songwriting and how the band brings it to a full, colorful life. Nobody could master the twists and turns within George’s songs better than Little Feat, and both the songwriter and his band are in prime form here. (by Stephen Thomas Erlewine)


Roy Estrada (bass, background vocals)
Lowell George – guitar, vocals, harmonica, saxophone, drum machine)
Richie Hayward (drums, percussion, background vocals)
Bill Payne (keyboards, accordion, vocals on 10., background vocals)
Ron Elliott (guitar on 06.)
Milt Holland (percussion on 01. + 03.)
Sneaky Pete Kleinow (pedal steel guitar on 05. + 11.)
Debbie Lindsey (background vocals on 02. + 07.)


01. Easy To Slip (George/Martin) 3.23
02. Cold, Cold, Cold (George) 4.01
03. Trouble (George) 2.19
04. Tripe Face Boogie (Hayward/Payne) 3.16
05. Willin’ (George) 2.58
06. A Apolitical Blues (George) 3.28
07. Sailin’ Shoes (George) 2.53
08. Teenage Nervous Breakdown (George) 2.14
09. Got No Shadow (Payne) 5.09
10. Cat Fever (Payne) 4.37
11. Texas Rose Café (George) 3.43



More from Little Feat:


Ennio Morricone – Once Upon A Time In The West (Extended Version) (OST) (1972)

FrontCover1Ennio Morricone (10 November 1928 – 6 July 2020) was an Italian composer, orchestrator, conductor, and trumpet player who wrote music in a wide range of styles. Morricone composed over 400 scores for cinema and television, as well as over 100 classical works. His score to The Good, the Bad and the Ugly (1966) is considered one of the most influential soundtracks in history[2] and was inducted into the Grammy Hall of Fame.[3] His filmography includes over 70 award-winning films, all Sergio Leone’s films since A Fistful of Dollars, all Giuseppe Tornatore’s films since Cinema Paradiso, The Battle of Algiers, Dario Argento’s Animal Trilogy, 1900, Exorcist II, Days of Heaven, several major films in French cinema, in particular the comedy trilogy La Cage aux Folles I, II, III and Le Professionnel, as well as The Thing, Once Upon A Time In America, The Mission, The Untouchables, Mission to Mars, Bugsy, Disclosure, In the Line of Fire, Bulworth, Ripley’s Game and The Hateful Eight.

After playing the trumpet in jazz bands in the 1940s, he became a studio arranger for RCA Victor and in 1955 started ghost writing for film and theatre. Throughout his career, he composed music for artists such as Paul Anka, Mina, Milva, Zucchero and Andrea Bocelli. From 1960 to 1975, Morricone gained international fame for composing music for Westerns and—with an estimated 10 million copies sold—Once Upon a Time in the West is one of the best-selling scores worldwide. From 1966 to 1980, he was a main member of Il Gruppo, one of the first experimental composers collectives, and in 1969 he co-founded Forum Music Village, a prestigious recording studio.


From the 1970s, Morricone excelled in Hollywood, composing for prolific American directors such as Don Siegel, Mike Nichols, Brian De Palma, Barry Levinson, Oliver Stone, Warren Beatty, John Carpenter and Quentin Tarantino. In 1977, he composed the official theme for the 1978 FIFA World Cup. He continued to compose music for European productions, such as Marco Polo, La piovra, Nostromo, Fateless, Karol and En mai, fais ce qu’il te plait. Morricone’s music has been reused in television series, including The Simpsons and The Sopranos, and in many films, including Inglourious Basterds and Django Unchained. He also scored seven Westerns for Sergio Corbucci, Duccio Tessari’s Ringo duology and Sergio Sollima’s The Big Gundown and Face to Face. Morricone worked extensively for other film genres with directors such as Bernardo Bertolucci, Mauro Bolognini, Giuliano Montaldo, Roland Joffé, Roman Polanski and Henri Verneuil. His acclaimed soundtrack for The Mission (1986) was certified gold in the United States. The album Yo-Yo Ma Plays Ennio Morricone stayed 105 weeks on the Billboard Top Classical Albums.


Morricone’s best-known compositions include “The Ecstasy of Gold”, “Se Telefonando”, “Man with a Harmonica”, “Here’s to You”, the UK No. 2 single “Chi Mai”, “Gabriel’s Oboe” and “E Più Ti Penso”. In 1971, he received a “Targa d’Oro” for worldwide sales of 22 million,[8] and by 2016 Morricone had sold over 70 million records worldwide.[9] In 2007, he received the Academy Honorary Award “for his magnificent and multifaceted contributions to the art of film music.” He was nominated for a further six Oscars. In 2016, Morricone received his first competitive Academy Award for his score to Quentin Tarantino’s film The Hateful Eight, at the time becoming the oldest person ever to win a competitive Oscar. His other achievements include three Grammy Awards, three Golden Globes, six BAFTAs, ten David di Donatello, eleven Nastro d’Argento, two European Film Awards, the Golden Lion Honorary Award and the Polar Music Prize in 2010. Morricone has influenced many artists from film scoring to other styles and genres, including Hans Zimmer, Danger Mouse, Dire Straits, Muse, Metallica, and Radiohead.

Once Upon a Time in the West is a soundtrack composed by Ennio Morricone, from the 1968 western film of the same name directed by Sergio Leone, released in 1972. The film score sold about 10 million copies worldwide.


The soundtrack features leitmotifs that relate to each of the main characters of the movie (each with their own theme music), as well as to the spirit of the American West.[6] The theme music for the Claudia Cardinale character has wordless vocals by Italian singer Edda Dell’Orso.

It was Leone’s desire to have the music available and played during filming. Leone had Morricone composed the score before shooting started and would play the music in the background for the actors on set.

In 2018, for the 50th anniversary of the film, the Italian records company “Beat Records” released a limited 500 copies edition. (wikipedia)


And here´s one of his greatest sountracks:

Arguably a milestone for both director Sergio Leone and his musical cohort Ennio Morricone. After deconstructing the classic American western by way of The Good, the Bad & the Ugly and A Fistful of Dollars, Leone distilled his intentions with 1968’s Once Upon a Time in the West. For his part, Morricone framed Leone’s meditative camerawork and mythic narrative with a mix of hauntingly spacious pieces and reconfigured snatches of old-timey tunes. Just within the stretch of the first four pieces here, Morricone evokes the endless expanse of the West with a Copland-esque aria (the main title theme), weaves some twisted grit into the showdown theme with loads of guitar fuzz (“As a Judgment”), ingeniously combines whistling and a clippity-clop rhythm for a respite piece (“Farewell to Cheyenne”), and conjures the surreal end of the cowboy mythos via a wonderfully disjointed serial-style number (“The Transgression”). And whether sounding upbeat or stark, Morricone informs it all with the dry and windswept vacancy of the West. Beautiful and stunning. (by Stephen Cook)

Oh yes, he was a real master !


Alessandro Alessandroni (whistle on 03.)
Edda (vocals on 01.
Franco de Gemini (harmonica)
The Modern Singers Of Alessandroni (background vocals)


01. Once Upon A Time In The West 3.421
02. The Man 103
03. The Grand Massacre 2.41
04. Arrival At The Station 0.54
05. Bad Orchestra 2.21
06. Jill’s America 2.46
07. Harmonica 2.27
08. The First Tavern 1.41
09. A Bed Too Large 1.31
10. Jill 1.46
11. Frank 1.53
12. Cheyenne 1.16
13. The Second Tavern 1.34
14. The Third Tavern 1.18
15. Epilogue 1.14
16. On The Roof Of The Train 1.20
17. Man With A Harmonica 3.24
18. A Dimly Lit Room 5.09
19. The Transgression 4.40
20. Return To The Train 0.56
21. Morton 1.36
22. As A Judgment 3.08
23. Final Duel 3.33
24. Death Rattle 1.44
25. Birth Of A City 4.24
26. Farewell To Cheyenne 2.39
27. Finale 4.11

Music composed by Ennio Morricone



EnnioMorricone01Ennio Morricone (10 November 1928 – 6 July 2020)

Jethro Tull – Thick As A Brick (1972)

FrontCover1Thick as a Brick is the fifth studio album by the British rock band Jethro Tull, released in March 1972. The album contains a continuous piece of music, split over two sides of an LP record, and is a parody of the concept album genre. The original packaging, designed like a newspaper, claims the album to be a musical adaptation of an epic poem by fictional eight-year-old genius Gerald Bostock, though the lyrics were actually written by the band’s frontman, Ian Anderson.

The album was recorded in late 1971, featuring music composed by Anderson and arranged with the contribution of all band members. The album was the first to include drummer Barriemore Barlow, replacing the band’s previous drummer Clive Bunker. The live show promoting the album included the playing of the full suite, with various comic interludes. Thick as a Brick is considered by critics to be the first Jethro Tull release to entirely consist of progressive rock music. It received mixed reviews upon its release, but was a commercial success and topped various charts in 1972. Today it is regarded as a classic of progressive rock, and has received several accolades. Anderson produced a follow-up to the album in 2012, focusing on the adult life of the fictional Gerald Bostock.

Jethro Tull01

Jethro Tull’s frontman and songwriter Ian Anderson was surprised when critics called the band’s previous album, Aqualung (1971), a “concept album”. He rejected this, thinking it was simply a collection of songs, so in response decided to “come up with something that really is the mother of all concept albums”. Taking the surreal English humor of Monty Python as an influence, he began to write a piece that would combine complex music with a sense of humour, with the idea it would poke light-hearted fun at the band, the audience, and the music critics. He also intended to satirise the progressive rock genre that was popular at the time. His wife Jennie was also an inspiration, whom he credited to have devised the character and lyrics to “Aqualung”. She had written a letter to Anderson while he was away touring the album, ten lines from which Anderson used as inspiration for the new material.

Anderson has also said that “the album was a spoof to the albums of Yes and Emerson, Lake & Palmer, much like what the movie Airplane! had been to Airport”[5] and later remarked that it was a “bit of a satire about the whole concept of grand rock-based concept albums”. Although Anderson wrote all the music and lyrics, he co-credited the writing to a fictional schoolboy named Gerald Bostock. The humour was subtle enough that some fans believed that Bostock was real. Reviewing the 40th anniversary reissue, Noel Murray suggested that many listeners of the original album “missed the joke”.


The group ran through two weeks of rehearsals using the Rolling Stones’ basement studio in Bermondsey. They had not intended to record a single continuous piece;[9] the band came up with individual song segments, then decided to write short pieces of music to link them together.

Recording started in December 1971 at Morgan Studios, London. Unlike previous albums, where Anderson had generally written songs in advance, only the initial section of the album had been worked out when the band went into the studio. The remainder of the suite was written during the recording sessions. To compensate for a lack of material, Anderson got up early each morning to prepare music for the rest of the band to learn during that day’s session. The lyrics were written first, with the music constructed to fit around them. Anderson recalls the album took about two weeks to record and another two or three for overdubs and mixing. The final work spanned the entire length of an LP record, split over two sides.

Jethro Tull02

The group remembered the recording being a happy process, with a strong feeling of camaraderie and fun, with numerous practical jokes. They were fans of Python, and this style of humour influenced the lyrics and overall concept. Guitarist Martin Barre recalls the whole band coming up with various ideas for the music. Some parts were recorded in a single take with every member having an input, including significant contributions from keyboardist John Evan.

Thick as a Brick was viewed by some critics as Jethro Tull’s first progressive rock album. The album has a variety of musical themes, time signature changes and tempo shifts – all of which were features of the progressive rock scene. Although the finished album runs as one continuous piece, it is made up of a medley of individual songs that run into each other, none of which individually lasts more than 3–5 minutes. Parts of the suite blend classical and folk music into the typical rock music framework.

The album prominently features flute, acoustic and electric guitars and Hammond organ, which had been used previously, but the instrumentation includes harpsichord, xylophone, timpani, violin, lute, trumpet, saxophone, and a string section—all uncommon in the band’s earlier blues-inspired rock. Anderson later said that the lyrics were partly derived from his own childhood experiences, though the overall theme was Bostock’s attempt to make sense of life from his point of view.


The original LP cover was designed as a spoof of a 12×16-inch (305×406 mm) 12-page small-town English newspaper, entitled The St. Cleve Chronicle and Linwell Advertiser, with articles, competitions and advertisements lampooning the typical parochial and amateurish journalism of the local English press. The band’s record company, Chrysalis Records, complained that the sleeve would be too expensive to produce, but Anderson countered that if a real newspaper could be produced, a parody of one would also be practical.

The mock newspaper, dated 7 January 1972, also includes the entire lyrics to “Thick as a Brick” (printed on page 7), which is presented as a poem written by Bostock, whose disqualification from a poetry contest is the focus of the front-page story. This article claims that although Bostock initially won the contest, the judges’ decision was repealed after protests and threats concerning the offensive nature of the poem, along with the boy’s suspected psychological instability. The front cover includes a piece where Bostock is accused without foundation of being the father of his 14-year-old friend Julia’s child. The inside of the paper features a mock review by “Julian Stone-Mason BA”, a pseudonym of Anderson.

Alternate frontcover:

The contents of the newspaper were written mostly by Anderson, bassist Jeffrey Hammond and keyboardist John Evan. While some of the pieces were obviously silly, such as “Magistrate Fines himself”, there was a lengthy story entitled “Do Not See Me Rabbit” about a pilot in the Battle of Britain being shot down by a Me-109 fighter. The overall layout was designed by Chrysalis’ Roy Eldridge, who had previously worked as a journalist. Most of the characters in the newspaper were members of the band, their management, road crew, or colleagues; for instance, recording engineer Robin Black played a local roller-skating champion. Anderson recalls that the cover took longer to produce than the music.

The satirical newspaper was heavily abridged for conventional CD booklets, but the 25th Anniversary Special Edition CD cover is closer to the original, and the 40th anniversary boxed version contains most of the content from the original newspaper.[

Following the album’s release, the band set out on tour, playing the entire piece with some extra musical additions that extended performances to over an hour. At the start of the show, men wearing capes appeared onstage and began sweeping the floor, counting the audience and studying the venue; after a few minutes, some of them revealed themselves to be members of the band and began to play. During some shows, the entire band stopped mid-performance when a telephone rang on stage, which Anderson would answer, before carrying on performing. News and weather reports were read halfway through the show, and a man in a scuba diver outfit came onstage. The tour’s humour caused problems in Japan, where audiences responded to the changes with bewilderment. Barre recalls these first live performances being “a terrible experience” as there was a lot of complex music with a variety of time signature changes to remember.


Anderson performed the entire album live on tour in 2012, the first complete performances since the original tour. In August 2014, Anderson released the CD/DVD/Blu-ray Thick as a Brick – Live in Iceland. The concert was recorded in Reykjavík, Iceland, on 22 June 2012, and featured complete Thick as a Brick and Thick as a Brick 2 performances by the Ian Anderson Touring Band. Some of the humour and stage antics were maintained—especially the telephone ringing in the middle of a song, which was replaced by a cell phone and a Skype call.

Thick as a Brick was originally scheduled for release on 25 February 1972. Following production problems relating to the 1972 miners’ strike, it was held back a week to 3 March. The album reached the top 5 in the UK charts, and number one in Australia, Canada and the United States, where it was certified Platinum.

Jethro Tull03

Contemporary reviews were mixed. Chris Welch of Melody Maker praised the musicianship of the band and Anderson’s flute playing, writing also that “the joke at the expense of a local newspaper wears thin rather rapidly, but should not detract from the obvious amount of thought and work that has gone into the production of Thick”; he described the music as a creative effort where “the ideas flow in super abundance” but that “needs time to absorb” and “heard out of context of their highly visual stage act … does not have such immediate appeal”. Tony Tyler in his review for New Musical Express generally appreciated the construction of the suites and the arrangements, but he had doubts about the album’s possible success. He called Thick as a Brick “Jethro Tull’s own stand-or-fall epic after the lines of Tommy” and “an assault on the mediocrity and harshness of lower-middle-class existence in ’70s Britain”. Ben Gerson in Rolling Stone magazine called Thick as a Brick “one of rock’s most sophisticated and ground-breaking products”. Going further, the reviewer stated: “Martin Barre’s guitar and John Evan’s keyboards especially shine, and Ian’s singing is no longer abrasive.


Whether or not Thick As A Brick is an isolated experiment, it is nice to know that someone in rock has ambitions beyond the four- or five-minute conventional track, and has the intelligence to carry out his intentions, in all their intricacy, with considerable grace.”[48] Rolling Stone’s Alan Niester gave it 2 out of 5 stars in The Rolling Stone Record Guide, judging it had “relatively undifferentiated movements”. Village Voice critic Robert Christgau disliked the album, calling it “the usual shit” from the band: “rock (getting heavier), folk (getting feyer), classical (getting schlockier), flute (getting better because it has no choice)”.

In 2014, Prog magazine listed Thick as a Brick at number 5 in the list “The 100 Greatest Prog Albums of All Time”, voted for by its readers. Rolling Stone listed the album at number 7 in their “Top 50 Prog Albums of All Time”.[52] Thick as a Brick is ranked number 3 in the user-managed website Prog Archives’s top albums list, with an average rank of 4.64 stars.[53] Rush’s Geddy Lee has said Thick as a Brick is one of his favourite albums, as has Iron Maiden’s Steve Harris. (by wikipedia)


Jethro Tull’s first LP-length epic is a masterpiece in the annals of progressive rock, and one of the few works of its kind that still holds up decades later. Mixing hard rock and English folk music with classical influences, set to stream-of-consciousness lyrics so dense with imagery that one might spend weeks pondering their meaning — assuming one feels the need to do so — the group created a dazzling tour de force, at once playful, profound, and challenging, without overwhelming the listener. The original LP was the best-sounding, best-engineered record Tull had ever released, easily capturing the shifting dynamics between the soft all-acoustic passages and the electric rock crescendos surrounding them. (by Bruce Eder)


Ian Anderson (vocals, flute, guitar, flute, violin, trumpet, saxophone)
Barriemore Barlow (drums, percussion, timpani)
Martin Barre (guitar, lute)
John Evan (Keyboards, harpsichord)
Jeffrey Hammond (as “Jeffrey Hammond-Hammond”) (bass, spoken words)

Jethro Tull04
01. Thick As A Brick, Part I 22.40
02. Thick As A Brick, Part II 21.10
03. Thick As A Brick (1978 live version at Madison Square Garden) 11.50
04. Interview with Jethro Tull (Ian Anderson, Martin Barre and Jeffrey Hammond) 16.29

Music: Ian Anderson
Lyrics: “Gerald Bostock” (Ian Anderson)


The downloadable version of the 40th anniversary edition splits the overall suite into eight separate parts:

“Really Don’t Mind” / “See There a Son Is Born” 5.00
“The Poet and the Painter” 5.29
“What Do You Do When the Old Man’s Gone?” / “From the Upper Class” 5.25
“You Curl Your Toes in Fun” / “Childhood Heroes” / “Stabs Instrumental” 6.48
“See There a Man Is Born” / “Clear White Circles” 5.58
“Legends and Believe in the Day” 6.34
“Tales of Your Life” 5.24
“Childhood Heroes Reprise” 2.56



More from Jethro Tull:

John Entwistle – Whistle Rymes (1972)

LPFrontCover1Whistle Rymes is the second solo studio album by English musician John Entwistle, released on 3 November 1972 by Track in the UK and on 4 November 1972 by Decca in the US. Entwistle produced the album with John Alcock, his first work with a producer after self-producing his debut album, Smash Your Head Against the Wall, and it was recorded at Island Studios in Notting Hill, a district of west London. The album features guitar contributions from both Peter Frampton and Jimmy McCulloch (who would later join Paul McCartney and Wings).

The album sold around 175,000 copies, and peaked at No. 138 on the US Billboard 200 but like his debut album it failed to chart in his home country.

The album was initially remastered and re-issued in 1996 by Repertoire Records, featuring no bonus content. The album was later remastered and re-issued again in 2005 by Sanctuary Records but this time featuring rare bonus content; the bonus content consists of two unreleased demos of songs that didn’t make it onto the album (one of which is “Back on the Road” which would later be recorded by the John Entwistle Band for their sole album, Music from Van-Pires, which would also be the last album released during Entwistle’s lifetime). This version of the album also has two demos of songs featured on the original album. However, all versions of the album remain out of print, and CD copies of this album are especially hard to come by.

The album’s title pokes fun at a common misspelling of Entwistle’s surname. Several of the tracks give a humorous look on domestic life, following the birth of Entwistle’s son, Christopher, earlier that year.


“Ten Little Friends” was written on piano at Entwistle’s Ealing home studio at the time and sprang from a bout of writer’s block. The title comes from a set of troll figures given to him by the Who’s drummer Keith Moon. The track features a guitar solo from Peter Frampton, who also played on other songs on the album. As well as his usual bass guitar, Entwistle also plays bass synthesizer.

Then Surrey-based artist Graham Lethbridge designed the album’s gatefold cover artwork (at the suggestion of producer John Alcock). A watercolor painting, it depicts little scenes that were taken from themes expressed within the songs on the album. With a day and night theme, the front cover depicts nightime scenes, and the back is of daylight scenes. The time that it took to paint the artwork delayed the album’s release.

The original 1972 UK release of this album was on Track and distributed by Polydor. The first US issue of this album was by the silver Track/Decca label. A year later it was reissued in the US by MCA. (by wikipedia)


After making a surprisingly effective debut with Smash Your Head Against the Wall, Who bassist John Entwistle consolidated his solo success with Whistle Rymes. Like its predecessor, this album combines catchy, straightforward, pop-tinged rock with dark, often bitingly sarcastic lyrics; good examples include “Thinking It Over,” a witty, waltz-styled tune about a potential suicide having second thoughts while preparing to jump off a building, and “Who Cares,” a punchy, piano-driven rocker about a man who deals with the problems of life by refusing to take it seriously. However, Entwistle’s finest achievement in this respect is “I Feel Better,” a devastatingly sarcastic tune that features the singer putting down an ex-lover by listing all the things all the things he does to get back at her.


Viciously witty yet full of emotion, this poison-pen gem ranks up there with Harry Nilsson’s “You’re Breaking My Heart” as one of rock’s ultimate post-breakup songs. Whistle Rymes further benefits from a stylish production job by Entwistle that judiciously adds extra instrumental layers to the album’s basic rock style to subtly broaden its sonic palette; for instance, “Thinking It Over” is anchored by a thick synthesizer bassline and “I Wonder” allows Entwistle to indulge his skill with brass instruments by overdubbing himself into a virtual big band brass section. It’s also interesting to note that this album features a pre-solo fame Peter Frampton turning in some searing guitar riffs throughout the disc. All in all, Whistle Rymes is an entertaining and consistent rock album that balances energy with ambition. It may be a little too dark and eccentric for the general listener, but is well worth the time for any hardcore Who fan. (by Donald A. Guarisco)


Gordon Barton (drums on 02. – 06., 08., 10.)
Rod Coombes (drums on 01., 07.)
John Entwistle (bass, vocals, piano, trumpet, synthesizer, french horn)
Peter Frampton (guitar on 01., 03., 05., 07.)
Jimmy McCulloch (guitar on 02., 03.)
Alan Ross (guitar on 02., 04, – 06., 09., 10. background vocals on 02., 08., tambourine on 08.)
Neil Sheppard (piano on 01., 05. organ on 05.)
Johnny Weider (violin on 10.)
Bryan Williams (trombone on 05.. 06., 10, organ on 10.)


01. Ten Little Friends 4.03
02. Apron Strings 3.48
03. I Feel Better 4.46
04. Thinkin’ It Over 3.12
05. Who Cares? 3.28
06. I Wonder 2.59
07. I Was Just Being Friendly 3.34
08. The Window Shopper 3.29
09. I Found Out 3.52
10. Nightmare (Please Wake Me Up) 6.25
Demo tracks:
11. I Wonder 2.55
12. All Dressed Up 2.56
13. Back On The Road 3.55
14. Countryside Boogie 4.34



More from John Entwistle:

John Entwistle01John Alec Entwistle (09 October 1944 – 27 June 2002)

Allman Brothers Band – Academy Of Music, New York (1972)

FrontCover1The Allman Brothers Band was an American rock band formed in Jacksonville, Florida in 1969 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 guitar), Butch Trucks (drums), and Jai Johanny “Jaimoe” Johanson (drums). The band incorporated elements of blues, jazz, and country music, and their live shows featured jam band-style improvisation and instrumentals.

The group’s 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, represented an artistic and commercial breakthrough. The album features extended renderings of their songs “In Memory of Elizabeth Reed” and “Whipping Post”, and is considered among the best live albums ever made.

Group leader Duane Allman was killed in a motorcycle accident later that year – on October 29, 1971 …  (wikipedia)


And here´s a pretty good bootleg (a soundboard recording) of the Allman Brothers after the death of Duane Allman.

A few month later, Berry Oakley was involved in a motorcycle accident in Macon, Georgia, just three blocks from where Duane Allman had his fatal motorcycle accident the year before. Oakley was driving around a sharp right bend of the road on Napier Avenue at Inverness when he crossed the line and collided at an angle with a city bus making the bend from the opposite direction. After striking the front and then the back of the bus, Oakley was thrown from his bike, just as Allman had been, and struck his head.

Berry Oakley

Oakley said he was okay after the accident, declined medical treatment, and caught a ride home. Three hours later, he was rushed back to the hospital, delirious and in pain, and died of cerebral swelling caused by a fractured skull. Attending doctors stated that even if Oakley had gone straight to the hospital from the scene of the accident, he could not have been saved. He was 24 years old when he died, the same age as Allman. (by wikipedia)


Gregg Allman  (keyboards, vocals)
Dickey Betts (guitar)
Jai Johanny Johanson (drums, percussion)
Berry Oakley (bass)
Butch Trucks (drums)

Alternate frontcovers:

01. Statesboro Blues (McTell) 4.26
02. Done Somebody Wrong (Lewis/Robinson/James) 4.06
03. Ain’t Wastin’ Time No More (Allman) 5.19
04. One Way Out (Sehorn/James) 6.58
05. Stormy Monday (Walker) 8.22
06. Trouble No More (Morganfield) 3.46
07 You Don’t Love Me (Cobbs) 13.13
08. Whipping Post (Allman) 13.28



More from The Allman Brothers Band: