The Rolling Stones – Philadelphia Special II (1990)

FrontCover1.jpgThe Rolling Stones American Tour 1972 was a much-publicized and much-written-about concert tour of the United States and Canada in June and July 1972 by The Rolling Stones. Constituting the band’s first performances in the United States following the Altamont Free Concert in December 1969, critic Dave Marsh would later write that the tour was “part of rock and roll legend” and one of the “benchmarks of an era.”

Mick Jagger and Keith Richards share a microphone during the June 1972 Winterland shows

The tour in part supported the group’s Exile on Main St. album, which was released a few weeks earlier on 12 May. It was also part of a tour-America-every-three-years rotation that the group established in 1969 and maintained through 1981.

On the first show of the tour, 3 June in Vancouver, British Columbia, 31 policemen were treated for injuries when more than 2,000 fans attempted to crash the Pacific Coliseum.

TourPosterIn San Diego on 13 June, there were 60 arrests and 15 injured during disturbances. In Tucson, Arizona on 14 June, an attempt by 300 youths to storm the gates led to police using tear gas.[3] While in Chicago for three appearances on 19 and 20 June, the group stayed at Hugh Hefner’s original Playboy Mansion in the Gold Coast district.[4] Eighty-one people were arrested at the two sellout Houston shows on 25 June, mostly for marijuana possession and other minor drug offences.[5] There were 61 arrests in the large crowd at RFK Stadium in Washington, D.C. on the Fourth of July.[6]

On 13 July police had to block 2,000 ticket-less fans from trying to gain access to the show in Detroit.[7] On 17 July at the Montreal Forum a bomb blew up in the Stones’ equipment van, and replacement gear had to be flown in; then it was discovered that 3,000 forged tickets had been sold, causing a fan riot and a late start to the concert.[2] The next day, 18 July, the Stones’ entourage got into a fight with photographer Andy Dickerman in Rhode Island, and Jagger and Richards landed in jail, imperilling that night’s show at the Boston Garden. Boston Mayor Kevin White, fearful of a riot if the show were cancelled, intervened to bail them out; the show went on, albeit with another late start. Dickerman would later file a £22,230 lawsuit against the band.


The tour ended with four shows over three consecutive nights at New York City’s Madison Square Garden, the first night of which saw 10 arrests and two policemen injured,[9] and the last leading to confrontations between the crowd outside Madison Square Garden and the police.[10] The last show on 26 July, Jagger’s birthday, had balloons and confetti falling from Madison Square Garden’s ceiling and Jagger blowing the candles off a huge cake. Pies were also wheeled in, leading to a pie fight between the Rolling Stones and the audience.

Following the final performance, a party was held in Jagger’s honor by Ahmet Ertegun at the St. Regis New York. Guests included Bob Dylan, Woody Allen, Andy Warhol, the Capote entourage, and Zsa Zsa Gabor, while the Count Basie Orchestra provided musical entertainment. At the event, Dylan characterized the tour as “encompassing” and “the beginning of cosmic consciousness.”


Rock critic Robert Christgau reported that the mood of the shows was friendly, with Jagger “undercut[ting] his fabled demonism by playing the clown, the village idiot, the marionette.”

The official name of the tour was ‘American Tour 1972’. However, among the press and fans the tour is widely known as the ‘Stones Touring Party 1972’, derived from the laminates handed out by the management to crew, family, friends and press, granting access to the various area’s at the concert venues and hotels. ‘Stones Touring Party’ was then shortened to ‘STP’, the street name of the drug 2,5-Dimethoxy-4-methylamphetamine, where STP stands for “Serenity, Tranquility and Peace”. In 2015 Jose Cuervo in association with the Rolling Stones launched a brand of tequila with a marketing campaign stating that the STP Tour was known as the ‘tequila sunrise tour’. This statement does not hold any historical truth.


Several writers were assigned to cover the tour. Truman Capote was commissioned to write a travelogue for Rolling Stone. Accompanied by prominent New York socialites Lee Radziwill and Peter Beard, Capote did not mesh well with the group; he and his entourage abandoned the tour in New Orleans before resurfacing for the final shows at Madison Square Garden.[13] Having struggled with writer’s block since the publication of In Cold Blood in 1966, he failed to complete his feature, tentatively titled “It Will Soon Be Here.” Rolling Stone ultimately recouped its stake by assigning Andy Warhol to interview Capote about the tour in 1973. In the interview, Capote alleged that tour doctor Laurence Badgley (a 1968 graduate of the Yale School of Medicine who was later retained by Led Zeppelin for their 1977 North American tour) had a “super-Lolita complex” and initiated the statutory rape of a high school student (also filmed by Robert Frank) on the band’s business jet during a flight to Washington, D.C.


Terry Southern, a close friend of Keith Richards since the late 1960s, wrote about the tour for Saturday Review in what proved to be one of his last major journalistic assignments. Southern and Beard developed a friendship on the tour and collaborated intermittently on The End of the Game (an unfilmed screenplay) for over two decades.

Robert Greenfield’s S.T.P.: A Journey Through America With The Rolling Stones (derived from his tour reportage for Rolling Stone) was published in 1974. Greenfield had already covered the band’s 1971 British Tour for Rolling Stone and was granted unlimited access to the band’s affairs. Although Greenfield was initially assigned as the magazine’s sole correspondent for the tour before a last-minute deal was reached with Capote, he was permitted to continue in his assignment, paralleling Hunter S. Thompson and Timothy Crouse’s two-pronged coverage of the contemporaneous 1972 United States presidential election for the magazine.


Dick Cavett hosted a one-hour special shot before the concluding New York engagement of performances. Capote appeared on The Tonight Show Starring Johnny Carson and several other talk shows, talking about his experiences on the tour. New York radio host Alex Bennett reported on the first Madison Square Garden show as soon as he got back from it.

No official live album was released from the tour at the time, although one was planned as far as having a front and back cover designed and studio touch-ups being made on several recorded tracks. Eventually, the album was shelved due to contractual disputes with Allen Klein.


Two films of the tour were produced. The concert film Ladies and Gentlemen: The Rolling Stones! only saw a limited theatrical release in 1974. Aside from an Australian VHS release in the early 1980s, it wasn’t officially available on home video until 2010. The film’s complete soundtrack was released as an album by Eagle Records/Universal in 2017.

Robert Frank’s Cocksucker Blues is a documentary shot in cinéma vérité style; several cameras were available for anyone in the entourage to pick up and start shooting backstage parties, drug use, and roadie and groupie antics, including a groupie in a hotel room injecting heroin. The film came under a court order which forbade it from being shown other than in very restricted circumstances. The film has since surfaced online in various bootlegged versions of varying quality. (by wikipedia)


And here´s a superb bootleg from this tour.

This is an excellent soundboard recording from one of the best Stones’ tours ever, featuring the great Mick Taylor on leadguitar.


Mick Jagger (vocals, harmonica)
Keith Richards (guitar, background vocals)
Mick Taylor (guitar)
Charlie Watts (drums)
Bill Wyman (bass)
Nicky Hopkins (piano)
Bobby Keys (saxophone)
Jim Price (trumpet, trombone)



CD 1:
01. Brown Sugar 3.42
02. Bitch 4.24
03. Rocks Off 3.46
04. Gimme Shelter 4:41
05. Dead Flowers 4.15
06. Happy 3.08
07. Tumbling Dice 4.49
08. Love In Vain 6.18
09. Sweet Virginia 4.05

CD 2:
2-1 You Can’t Always Get What You Want 7.57
2-2 All Down The Line 4.02
2-3 Midnight Rambler 10.08
2-4 Rip This Joint 2.10
2-5 Jumping Jack Flash 3.34
2-6 Street Fighting Man 4.17
2-7 Tumbling Dice II 4.29
2-8 Bitch II 4.29

All songs written bei Keith Richards & Mick Jagger,
except “Love In Vain” which was written by Robert Johnson



Yma Sumac – Miracles (1972)

FrontCover1.jpgYma Sumac (September 13, 1922 (birth certificate) or September 10, 1923 (later documents) – November 1, 2008), was a Peruvian coloratura soprano. In the 1950s, she was one of the most famous exponents of exotica music.

Sumac became an international success based on her extreme vocal range. She had six-and-a-half octaves according to some reports,[6] but other reports (and recordings) document four-and-a-half at the peak of her singing career.[2][7] (A typical trained singer has a range of about three octaves.)[8]

In one live recording of “Chuncho”, she sings a range of over four and a half octaves, from B2 to G♯7. She was able to sing notes in the low baritone register as well as notes above the range of an ordinary soprano and notes in the whistle register. Both low and high extremes can be heard in the song “Chuncho (The Forest Creatures)” (1953). She was also apparently able to sing in a remarkable “double voice”.

In 1954, classical composer Virgil Thomson described Sumac’s voice as “very low and warm, very high and birdlike”, noting that her range “is very close to five octaves, but is in no way inhuman or outlandish in sound.” In 2012, audio recording restoration expert John H. Haley favorably compared Sumac’s tone to opera singers Isabella Colbran, Maria Malibran, and Pauline Viardot. He described Sumac’s voice as not having the “bright penetrating peal of a true coloratura soprano”, but having in its place “an alluring sweet darkness … virtually unique in our time.” (by wikipedia)

Yma Sumac02

Miracles re-unites the extraordinary five-octave voice of Peru’s Yma Sumac with Les Baxter, the producer of her first album, “The Voice of Xtabay” (released in 1950). Acclaimed for her powerful and unique artistry, Miss Sumac achieved world fame during the Fifties with the use of Mr. Baxter’s productions. He has chosen to record Yma in a contemporary setting with a four-piece rock band and modern recording techniques. The results are a stunning showcase for an unparalleled performer.
Yma is an adventurous musician. She has conquered many modes, from Peruvian folksongs, through operatic arias, as well as popular Latin songs and international folk music. Now, in her very unique way, she tackles rock.
Miracles melds the most extraordinary music of this century with the most extraordinary voice of three generations – an improvisational tour de force. (

This a album full of magic and miracles … it´s a brilliant album ! What a voice !


Chuck Cowan (guitar)
Roger Cowan (bass)
Richard Person (organ)
Yma Sumac (vocals)
Skippy Switzer (drums)

Yma Sumac03
01. Remember (Baxter) 4.03
02. Medicine Man (Baxter) 3.02
03. Let Me Hear You (Baxter) 2.24
04. Tree Of Life (Baxter) 2.53
05. Flame Tree (Baxter) 2.42
06. Zebra (Baxter) 2.48
07. Azure Sands (Baxter) 2.34
08. Look Around (Baxter) 2.16
09. Magenta Mountain (Baxter) 2.43
10. El Condor Pasa (Robles/Milchberg/Simon) 4.44



Yma Sumac01

Mott The Hoople – All The Young Dudes (1972)

FrontCover1.jpgAll the Young Dudes is the fifth studio album by Mott the Hoople, released in 1972. It was their initial album for the CBS Records label (Columbia Records in North America), after three years with Island Records in the UK and Atlantic Records in North America.

All the Young Dudes was a turning point for the then-struggling British band. Mott the Hoople were about to break up when David Bowie stepped in and gave them the song “All the Young Dudes”. Bowie also produced the album, which took Mott “from potential has-beens to avatars of the glam rock movement”. A remastered and expanded version was released by Sony BMG on the Columbia Legacy label in the United Kingdom and the United States on 21 February 2006.

The title track, “All the Young Dudes”, was released as a single prior to the album and charted worldwide, becoming the “ultimate ’70s glitterkid anthem”.[6] “Sweet Jane”, a cover of the Velvet Underground song from their 1970 album Loaded, was issued as a single in Canada, the Netherlands, Portugal, Spain and the United States, though not in their home market of the UK. “One of the Boys”, originally the B-side of “All the Young Dudes”, was also released in North America and Continental Europe.

In 2003, the album was ranked number 491 on Rolling Stone magazine’s list of The 500 Greatest Albums of All Time. In 2012, the album listed at No. 484 on a revised list by the magazine.

“Ready for Love” was reworked by Mick Ralphs’s subsequent band Bad Company on their self-titled debut.


Speculation has persisted over the years that, although All the Young Dudes was released by CBS/Columbia Records, Mott the Hoople may have recorded part or all of the album while still under contract to their original label, Island Records – a situation that, if proven true, might give Island ownership rights to the recordings. Fuel was added to this speculation in 2006 with the re-release of All the Young Dudes in remastered form, including several bonus tracks. Production on one of the bonus tracks, “Black Scorpio” (an early version of “Momma’s Little Jewel”), is co-credited to Island staff producer/A&R executive Muff Winwood, possibly suggesting that work on at least that track was begun while Mott were still signed to Island.


Public comments from the band regarding this matter have been inconsistent. In an extended August 1980 interview with Trouser Press magazine, Ian Hunter stated that Mott had completed All the Young Dudes prior to the band’s leaving Island Records, and that Island’s head Chris Blackwell was unaware the band had a new album ready for release when dissolving their relationship. However, when interviewed about the situation for Chris Hall’s and Mike Kerry’s 2011 documentary Ballad of Mott the Hoople, Hunter laughed nervously, saying “I can’t really discuss it … there’s a blank there as far as I’m concerned – all of a sudden we’re on Columbia Records, and ‘Dudes’ was the first single.” (by wikipedia)



Just at the moment Mott the Hoople were calling it a day, David Bowie swooped in and convinced them to stick around. Bowie spearheaded an image makeover, urging them to glam themselves up. He gave them a surefire hit with “All the Young Dudes,” had them cover his idol’s “Sweet Jane,” and produced All the Young Dudes, the album that was designed to make them stars. Lo and behold, it did, which is as much a testament to Bowie’s popularity as it is to his studio skill. Not to discount his assistance, since his production results in one of the most satisfying glam records and the title track is one of the all-time great rock songs, but the album wouldn’t have worked if Mott hadn’t already found its voice on Brain Capers.



True, Dudes isn’t nearly as wild as its predecessor, but the band’s swagger is unmistakable underneath the flair and Ian Hunter remains on a songwriting roll, with “Momma’s Little Jewel,” “Sucker,” and “One of the Boys” standing among his best. Take a close look at the credits, though — these were all co-written by his bandmates, and the other highlight, “Ready for Love/After Lights,” is penned entirely by Mick Ralphs, who would later revive the first section with Bad Company. The entire band was on a roll here, turning out great performances and writing with vigor. They may not be as sexy as either Bowie or Bolan, but they make up for it with knowing humor, huge riffs, and terrific tunes, dressed up with style by Ziggy himself. No wonder it’s not just a great Mott record — it’s one of the defining glam platters. (by Stephen Thomas Erlewine)


Verden Allen (organ, vocals on 07  background vocals)
Dale “Buffin” Griffin (drums, percussion, background vocals)
Ian Hunter (vocals, guitar, piano)
Mick Ralphs (lead guitar, vocals on 08.,  background vocals)
lead vocals on “Soft Ground”
Pete Overend Watts (bass, background vocals)
Buddy Bauerle (pan flute)
Jeff Hanover (vibraslap)
Mike Walls (organ)


01. Sweet Jane (Reed) 4.21
02. Momma’s Little Jewel (Hunter/Watts) 4.27
03. All The Young Dudes (Bowie) 3.32
04. Sucker (Hunter/Ralphs/Watts) 5.01
05. Jerkin’ Crocus (Hunter) 4.02
06. One Of The Boys (Hunter/Ralphs) 6.47
07. Soft Ground (Allen) 3.20
08. Ready For Love/After Lights (Ralphs) 6.48
09. Sea Diver (Hunter) 2.53



Billy rapped all night about his suicide
How he’d kick it in the head when he was 25
Don’t want to stay alive when you’re 25

Wendy’s stealing clothes from unlocked cars
Freddy’s got spots from ripping off stars from his face
A funky little boat race

The television man is crazy
Saying we’re juvenile delinquent wrecks
But, man, I need a TV when I’ve got T. Rex
Hey, brother, you guessed
I’m a dude

All the young dudes
Carry the news
Boogaloo dudes
Carry the news

Now Jimmy’s looking sweet though he dresses like a queen
He can kick like a mule
It’s a real mean team
We can love

And my brother’s back at home
With his Beatles and his Stones
We never got it off on that revolution stuff
What a drag
Too many snags

Well, I drunk a lot of wine
And I’m feeling fine
Gonna race some cat to bed
Is this concrete all around
Or is it in my head?
Oh, brother, you guessed
I’m a dude

All the young dudes
Carry the news
Boogaloo dudes
Carry the news

More from Mott The Hoople:


Ten Years After – Cap Ferrat Sessions 1972 (2017)

FrontCover1.jpgTo coincide with the Ten Years After’s eponymous debut release in 1967 Chrysalis Records presents a 50th Anniversary 10 CD Box Set. in 2007. This limited edition set includes a CD of previously unreleased material.

This set, limited to 1,500 copies worldwide, contains LPs which have been remastered from the original 1/4″ production master tapes along with the bonus disc entitled “The CapFerrat Sessions”, which consists of never heard before recordings from 1972, newly mixed by acclaimed record producer Chris Kimsey.

Continues Ric, “The box includes nine studio albums and a bonus CD that features the previously unreleased live album ‘The Cap Ferrat Sessions’.

Originally recorded in 1972 in the South of France using The Rolling Stones Mobile recording truck, the session tracks were gathering dust until now. I remember we recorded the live tracks in a villa in Cap Ferrat, South of France. Each of the instruments were recorded in a different room – drums in the ballroom. Between Chris Kimsey, our recording engineer and I, we managed to get one of the best drum sounds on any Ten Years After recording. Natural ambience from the villa’s acoustics helped tremendously. The session tracks were originally planned for the ‘Rock N Roll Music To The World’ album, but due to vinyl restrictions of the time, the tracks were not included in the final album release. More details are on the sleeve notes written for us by Chris Kimsey, who kindly agreed to mix the tracks for this boxed set release 45 years after they were recorded. This is a must-have collection for any avid Ten Years After fan, and any new fans that want to soak up the band’s recorded history.”



Ten Years After stormed the stages of rock, they created a sensation that stunned audiences and quickly won them a coveted place among the pantheon of great British groups. Alvin Lee – one of the most charismatic and admired guitar players to emerge from the British blues boom of the era and deservedly ranked alongside his contemporaries Eric Clapton, Jeff Beck, Jimmy Page and Jimi Hendrix – headed a powerful team of talented musicians, Leo Lyons, Chick Churchill and Ric Lee.

During an intense seven-year period, they embarked on marathon tours, conquering America, enjoying success round the world, whilst also unleashing a succession of ground breaking albums. Their 1967 debut “Ten Years After”was swiftly followed by pioneering live album “Undead” (1968) through the critically acclaimed “A Space In Time”(1971),featuring one of their finest songs ‘‘I’d Love To Change The World”, which is very apt in today’s world, ending with 1974’s ‘Positive Vibrations’.

Ten Years After

“The Cap Ferrat Sessions” came as a result of a discovery by Alvin Lee’s wife, who found a box of recordings deep in the vaults of the studio in their house they shared in Spain. They originate from the “Rock N Roll Music To The World” album sessions, which were recorded at a seaside villa in Cap Ferrat, South of France and Olympic Studios in London. Chrysalis Records turned to world renowned producer Chris Kimsey (whose credits include the Rolling Stones, Bad Company, and Peter Frampton), who recorded and engineered the original sessions, to mix these tracks for the first time.

Revisiting the tapes, some 45 years later Kimsey added, “Alvin and the band were incredibly creative and abundant during this period. These re-discovered recordings were not rough demos, not rehearsals, but completed masters that did not make the album due to the time limitations of vinyl at the time. So these gems were left off. Mixing this in 2017 I began to study the parts, the playing, the response of each musician. It was amazing! It is what all great recordings are made of.“


For avid collectors and fans of the band, the legendary Cap Ferrat sessions will have a special appeal and will be an essential addition to their collection. This is a big deal for classic rock lovers and aficionados all over the world. (by

Great album! Sounds really really good and clear. The songs are classic TYA bluesrock and it is beyond me how they didn’t make it onto the R&MttW album to be honest. (by Jeffrey81)

100% agree. It’s great to have some fresh early period TYA. Glad this wasn’t just lost to history. The green vinyl and cover art are cool too. Recommended to any TYA or Alvin fans.  (by Stuckcake)

Ten Years After_(1971)

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

01. Look At Yourself (A.Lee) 4.21
02. Running Around (A.Lee) 5.33
03. Holy Shit (A.Lee) 2.59
04. There’s A Feeling (A.Lee) 3.30
05. I Hear You Calling My Name (A.Lee) 11.12
06. I’m Writing You A Letter (A, Lee) 6.58
07. There’s A Feeling (A. Lee) 4.44
08. Rock & Roll Music To The World (A. Lee) 4.12
09. Slow Blues In C (Live in Frankfurt,January 1973) (A.Lee) 8.14
10. Spoonful (live) (Dixon) 7.41
11. I’m Going Home (live) 9.48



Mott The Hoople – Live With David Bowie (Philadelphia) (1972)

FrontCover1.JPGAnd here´s another rare item from my bootleg collection:

Mott The Hoople were one of the most influential bands to come out of the UK. Everyone from Oasis to REM to Def Leppard have cited Mott as a major influence. In their day Mott soon became an awesome live act, and concerts were frequently a riotous affair. Sadly, they were unable to convert this live success into record sales, and four albums on Island sold poorly.

A switch to CBS and a tie-up with David Bowie (before Bowie himself had broken through) saw long-overdue commercial success for Mott. However, very little evidence has been made available of Mott’s live prowess, save for the too-short live album recorded and released shortly before Mott broke up at the end of 1974.


Late 1972 saw Mott touring the United States for the third time, this time under Mainman’s management and as headliners for the first time. David Bowie introduced them at the Tower Theatre, Philadelphia amd joined them on stage for the encores, and this show makes up the second disc. Again Mick Ralphs’ guitar is loud and clear as again he plays blistering but tasteful licks, like his extended solo on Ready For Love. Bowie joinds Mott for the first encore All The Young Dudes, where is backing vocals are clearly audible. A raucous version of the Stones’ Honky Tonk Women closes the show, complete with a little audience participation.

Crank the volume up high, and you can imagine you are really there in the front row – always the mark of a good live album. (

This is the show where Bowie do the introduction, and sing backing vocals
on “All The Young Dudes” and “Honky Tonk Women”.

Recorded live at the Tower Theater (Philadelphia PA, November 29. 1972

Alternate frontcovers

Verden Allen (keyboards)
Dale Griffin (drums)
Ian Hunter (vocals, guitar, piano)
Mick Ralphs (guitar)
Overend Watts (bass)
David Bowie (background vocals on 11. + 12.)


01. Introduction by David Bowie / American Pie 3.29
02. Jerkin’ Crocus (Hunter) 4.26
03. Sucker (Hunter/Ralphs/Watts) 5.53
04. Hymn For The Dudes (Hunter/Allen) 6.15
05. Ready For Love (Ralphs) 12.49
06. Sweet Jane (Reed) 6.00
07. Sea Diver (Hunter) 3.29
08. Sweet Angeline (Hunter) 6.36
09. One Of The Boys (Hunter/Ralphs) 7.06
10. Midnight Lady (Hunter/Ralphs) 6.56
11. All The Young Dudes (Bowie) 4.03
12. Honky Tonk Women (Jagger/Richards) 8.41



And here´s a great tribute tot Mott The Hoople (featuring Queen, David Bowie, Ian Hunter and Mick Ronson; recorded live at the Freddie Mercury Tribute Concert in 1992:

Hi there your friendly neighbourhood sadist want to take you for a ride
Come on tell me ’bout the nights that I make you cry
Two tiny purple hands crawling out across the floor
All I could hear was a voice “Give me more more more”

My baby call me when she want a tale
She knows its right in her heart I never fail
She’s a sucker


God help the woman who’s late for work I get a green light flashing red
Like a superstar (brass town?) queen who’s crown I bled
Now I just ran out of aspirin for an aching head
So I guess I’ll have to do it just one more time instead

Randy Holland – Cat Mind (1972)

FrontCover1.jpgRandy Holland (1943-2011) was born in Boulder, Colorado and was raised in Kansas City, Missouri, and Westfield, New Jersey. Randy was an art and music advocate his whole life. His album “Cat Mind” was a four star pick in Billboard in 1972. This is a very nice rock release, with some folk and country inflections, and a good loner vibe. It’s not (contrary to some catalogues) psychedelic, but Hollands’ dark and somewhat snotty delivery and some smokin’ guitar make it stand out from the pack. (by

There are many different kinds of records. Some latch onto you almost immediately and either stand the test of time or else slip away as easily as they came. Randy Holland’s 1972 album Cat Mind is the other kind; those unusual and sometimes uneven records that take more than one listen to fully appreciate. Released on the independent Mother Records label, it can probably be said that Cat Mind never had a chance at real commercial success. But hell, we’re not interested in the commercial success here – we’re after good records, wherever they ended up and in whatever condition. And Cat Mind is a good record.

Looking at that stark, black and white cover shot you’re probably expecting a good deal of grit here, and the opening cut doesn’t disappoint in that department. The off-kilter flower child stomp of “Bless the Naked Days” also wastes no time introducing the listener to Holland’s rough and nasally voice; a voice which he tends to push to the limits, and often far beyond. Depending on where you’re coming from, I reckon this could either be an acquired taste or a real attraction.


Following this first number, “Colors of Sad” is bizarrely saccharine, and it’s this vivid contrast between wildness and melancholy which perhaps defines this record more than anything else. Holland tilts mercilessly between incisive, jagged rock and roll numbers and melodramatic country cuts, with very little sense of transition or artistic compromise. His uncredited backup band really shines, especially on the former, where they lay down some of the most righteous country-stained rock this side of
Wray’s Shack Three Track. The hot swamp growl of “Muddy Water” is a real highlight, as is the weird title track, graced with scorching Davie Allan-style guitar work and an insistent rhythm section. Holland’s forays into the tamer side of Americana are more hit-and-miss, giving us both the warm and gentle “Ladybug” and an unfortunately overwrought reading of Mickey Newbury’s “Remember the Good”.


Fortunately, however, even the most underwhelming cuts are outweighed by the grittier numbers, and the overall quality and unique character of Cat Mind really does warrant it the kind of reissue treatment afforded so many other lost jewels of the period, such as Vernon Wray’s Wasted. As it stands, it isn’t all that hard to track down a used copy for a decent price. And what ever happened to Randy Holland?


From what it looks like, he retired his attempts at making it in the music scene not long after cutting this record and moved to Las Vegas, where he opened an art gallery and devoted the rest of his days to painting and poetry. He passed away a few years ago, truly making this his one and only album. (by

All articles in this entry are from the Billboard Magazine, 1972 and I would like to dedicate this entry to all these beautiful loosers in the history of Rock music.


Randy Holland (guitar, vocals)
a bunch of unknown sudio musicians


01. Bless The Naked Days (Holland) 3.05
02.  Colours Of Sad (Holland) 4.49
03. Song For A Rainy Tuesday (Alpaugh) 3.03
04. Make Me Flowers (Holland/Bishop) 2.43
05. Muddy Water (Wright) 3.16
06. I’ll Remember The Good (Newberry) 3.01
07. Cat Mind (Holland) 2.56
08. Indian Blues (Holland) 3.19
09. Ladybug (Alpaugh) 2.34
10. Take My Hand (Holland) 3.39



Randy Holland passed away Jan. 7, 2011. He was born in Boulder, Colo., in 1943, was raised in Kansas, Mo., and Westfield, N.J. He attended the University of Denver where he majored in philosophy. His mother, Cobbie Holland, was an excellent amateur artist who won many awards in New Jersey and regional competitions. Randy was an art and music advocate his whole life. His album “Cat Mind” was a four star pick in Billboard in 1972. While his business life turned to the Casinos of Las Vegas in 1977, where he remained until 1995, his artistic life in music and art remained active. He owned and operated the Randy Holland1Temecula Art Gallery in Temecula, Calif., from 1995-1999. During the course of three short years, the Gallery provided the community with top notch art shows, a wide variety of performing art, as well as support for the many assistance organizations in the valley. He was past-president of the Arts Council of Temecula Valley; on the board of The American Cancer Society, and Dorland Mountain Arts Colony. He was appointed by the City of Temecula to the Old Town Redevelopment Advisory Committee, and was a 1997 Temecula “Good Neighbor.” Randy is survived by his brother, Dutch Holland; his daughter, Robbie Hansen, her husband Joel, and grandsons, Dylan and Tristan all of Las Vegas. He also has two sons, Mark in Reno, and Shawn in Phoenix, with two more grandchildren Madison and Sawyer. (

Paul Winter – Icarus (1972)

FrontCover1.jpgThis 1972 classic captures saxophonist Paul Winter and his ensemble at the height of their improvisational powers. Winter was one of the first artists to incorporate such exotic instruments as the sitar and tabla into his music and the result was memorable chamber jazz-folk played in the wonderfully experimental, post-hippie way only Winter and his merry band could. The title track, one of guitarist Ralph Towner’s compositions, became famous for its pensive melody and soaring soprano sax. “Whole Earth Chant” is a piece that foreshadows New Age artists like Loreena McKennitt with its echoing tribal drums interwoven with ominous distorted guitar. And “Minuit” downright borders on what today some would call world music–it features a choir of voices singing a simple, sauntering melody taken from a Guinean folk song. Classic early ’70s Winter. (Karen Karleski)

This superb album was not widely known in the seventies in my part of the world, yet these brilliant musicians captivated me with this wonderful music played almost entirely with acoustic instruments, & I have never tired of this album. To this day I do not know anything of their backgrounds, or their previous & later works. My appreciation of this record has remained pure & simple. This work is dated 1972, a year of shining musical inspirations.


When we think of acoustic, we tend to picture acoustic guitars, but just look at the line-up of instruments. Soprano saxophone,cello,oboe,English horn,contrabass Sarrusophone,classical guitar,12-string guitar,Regal,bush organ,Fender bass,conga,tabla,mridangam,surdos,traps,kettledrums,bass marimba,sitar,resonator guitar,& Ghanaian percussion.

The first track titled “Icarus” immediately carries the listener aloft on the air currents & has him/her sailing amongst clouds. One doesn’t really come down again until the final track of this album. Next a track with a peculiar title “Ode to a Fillmore Dressing Room” has the unusual combination of sitar,classical guitar,& jazz bass playing in harmony, with tabla drums also,a remarkable performance. Then a simple but deep song with piano accompaniment,”The Silence of a Candle” reflects one man’s journey within himself, followed by more soaring sensation from tracks with titles such as “Sunwheel”,”Whole Earth Chant”,& “All the Mornings Bring”. I find the use of soprano sax,oboe,& cello as lead instruments rather refreshing in a music market dominated by electric rock.

AlternateFrontCover.jpgAlternate frontcover

The album ends with a truly beautiful West African folk song “Minuit”, which just might remain in your head,& in your heart, for evermore. For me this music always seems like a celebration of the Earth, of Nature, & of Humanity. What more can one say? If you seek just one album of acoustic instrumental music for your collection,”Icarus” may very well fulfill that need wonderfully. (Stephen Keen)


Herb Bushler (bass)
David Darling (cello, vocals)
Paul McCandless (oboe, english horn, bass, sarrusophone, vocals)
Ralph Towner (guitar, piano, regal, bush organ, vocals)
Collin Walcott (conga, tabla, mridangam, surdos, traps, kettledrums, bass marimba, sitar)
Paul Winter (saxophone, vocals)
Barry Altschul (percussion on 08.)
Larry Atamanuik (traps on 01.)
Billy Cobham (traps on 04. + 06.)
Milt Holland (Ghanaian percussion on 06.)
Andrew Tracey – resonator guitar, voice (‘Minuit’)
vocals on 09:
Janet Johnson – Paul Stookey – Bob Milstein


01. Icarus (Towner) 3.04
02. Ode To A Fillmore Dressing Room (Darling) 5.35
03. The Silence Of A Candle (Towner) 3.28
04. Sunwheel (Towner) 4.43
05. Juniper Bear (Walcott/Towner) 3.05
06. Whole Earth Chant (Winter) 7.43
07. All The Mornings Bring (McCandless) 3.53
08. Chehalis And Other Voices (Towner) 5.29
09. Minuit (Winter/Fodeba) 3.10