Buddy Miles Express – Bogger Bear (1973)

FrontCover1.JPGBooger Bear was an album released by The Buddy Miles Express in 1973. It was released in both stereo and quadraphonic formats. It made the Billboard charts in 1974.

The album received a positive review in the November, 23, 1973 issue of Billboard. The reviewer referred to it as a production of the first order with time and care being put into the selections. The songs “Why” and “United Nations Stomp”, both composed by Miles were singled out as solid entries. The album was also released in the Quadraphonic SQ Matrix. A review in the February, 24 issue Billboard for Quadrasonic albums mentioned the spectrum being opened up by the Columbia sound engineers. It also made the distinction between this album and most of the others that relied on the “Front” stereo approach, with the music in Booger Bear actually surrounding the listener. (by wikipedia)

Buddy Miles (1972)Not as good as them changes or express your skull but what is really. probably my 3rd favorite buddy miles album but it is pretty hard to beat the first two i mentioned (by R. Hale)

One of my favorite Post-Band of Gypsys albums by Buddy Miles. You can clearly feel it in the bluesy guitar work.
RIP Booger Bear! (by an amazom customer)

‘And we here real funky version of the Kinks classic “You Really Got Me” and a superb jazzy blues tune called “Louie’s Blues”.


Donny Beck (keyboards, background vocals)
Steve Busfield (guitar)
Mingo Lewis (percussion)
Buddy Miles (vocals, drums, bass, guitar)
Roland Robinson (bass, drums on 03.)
Bill Atwood (trumpet)
Robert Hogans (organ on 05.)
Pat O’Hara (trombone)
Peter Welker (trumpet)
background vocals:
Annie Sampson – Jo Baker – Steve Busfield
The Campbell-Kurban String Section


01. Booger Bear (Miles) 5.25
02. Thinking Of You (Messina) 4.25
03. Why (Miles) 3.52
04. You Really Got Me (Davies) 4.40
05. Love (Miles/Pantos) 3.45
06. United Nations Stomp (Miles) 4.44
07. Crazy Love (Miles) 3.06
08. You Are Everything (Creed/Bell) 4.10
09. Louie’s Blues (Miles) 7.27



Buddy Miles
George Allen “Buddy” Miles Jr. (September 5, 1947 – February 26, 2008)

Bee Gees – Live At The Shinjuku Koseinenkin Kaikan, Tokyo (1973)

FrontCover1.jpgThe Bee Gees in the early Seventies …

By 1973, however, the Bee Gees were in a rut. The album Life in a Tin Can, released on Robert Stigwood’s newly formed RSO Records, and its lead-off single, “Saw a New Morning”, sold poorly with the single peaking at No. 94. This was followed by an unreleased album (known as A Kick in the Head Is Worth Eight in the Pants). A second compilation album, Best of Bee Gees, Volume 2, was released in 1973, although it did not repeat the success of Volume 1. On the 6 April 1973 episode of The Midnight Special they performed “Money (That’s What I Want)” with Jerry Lee Lewis. Also in 1973, they were invited by Chuck Berry to perform two songs with him onstage at The Midnight Special: “Johnny B. Goode”[44] and “Reelin’ and Rockin'”.

After a tour of the United States in early 1974 and a Canadian tour later in the year,[46] the group ended up playing small clubs.[47] As Barry joked, “We ended up in, have you ever heard of Batley’s the variety club in (West Yorkshire) England?” (by wikipedia)

Although Bee Gees gave nine concerts throughout Japan that year, most or all of the press coverage was about their first date in Tokyo – Shinjuku Kosei Nenkin Kaikan, September 1, 1973. This two-page spread from a music magazine is no exception.


To sum up, the short concert review more or less reads:

The Bee Gees came back to serenade the capacity crowd, mainly consisting of teenage girls, with the pleasant sound they are known for.
Compared with their first Japanese tour from last March, there was more prancing around the stage, and the brothers were more casually dressed in jeans and stuff. All in all, there was a more relaxed, casual feel. The congenial audience laughed and applauded at the funny exchanges between Barry, Maurice, and Robin.


“The concert with the London Philharmonic Orchestra in February” seems to have influenced the group a great deal. They kept talking about it at the press conference. Also, the experience seems to have prepared them to harmonize brilliantly backed by a full orchestra. They kept the promise that they would “choose to sing our greatest hits” as they belted out songs like ‘Massachusetts’ and ‘First of May’ in perfect harmony. (by beegeedays.com)

A trip down memory lane when the Bee Gees once sang: “Yesterday was history who knows what there is gonna be when we meet again/Will you smile and tell the world about me…”

Recorded live at the Shinjuku Koseinenkin Kaikan, Tokyo, Japan; September 15, 1973. Fairly to very good audio (ripped from video/TV broadcast). From the TV Special, “Love Sounds Special”. Last show of the Japanese leg of the “Life In A Tin Can” Tour.


Robin Gibb, Barry Gibb & Maurice Gibb
a bunch of unknown studio musicians
unknown Orchestra


01. To Love Somebody (intro)/My World (B.Gibb/M.Gibb/R.Gibb) 4.48
02. Run To Me (B.Gibb/M.Gibb/R.Gibb) 3.10
03. How Can You Mend A Broken Heart (B.Gibb/R.Gibb/Michel) 3.47
04. I’ve Got To Get A Message To You (B.Gibb/M.Gibb/R.Gibb) 2.50
05. I Started A Joke (B.Gibb/M.Gibb/R.Gibb) 3.12
06. Saw A New Morning (B.Gibb/M.Gibb/R.Gibb) 1.02
07. I Can’t See Nobody (B.Gibb/R.Gibb) 3.59
08. Words (B.Gibb/M.Gibb/R.Gibb)(Michel) 4.19
09. In The Morning (B.Gibb) 3.19
10. Wouldn’t I Be Someone (B.Gibb/M.Gibb/R.Gibb) 4.55
11. Massachusetts (B.Gibb/M.Gibb/R.Gibb) 3.03
12. Lonely Days (B.Gibb/M.Gibb/R.Gibb/Michel) 5.02



Feel I’m goin’ back to Massachusetts
Something’s telling me I must go home
And the lights all went out in Massachusetts
The day I left her standing on her own

Tried to hitch a ride to San Francisco
Gotta do the things I wanna do
And the lights all went out in Massachusetts
They brought me back to see my way with you

Talk about the life in Massachusetts
Speak about the people I have seen
And the lights all went out in Massachusetts
And Massachusetts is one place I have seen

(I will remember Massachusetts)

The MG’s – Same (1973)

FrontCover1.jpgThe MG’s is a 1973 album recorded by the MG’s for Stax Records, but by 1973, leader/keyboardist Booker T. Jones and guitarist Steve Cropper were both estranged from Stax and residing full-time in Los Angeles, so remaining members Donald “Duck” Dunn and Al Jackson, Jr. recruited Bobby Manuel and Carson Whitsett to replace Cropper and Jones respectively.

Billed as “The MG’s” since Jones was not involved with the project, the group released two singles, “Sugar Cane” and “Neck Bone”. The singles and the album were not commercially successful, but were critically well received. By 1975, Jones and Cropper agreed to reform the original lineup with Jackson and Dunn, but just days before their scheduled reunion, Jackson was murdered at his home in Memphis, Tennessee. (by wikipedia)

This is the first Stax effort from the principle members of the band since 1971’s Melting Pot. Of course, a lot transpired in the two short years. Booker T. and Steve Cropper left Stax for other opportunities in Los Angeles. Al Jackson began to do more work for rival Hi Records and became a big proponent in Al Green’s career. The M.G.’s features the lineup of drummer Jackson, bassist Duck Dunn, Carson Whitsett on keyboards, and Single2.jpgguitarist Bobby Manuel. Despite the fact that this 1973 effort captures a band without half of its most influential members, the playing is top-notch.

It also helps that Whitsett and Manuel all but replicate the keyboard and guitar styles of the singular sounds of Booker T. and Cropper, so the effects of their absence doesn’t detract as much as one might think. The funky “Sugar Cane” has Jackson’s amazing snare work and Whitsett’s good B-3 work. As The M.G.’s goes from song to song, it is clear that it is an enjoyable effort, due to a large part of the skills of producers Jackson and Dunn. “Black Side” is another soothing instrumental featuring great hi-hat work from Jackson. The last track, the propulsive and meditative “Frustration,” has a warm Fender Rhodes and, of course, the rhythmic dynamic of Jackson and Dunn. This well-recorded album gave Dunn and Jackson a chance to work again, and since they were the one of the best rhythm sections of the ’60s and ’70s, it makes The M.G.’s worth looking into, despite the absent members. (by Jason Elias)


Donald Dunn (bass)
Al Jackson Jr. (drums, percussion)
Bobby Manuel (guitar)
Carson Whitsett (keyboards, clavinet, celesta)


01. Sugar Cane (Madden) 3.09
02. Neck Bone (Dunn/Jackson/Manuel/Whitsett) 3.26
03. Spare Change (Dunn/Jackson/Manuel/Whitsett) 3.52
04. Leaving The Past (Dunn/Jackson/Manuel/Whitsett) 7.22
05. Left Overs (Bucaramanga) (Luiz/Sainz/Serrano) 2.53
06. Black Side (Dunn/Jackson/Manuel/Whitsett) 3.59
07. One Of A Kind (Love Affair) (Jefferson) 3.23
08. Frustration (Dunn/Jackson/Manuel/Whitsett) 6.30





Lighthouse – Can You Feel It (1973)

FrontCover1.jpgOne of Canada’s most original pop groups ever, Lighthouse was formed in Toronto early in 1969 when drummer Skip Prokop (ex of The Paupers, Janis Joplin, Al Kooper and Carlos Santana) had a vision of incorporating horns and strings with modern rock, sort of a heavy-hitting ‘big band’ sound. After a chance meeting in New York with Paul Hoffert – who was actually trained in more classical stylings and already an established sessions-player. Ralph Cole joined soon after. Originally a native of Kalamazoo, Michigan, Cole knew Prokop when he was in Thyme, who had actually performed on many bills with The Paupers during the latter half of the decade. They added mul

The ‘full orchestra sound’ which would become the band’s trademark was at first rounded out by an additional 10 members including singer Pinky Dauvin. Their sound was as diverse as their listening audience, and contained cellos, violas, an array of horns and a full percussion section. The band was doing their first gig outdoors by May of that year and were signed to a deal with RCA shortly thereafter. They went to Toronto’s Eastern Sound Studios in the spring of ’69 and released their self-titled debut that same year. Produced by Prokop and Hoffert, it was met with critics’ praises, following the success of such tracks as “Mountain Man” and the cover of the Byrds’ “Eight Miles High”.


“Can You Feel It”? came out in ’73, recorded in New York’s Record Plant. The upbeat pop-smash “Pretty Lady”, along with the title track and “Set The Stage” fetched the band more gold. But despite following their proven forumula, they were finding themselves in the middle of a changing musical environment. (canadianbands.com)

If you love groups like the early Chicaog or Blood, Sweat & Tears …than you should listen to Lighthouse, too.

Lighthouse was one of the best Jazz/Brass-Rock bands in the early Seventies !


Dick Armin (cello)
Ralph Cole (guitar, vocals)
Dale Hillary (saxophone, vocals)
John Naslen (trumpet)
Don DiNovo (viola)
Skip Prokop (drums, percussion, guitar, vocals)
Larry Smith piano, vocals)
Rick Stepton (trombone)
Alan Wilmot (bass)


01. Set The Stage (Cole) 4.47
02. Same Train (Prokop) 5.58
03. Magic’s In The Dancing (Cole) 4.09
04. Pretty Lady (Prokop) 4.01
05. Disagreeable Man (Prokop) 5.28
06. Can You Feel It (Prokop) 4.39
07. Is Love The Answer (Cole) 3.15
08. Lonely Hours (Prokop) 6.36
09. No More Searching (Hillary) 4.05
10. Bright Side (Cole) 4.26


Still alive and well (here their website from 2019):



Ronald Harry “Skip” Prokop (December 13, 1943 – August 30, 2017)

Blue Ash – No More No Less (1973)

FrontCover1.jpgBlue Ash is a United States band, formed in Ohio in the summer of 1969 by bassist Frank Secich & vocalist Jim Kendzor. Guitarist Bill Yendrek and drummer David Evans were recruited later that summer.

The band debuted at “The Freak Out”, a club in Youngstown, OH on October 3, 1969. They gained a loyal following playing an endless stream of one-nighters over that year. In October 1970, Bill Yendrek, was replaced by guitarist/songwriter Bill “Cupid” Bartolin.

Blue Ash continued playing 250-300 dates a year throughout Pennsylvania, New York, Ohio and West Virginia, while the songwriting team Frank Secich and Bill Bartolin accumulated an enormous amount of original material. In June 1972, Blue Ash signed a production contract with Peppermint Productions of Youngstown and started recording and sending out demos. In late 1972, they were signed to Mercury Records by A&R man Paul Nelson. Their first album No More, No Less was released in May 1973 and received rave reviews in the rock press. It is considered a power pop classic, and is regarded as highly collectible among fans of that genre (it was finally released on CD on the Collectors’ Choice label in September 2008). Blue Ash toured and opened for such acts as the Stooges, Bob Seger, Aerosmith, Ted Nugent and more but for lack of sales they were dropped by Mercury Records in May 1974.


Blue Ash continued to play live and record, adding drummer Jeff Rozniata who replaced David Evans in 1974. They were signed to a singles deal with Playboy Records in 1977. The first single, “Look At You Now” became a regional hit in Texas, Oklahoma, Louisiana and Mississippi, as well as in Ohio and Pennsylvania. Playboy then offered an album deal. The LP Front Page News was recorded in Los Angeles in August 1977 and released in October of that year. It was selling well, but in early 1978 Playboy International pulled the plug on Playboy Records and Blue Ash was once again without a label. They called it quits in 1979.

A few audience-recorded live tapes of the band exist (including one of the original lineup from January 31, 1974 at the Packard Music Hall in Warren, OH) but are of generally poor recording quality. Other tapes recorded by a fan who followed Blue Ash to many of their gigs are rumored to exist, but have yet to surface on the collectors circuit.

In the summer of 2003 original members Frank Secich, David Evans, Bill Bartolin and Jim Kendzor got together privately in Ohio to play once again and decided to reform the band. On November 8 they played the International Pop Overthrow at the Khyber Pass in Philadelphia.


In the late 1990s, renewed interest toward the band was given a boost as a large cache of unreleased Blue Ash recordings fell into circulation amongst collectors. In the summer of 2004 an official release of that material—a two CD retrospective called “Around Again”—was released on Not Lame Records. It contains 44 songs of unreleased material spanning their career.

For their “reunion” gigs from 2003–2009, Frank Secich moved from bass guitar to rhythm guitar, and former members Brian Wingrove (piano) and Jeff Rozniata (drums) completed the band along with Bobby Darke (bass).

On October 3, 2009, guitarist Bill “Cupid” Bartolin died from complications of cancer, thus bringing to a sad end the story of Blue Ash.

Frank Secich is now a member of Deadbeat Poets, who have released three critically acclaimed CDs: Notes From The Underground (2007), Circustown (2010) and Youngstown Vortex Sutra in 2011.


In the late 1990s, Jim Kendzor’s nephew, guitarist Leonard Crist, and Bill “Cupid” Bartolin’s son, drummer Sean Bartolin, formed Cork, a short-lived band based out of Youngstown while Crist played in the Youngstown indie rock bands Savage Pastry, Isabella the Brave, You Are The War That I Want and Abortopotamus Rex.

In 2016, original Blue Ash members Frank Secich and Jim Kendzor began performing as Blue Ash, backed by Secich’s current band Deadbeat Poets. Sometimes jocularly referred to as Half Ash, this configuration toured Spain, a hotbed of power pop fandom, to great acclaim in June 2016. Secich, Kendzor and Deadbeat Poets member Pete Drivere have also performed several acoustic shows.

No More, No Less is the first album by the Youngstown, Ohio band Blue Ash, released in 1973 on Mercury Records SRM1-666. (see 1973 in music). The album is composed mostly of originals with two covers, “Dusty Old Fairgrounds” by Bob Dylan and “Any Time at All” by The Beatles. The album remained out of print for many years until re-released on CD by Collector’s Choice Music in late 2008. (by wikipedia)


Hailing from Ohio just like the Raspberries, Blue Ash are the great forgotten power pop band of the early ’70s. Actually, “forgotten” may be too strong a word, for any power pop fan worth their salt knows of Blue Ash even if they’ve never to score either of their two LPs, whether in their original pressing or traded on cassette or CD-R. They were known as one of the key early power pop bands, standing alongside the Raspberries and Badfinger in how they drew equally from the Beatles and the Who. If anything, Blue Ash leaned on that Who influence harder than the Raspberries, rocking a vigor rarely heard in power pop and also opening themselves up to the lyrical vistas of Bob Dylan by covering the rarity “Dusty Old Fairgrounds,” a move rarely made by power poppers. All this indicates that Blue Ash were a rock band first and foremost, placing the sheer rush of sound over hooks, something that a lot of their progeny never did. That’s what gives their debut No More No Less — finally reissued by Collectors Choice in 2008, a full 35 years after its release — such a punch: they are one of the few groups that truly put some power in their pop.


This much is evident by the raucous album-opener “Abracadabra (Have You Seen Her),” a song with all the melodic rush of “Go All the Way” but leaner and meaner. Not all of the album keeps up at this same furious pace, as the guitars jangle as much as they roar and the group occasionally dips into a loping country-rock groove — not on the Dylan cover, which again sounds a bit like the Who, but on “Just Another Game” — and they do get sunbleached and mellow on “What More Can I Do.” But most of No More No Less filters old-time rock & roll (the big-time boogie “Let There Be Rock”) and ’60s guitar pop (“Plain to See” evokes the Searchers, “I Remember a Time” the Byrds, and “Anytime at All” is a Beatles cover) through the outsized amplification of ’70s hard rock. It’s an addictive sound — and one that hinted at the power pop that was to come even if it didn’t directly influence it — and it still carries a mighty punch all these years later. (by Stephen Thomas Erlewine)


Bill “Cupid” Bartolin (guitar, background vocals)
David Evans (drums, background vocals)
Jim Kendzor (vocals, guitar)
Frank Secich –(bass, background vocals)

01. Abracadabra (Have You Seen Her?) (Secich/Bartolin) 3.06
02. Dusty Old Fairgrounds (Dylan) 2.48
03. Plain To See (Secich/Bartolin) 2.41
04. Just Another Game (Secich/Bartolin) 2.56
05. I Remember A Time (Secich/Bartolin) 2.56
06. Smash My Guitar (Secich/Bartolin) 3.17
07. Anytime At All (Lennon/McCartney) 2.20
08. Here We Go Again (Secich/Bartolin) 3.25
09. What Can I Do For You? (Kendzor) 3.47
10. All I Want (Secich/Bartolin) 2.57
11. Wasting My Time (Secich/Bartolin) 2.53
12. Let There Be Rock (Secich/Bartolin) 2.32




Michal Urbaniak – Constellation In Concert (Polish Jazz Vol.36) (1973)

FrontCover1This is the second album on the legendary Polish Jazz series by the Polish saxophonist / violinist / composer / bandleader Michal Urbaniak. A veteran Polish Jazz musician, Urbaniak was a member of the legendary ensembles led by Krzysztof Komeda, where he played the saxophone, but by the early 1970 he switched to the violin and plunged into Jazz-Rock Fusion, rapidly becoming one of the most inventive and creative pioneers of the genre. This album and the albums recorded in Germany and later in the USA are absolute Fusion milestones, but also stand out as completely unique in their approach to the genre. Urbaniak combined the marvelous abilities of his wife Urszula Dudziak and her extraordinary and experimental vocalese technique with his common usage of Polish Folklore motifs, creating a superb and completely unparalleled Fusion music. This live recording captures his baseless / double keyboard ensemble, which also includes organist Wojciech Karolak, pianist Adam Makowicz and drummer Czeslaw Bartkowski.


The music, all composed by Urbaniak, is simply out of this world, brilliant and fresh, absolutely resistant to the tides of time and fashion. In retrospect one can only regret that Fusion followed mostly the direction of flashy virtuosic display of neck-breaking guitar races rather than the direction proposed by Urbaniak’s Fusion, but it’s unfortunately too late now. At least we can savor this music, 40 years after it was recorded, well aged and beautifully eternal. A must! (by Adam Baruch)


Czesław Bartkowski (drums)
Urszula Dudziak (vocals, percussion)
Wojciech Karolak (organ)
Adam Makowicz (piano, bass)
Michał Urbaniak (violin)


01. Bengal 17.40
02. Spokój 3.32
03. Lato 7.59
04. Seresta 9.40
05. Theme 3.05

Music composed by Michał Urbaniak



Rory Gallagher – Blueprint (1973)

LPFrontCover1.jpgBlueprint is the fourth album by Irish guitarist Rory Gallagher, released as a vinyl record in 1973. With his first band Taste and with his solo band up to this point Gallagher was one of the first guitarists to lead a power trio lineup. With Blueprint Gallagher included a keyboardist for the first time.

For Blueprint Gallagher replaced drummer Wilgar Campbell with Rod de’Ath and decided to add Lou Martin, the keyboardist from de’Ath’s previous band Killing Floor. This four-piece lineup was to be one of Gallagher’s most successful resulting in many of his most popular songs and documented in live film and TV appearances on shows such as Rockpalast and the Old Grey Whistle Test. The band would play together for five years. Blueprint, as with all the studio albums recorded by the Gallagher quartet illustrated Gallagher’s eclectic musical influences.

The album title and artwork were taken from the blueprint of a Stramp “Power Baby” amplifier that had been custom designed for Gallagher in Hamburg. “It was compact enough to fit into the small luggage compartment of a Volkswagen Beetle” recalled Gallagher’s brother and manager Donal. (by wikipedia)


Kicking off with the furious “Walk on Hot Coals” where Rory Gallagher’s stinging guitar and Lou Martin’s insistent piano pounding spar within the context of one of Rory’s classic rockers, the album presents a well rounded picture of Gallagher’s eclectic influences. A jaunty, acoustic run through Big Bill Broonzy’s “Banker’s Blues” (oddly credited to Gallagher), the ragtime “Unmilitary Two-Step” as well as an unusually straightforward country tune “If I Had a Reason” with Rory on lap-steel and Martin doing his best honky-tonk, effectively break up the blues-rock that remains the soul of the album. The album’s centerpiece, a brooding “Seventh Son of a Seventh Son” finds the band locked into a swampy groove for over eight minutes as Gallagher abbreviates his own solo providing room for Martin’s aggressive piano. On “Hands Off” the guitarist even picks up saxophone, and he shows off his spooky Muddy Waters’ inspired slide on the train chugging “Race the Breeze,” one of the guitarist’s best tunes.

AlternateFrontCover.jpgAlternate frontcover

The final two bonus tracks tacked on for this reissue don’t add much of interest; an early, shuffle version of “Stompin’ Ground” lacks the tension of the song that later showed up as the only studio tracks on the live Irish Tour 1974 album, and Roy Head’s “Treat Her Right” sounds like a soundcheck warm-up, which it probably was. Concise track-by-track liner notes from Rory’s brother Donal provide useful background information, and the remastered sound taken from the original tapes is a revelation, with Gallagher’s guitar parts and especially vocals, clear and precise in the spiffed up mix. (by Hal Horowitz)


Rod De’Ath (drums, percussion)
Rory Gallagher (vocals, guitar, mandolin, saxophone, harmonica)
Lou Martin (keyboards, guitar)
Gerry McAvoy (bass)

01. Walk On Hot Coals (Gallagher) 7:00
02. Daughter Of The Everglades (Gallagher)  6:11
03. Banker’s Blues (Gallagher) 4:44
04. Hands Off (Gallagher) 4:32
05. Race The Breeze (Gallagher) 6:53
06. Seventh Son Of A Seventh Son (Gallagher) 8:25
07. Unmilitary Two – Step (Gallagher) 2:48
08. If I Had A Reason (Gallagher) 4:27
09. Stompin’ Ground (alternate version)  3:27
10. Treat Her Right (Head) 4.04