Atomic Rooster – Germershein (1972)

FrontCover1The second British Rock Meeting was suppose to take place on Friesenheimer Island in Mannheim, Germany; however, the Mannheim city council opposed it and MAMA Concerts had to change the venue. The early posters still show Mannheim as the festival location. As can be seen on the left, the original poster was done in blue, with Mannheim as the venue, new posters were printed in red after the promoters found an alternate site to hold the festival. MAMA Concerts first tried to relocate the festival to Korsika and then to the racetrack in Hockenheim but strong reaction from the city councils made these sites unacceptable.

After much searching, the concert promoters were finally able to relocate the festival to Insel Grün (Green Island) in Germersheim. Even then, it looked like the festival would not happen as Germersheim city officials began having second thoughts about allowing so a large festival to be held on Insel Grün and issued a police order against the festival the day prior to its start. City officials relented however after eleventh hour talks with the festival organizers, the mayor of Germersheim, and a top Rheinland Pfalz state official.

Over 70,000 people attended this 4-day festival and 35 bands performed there, including Pink Floyd, Uriah Heep, Status Quo, Lindisfarne, and of course, Rory Gallagher.


And this is a real good audience tape from the Atomic Rooster (feat. Chris Farlowe !) show at Germersheim 1972.

The Atomic Rooster line-up featuring Pete French on vocals, Steve Bolton on guitar, Ric Parnell on drums, and Crane on keyboards toured Italy, right across America and Canada. This line-up ended their international tour to appear at a benefit gig in September 1971 at the Oval cricket ground, appearing in front of some 65,000 people, supporting The Faces and The Who. After this concert, French moved on to sign with Atlantic records and joined the American rock band Cactus. In February 1972, Crane recruited vocalist Chris Farlowe, at that time with Colosseum, to take the place of French. They went on tour and recorded their first album together in spring 1972. They released the album Made in England along with the single “Stand by Me”, on Dawn Records. They were more into soul at this point, and the progressive and heavy rock leanings from the other releases had receded. The single did not chart and the album just barely caught any attention, but touring followed through. (by wikipedia)

Here´s the soul of Atomic Rooster !


Steve Bolton (guitar)
Vincent Crane (keyboards, synthesizer)
Chris Farlowe (vocals)
Ric Parnell (drums , percussion)


01. Breakthrough (Crane/Darnell) 7.42
02. Save Me (Crane) 5.40
03. A Spoonful Of Bromide Helps (Crane) 4.53
04. Black Snake (Crane/Darnell) 8.15
05. Stand By Me (Crane) 5.09
06. Devil’s Answer (Cann) 8.08
07. Gershatzer (Crane) 15:48


Alternate frontcover

Chris Barber – Drat That Fratle Rat (1972)

OriginalFrontCover1None of the tracks on Drat That Fratle Rat used the complete band of the time, but instead
used selected members, augmented by guests — mostly well-known musicians on the Rock scene.
See the scan of the back cover, above, for exact details.

It’s also worth noting that three of the tunes were co-composed, and all but one produced, by
Steve Hammond, who joined the band in 1971, replacing Stu Morrison on banjo.

So, this a sort of jam session and a real exciting jam session and so this is a sort of jazz-rock session.

I guess most of all people forget, that Chris Barber was and is  very variable musician who was open for many different styles … and not only for the traditional jazz music.

Here´s he´s jamming with rock musicians like Rory Gallagher, Tony Ashton (with his friends Kim Gardner & Roy Dyke  = Ashton, Gardner & Dyke !)

And on drums we will here Colin Allen from Stone The Crows.

A hell of a session !

And the title track is of course a jazzy version of “Rollin´ And Tumblin´” featuring Rory Gallagher on slide-guitar.


Two different labels

Colin Allen (drums)
Tony Ashton (piano, vocals)
Chris Barber (trombone)
Paul Buckmaster (cello)
Graham Burbidge (drums)
John Crocker (saxophone)
Roy Dyke (drums)
Jack Flavelle (bass)
Rory Gallagher (guitar)
Kim Gardner (bass)
Brian Gullen (bassoon)
Pat Halcox (cornet, trumpet)
Mike Lieber (guitar)
Ann O’Dell (piano)
Martin Roke (piano, trombone)
John Slaughter (guitar)


01. Drat That Fratle Rat (Hammond/Barber) 4.00
02. The Falling Song (Ashton) 7.11
03. Fegalemic Pegaloomer (Hammond) 9.18
04. Earth Abides (Roke) 5.03
05. Sleepy Louie (Hammond/Barber) 4.52
06. O’Reilly (Buckmaster) 11.25


Chuck Mangione – The Chuck Mangione Quartet (1972)

FrontCover1In 1978, you couldn’t turn on a radio without hearing the instrumental “Feels So Good” by Chuck Mangione. It ascended to fourth position on Billboard’s Hot 100 that year and was nominated for a Grammy Award in 1979, ultimately becoming certified multi-platinum.

Unknown to many at the time, Mangione had already established himself as a respected mainstream bop trumpeter ten years earlier on albums recorded for Jazzland and Riverside (alongside his keyboardist brother, Gap) under the moniker The Jazz Brothers. The Chuck Mangione Quartet, along with one other Mercury release, Alive, presents Mangione just before his music took a turn toward more pop-oriented leanings. It captures a vibe that existed in the early ’70s that is missed today, suggested in the cover photo of a long-haired, bearded Mangione, casually dressed in bell-bottoms, long-sleeve t-shirt and ever-present fedora. He’s slouched in his chair, one leg crossed over the other, exuding a sense of relaxation, mellowness and chic. The era saw a transition from hippie culture to yuppie culture — from Jefferson Airplane and the Grateful dead to Windham Hill and ABBA, the introduction of the Sony Walkman, the launch of Don Cornelius’s Soul Train and the overwhelming popularity of disco fueled by the music of the Bee Gees and Donna Summer. Unfortunately, Mangione, basking in the celebrity accompanying his success, rarely returned to his former musical style.


The music on . . .Quartet falls squarely in the genre of straight-ahead jazz, but its overall character approaches easy listening. It’s as smooth as silk. There is not a harsh moment on the entire album, and the solos are tastefully executed with nary a false note. The lead off, “Land of Make Believe,” is a bouncy Latin-tinged number with a catchy melody and nice soloing by Gerry Niewood on soprano sax and Mangione on his burnished-sounding flugelhorn. The lovely, lengthy “Self Portrait” features Niewood on understated flute on top of a bed of Latin percussion with Mangione paying a brief homage to Miles Davis in his solo and Ron Davis contributing some fine conga playing. Trumpeter Freddie Hubbard’s modal composition “Little Sunflower” finds Mangione once again channeling Miles Davis before he gets lost in aimless noodling. Niewood, revealing he has listened to a lot of John Coltrane, fares better with a striking solo atop some tasteful, electric piano courtesy of Mangione. Niewood’s composition “Floating” finds the composer doing just that on his soprano sax in this lazy, lyrical number featuring fine solos all around. Niewood is especially effective on one of the album’s highlights, Luis Bonfa’s popular “Manha De Carnival,” where his playing swoops in and around the melody in the tropical mood established by Mangione’s electric piano. Mangione catches fire when the tempo doubles during his solo and lays down some solid horn playing. Drummer Ron Davis and the late bass player Joel De Bartolo provide the music’s rhythmic drive and solid foundation.


Ron Davis (drums, percussion)
Joel DiBartolo (bass)
Chuck Mangione (fluegelhorn, piano, cowbell)
Gerry Niewood (flute, saxophone, tuba, guiro)


01. Land Of Make Believe (Mangione) 8.50
02. Self Portrait (Karshner/Mangione) 10.33
03. Little Sunflower (Hubbard) 9.00
04. Floating (Niewood) 6.17
05. Manha de Carnival (Bonfa) 8.32



Harry Chapin – Sniper & Other Love Songs (1972)

FrontCover1Sniper and Other Love Songs is the second studio album by the American singer/songwriter Harry Chapin, released in 1972. The album’s title song is a vaguely fictionalised account of Charles Whitman’s shootings from the clocktower of the Main Building of the University of Texas at Austin in August 1966. In 2004 it was released as a double CD package with “Heads and Tales” featuring several previously unreleased out-takes.

The song “Circle” was a major hit for The New Seekers (released as “Circles”) and became known as the Chapin Anthem. “Sunday Morning Sunshine” cracked the Billboard Hot 100. A live version of “Better Place To Be” charted in 1976. (by wikipedia)

Sniper & Other Love Songs never sold remotely as well as its predecessor, Heads & Tales, mostly because it never had a hit single like “Taxi” to help lift it high on the charts, but it is actually a bolder and better album and a much more balanced record; the lack of an elaborately produced number like “Taxi” may have hurt sales, but it meant that no one song dominated the proceedings. Chapin sings better here than on his first album, with improved range and a lot more confidence, which extends to his songwriting as well — “Sunday Morning Sunshine” is a fine folk-based number that opens the album in achingly beautiful, genial fashion, but it’s on the second song, “Sniper,” that Chapin shows his real range.


A ten-minute conceptual work, the latter has all the complexity and drama of a screenplay and a movie soundtrack woven into one, and is brilliantly performed/acted by Chapin; listening to it, one gets the impression of a real-life, soft rock version of Noel Airman, the composer character from the novel Marjorie Morningstar, who was forever trying out and reworking material from the Broadway show that he was planning for years; even overlooking the fact that Chapin did, of course, get to Broadway, there’s a sense of someone looking for a bigger canvas that records or singing songs on a concert stage can provide. The rest ranges from low-key, elegantly played, but unpretentious singer/songwriter material, built on beautiful melodies (“And the Baby Never Cries”) to fairly hard-rocking electric numbers (“Burning Herself”). Some of it, like “Barefoot Lady,” sounds a decade out of place in the 1970s, while other numbers, such as “Better Place to Be,” are the kind of extended soft-rocking, poetic numbers that collegiate audiences (at least, humanities majors) used to devour in the early ’70s. “Circle” is probably the most popular number ever to come off of the album, but it’s merely the most obvious personal statement here, rather than representative of this engaging and still very rewarding album, which finally showed up on CD in 2002, in time for its 30th anniversary, from the Wounded Bird label. (by Bruce Eder)


Harry Chapin (guitar, vocals)
Steve Chapin (keyboards)
Russ Kunkel (drums, percussion)
Ron Palmer (guitar, vocals)
Tim Scott (cello)
John Wallace (bass, vocals)


01. Sunday Morning Sunshine 3.51
02. Sniper 9.58
03. And The Baby Never Cries 5.09
04. Burning Herself 3.30
05. Barefoot Boy 3.29
06. Better Place To Be 8.36
07. Circle 3.24
08. Woman Child 5.24
09. Winter Song 2.31

All songs written by Harry Chapin



Grant Green – Live At The Lighthouse (1972)

FrontCover1Some of Grant Green’s hottest moments as a jazz-funk bandleader came on his live records of the era, which were filled with extended, smoking grooves and gritty ensemble interplay. Live at the Lighthouse makes a fine companion piece to the excellent Alive!, though there are some subtle differences which give the album its own distinct flavor. For starters, the average track length is even greater, with four of the six jams clocking in at over 12 minutes. That makes it easy to get lost in the grooves as the musicians ride and work them over. What’s more, the rhythmic foundation of the group is noticeably altered. Live at the Lighthouse is one of the few Green albums of the period not to feature loose-limbed funky drummer Idris Muhammad, and his spare, booming sound and direct James Brown inspiration give way to the busy, bubbling, frequently up-tempo polyrhythms of drummer Greg Williams and extra percussionist Bobbye Porter Hall. They push the rest of the group to cook up a storm on tracks like “Windjammer” (which is taken at a madly up-tempo pace compared to the version on Green Is Beautiful), Donald Byrd’s modal piece “Fancy Free” (which features some of Green’s best soloing of the date), and organist Shelton Laster’s soulful original “Flood in Franklin Park.” Laster winds up as probably the most impassioned soloist, breaking out of the pocket for some spiralling, hard-swinging flights. For his part, Green works the grooves with the ease of a soul-jazz veteran used to the concept. The results make Live at the Lighthouse one of his best, most organic jazz-funk outings. (by Steve Huey)

Recorded live at the Lighthouse Club in Hermosa Beach, California on April 21, 1972


Claude Bartee (saxophone)
Gary Coleman (vibraphone)
Wilton Felder (bass)
Grant Green (guitar)
Bobbye Porter Hall (percussion)
Shelton Laster (organ)
Greg Williams (drums)
Hank Stewart (announcer)


01. Introduction by Hank Stewart 2.30
02. Windjammer (Creque) 12.15
03. Betcha By Golly, Wow (Bell/Creed) 7.41
04. Fancy Free (Byrd) 14.44
05. Flood In Franklin Park (Laster) 15.00
06. Jan Jan (Davis) 12.18
07. Walk In The Night (Bristol/McLeod) 6.37




Dewey Terry – Chief (1972)

FrontCover1Don and Dewey were an American rock and roll duo, comprising Don “Sugarcane” Harris(June 18, 1938 – December 1, 1999) and Dewey Terry (July 17, 1937[2] – May 11, 2003). Both were born and grew up in Pasadena, California.

In 1954, Dewey Terry was a founding member of a group called the Squires while still in high school. He was later joined by a friend, Don Bowman (who would later change his name to Harris). In 1955 the Squires released a record on the minor Los Angeles-based label Dig This Record. In 1957 the group broke up, but Don and Dewey remained together.

Later that year they were signed by Art Rupe’s Specialty Records label and for the next two years produced rock and roll. Both Don and Dewey played guitar, with Dewey often doubling on keyboards. When not playing guitar or bass, Don occasionally played the electric violin, a skill for which he subsequently became well known under the name of “Sugarcane” Harris. Legendary drummer Earl Palmer played frequently on their sessions.

DonDeweyAlthough Don and Dewey did not have any hits of their own, several of the songs that they wrote and/or recorded would appear on the charts later, performed by other artists. “I’m Leaving It Up to You” became a #1 hit for Dale & Grace in 1963. “Farmer John” was a hit by The Premiers, reaching #19 in 1964 after having been covered by The Searchers a year earlier. “Koko Joe” (written by the then Specialty Records producer Sonny Bono), “Justine” and “Big Boy Pete” were staples for The Righteous Brothers for many years. (Indeed, it has frequently been noted that the early Righteous Brothers act was quite closely based on Don and Dewey’s.) Finally, “Big Boy Pete” became a minor hit in 1960 for The Olympics, reaching #50 and a #4 hit for The Kingsmen when recorded with new lyrics as “The Jolly Green Giant” in 1965.

DonDewey2In 1959 Don and Dewey and producer Bono left Specialty Records for Rush Records, where they recorded a few songs but split up shortly afterward.

In 1964 Art Rupe recorded both Don and Dewey and Little Richard (another Specialty Records act) and, although some energetic music was generated, there were to be no further hits for either act. The pair played briefly in Little Richard’s band and then went their separate ways once again.

“Don and Dewey” is also an instrumental by the band “It’s a Beautiful Day”. It features on track 1 of their 1970 album “Marrying Maiden”. The band feature a violin, so this may have been the inspiration to write this piece.

That same year, 1970, Sugar Cane Harris (sic) re-emerged to a wider rock audience, playing violin on the Hot Rats solo album by Frank Zappa, with Captain Beefheart (vocals) on “Willie The Pimp” and on the lengthy instrumental jam, “The Gumbo Variations”. and in later years, went on to play on many more solo Zappa, and The Mothers of Invention albums. He had previously featured in the late 60s, on recordings with Johnny Otis of The Johnny Otis Show, and John Mayall’s Bluesbreakers. (by wikipedia)

So far, so good…

DewyTerry01And this is first solo album for the rare Tumbleweed Records Label:

This label was launched in 1971 by a group of businessmen, among them Bill Szymczyk, who would soon be famous as producer for Eagles and Larry Ray, both associated with ABC/Dunhill Records.
The label was located in Denver and largely financed by Gulf+Western. It took only nine albums to spend all the money, after which the label folded in 1973.
Since there was substantial financial support, packaging and production values were of a high level (for such a small label). (by dis

Dewey Terry is a soul singer, pianist and guitarist with a strong church / blues feel in his music.

The album opens with a ballad accompanied only with his expansive piano and then kicks in with a great “Stax like” version of his co-written song, with Don Harris, “Big Boy Pete”.

The rest of the album features funky blues and soul with great sound by the legendary producer Bill Szymczyk. (by

Booklet08A“The Dewey Terry ‘Chief’ album is great — I did the arrangements with Dewey and it was a blast to make. Dewey died last year (2003) and Don ‘Sugarcane’ Harris died in ’98. They were both dear friends and I produced many projects with them. True originals and funnier than any comedy team. As an example, when playing at Tulagi in Boulder in 1973 Don was coked up and drank a bottle of Cuervo. We were in the dressing room and Don somehow got hold of a butcher knife and lunged at Dewey — Dewey held his trembling arm with the knife aimed at his chest and calmly said “now Don, I told you a hundred times — liquor and weapons do not mix”. I played many gigs with these guys and it was always a laugh riot.” Robb Kunkel

Billboard1972Billboards, 1972

Mel Brown (horn)
GaGa (drums)
Don Sugar Cane Harris (violin)
Danny Holien (guitar)
Jim Horn (horn)
Robb Kunkel (guitar)
Harvey Mandel (guitar)
Steve Swenson (bass)
Dewey Terry (vocal, guitar, keyboards)

01. She’s Leavin’ Me (Terry) 1.51
02. Big Boy Pete (Terry/Harris) 3.25
03. Funky Old Town (Terry/Kunkel) 5.01
04. Suit For The Cat (Terry/Harris) 4.41
05. Do On My Feet (What I Did In The Street) (Terry) 4.42
06. Reef Ade (Terry) 1.31
07. Well Known Man (Holien) 4.28
08. Sweet As Spring (Terry) 3.48
09. De Blooze (If You Wanna Get Groovy Now) (Terry) 5.35
10. Let Them Ol’ Stars And Stripes Shine (Terry) 3.39




Led Zeppelin – How The West Was Won (2003)

FrontCover1How the West Was Won is a triple live album by the English rock group Led Zeppelin, released by Atlantic Records on compact disc on 27 May 2003, and DVD-Audio on 7 October 2003. These original performances are from the band’s 1972 concert tour of the United States, recorded at the L.A. Forum on 25 June 1972 and Long Beach Arena on 27 June 1972.

Guitarist Jimmy Page considers Led Zeppelin at this point to have been at their artistic peak, as is mentioned in the album’s liner notes. In an interview he gave to The Times newspaper in 2010, when asked which performances from Led Zeppelin’s career stand out to him now, he made reference to these gigs:

I think what we did on … How the West was Won – that 1972 gig – is pretty much a testament of how good it was. It would have been nice to have had a little more visual recordings, but there you go. That’s the conundrum of Led Zeppelin!

For many years, live recordings of these two shows only circulated in the form of bootlegs, and even then only certain audience recordings were available to fans and collectors (for example, Burn Like a Candle). Though several soundboard recordings of Led Zeppelin concerts were circulated amongst fans after having been stolen from Page’s personal archive some time in the mid–1980s, no soundboards of the 1972 Long Beach or LA Forum shows were taken, meaning the release of How the West Was Won was the first chance fans had of hearing the soundboard versions of these concerts.

LedZeppelin01AThe songs from the two shows underwent some extensive editing and audio engineering by Page at Sarm West Studios in London before being released on the album. Some songs which were played at the concerts, such as “Communication Breakdown”, “Tangerine”, “Thank You” and a rare version of “Louie Louie” from the 25 June show, were left off How the West Was Won.

LedZeppelin02For years, Led Zeppelin fans complained that there was one missing item in the group’s catalog: a good live album. It’s not that there weren’t live albums to be had. The Song Remains the Same, of course, was a soundtrack of a live performance, but it was a choppy, uneven performance, lacking the majesty of the group at its peak. BBC Sessions was an excellent, comprehensive double-disc set of their live radio sessions, necessary for any Zeppelin collection (particularly because it contained three songs, all covers, never recorded anywhere else), but some carped that the music suffered from not being taped in front of a large audience, which is how they built their legacy — or, in the parlance of this triple-disc collection of previously unreleased live recordings compiled by Jimmy Page, How the West Was Won. The West in this case is the West Coast of California, since this contains selections from two 1972 concerts in Los Angeles: a show at the LA Forum on June 25, and one two days later at Long Beach Arena. This is the first archival release of live recordings of Zeppelin at their peak and while the wait has been nigh on interminable, the end result is certainly worth the wait. Both of these shows have been heavily bootlegged for years and while those same bootleggers may be frustrated by the sequencing that swaps the two shows interchangeably (they always prefer full shows wherever possible), by picking the best of the two nights, Page has assembled a killer live album that captures the full, majestic sweep of Zeppelin at their glorious peak.

LedZeppelin03And, make no mistake, he tries to shove everything into these three discs — tight, furious blasts of energy; gonzo freak-outs; blues; and rock, a sparkling acoustic set. Like always, the very long numbers — the 25-minute “Dazed and Confused,” the 23-minute “Whole Lotta Love,” the 19-minute “Moby Dick” — are alternately fascinating and indulgent, yet even when they meander, there is a real sense of grandeur, achieving a cinematic scale attempted by few of their peers (certainly no other hard rock or metal band could be this grand; only Queen or David Bowie truly attempted this). But the real power of the band comes through on the shorter songs, where their sound is distilled to its essence. In the studio, Zeppelin was all about subtle colors, textures, and shifts in the arrangement. On-stage, they were similarly epic, but they were looser, wilder, and hit harder; witness how “Black Dog” goes straight for the gut here, while the studio version escalates into a veritable guitar army — it’s the same song, but the song has not remained the same. That’s the case throughout How the West Was Won, where songs that have grown overly familiar through years of play seem fresh and new because of these vigorous, muscular performances. For those who never got to see Zeppelin live, this — or its accompanying two-DVD video set — is as close as they’ll ever get. For those who did see them live, this is a priceless souvenir. For either group, this is absolutely essential, as it is for anybody who really loves hard rock & roll. It doesn’t get much better than this. (by by Stephen Thomas Erlewine)

John Bonham – drums, percussion, background vocals, co-lead vocals on 10.)
John Paul Jones (bass, keyboards, mandolin, background vocals)
Jimmy Page (guitar, mandolin, background vocals)
Robert Plant (vocals, harmonica)


CD 1:
01. LA Drone (Jones/Page) 0.15
02. Immigrant Song  (Page/Plant) 3.41
03. Heartbreaker (Bonham/Jones/Page/Plant) 7.23
04. Black Dog (Jones/Page/Plant)  5.40
05. Over The Hills And Far Away (Page/Plant) 5.07
06. Since I’ve Been Loving You (Jones/Page/Plant) 8.01
07. Stairway To Heaven (Page/Plant) 9.36
08. Going To California  (Page/Plant) 5.36
09. That’s The Way (Page/Plant) 5.53
10. Bron-Yr-Aur Stomp (Jones/Page/Plant) 4.52

CD 2:
11.1. Dazed And Confused (Page)
11.2. Walter’s Walk (Page/Plant)
11.3. The Crunge (Page/Plant/Bohnham/Jones) 25.25
12. What Is And What Should Never Be (Page/Plant) 4.41
13. Dancing Days (Page/Plant) 3.42
14. Moby Dick (Bonham/Jones/Page) 19.20

CD 3:
15.1. Whole Lotta Love (Page/Plant/Bohnham/Jones/Dixon)
15.2. Boogie Chillun (Besman/Hooker)
15.3. Let’s Have A Party (Robinson)
15.4. Hello Marylou (Mangiaracina/Pitney)
15.5. Going Down Slow (Oden) 23.08
16. Rock And Roll (Bonham/Jones/Page/Plant) 3.56
17. The Ocean (Bonham/Jones/Page/Plant) 4.21
18.1. Bring It On Home (Dixon)
18.2. Bring It On Back (Bonham/Jones/Page/Plant) 9.30