Paco de Lucia – Fuente Y Caudal (1973)

FrontCover1.jpgFuente y caudal (Source and Flow) is the ninth studio album by the Spanish composer and guitarist Paco de Lucía. All pieces are credited Paco de Lucía and José Torregrosa.

The technical ability on this album is absolutely phenomenal. Paco’s blisteringly fast plucks and latin rhythms are an absolute delight, and the occasional presentations of background vocals and rhythmic stomps and claps bring a wonderful air of culture and fun to this impressive instrumental album. It does tend to run together a little bit, in my opinion from a lack of diversity in the backing instrumentation, but overall this is really a stellar and jaw-dropping album that showcases a lot of grace and finesse. (HotOpinions)

PacoDeLucia1973_01This is a historic recording by the greatest flamenco guitarist. His technique is different from the classical guitar. He holds his instrument over his right knee instead of using a foot stool. He uses techniques like tremolo (fast repetition of one note), rasguado (stroking with several fingers), arpeggio (broken chord) and golpe (tap). You can hear the Moorish influence and the Phrygian mode. Each track has the rhythm of a traditional Spanish dance. Highlights: Entre dos aguas, Bulerías por soleá, Fuente y caudal. (bonnielaurel)


Ramón de Algeciras (guitar)
Paco de Lucía (guitar)

01. Entre dos aguas (Rumba) 6.00
02. Aires choqueros (Fandangos de Huelva) 4.14
03. Reflejo de luna (Granaína) 3.52
04. Solera (Bulerías por Soleá) 3.44
05. Fuente y caudal (Taranta) 5.11
06. Cepa Andaluza (Bulería) 5.48
07. Los Pinares (Tangos) 3.36
08. Plaza de San Juan (Alegrías) 3.11




Paco de Lucia (21 December 1947 – 25 February 2014)

Nazareth – Razamanaz (1973)

FrontCover1.jpgRazamanaz is the third studio album by the Scottish hard rock band Nazareth, released in 1973. It was the band’s first LP record to break the charts and was produced by Deep Purple’s Roger Glover who the band was on tour with at the time. “Woke Up This Morning” was re-recorded for this album. (by wikipedia)

After pursuing a Rolling Stones-styled blend of rock and country elements on their first two albums, Nazareth segued into a harder rocking style with 1973’s Razamanaz. The resulting album has a lot of energy and drive and much of this can be credited to Roger Glover’s production, which tempers the group’s tendency to experiment with different musical styles by imposing an overall sound that play’s up the group’s hard rock edge. The end result is an album that rocks consistently throughout but works in intriguing musical elements to keep things interesting. For instance, “Alcatraz” and “Night Woman” work a glam-styled tribal drum rhythm into the group’s sound, and “Vigilante Man” starts out as a straight blues tune but soon mutates into a stomping slice of heavy metal.


The most successful experiments come when the group works a country element into their rock attack: “Broken Down Angel” sounds like an early 1970s Rolling Stones track with heavier guitars, and “Bad Bad Boy” sounds like an old rockabilly tune as played by a 1970s hard rock band. Both tunes cleverly mix some effective pop hooks into their stew of hard rock and country elements and became hit singles in England as a result. Other Razamanaz highlights include the title track, a furious rocker that became a permanent part of the band’s live set list, and “Woke Up This Morning,” a heavy blues tune with darkly comic lyrics about a man with terminally bad luck. To sum up, Razamanaz is one of the finest albums in the Nazareth catalog and a gem of 1970s hard rock in general. (by Donald A. Guarisco)


Pete Agnew (bass, background vocals)
Manny Charlton (guitar, slide guitar, banjo, background vocals)
Dan McCafferty (vocals)
Darrell Sweet (drums, percussion, background vocals)
Roger Glover (bass, percussion)


01. Razamanaz (Agnew/Charlton/McCafferty/Sweet) 3.51
02. Alcatraz (Russell) 4.23
03. Vigilante Man (Guthrie) 5.23
04. Woke Up This Morning (Agnew/Charlton/McCafferty/Sweet) 3.52
05. Night Woman (Agnew/Charlton/McCafferty/Sweet) 3.28
06. Bad, Bad Boy (Agnew/Charlton/McCafferty/Sweet) 3.56
07. Sold My Soul (Agnew/Charlton/McCafferty/Sweet) 4.48
08. Too Bad, Too Sad (Agnew/Charlton/McCafferty/Sweet) 2.54
09. Broken Down Angel (Agnew/Charlton/McCafferty/Sweet) 3.44





Roger McGuinn – Same (1973)

FrontCover1.jpgRoger McGuinn was Roger McGuinn’s first full-length solo album, released in 1973.

This album was released after The Byrds’ 1973 reunion album, on which all five founding members of the group participated in the sessions. McGuinn himself has stated that any outtakes left over from those sessions appeared here, but this was later proven to be false with the discovery of several alternate takes and at least one outtake in late 2009. The majority of the songs on the album were co-written with Jacques Levy, who collaborated with McGuinn on the abandoned country-rock musical Gene Tryp in 1968-1969 (most of the resulting songs appeared on The Byrds’ (Untitled) and Byrdmaniax albums) and remained his principal lyricist until 1977.

Two songs (David Wiffen’s “Lost My Drivin’ Wheel” and “Bag Full Of Money”) were originally recorded by the Clarence White-era Byrds in 1972 but remained unreleased re-release of Farther Along on CD in 2000. Additionally, three other songs (“I’m So Restless”, “Hanoi Hannah” and “The Water Is Wide”) were performed by The Byrds at least once; the former two were premiered at a concert in Brookville, New York in early 1971, while the latter was played at a later date in August 1972. An outtake from this album, Jackson Browne’s “Jamaica, Say You Will”, had also been performed by The Byrds throughout 1971, though Clarence White handled the lead vocal and McGuinn sang the high harmony. McGuinn sings lead on this iteration, which was left off the original album before being released as a bonus track on the 2004 reissue. (by wikipedia)


Roger McGuinn’s 1973 self-titled solo debut was in most respects a breath of fresh air after the final days of the Byrds, in which the group was floundering in directionless mediocrity. In a sense, it’s a back-to-basics album that emphasizes much of what McGuinn does so well: his forceful reedy vocals, his guitar playing, and his skills at both writing earnest folk-rock material (usually with future Bob Dylan collaborator Jacques Levy here) and interpreting unusual traditional and contemporary songs. Never was it folkier than on the acoustic “I’m So Restless,” which benefited from harmonica by Dylan himself (about whom the song was partially about). All four of the other original Byrds play on “My New Woman,” which is virtually a reunion of the original quintet, with the addition of saxophone by jazzman Charles Lloyd; David Crosby makes unobtrusive cameos on some other tracks. As likable as it is, however, the album isn’t an unqualified triumph. Some of the songs aren’t so hot, some of the Moog synthesizer (by McGuinn) is unnecessary, his vocals sometimes seem to have been recorded with too much brittleness, and none of this is as good as the best of the Byrds. Unexpected influences make themselves heard in the Beach Boys harmonies of “Draggin'” (with Bruce Johnston of the Beach Boys on piano and backup harmonies), the Vietnam blues of “Hanoi Hannah,” and the gospel-rock of “Stone.” (by Richie Unterberger)


Hal Blaine (percussion)
Michael Clarke (drums)
Jerry Cole (guitar)
David Crosby (guitar, vocals)
Bob Dylan (harmonica)
Buddy Emmons (pedal steel guitar)
Chris Ethridge (bass)
Jim Gordon (drums)
John Guerin (drums)
Chris Hillman (bass)
Bruce Johnston (piano, vocals)
Charles Lloyd (saxophone)
Roger McGuinn (vocals, guitar, banjo, synthesizer, harmonica)
Graham Nash (guitar, vocals)
Spooner Oldham (keyboards)
Leland Sklar (bass)
David Vaught (bass)
background vocals:
Gene Clark – Spanky McFarlane
Jimmy Joyce Children’s Chorus (vocals on 08.)

01. I’m So Restless (McGuinn/Levy) – 3:05
02. My New Woman (McGuinn/Levy)  – 3:10
03. Lost My Drivin’ Wheel (Wiffen) – 3:27
04. Draggin’ (McGuinn/Levy) – 3:36
05. Time Cube (McGuinn/Hippard) – 3:15
06. Bag Full Of Money (McGuinn/Levy) – 3:19
07. Hanoi Hannah (McGuinn/Levy) – 2:50
08. Stone (Oldham/Penn) – 2:59
09. Heave Away (Traditional) – 3:03
10. M’ Linda (McGuinn/Levy) – 2:42
11. The Water Is Wide (Traditional) – 3:05




Lynyrd Skynyrd – Pronounced Leh-Nerd Skin-Nerd (1973)

FrontCover1.jpg(Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd) is the debut album from Lynyrd Skynyrd, released in 1973. The album features several of the band’s most well-known songs, including “Gimme Three Steps,” “Simple Man,” “Tuesday’s Gone” and “Free Bird,” which launched the band to national stardom.

Bassist Leon Wilkeson left the band early in the album’s recording sessions after playing on only two tracks. Strawberry Alarm Clock guitarist Ed King was asked to fill in for Wilkeson on bass during the remaining sessions, as Wilkeson had already written many of the bass parts. This left Skynyrd with only six official members at the time of the album’s release. Not long after, King was made a member of the band so it could replicate the triple-guitar lead during live performances. Wilkeson returned to the band toward the end of the recording sessions. The album was certified gold on December 18, 1974, platinum and double platinum on July 21, 1987, by the RIAA. The album also peaked at 27 in the Billboard 200 in 1975.

The album was re-released in 2001 as an expanded version with bonus tracks, including demos of many of the songs on the album. Sales through 2014 were an estimated 2 million units internationally.

The cover photograph was taken on Main Street in Jonesboro, Georgia and shows, from left to right, Leon Wilkeson (seated), Billy Powell (seated), Ronnie Van Zant, Gary Rossington (seated), Bob Burns, Allen Collins and Ed King. With Ed King’s death of lung cancer on August 22, 2018, guitarist Gary Rossington (seated third from left) is the only one currently alive from that famous picture.

Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd immediately put the band on the rock-and-roll map. In 2003 Rolling Stone magazine ranked the album number 403 on its list of the 500 Greatest Albums of All Time. (by wikipedia)


The Allman Brothers came first, but Lynyrd Skynyrd epitomized Southern rock. The Allmans were exceptionally gifted musicians, as much bluesmen as rockers. Skynyrd was nothing but rockers, and they were Southern rockers to the bone. This didn’t just mean that they were rednecks, but that they brought it all together — the blues, country, garage rock, Southern poetry — in a way that sounded more like the South than even the Allmans. And a large portion of that derives from their hard, lean edge, which was nowhere more apparent than on their debut album, Pronounced Leh-Nerd Skin-Nerd. Produced by Al Kooper, there are few records that sound this raw and uncompromising, especially records by debut bands. Then again, few bands sound this confident and fully formed with their first record. Perhaps the record is stronger because it’s only eight songs, so there isn’t a wasted moment, but that doesn’t discount the sheer strength of each song. Consider the opening juxtaposition of the rollicking “I Ain’t the One” with the heartbreaking “Tuesday’s Gone.”


Two songs couldn’t be more opposed, yet Skynyrd sounds equally convincing on both. If that’s all the record did, it would still be fondly regarded, but it wouldn’t have been influential. The genius of Skynyrd is that they un-self-consciously blended album-oriented hard rock, blues, country, and garage rock, turning it all into a distinctive sound that sounds familiar but thoroughly unique. On top of that, there’s the highly individual voice of Ronnie Van Zant, a songwriter who isn’t afraid to be nakedly sentimental, spin tales of the South, or to twist macho conventions with humor. And, lest we forget, while he does this, the band rocks like a motherf*cker. It’s the birth of a great band that birthed an entire genre with this album. (by Stephen Thomas Erlewine)


Bob Burns (drums)
Allen Collins (guitar)
Ed King (bass, guitar on 06.)
Billy Powell (keyboards)
Gary Rossington (guitar, slide-guitar)
Ronnie van Zant (vocals)
Bobbye Hall (percussion on 03. + 05.)
Steve Katz (harmonica on 06.)
Al Kooper (Roosevelt Gook) – bass, mellotron and background vocals on 02.,  mandolin, bass drum on 06.,  “Mississippi Kid,” organ on 04., 07. + 08., mellotron on 08.)


01. I Ain’t The One (Rossington/v.Zant) 3.53
02. Tuesday’s Gone (Collins/v.Zant) 7.30
03. Gimme Three Steps (Collins/v.Zant) 4.28
04. Simple Man (Rossington/v.Zant) 5.56
05. Things Goin’ On (Rossington/v.Zant)t 4.58
06. Mississippi Kid (Burns/Kooper/v.Zant) 3.55
07. Poison Whiskey (King(v.Zant) 3.13
08. Free Bird (Collins/v.Zant) 9.07



Ed King01

Ed King (September 14, 1949 – August 22, 2018)

Ed King, the Lynyrd Skynyrd guitarist who joined the band in 1972 to give the Southern rock group its iconic three-guitar sound, died Wednesday in Nashville. He was 68. A cause of death was not specified, though King had been battling lung cancer and had recently been hospitalized for the disease.

A message on King’s Facebook confirmed his death: “It is with great sorrow we announce the passing of Ed King who died at his home in Nashville, Tennessee on August 22nd, 2018. We thank his many friends and fans for their love and support of Ed during his life and career.”

A California native, King was a founding member of the psychedelic Sixties band Strawberry Alarm Clock, known for their hit “Incense and Peppermints.” He offered to join Skynyrd when, opening for the band at the Jacksonville, Florida, bar the Comic Book Club in 1968, he heard them rehearsing the song “Need All My Friends.” It wasn’t until 1972, however, when King would sign on with Skynyrd, temporarily replacing bassist Leon Wilkeson and then becoming a full-fledged member as third guitarist.

King played on the band’s first three albums: 1973’s (Pronounced Leh-nerd Skin-nerd), 1974’s Second Helping and 1975’s Nuthin’ Fancy. He most famously co-wrote Second Helping‘s “Sweet Home Alabama” – that’s him counting off “1, 2, 3” in the song’s intro – which, along with “Free Bird,” has become synonymous with the group.

After a dust-up with singer Ronnie Van Zant, King, tired of the Skynyrd drama and propensity for fighting, exited the band in 1975, detailing the incident in the superb new documentary If I Leave Here Tomorrow: A Film About Lynyrd Skynyrd.

“I’m the hippie from Southern California. I’m not digging the violence part,” King said, recounting how a broken string at a show in Pittsburgh earned him the wrath of the mercurial Van Zant. “Ronnie and my guitar roadie who changed my strings were thrown in jail in Ann Arbor. They didn’t arrive … until 10 minutes before we went on. I had to Ed King02.jpgplay on old strings and I broke two strings during ‘Free Bird.’ After, Ronnie was riding me, and a lightbulb went off and I said, ‘That’s it.’ I went back to my room, packed up my stuff and left.”

King is a highlight of If I Leave Here Tomorrow, offering keen firsthand insight into the Southern band as an outsider from California. On the album cover for Pronounced, King is pictured far right, a bit detached from the group.

Guitarist Gary Rossington, the lone original member of the Lynyrd Skynyrd that tours today, quipped on King’s aloof, business-minded nature in the documentary. “He’d stop and buy $100 worth of Slim Jims and have him in a briefcase and, driving an hour or two, you get hungry, he’d sell them to us and triple the price,” he said.

Following King’s death, Rossington released a statement. “I’ve just found out about Ed’s passing and I’m shocked and saddened,” he said. “Ed was our brother, and a great songwriter and guitar player. I know he will be reunited with the rest of the boys in Rock and Roll Heaven. Our thoughts and prayers are with his family.” (by Joseph Hudak/Rolling Stone, August 23, 2018)


Abba – Ring Ring (1973)

AbbaFrontCover1Ring Ring is the debut studio album by the Swedish group credited to Björn Benny & Agnetha Frida, who later became the pop group ABBA. It was released in Scandinavia and a limited number of other territories, including Germany, Australia, South Africa and Mexico, on 26 March 1973 through Polar Music.[2] The album was a chart-topping album in Belgium, and a big success in the Netherlands, Norway and South Africa.[3]

The album was re-released in Australasia in 1975, but was not released in the United Kingdom until 1992, and the United States until 1995.

When the first song “People Need Love” was recorded in the spring of 1972, the group was just one of many projects the four members were involved in. Only after the title track, “Ring Ring” became a hit, did the four decide to go on working together as a permanent group. The original 1973 Polar version of the album opens with “Ring Ring (Bara du slog en signal)”, the Swedish version of the track, and places the English-language version as track four on side two.

The track “She’s My Kind of Girl”, included on the international editions, is in fact a song by Björn & Benny which dates back to 1969, which was a hit in Japan, and had also been included on the b-side of the English version of the “Ring Ring” single in Scandinavia. Ring Ring also features a song co-written by Agnetha Fältskog. Although she had composed much of her Swedish solo output, the song “Disillusion”, for which she wrote the music, is the only song released on an ABBA album to feature a songwriting contribution from her. (by wikipedia)


If it seems as though the familiar ABBA sound isn’t present on this album, that’s because there was no entity known as ABBA at the time that the earliest sides here were recorded. Growing out of an attempt by Benny Andersson and Bjorn Ulvaeus to record together with their respective companions, Agnetha Faltskog and Frida “Anni-Frid” Lyngstad, the first side cut here, “People Need Love,” featured the two men singing just as prominently as the women, and was credited to “Bjorn and Benny, Agnetha and Anni-Frid.” It was only after its release and the cutting of a further single, “Ring, Ring,” that the more familiar sound of the quartet began to coalesce along with the idea of a permanent professional association.


Unreleased in the United States until 1995, this album is more of a generic European pop release than an ABBA release; the music has several unusual attributes, including Andersson and Ulvaeus singing lead on several cuts, and also one original song, the moody ballad “Disillusion,” co-authored by Agnetha Faltskog. Most of what’s here is pleasantly upbeat Europop, with unusually good playing and a lot of spirit, all showing the influence of mainstream American and British pop/rock, including the late-era Beatles and early Elton John, and on the title track, a Phil Spector-proportioned production. Ring Ring was reissued in October of 2001 with extensive notes, state-of-the-art sound, and three bonus tracks: the single B-sides “Merry-Go-Round” and “Santa Rosa” (a smooth piece of California-style rock in the mold of the early Eagles) and the Swedish version of “Ring, Ring” (which charted number one in Sweden to the English version’s number two spot). (by Bruce Eder)


Benny Andersson (keyboards, vocals, mellotron)
Agnetha Fältskog (vocals)
Anni-Frid Lyngstad (vocals)
Björn Ulvaeus (guitar, vocals)
Ola Brunkert (drums)
Rutger Gunnarsson (bass)
Roger Palm (drums)
Janne Schaffer (guitar)
Mike Watson (bass)

01. Ring Ring (Bara Du Slog En Signal) (Andersson/Anderson/Ulvaeus) 3.07
02. Another Town, Another Train (Andersson/Ulvaeus) 3.13
03. Disillusion (Fältskog/Ulvaeus) 3.08
04. People Need Love (Andersson/Ulvaeus) 2.46
05. I Saw It In The Mirror (Andersson/Ulvaeus) 2-34
06. Nina, Pretty Ballerina (Andersson/Ulvaeus) 2.54
07. Love Isn’t Easy (But It Sure Is Hard Enough) (Andersson/Ulvaeus) 2.55
08. Me And Bobby And Bobby’s Brother (Andersson/Ulvaeus) 2.52
09. He Is Your Brother (Andersson/Ulvaeus) 3.20
10. She´s My Kind Of Girl (Andersson/Ulvaeus) 2.45
11. I Am Just A Girl (Andersson/Anderson/Ulvaeus) 3.04
12. Rock’n Roll Band (Andersson/Ulvaeus)  3:09



Mose Jones – Get Right (1973)

FrontCover1.JPGThe Band formed in 1972, with core members from the Florida band “Stonehenge”. The band name derived from jazz great “Mose Allison’ and a family dog named “Jones”. Initially the band was created with Clay Watkins on keys, then during the recording of their first album, replaced by long-time friend Steve McRay (keys and vocals), who had just returned from his stint with the US ARMY and serving in Vietnam.

In 1972 Mose Jones was the first band signed by Al Kooper for his startup Atlanta label “Sounds of the South” on MCA Records. Al’s “Blues Project” was chosen, and a band named “Elijah”. The last band signed was a little band from Jacksonville that had been playing in Atlanta – that band’s name was “Lynyrd Skynyrd”. (by

And here´s the first album of Mose Jones:

It’s a great quality rip, so thanks to whoever made this available. It’s quite a lovely record. First released on Al Kooper’s ‘Sounds Of The South’-label, this record was launched with the label, along with Skynyrd’s “Pronounced” album.


An important part of Southern Rock history, cause this is when Southern Rock started to become the kind of music that we know and love so well. When it became a big thing. Unfortunately Mose Jones never made it big, but it is a nice album. I prefer it to the “Mose Knows” album. It’s hippy-ish rock at times, but there’s some passionate singing going on. I quite enjoyed myself, listening to this album.  The song “Old Man trouble” features slide guitar by Lowell George, and is one of the better songs. Nothing bad about this.(by skydog)

This a real pretty good album … a forotten jewel in the history of Southern Rock


Bryan Cole (drums, vocals)
Randy Lewis (bass, vocals)
Steve McRay (keyboards, vocals)
Jimmy O’Neill (guitar, mellotron, vocals)
Lowell George (slide guitar on 04.)
Al Kooper (synthesizer on 03., background vocals)
Clay Watkins (organ on 10.)


01, Get Right (Kooper) 1.45
02 Here We Go Again (Cole/O’Neill) 4.26
03. Kiwi Stumble Boogie (O’Neill) 3.16
04. Ole Man Trouble (Jones) 7.08
05. What Kind Of Woman Would Do That (Kooper/O’Neill) 4.20
06. Barroom Sweeper (Cole/O’Neill) 3.13
07. It’s A Whole Lot Of Fun (Cole/O’Neill/Lewis) 2.31
08. Ode To Drugan (Nuttycombe/Lambert/Drugan) 4.49
09. All That I’ve Got (Preston) 3.07
10. Julia’s Beautiful Friend (Cole/O’Neill) 6.22
11. Get Right: Reprise (Kooper) 0.16




Jerry Garcia & Merl Saunders – Live from The Record Plant, Sausalito (1973)

FrontCover1.jpgJerry Garcia was once asked what he liked to do when he wasn’t playing music. “Play music!” was his response. For about five years, the Grateful Dead guitarist spent many nights collaborating with organist Merl Saunders both in concert and in the studio. The five-year association of Saunders, who’d worked primarily as a jazz organist, and Garcia took root in early1970 with a weekly jam session featuring Saunders, Garcia, bassist John Kahn, and drummer Bill Vitt, at San Francisco’s Matrix.

From February 1971 to July 1975, Merl Saunders and Jerry Garcia often played live shows together when the Grateful Dead were not on tour. For many of those concerts, their band had the lineup featured on this album — Saunders on keyboards, Garcia on guitar and vocals, John Kahn on bass, and Bill Vitt on drums.

And here´s a pretty jam album from that period … here the relaxed sound of the Westcoat !

Live at The Record Plant, Sausalito, CA; July 8, 1973.
Very good KSAN FM broadcast.


Jerry Garcia (guitar, vocals)
John Kahn (bass)
Merl Saunders (organ)
Bill Vitt (drums)


01. Introduction (Tom Donahue) 0.38
02. Someday Baby (Estes) 6.34
03. My Funny Valentine (Hart/Rodgers) 1108
04. That’s Alright Mama (Crudup) 8.24
05. It’s Too Late (She´s Gone) (Willis)12.14
06. Finders Keepers (Saunders/Kahn) 6.34
07. Announcements (Tom Donahue) 1.20
08. Second That Emotion (Robinson) 11.44
09. Georgia On My Mind (Carmichael/Gorrell) 12.02
10. Positively 4th Street (Dylan) 8.38
11. How Sweet It Is( Holland/Dozier/Holland) 8.05