Elton John & The Royal Philharmonic Orchestra – Concertstück (1972)

FrontCover1Concertstück contains a 50-minute fragment of the soundboard from Elton John’s second orchestral show. The sound quality is excellent however but has edits between the various numbers to fit the broadcast. “Tiny Dancer,” which followed “Sixty Years On” is unfortunately missing from the broadcast.

John opens the concert solo. He is then joined by Nigel Olsson, Dee Murray and the debut appearance of Davey Johnstone as a member of the Elton John Band. The band is augmented by Alan Parker (guitar) and backup singers Madeline Bell, Lesley Duncan and Caroline Attard. The first 14 songs of the set have yet to appear on tape and include: “Rocket Man,” “Honky Cat,” “Mona Lisas And Mad Hatters,” “Holiday Inn,” “Can I Put You On,” “The Greatest Discovery,” “Love Song,” “Mellow,” “Suzie (Dramas),” “I Think I’m Going To Kill Myself,” “Amy,” “Salvation,” “Hercules,” and “I Need You To Turn To.”

The tape picks up when John is joined by the Royal Philharmonic Orchestra conducted by Paul Buckmaster. Rock-classical hybrids are a mixed bag and do not work most of the time, either because the orchestra simply isn’t audible over the amplified music or because the arrangements written for the orchestra are too limited by pop sensibilities. But this must be one of the more successful collaborations simply because the orchestra is given an authentic voice in the music. Most beautiful are the use of the woodwinds and brass in the arrangment of “The Greatest Discovery.”


“Sixty Years On” is dramatic with a gorgeous interlude on violins and violas in the middle reminiscent of a Vivialdi emotional tirade. “Indian Sunset” is a bizarre collection of images of the American Indian tribes but the best performance on this disc is the long “Burn Down The Mission.” The song reaches a climax with the gospel/Pentecoastal section by the end of the song. Overall this is a good release although it would be great if someday the entire show with the John solo section and “Tiny Dancer” were to surface and be released.


Elton John (vocals, piano)
Davey Johnstone (guitar)
Dee Murray (bass)
Alan Parker (guitar)
Nigel Olsson (drums)
background vocals:
Madeline Bell – Lesley Duncan – Caroline Attard
The Royal Philharmonic Orchestra conducted by Paul Buckmaster:

Paul John Buckmaster, who passed away on November 7, 2017 at the age of 71, was a Grammy Award-winning British artist, arranger, conductor and composer. He is best known for his orchestral collaborations with Elton John and with The Rolling Stones in the 1970s.


01. Your Song 4.13
02. Take Me To The Pilot 3.59
03. The Greatest Discovery 3.41
04. Sixty Years On 4.11
05. The King Must Die 4.58
06. Indian Sunset 7.01
07. Border Song 3.21
08. Madman Across The Water 6.31
09. Burn Down The Mission 10.20
10. Goodbye 1.57

Music: Elton John
Lyrics: Bernie Taupin


Alternate frontcover (DVD)


And here´s a video from this show:


101 Strings Orchestra – The Soul Of Greece (1972)

FrontCover1101 Strings Orchestra was a brand for a highly successful easy listening symphonic music organization, with a discography exceeding 150 albums and a creative lifetime of around 30 years beginning in 1957. 101 Strings had a trademark sound, focusing on melody with a laid-back ambiance most often featuring strings. Their LPs were individualized by the slogan “The Sound of Magnificence”, a puffy cloud logo and sepia-toned photo of the orchestra. The 101 Strings orchestra included 124 string instruments, and was conducted by Wilhelm Stephan. The orchestra’s famous official photograph was taken in the Musikhalle Hamburg.

Record label mogul David L. Miller came to prominence by releasing the first Bill Haley & His Comets’ records in 1952–1953 on his own Essex label (followed by Trans-World, then Somerset Records). In this capacity, Miller played a role in the creation of rock and roll.

Following the rise of mood music (practitioners Mantovani and Jackie Gleason Presents), Miller subcontracted the Orchester des Nordwestdeutschen Rundfunks Hamburg (the Northwest German Radio Orchestra of Hamburg) conducted by Wilhelm Stephan to play in-house arrangements of popular standards.[3] The first three 101 Strings albums were released in November 1957, and twelve more titles were released in 1958 (many of which featured recycled material from earlier albums attributed to the New World Orchestra, Rio Carnival Orchestra, and other light music orchestras). These records were pressed by Miller’s own plants and released through his own distribution channels (such as grocery stores).


His core staff arrangers were Monty Kelly, Joseph Francis Kuhn, and Robert Lowden. All three proved adept at writing original compositions that were stylistically consistent both with contemporary hit songs and each other. Miller placed these on 101 Strings albums to provide additional publishing revenues.

Kelly’s earliest successes were Latin and Spanish travelogues (such as the “Soul of Spain” series), although he became 101 Strings’ “Now Sound” specialist following the British Invasion. Kuhn concentrated on radio-friendly numbers in the “Pops”‘s orchestral manner (“Blues Pizzicato”, etc.) which provided Somerset its initial catalog of originals. Lowden composed lounge ballads (such as “Blue Twilight”). Their body of early 1960s work was recycled via re-release throughout the next twenty years.

In 1964, Miller sold the franchise to Al Sherman, a successful record label distributor, who renamed the label Alshire (based in Los Angeles) and moved recording to London. Sherman retained Miller as a partner to oversee production and A&R. The Alshire era is characterized by large-scale expansion of product, attempts to branch out to younger markets and beginning in 1969, eventual stagnation (although late efforts by Les Baxter and Nelson Riddle were released under the 101 name in 1970). Output decreased from 1974 on. A tribute to John Lennon (composed of earlier Beatle tribute material – 101 Strings play Hits written by The Beatles) in January 1981 marked the final 101 Strings effort.

Al Sherman

Many 101 Strings albums are simply orchestrated versions of pop hits and show tunes, although the early Somerset material contains many examples of the exotica and lounge genres. Songs of the Seasons in Japan, Hawaiian Paradise, and East of Suez are three such albums. 101 Strings Play the Blues and Back Beat Symphony were early experiments in symphonic-pop hybridization, while Fly Me To The Moon contains five noir-ish originals. Alshire releases include ‘Now Sound’ albums such as Jet Set, Sounds of Today, and Astro-Sounds from Beyond the Year 2000, the last of which has been frequently sampled by electronic music artists of the 1990s and 2000s (decade).
Sims and the New 101 Strings Orchestra

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The Alshire catalog was sold to Madacy, Inc. in the 1990s and, under the direction of Greg Sims, a “New 101 Strings Orchestra” began releasing a series of CDs (including a two-volume Beatles set). 101 Strings compilations were reissued on CD during the “lounge revival” of the 1990s. Few 101 Strings LPs have been re-released in their original form.

The cover of the first album, 1957

If one goes to the Madacy site to view their 101 Strings collection, exactly the same description that was used on the Bel Canto’s ST- 76 two track stereo release about the 101 Strings sound is reprinted. The 50 Hz hum heard on many of those tape recordings was due to the Ampex 350’s filtering which was not well suited for European 50 Hz power. The “My Fair Lady” and “King and I” releases have what appears to be the sound of dirty mixing pots used on the fly during those sessions. There were a number of tape releases that sounded like tape copies of pristine Stereo Fidelity vinyl which actually, were not all that pristine. Stereo recordings were made with a triangular cutting stylus. This resulted at times in pinch distortion which early conical styli did not handle well. Inner grooves especially, due to the increased density of the recorded information due to the slower relative movement of the track under the stylus, were more susceptible to distortion with conical styli in use at the time this record was released. The later development of elliptical styli allowed more precise tracking of the track and greatly reduced inner-track distortion.

In the 10 years and 2 months of their existence, 101 Strings sold over 50,000,000 records worldwide. (by wikipedia)

And here´s one of the many albums by the 101 Strings Orchestra:

The music on this CD is nicely arranged and played, but it sounds too orchestrated! To be fair, it is performed by the 101 Strings Orchestra and it wasn’t misrepresented in the write-up. But I was looking for music with a folksy feel like you might hear at a cafe in Greece, and this is not it. (by an amazon customer)

If you’re looking for string orchestrated, romanticized versions of popular Greek songs, this is a good album. This version of “Never on Sunday” beats Percy Faith’s overly cute, string orchestrated version on his “Tara’s Theme” album (1961), since this version has real bouzoukis in it and also the full intro. Most of these songs do have bouzoukis, without which they wouldn’t sound very Greek. A few songs here like “Athens By Night” have vocals, but most are instrumental. Many of these melodies will be recognizable to anyone who collects American pop Greek song albums, especially “Hassaposer Vico” and all the songs on the last half of the CD. I’m not sure how many of these songs are authentic Greek songs; “Zorba the Greek” and “Never On Sunday” of course are modern American pop songs from movie soundtracks, written in a Greek style. (by another amazon customer)


101 Strings Orchestra


01. Athens By Night (Lavranos/Mastorakis) 3.23
02. A Bed For Two (Theodorakis/Kampanelis) 3.14
03. Hassaposerviko (Gagaris) 2.45
04. Mykonos Sunset (Lowden) 3.13
05. Never On Sunday (Hadjidakis) 3.29
06. Aharisti (Tsitsanis) 3.07
07. Sirtaki (from “Zorba The Greek”) (Theodorakis) 4.12
08. Sorrow In Every Port (Katsaros/Pythagoras) 3.45
09. Daybreak (Lavranos/Pythagoras) 3.05
10. Hellena (Lowden) 1.35
11. Departure (Zambetas) 4.17




Alternate frontcovers

Roger Saunders – The Roger Saunders Rush Album (1972)

FrontCover1Solo album of the British guitarist, member of the group “Freedom” and other bands. In the framework of these projects, Roger performed heavy electric guitar music, but he recorded a solo record in soft pop-rock tunes……..

From 1972, out of the UK, comes Roger Saunders with his album The Roger Saunders Rush Album, also known as Thanks on Warner Bros BS2601 DJ white label promo. Scarce eleven track album by Roger Saunders, who is also known as the primary force behind the hard rock group Freedom. They were formed from Procol Harum members just after the hit A Whiter Shade Of Pale. This record is unusual as it shows a picture of some film canisters on the front cover, while on the rear cover is a promotional insert under the shrink giving the title of the album as Thanks with a picture of Roger Saunders on the front cover! Maybe WB was in a hurry to release this to DJs and gave them a different album cover…………. (by johnkatsmc5.blogspot)

Attention: This album has nothing to do with the powerlful rock of “Freedom” … this is more a singer/songwriter album with lot´s of strings ! A real strange musical development….


Promotion info

“I did this album called “Roger Saunders’ Rush Album”,” he said. “That was quite an ironic title, since it took such a long time to make and there was a hell of a lot of work done on the production and arrangements.”

A consequence of this was, the Freedom’s management now demanded more focus on Saunders, who was given long solo spots during the band’s gigs, playing piano and singing on his own. “They had this vision of me being a new Elton John or something. I’d rather have been James Taylor if I’d had the choice!” More changes occurred when the management demanded the bass player be sacked and replaced by Pete Dennis. Some time after, an extra guitarist, Steve Jolly, joined in order to make more space for Saunders’ keyboard playing. Around this time, the style of the band seemed to become increasingly “progressive”, with a hint of country-rock thrown in for good measure.

After Freedom disbanded in late 1972, Roger Saunders turned to working as a session guitarist. When I talked to him, he could no longer remember all the numerous sessions he had participated in; he’d be often called in and presented with the job on the spot with no time for rehearsal. Nevertheless, he found pleasure in this kind of work which at least provided him with a steady salary, unlike the many years of touring with rock groups. “For the first time in my career as a musician I didn’t get any hopes crushed and didn’t have to starve!”

During this time, Saunders kept his creative juices flowing by striking up a partnership with Scott English, the famous songwriter. Via this collaboration, Saunders was invited to work with people who were all-time heroes of his, such as The Crusaders, The Three Degrees and The Drifters. Following that, he joined Medicine Head. Throughout most of the eighties, Roger Saunders was to be seen as a member of Gary Glitter’s band. (by http://alexgitlin.com)

Roger Saunders

Roger Saunders (vocals, piano, guitar)
a bunch of unknown studio musicians


01. Gentian Violet (Saunders/Frost) 3.29
02. Hard To Love (Saunders/Frost) 4.07
03. Darkness (Saunders/Frost) 3.23
04. Where Are You Loving For (Saunders) 3.29
05. Little Old Lady (Saunders/Frost) 2.33
06. Who Knows (Saunders) 1.55
07. No Better Place (Saunders/Pajunen) 4.18
08. Direction (Saunders) 5.12
09. Unanswered Question (Saunders) 3.11
10. Loving You (Saunders) 4.18
11. Thanks (Saunders/Harrison) 4.27



The Inlets

The inlets

Traffic – Live At Santa Monica (VHS-rip) (1972)

FrontCover1Traffic left behind precious few concert videos in any form, so this show, from the Santa Monica Civic Auditorium, is an intrinsically valuable document of the band, even though it does feature a later lineup: Steve Winwood, Jim Capaldi, Chris Wood, Rebop Kwakubaah, Roger Hawkins, and David Hood. Chronologically, the show comes roughly a year later than the Welcome to the Canteen album. At 65 minutes running time, they include “The Low Spark of High Heeled Boys,” “John Barleycorn,” “Rainmaker,” “Glad,” “Freedom Rider,” “Forty Thousand Headmen,” and “Dear Mr. Fantasy,” all of which are worthwhile although also curiously lacking in the urgency that one would hope for in a concert performance. There are some many wonderful shots of the band members from varied angles and all kinds of different lighting, even within the same song, courtesy of video producer Taylor Hackford (White Nights, Against All Odds) but, in fact, this wasn’t the ideal version of the group to capture on stage: Winwood had suffered a serious illness the year before, the group was always in a state of flux as far as its line-up was concerned, and they were entering the period of decline that would coincide with the recording of Shootout at the Fantasy Factory. The musicianship is there, found intact in the thick electric guitar textures of “Light Up or Leave Me,” Winwood’s acoustic guitar performance on “John Barleycorn,” and Wood’s spotlighted flute and sax work on “Rainmaker.”

But one also gets the sense that a lot of excitement was disappearing for the players, apart from Rebop Kwaku Baah, in what Winwood later described as a grind of touring and recording. It’s not a bad video, and well worth tracking down as a document of the group; the sound is very good (especially for the period in which it was recorded), and it would make a good DVD, but one wishes a full-length video of a show from perhaps a year, or two, or three earlier could have found its way into existence. Originally available through RCA Columbia, but packaged by Pacific Arts, this long out of print video was apparently owned by Island Records, and may have reverted to them, which means that it is now somewhere in MCA’s vast holdings of the Polygram Records conglomerate (which bought Island); finding a used copy or getting someone to dub off the laser disc might be easier than waiting for it to be rediscovered by its current owners. (by Bruce Eder)

Chris Wood

Reebop Kwaku Baah (percussion)
Jim Capaldi (percussion, vocals)
Roger Hawkins (drums)
David Hood (bass)
Steve Winwood (guitar, keyboards, vocals)
Chris Wood (saxophone, flute, organ)


01. The Low Spark of High Heeled Boys (Capaldi/Winwood) 13.48
02. Light Up Or Leave Me Alone (Capaldi) 6.35
03. John Barleycorn (Traditional) 5.32
04. Rainmaker (Capaldi/Winwood) 8.35
05. Glad (Winwood) / Freedom Rider (Capaldi/Winwood) 14.05
06. Forty Thousand Headmen (Capaldi/Winwood)
08. Dear Mr. Fantasy (Capaldi/Winwood/Wood) 8.10




Focus – III (1972)

FrontCover1Focus 3 or Focus III is the third studio album from the Dutch rock band Focus, released as a double album in November 1972 on Imperial Records in the Netherlands, Polydor Records in the UK, and Sire Records in the US. Recorded after touring in supporting their previous album, Focus II (1971), the album saw the band write extended pieces and is their first with bassist Bert Ruiter in the group’s line-up.Focus 3 or Focus III is the third studio album from the Dutch rock band Focus, released as a double album in November 1972 on Imperial Records in the Netherlands, Polydor Records in the UK, and Sire Records in the US. Recorded after touring in supporting their previous album, Focus II (1971), the album saw the band write extended pieces and is their first with bassist Bert Ruiter in the group’s line-up.
Focus 3 received a positive reception upon its release. It went to No. 1 in the Netherlands for one week and reached No. 6 on the UK Albums Chart and No. 35 on the US Billboard 200. “Sylvia” was released as the album’s sole single, which reached No. 4 in the UK and No. 89 in the US. The album was certified gold by the Recording Industry Association of America for selling in excess of 500,000 copies.

In July 1972, after touring in supporting their previous album, Focus II (1971), the band retreated to Olympic Studios in Barnes, south west London, to record their next album. Initially a single LP was intended to be recorded but the group had written a considerable amount of new material, so the group opted to release a double album.


Mike Vernon reprised his role as the record’s producer with George Chkiantz assigned as recording engineer.[ Two versions of the album’s sleeve design exist; its North American release features each member photographed during a performance on the BBC music television show The Old Grey Whistle Test with a black background. The second, designed by Hamish Grimes, depicts a close-up of van Leer playing the flute with the title over his face.

“Round Goes the Gossip” features five lines from the poem Aeneid by the ancient Roman poet Virgil, sung in Latin by van Leer and its chorus hook, “Round goes the gossip”, also sung by Vernon. The five lines from the poem are printed on the album’s sleeve in Latin and English[1] with the 1916 translation by Henry Fairclough.


“Love Remembered” is a track written by Akkerman, playing an acoustic guitar with van Leer’s flute, which is based on a young couple’s morning walk. Van Leer wrote “Sylvia” in 1968 when he was a member of his previous theatre group Shaffy Chantat, formed by singer and actor Ramses Shaffy. He was not fond of a composition that singer Sylvia Alberts was given to sing for her solo performance, so he wrote the instrumental with a set of lyrics in English written by Linda van Dyck. Its original title was a long one: “I Thought I Could Do Everything on My Own, I Was Always Stripping the Town Alone”, and concerned an independent young woman who fell apart after she met the love of her life. van Leer kept the music, re-arranging it as an instrumental track when it came to selecting material for the album.

He renamed it “Sylvia” after Alberts “to tease [her] a little”. The track includes a guitar introduction written by van Leer’s brother Frank.


Peet Johnson, one of the group’s biographers, highlights several musical references and similarities that van Leer incorporates in “Focus III”, including riffs from Bernard Hermann, “Don’t Sleep in the Subway” made famous by Petula Clark in 1967, Tchaikovsky, and Schubert. The track’s end segues into “Answers? Questions! Questions? Answers!”, titled by Akkerman, featuring extended flute and guitar solos. Ruiter came up with its basic riff, with Akkerman coming up with the “second part”.[8] Akkerman wrote “Elspeth of Nottingham” after driving around England for a holiday in 1967, stopping in a town in the Cotswolds where he first heard Julian Bream play the lute which inspired him to learn the instrument. Akkerman requested to include birdsong on the recording; Vernon suggested to include sounds of cows mooing and the song’s title, the “Elspeth” being an old Scottish variant of the name Elizabeth.[8][9] “Carnival Fugue” borrows from Johann Sebastian Bach’s The Well-Tempered Clavier before venturing into cool jazz territory, then culminates in a rock finale with piccolo improvisations and a hint of Calypso rhythms on guitar. “Anonymous II” borrows its theme from “Anonymous” from the band’s first album and features a solo spot for all four members, lasting for 26 minutes.
The vinyl pressings of the album includes “House of the King”, a track Focus recorded for their first album, Focus Plays Focus (1970), intended to fill up space on side four. The two former members who perform on the recording, bassist Martin Dresden and drummer Hans Cleuver, are not credited on the album sleeve.


Released in November 1972, Focus 3 was a commercial success for the band, reaching No. 1 in the Netherlands for one week.[11] It reached a peak of No. 6 on the UK Albums Chart[12] in March 1973 during a 16-week stay on the chart.[10] In the US, it reached No. 35 on the Billboard 200. “Sylvia” was released as the album’s sole single, which reached No. 4 in the UK and No. 89 in the US. In November 1973, Billboard announced the album was certified Gold by the Recording Industry Association of America for selling in excess of 500,000 copies. The album reached the same certification in the Netherlands and the UK. (by wikipedia)


Riding on the success of their hit single “Hocus Pocus” from the revolutionary Moving Waves album, Focus got to work on this, their third LP in four years. While the debut album featured a style not too dissimilar to the Bonzo Dog Doo Dah Band, Focus’ second LP, Moving Waves, was purely instrumental and wholly serious-minded. Focus III kept this same sound, but approached it with a jollier, more accessible tone. As with its predecessor, Focus III featured only one tune that would have a chance of being a hit single. The enjoyable rhythm of “Sylvia,” partnered with Jan Akkerman’s victorious guitar solo, some of Van Leer’s finest organ work, Bert Ruiter’s tight basslines, and Pierre Van Der Linden’s mellow drumming, assured the track classic status.

Bert Ruiter

“Sylvia” found worldwide success and gained the band valuable radio and press exposure. The song remains one of the most loved and best remembered songs from Focus’ catalog. The consistency in musical quality throughout Focus III is enough to merit any listeners’ respect. To be frank, this LP has it all: diverse songs, astounding musicianship, one of the finest singles ever released — Focus III should unquestionably be ranked alongside the likes of Revolver, Dark Side of the Moon, and any others of rock’s greatest. (by Ben Davies)
In other words: A masterpiece !


US frontcover

Jan Akkerman (guitar, lute)
Thijy van Leer (keyboards, flute, harpsichord, vocals)
Pierre van der Linden (drums)
Bert Ruiter (bass)
Hans Cleuver (drums on 09.)
Martin Dresden (bass on 09.=
Mike Vernon (background vocals on 01.)


01. Round Goes The Gossip (van Leer) 5.14
02. Love Remembered (Akkerman) 2.49
03. Sylvia (van Leer) 3.32
04. Carnival Fugue (van Leer) 6.09
05. Focus III (van Leer) 6.04
06. Answers? Questions! Questions? Answers! (Akkerman/Ruiter) 13.50
07. Anonymus II(van Leer/Akkerman/Ruiter/ v.d.Linden) 26.21
07.1. Anonymus II (Part 1) 19.28
07.2. Anonymus II (Conclusion) 7.30
08. Elspeth of Nottingham (Akkerman) 3.11
09. House Of The King (Akkerman) 2.51




Teegarden & VanWinkle – With Bruce (On Our Way) (1972)

FrontCover1Teegarden & Van Winkle were an American musical duo, composed of Skip Knape (electric organ, organ pedal bass, vocals), and David Teegarden (drums, vocals). Formed in Tulsa, they took their folksy rock to Detroit.

Their single “God, Love and Rock & Roll”, which borrowed heavily from “Amen”, peaked at #22 on the Billboard Hot 100 in 1970. At times they worked with Bob Seger, appearing live at gigs and even producing an album together with Seger and guitarist Michael Bruce (Smokin’ O.P.’s, 1972). Smokin’ O.P.’s was re-released in 2005.

Teegarden later appeared as the drummer in Bob Seger’s Silver Bullet Band, recording four further albums with Seger.
ConcertPosterIn 1972-3, while David toured with Bob Seger, Skip put his own full band together consisting of horns & female vocals. Skip continued to kick bass pedals with his new larger band. Sheila Chambers a/k/a Shea Chambers, Shaun Murphy a/k/a Stoney Reese were vocalists singing together and separately, in Skip’s band, as well as a pre-RCA Victor recording artist Dan Schafer on guitar and vocals with Jim Langois on drums, Dave Heater on sax & Jack Muncie on trumpet.

In the early 90s, former Doors guitarist Robbie Krieger formed a trio called the ‘Robby Krieger Organization’ featuring Skip on electric organ,organ pedal bass and Dale Alexander on drums & backing vocals.

The Teegarden & Van Winkle duo reunited for another album, Radioactive, in 1997.

And here´s their 4th album from 1972:

Possibly the best package yet from this top duo, who have engaged the aid of Mike Bruce. They flow from rock to blues to folk with ease, and remain two of the best harmony singers around today. Highlights inlude “Reuben Red” with its interesting bagpipes, “If You Live” (by Mose Allison) and “Carry On (With You)”. (Billboard, October 14, 1972)

Two more great cover versions: “Midnight Rider” (ny Greg Allman) and “Goin´ Down” (by Don Nix) and a fine gospel tune called “Stoned On The Love Of Jesus”

Another forgotten jewel in the history of Rok music … Believe me !

Very rare single form the Netherlands:


Skip “Van Winkle” Knapé* (keyboards, vocals)
David Teegarden (drums, vocals)
Mike “Monk” Bruce (guitar, slide-guitar vocals on 01. – 06.)
Ernie Fields Jr. (saxophone on 04., 05. 06. + 11.) (tracks: A4, A5, B2, B6)
Bob Seger (guitar, background vocals, cowbell on 02., 04. ,05. + 06.)
Jerry Smith (piano on 07. + 08. )
background vocals:
Brenda Knight – Jo Ann Hill – Marlene Driscoll


01. Carry On (With You) (Shider/Knapé)
02. Midnight Rider (Allman)
03. Movin’ On Down The Highway (Knapé)
04. Going Down (Nix)
05. Ride Away (With Me) (Knapé)
06. Ain’t Love Grand (Seger/Shider/Knapé)
07. Stoned On The Love Of Jesus (Teegarden/Knapé)
08. Rueben Red (Knapé)
09. Arted Is My Last Name (Passing Gas) (Knapé)
10. If You Live (Allison)
11. I Need You (Knapé)



BillboardReviewThe Billboard review from October 1972

Acker Bilk & The Paramount Jazz Band – Acker Pie (1972)

FrontCover1Bernard Stanley “Acker” Bilk MBE (28 January 1929 – 2 November 2014) was an English clarinettist and vocalist known for his trademark goatee, bowler hat, striped waistcoat and breathy, vibrato-rich, lower-register clarinet style.

Bilk’s 1962 instrumental tune “Stranger on the Shore” became the UK’s biggest selling single of 1962 where it remained in the UK charts for more than 50 weeks, peaking at number two, and was the first No. 1 single in the United States by a British artist in the era of the modern Billboard Hot 100 pop chart.

But … Mr. Acker Bilk was much more than only a traditional jazz player …

On this Album we hear some traditional jazz … a great version of “Nobody Knows You (When You´re Down And Out) .. .I know this Ida Cox song from an early album by The Spencer Davis Group …

And you´ll hear some unexpectedly sounds, like “Nairobi Knees Up ” and … “Burgundy Street” listen … and enjoy!

In other words: A real great Album by the one and only Mr.  Acker Bilk …


Acker Bilk (clarinet, vocals)
Tucker Finlayson (bass)
Rod Mason (trumpet)
John Mortimer (trombone)
Tony Pitt (guitar, banjo)
Johnny Richardson (drums)
Barney Bates (piano, harmonium on 10.)


01. Wolverine Blues (J. Spikes/B. Spikes/Morton) 3.40
02. Spider And The Fly (Waller/Razaf/Johnson) 4.33
03. Burgundy Street (Traditional) 2.37
04. Rose Of The Rio Grande (Leslie/Warren/Gammon) 4.34
05. Nobody Knows You (When You´re Down And Out) (Cox) 3.20
06. Nairobi Knees Up (Mortimer) 3.24
07. I’m An Old Cow Hand /Mercer) 2.41
08. South Rampart Street Parade (Haggart/Bauduc) 4.07
09. Sweet Georgia Brown (Bernie/Casey/Pinkard) 4.14
10. Gloomy Sunday (Seress) 3.08
11. Free For All (Mortimer) 3.34
12. Travellin’ On (Bilk/Green/Manzi) 2.46



More from Mr. Acker Bilk: