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)

Mike Bloomfield01
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.

Mike Bloomfield02

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:


Rory Gallagher – Lausanne Radio (1972)

FrontCover1William Rory Gallagher (2 March 1948 – 14 June 1995) was an Irish blues and rock multi-instrumentalist, songwriter, and producer. Born in Ballyshannon, County Donegal,[3] and brought up in Cork, Gallagher recorded solo albums throughout the 1970s and 1980s, after forming the band Taste during the late 1960s. His albums have sold over 30 million copies worldwide.

Gallagher received a liver transplant in 1995, but died of complications later that year in London at the age of 47.

After the break-up of Taste, Gallagher toured under his own name, hiring former Deep Joy bass player Gerry McAvoy to play on Gallagher’s self-titled debut album, Rory Gallagher.

It was the beginning of a twenty-year musical relationship between Gallagher and McAvoy; the other band member was drummer Wilgar Campbell. The 1970s were Gallagher’s most prolific period. He produced ten albums in that decade, including two live albums, Live in Europe and Irish Tour ’74. November 1971 saw the release of the album Deuce.

In the same year he was voted Melody Maker’s International Top Guitarist of the Year, ahead of Eric Clapton. However, despite a number of his albums from this period reaching the UK Albums Chart, Gallagher did not attain major star status.

Gallagher played and recorded what he said was “in me all the time, and not just something I turn on …”. Though he sold over thirty million albums worldwide, it was his marathon live performances that won him greatest acclaim. He is documented in Irish Tour ’74, a film directed by Tony Palmer. (by wikipedia)

And here´s another fine bootleg from this period. This entry is dedicated to all Rory Gallagher fans all over the world !

Thanks to Stef; Jeff James; and to kmr_78 for sharing the show at Dime.

Recorded live at the Pavillion des Sports, Lausanne, Switzerland; June 3, 1972. Swiss Radio Session. Very good FM broadcast.


Rod de’Ath (drums)
Rory Gallagher (guitar, vocals)
Gerry McAvoy (bass)

Alternate frontcover:


Lausanne, June 3, 1972:
01. Going To My Hometown (end only) (Gallagher) 1.35
02. Intro 0.24
03. In Your Town (Gallagher) 9:24
04. Used To Be (Gallagher) 3:46
05. Interview 2.06
06. Hoodoo Man (Gallagher) 7.50
07. Intro 0.18
08. Messing With The Kid (Wells) 5:04
09. Intro 2.29
10. I Could’ve Had Religion (Traditional) 7.45

Popgala; Vliegermolen, Voorborg, Holland TV (SBD); March 10, 1973:
11. Messing With The Kid (Wells) 7:50
12. Hands Off (Gallagher) 6.07


  • (coming soon)


More Rory Gallagher:

Manu Dibango – Africadelic (1972)

OriginalFrontCover1Emmanuel N’Djoké “Manu” Dibango (12 December 1933 – 24 March 2020) was a Cameroonian musician and songwriter who played saxophone and vibraphone. He developed a musical style fusing jazz, funk, and traditional Cameroonian music. His father was a member of the Yabassi ethnic group, though his mother was a Duala. He was best known for his 1972 single “Soul Makossa.” He died of COVID-19 on 24 March 2020.

Dibango was born in Douala, Cameroon. His father, Michel Manfred N’Djoké Dibango, was a civil servant. Son of a farmer, he met his wife travelling by pirogue to her residence, Douala. A literate woman, she was a fashion designer, running her own small business. Both her ethnic group, the Duala, and his, the Yabassi, viewed this union of different ethnic groups with some disdain. Emmanuel had no siblings, although he had a stepbrother from his father’s previous marriage[7] who was four years older than he was. In Cameroon, one’s ethnicity is dictated by one’s father, though Dibango wrote in his autobiography, Three Kilos of Coffee, that he had “never been able to identify completely with either of [his] parents.”

ManuDibango01Dibango’s uncle was the leader of his extended family. Upon his death, Dibango’s father refused to take over, as he never fully initiated his son into the Yabassi’s customs. Throughout his childhood, Dibango slowly forgot the Yabassi language in favour of the Duala. However, his family did live in the Yabassi encampment on the Yabassi plateau, close to the Wouri River in central Douala. While a child, Dibango attended Protestant church every night for religious education, or nkouaida. He enjoyed studying music there, and reportedly was a fast learner.

In 1941, after being educated at his village school, Dibango was accepted into a colonial school, near his home, where he learned French. He admired the teacher, whom he described as “an extraordinary draftsman and painter.” In 1944, French president Charles de Gaulle chose this school to perform the welcoming ceremonies upon his arrival in Cameroon.

He was a member of the seminal Congolese rumba group, African Jazz, and has collaborated with many other musicians, including Fania All Stars, Fela Kuti, Herbie Hancock, Bill Laswell, Bernie Worrell, Ladysmith Black Mambazo, King Sunny Adé, Don Cherry, and Sly and Robbie. He achieved a considerable following in the UK with a disco hit called “Big Blow”, originally released in 1976 and re-mixed as a 12″ single in 1978 on Island Records.


In 1998, he recorded the album CubAfrica with Cuban artist Eliades Ochoa. At the 16th Annual Grammy Awards in 1974, he was nominated in the categories Best R&B Instrumental Performance and Best Instrumental Composition for “Soul Makossa”.

The song “Soul Makossa” on the record of the same name contains the lyrics “makossa”, which means “(I) dance” in his native tongue, the Cameroonian language Duala. It has influenced popular music hits, including Kool and the Gang’s “Jungle Boogie”. The 1982 parody song “Boogie in your butt” by comedian Eddie Murphy interpolates Soul Makossa’s bassline and horn charts while “Butt Naked Booty Bless” by 1990s hip-hop group Poor Righteous Teachers heavily samples its musical bridge and drum patterns.

He served as the first chairman of the Cameroon Music Corporation, with a high profile in disputes about artists’ royalties. Dibango was appointed a UNESCO Artist for Peace in 2004.


His song, “Reggae Makossa”, is featured on the soundtrack to the 2006 video game Scarface: The World Is Yours. In August 2009, he played the closing concert at the revived Brecon Jazz Festival. In July 2014, he made an 80th anniversary concert at Olympia, France which was broadcast by TV5Monde.

In 2009 he filed a lawsuit claiming that Rihanna’s and Michael Jackson’s “Don’t Stop the Music” and “Wanna Be Startin’ Somethin'” used the “Mama-say, mama-sa, ma-ma-ko-ssa” hook without his permission. According to Dibango, the line is from his 1972 single “Soul Makossa”. Agence France-Presse reported that Jackson admitted that he borrowed the line for “Wanna Be Startin’ Somethin'” and settled out of court. When Rihanna asked Jackson in 2007 for permission to sample the line, he allegedly approved the request without contacting Dibango beforehand. Dibango’s attorneys brought the case before a court in Paris, demanding €500,000 in damages and asking for Sony BMG, EMI and Warner Music to be “barred from receiving ‘mama-say mama-sa’-related income until the matter is resolved”. The judge ruled that Dibango’s claim was inadmissible: a year earlier, a different Paris-area judge had required Universal Music to include Dibango’s name in the liner notes of future French releases of “Don’t Stop the Music”, and, at the time of this earlier court appearance, Dibango had withdrawn legal action, thereby waiving his right to seek further damages.


On 8 September 2015, Michaëlle Jean, Secretary General of the Organisation Internationale de la Francophonie, honours Manu Dibango with the title of Grand Témoin de la Francophonie aux Jeux Olympiques et Paralympiques de Rio 2016 (Special Representative of Francophonia to the Rio 2016 Olympic and Paralympic Games).

Dibango died on 24 March 2020 of COVID-19. (by wikipedia)

And here is of his early album from the Seventies. And this is the story behind mthis brilliant album:


AFRICADELIC is the classic 1972 album composed and recorded in the span of one week by Manu Dibango, after the encouraging success of his monster hit “Soul Mokossa.” Here he continues to fuse Afro-Caribbean flavors with the contemporary Latin and funk influences of the day, resulting in a highly soulful, highly danceable album. (by AllMusic

And yes, this is an extraordinary album, by one of the finest musicians of Africa !


Manu Dibango And His African Pop Group

Alternate frontcovers:

01. Soul Fiesta 2.09
02. Africadelic 2.16
03. The Panther 2.29
04. African Battle 3.01
05. Black Beauty 2.50
06. African Carnaval 3.17
07. Moving Waves 4.03
08. Afro-Soul 2.44
09. Oriental Sunset 1.48
10. Monkey Beat 2.43
11. Wa-Wa 3.04
12. Percussion Storm 1.54

Music composed by Louis Delacour & Manu Dibango



ManuDibango05“Manu” Dibango (12 December 1933 – 24 March 2020)

I have to thank !

Thijs van Leer – Introspection (1972)

FrontCover1Thijs van Leer (* March 31, 1948 – Amsterdam, Netherlands) is a Dutch musician, singer and composer, best known for heading the Dutch progressive rock band, Focus, as primary vocalist, Hammond organ player, and flautist. He went on to release many solo albums which were also classical music and jazz based. His main instruments are flute and different types of organs. He also sings, yodels and whistles.

Thijs van Leer received his first flute at the age of eleven from his father, a classical flautist. He studied History of Art at Amsterdam University; after when he began studying flute and composition at the Amsterdam Conservatorium. He received a degree for flute from Geneva Conservatoire and also studied piano, orchestration (with Rogier van Otterloo) and organ (with Anthon van der Horst).

While still at school, van Leer led a jazz group on piano. He went on to play the flute and sing with the Shaffy cabaret group. In 1969 he joined Martijn Dresden (bass) and Hans Cleuver (drums) to form a trio that covered songs by Traffic and backed other Dutch musicians, as well as playing their own material. Later in the year guitarist Jan Akkerman joined, completing the initial line-up of Focus. They released several albums in the early 1970’s.

Thijs van Leer01

Thijs van Leer headed Focus through several line-up changes, and by 1977 he was the only remaining original member. The group disbanded in 1978. In 1985, van Leer briefly reunited with Jan Akkerman to make Focus 1985. In 2002, van Leer created a new Focus line-up, which has since released the albums Focus 8 and Focus 9 / New Skin. A British tour was undertaken in spring 2006. He also appeared as a guest musician on the album, Into the Electric Castle, by Arjen Anthony Lucassen’s musical project Ayreon.

In 2008 Explore Multimedia released van Leer’s first solo album in nearly a decade, The Home Concert. The album featured recordings made in his living room as he played material for Focus 9. The album is exclusively available via the internet, and at concerts. (bach-cantatas.com)


And here´s his first solo-album:

The Focus-flutist released a series of albums consisting of lush and romantic classical music, and this was the very first one. Van Leer’s flute is backed up by a whole orchestra and sometimes also the wordless vocal-harmonies of Letty De Jong. The material on the album includes classical stuff like Fauré’s “Pavane, Op. 50” and excerpts from Bach’s “Mass in B Minor” and “St. Matthew Passion”.

Alternate frontcover:

There are also symphonic versions of “Focus I” and “Focus II” here, and both versions prove what beautiful compositions these really are. The title-track is partly based in Albinio’s well-known “Adagio” but the theme itself sounds slightly re-written. There’s also a short baroque piece here credited to arranger and conductor Rogier Van Otterloo. At it’s best; the album is very beautiful, atmospheric and relaxing music. But just don’t expect it to sound like the energetic progressive rock that Van Leer did in Focus. (by Andrew)

Thijs van Leer02

Thijs van Leer made an album with ‘light’ classical tunes…and orchestrated by Rogier Van Otterloo.
The album made him a respectful musician not only by the rockers but also with them who hated rock.A very professional and successful album ,indeed. The album was in the charts (Be) for over a year.
‘Focus’ fans would give him credit for this one….but soon part 2,part 3…. followed…the originality vanished….and the real classical flute lovers would be rather buy a James Galway record. (by beestie)


Thijs van Leer ( flute)
Letty de Jong (vocals)
unknown orchestra conducted by Rogier van Otterloo

Thijs van Leer03

01. Pavane, Op. 50 (Fauré) 5.54
02. Rondo (v.Otterloo) 3.08
03. Agnus Dei (Bach) 5.03
04. Focus I (v.Leer) 4.10
05. Erbarme dich (Bach) 7.31
06. Focus II (v.Leer) 4.27
07. Introspection (v.Otterloo) 5.38



Rogier van Otterloo