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



ZZ Top – Tres Hombres (1973)

FrontCover1Tres Hombres (Spanish for “three men”) is the third album by the American rock band ZZ Top. It was released in 1973. The album was the first time the band worked with Terry Manning as engineer. It was a successful combination as the release was the band’s commercial breakthrough. In the US, the album entered the top ten while the single “La Grange” reached number 41 on the singles charts (meanwhile, “La Grange” debuted number 33 on the American Top 40 broadcast on June 29, 1974).Tres Hombres (Spanish for “three men”) is the third album by the American rock band ZZ Top. It was released in 1973. The album was the first time the band worked with Terry Manning as engineer. It was a successful combination as the release was the band’s commercial breakthrough. In the US, the album entered the top ten while the single “La Grange” reached number 41 on the singles charts (meanwhile, “La Grange” debuted number 33 on the American Top 40 broadcast on June 29, 1974).

At the height of ZZ Top’s success in the mid-1980s a digitally remixed version of the recording was released on CD and the original 1973 mix was no longer issued. The remix version created controversy among fans because it significantly changed the sound of the instruments, especially drums. The remix version was used on all early CD copies and was the only version available for over 20 years. A remastered and expanded edition of the album was released on February 28, 2006, which contains three bonus live tracks.


The 2006 edition is the first CD version to use Manning’s original 1973 mix. Subsequent releases on digital platforms such as iTunes have used the original mix as well.Reception
The album was released in July 1973 to a lukewarm reception. Steve Apple in a September 1973 review for Rolling Stone felt that while the “Southern rock & roll sound” was becoming popular, ZZ Top themselves were “only one of several competent Southern rocking bands”, though they had “an advantage over most white rockers” because they “sound black”. Apple felt that ZZ Top had “the dynamic rhythms that only the finest of the three-piece bands can cook up. Billy Gibbons plays a tasty Duane Allman lead with Dusty Hill and Frank Beard pounding out the funky bottom”, and were “one of the most inventive of the three-piece rockers” but wondered when “audiences will get tired of hearing the same … ‘Poot yawl hans together’ patter.”


In 2003, the album was ranked number 498 on Rolling Stone magazine’s list of the 500 greatest albums of all time. In 2012, the album ranked at number 490 on a revised list. The album peaked at number 8 on the Billboard 200. In July 2013, 40 years after its release, the album was described by Andrew Dansby in the Houston Chronicle as “… full of characters and doings so steeped in caricature – yet presented straight-faced – as to invite skepticism. The album is stuffed with color and flavor, much like its famous gate-fold photo on the inside: a gut-busting couple of plates of food from the much-beloved but now-closed Leo’s Mexican Restaurant on Lower Westheimer.”
The two tracks “Waitin’ for the Bus” and “Jesus Just Left Chicago” segue seamlessly into each other. Although there are many stories of it being a “mistake”, it is in fact an intentional effect according to the album’s engineer Terry Manning, who performed the edit.
The only single released from the album was “La Grange” (b/w “Just Got Paid” from the band’s second album Rio Grande Mud) which peaked at number 41 on the Billboard Hot 100. (by wikipedia)


Tres Hombres is the record that brought ZZ Top their first Top Ten record, making them stars in the process. It couldn’t have happened to a better record. ZZ Top finally got their low-down, cheerfully sleazy blooze-n-boogie right on this, their third album. As their sound gelled, producer Bill Ham discovered how to record the trio so simply that they sound indestructible, and the group brought the best set of songs they’d ever have to the table. On the surface, there’s nothing really special about the record, since it’s just a driving blues-rock album from a Texas bar band, but that’s what’s special about it. It has a filthy groove and an infectious feel, thanks to Billy Gibbons’ growling guitars and the steady propulsion of Dusty Hill and Frank Beard’s rhythm section. They get the blend of bluesy shuffles, gut-bucket rocking, and off-beat humor just right. ZZ Top’s very identity comes from this earthy sound and songs as utterly infectious as “Waitin’ for the Bus,” “Jesus Just Left Chicago,” “Move Me on Down the Line,” and the John Lee Hooker boogie “La Grange.” In a sense, they kept trying to remake this record from this point on — what is Eliminator if not Tres Hombres with sequencers and synthesizers? — but they never got it better than they did here. (by Stephen Thomas Erlewine)


Frank Beard (drums, percussion)
Billy Gibbons (guitar, vocals)
Dusty Hill (bass, background vocals, vocals on 03.)
James Harman (harmonica on 01. + 02.)


01. Waitin’ For The Bus (Gibbons/Hill) 2.53
02. Jesus Just Left Chicago (Gibbons/Hill/Beard) 3.30
03. Beer Drinkers & Hell Raisers (Gibbons/Hill/Beard) 3.26
04. Master Of Sparks (Gibbons) 3.32
05. Blue And Righteous (Gibbons) 3.18
06. Move Me On Down The Line (Gibbons) 2.32
07. Precious And Grace (Gibbons) 3.10
08. La Grange (Gibbons(Hill/Beard) 3.53
09. Sheik (Gibbons/Hill) 4.07
10. Have You Heard? (Gibbons/Hill) 3.15
11. Waitin’ For The Bus (live) (Gibbons/Hill) 2.42
12. Jesus Just Left Chicago (live) (Gibbons/Hill/Beard) 4.03
13. La Grange (live) (Gibbons/Hill/Beard) 4.44



Rare German single (front + back cover)


Record ad

Alan Hull – Pipedream (1973)

FrontCover1Pipedream is the first solo album from Lindisfarne singer Alan Hull.

James Alan Hull (20 February 1945 – 17 November 1995) was an English singer-songwriter and founding member of the Tyneside folk rock band Lindisfarne.

Hull was born at 68 Sutton’s Dwellings, Adelaide Terrace, Benwell, Newcastle Upon Tyne. He began piano lessons at the age of nine, and guitar lessons two years later. He attended Rutherford Grammar School, Newcastle after passing the eleven-plus in 1956 and was given a guitar at the age of twelve. Hull wrote his first song soon afterwards.

He became a member of the band The Chosen Few alongside keyboard player Mick Gallagher in 1962. He supported himself by working as a window cleaner one year by working as a nurse at a mental hospital and as a driver for Newcastle Co-op TV Department while appearing as a folk singer and guitarist in local clubs before helping to form Brethren and Downtown Faction, which evolved into Lindisfarne in 1970. He also released a one-off solo single, “We Can Swing Together”, which was re-recorded with the group on their first album, Nicely Out of Tune, and became a regular favourite in their stage performances.

AlanHull2As the group’s most prolific songwriter and joint lead vocalist, Hull came to be regarded as its leader. In 1972, dissatisfied with the sound and critical reception of their third album Dingly Dell, he considered leaving the group but instead he and joint lead vocalist Ray “Jacka” Jackson formed a new six-piece Lindisfarne the following year, leaving the three other original members to form Jack The Lad. He also released his first solo album, Pipedream, the same year and published a book of poems, Mocking Horse. Alan Hull appeared in “Squire”, an episode of the BBC’s Second City Firsts drama series.

Lindisfarne disbanded in 1973 and Hull released a second solo album, Squire, then formed the short-lived Radiator, which also included drummer Ray Laidlaw of Lindisfarne and Jack the Lad. In March1977 the original line-up of Lindisfarne reformed after a well-received series of sold-out Christmas shows at the Newcastle City Hall in 1976 which was broadcast on local radio. Thereafter he combined his musical career as front man of the group with a solo career.

He was also a staunch Labour Party activist. For a time he was secretary of his local constituency Labour Party. He performed in Blackpool to coincide with the Labour Party conference in 1990 and played at numerous benefit concerts for striking or redundant miners and shipyard workers.

AlanHull3In January 1994, he recorded Back to Basics, a live all-acoustic survey of the best of his songwriting from 1970 onwards.

On 17 November 1995, whilst working on a new album, Statues & Liberties, Alan Hull died suddenly of a heart thrombosis, at the age of 50. After his death, Hull’s ashes were scattered at the mouth of the River Tyne.

On 19 July 2012, following a public campaign led by Barry McKay, Lindisfarne’s manager during the 1970s, an Alan Hull memorial plaque was unveiled on the front of Newcastle City Hall, at a ceremony attended by hundreds of fans, and broadcast and filmed by Sky and ITV Tyne Tees

This album was first released in 1973 following the breakup of Lindisfarne. It spent three weeks in the UK album chart, peaking at #29.

Pipedream was rereleased in 2005 with a number of new bonus tracks to commemorate the tenth anniversary of Hull’s death.

The cover artwork is based on a painting by René Magritte. (by wikipedia)

The debut solo album by the Lindisfarne frontman, cut shortly after that band’s initial breakup, Pipedream is very much the son of its father, a faintly folky collection of songs that, one presumes, were originally intended for the next Lindisfarne album before events finally overtook them.

As usual with Alan Hull’s post-Dingly Dell output, nothing here truly leaps out to grab your attention; rather, Pipedream is a meditative, reflective collection characterized as much by Hull’s often-plaintive vocal than by any particular melody. But “Country Gentleman’s Wife,” “Song for a Windmill” and the gorgeous “Justanothersadsong” are latter-day Hull jewels, while the biting “The Money Game” reflects on the end of the band with grandiose venom. (by Dave Thompson)


Ken Craddock (keybords, harmonium,  guitar)
Colin Gibson (bass)
Alan Hull (vocals, guitar, piano, harmonium)
Ray Jackson (harp, mandolin, vocals)
Ray Laidlaw (drums)
John Turnbull (guitar)
Dave Brooks (saxophone on 08.)


01. Breakfast 3.37
02. Justanothersadsong 2.53
03. Money Game 2.48
04. STD 0632 3.10
05. United States Of Mind 3.06
06. Country Gentleman’s Wife 3.37
07. Numbers (Travelling Band) 3.55
08. For The Bairns 2.28
09. Drug Song 3.10
10. Song For A Windmill 2.47
11. Blue Murder 5.06
12. I Hate To See You Cry 3.28

All songs written by Alan Hull



Beggars Opera – Get Your Dog Off Me (1973)

FrontCover1Get Your Dog off Me, the final real studio album of Scots prog band Beggars Opera, was a disappointment when it came out — and it remains one decades later. Indeed, they never captured the spirit of Act One in any of their further releases, and it’s easy to see why they called this the end of the road (although guitarist Ricky Gardiner and mellotronist Virginia Scott kept the band name going with two German albums later in the decade). The dramatics, which had been quite sly before, descend into melodrama here, and there’s a dearth of songwriting ideas (which was also true on the previous record, where the standout was a cover of “MacArthur Park”). They can still slip in a good hook here and there, and there’s no fault in the playing, with Gardiner in particular showing himself to be an excellent, thoughtful soloist. But on the evidence of the material and arrangements here, this was a band past its sell-by date. The newer harmony style — influenced by bands like the Eagles, is quite at odds with any kind of grandeur. This is really one just for the die-hard fans and obsessives. (by Chris Nickson)

And maybe I´m a die-hard fan, because this album is a pretty good one … listen to “Requiem” the titeltrack or to “Two Timing Woman”).

Beggars Opera

Colin Fairlie (drums, percussion, vocals)
Ricky Gardiner (guitar, vocals)
Alan Park (keyboards, harpsichord, synthesizer)
Linnie Paterson (vocals)
Gordon Sellar (bass, vocals)
Raymond Wilson (drums, on 01., 02., 04. 07., 08. + 10.)


01. Get Your Dog Off Me (Park/Ainsworth) 3.43
02. Freestyle Ladies (Scott) 4.20
03. Open Letter (Smith) 4.34
04. Morning Day (Scott) 4.34
05. Requiem (Gardiner) 2.17
06. Classical Gas (Williams) 4.30
07. Sweet Blossom Woman (Grabham) 4.09
08. Turn Your Money Green (Park/Ainsworth) 4.08
09. La Di-Da (Park/Fairlie/Sellar/Paterson/Gardiner) 2.53
10. Working Man (Ainsworth/Sellar) 4.34
11. Two Timing Woman (Singe A-Side, 1973) (Fairley) 3.47
12. Lady Of Hell Fire (Singe B-Side, 1973) (Park/Fairlie/Sellar/Paterson/Gardiner) 3.43



John McLaughlin & Carlos Santana – Live In Chicago (1973)

FrontCover1Recorded after their collaboration, this recording has appeared under different facets (as have many of Santana’s records) sometimes as a single disc, some others as a double, covering the entire concert. The major difference in the line-up is that Billy Cobham holds the drum stool instead of Shrieve on the studio album.

As you’d expect, such an improvisational studio album could only give out an even more improvised and extended version of those songs. Indeed extended wailing soaring & searing guitar solos, extended drums and percussion duos, and many more indulgent musical traits are all part of this album. Particularly enjoyable is the Coltrane track Naima that gets a brilliant interpretation, but does indeed stray a little away from the original. All four tracks are very interesting but not fundamentally different that on the studio album.

In general the sound quality is acceptable, although I’ve heard some different quality in different versions, you can bet that some non-legit ones are most likely least likely to be proper-sounding. The opening minutes of Live Divine are not always well recorded because of the extreme dynamics of the band on stage. The Jazz-Door label (German) version (JD 1250) has a satisfactory sound and should please many fans. (by Sean Trane)

This is the edition from the legendary “Oh Boy” Label (Luxembourg/Europe)


Billy Cobham (drums)
John McLaughlin (guitar)
Armando Peraza (percussion)
Doug Rauch (bass)
Carlos Santana (guitar)
Larry Young (keyboards)


01. Flame Sky (McLaughlin/Rauch/Santana) 16.02
02. Let’s Us Go Into The House Of The Lord (Smith/Sanders/Traditional) 26.02
03. The Life Divine (McLaughlin) 17.16
04. A Love Supreme (Coltrane) 19.02
05. Follow Your Heart (McLauglin) 26.50
06. Naima (Coltrane) 5.41



Giles Farnaby’s Dream Band – Same (1973)

FrontCover1Giles Farnaby’s Dream Band was a collaboration between the early music ensemble St. George’s Canzona, Derby-based folk group The Druids, and Trevor Crozier’s ‘Broken Consort’. They were backed by three jazz musicians: Jeff Clyne (bass guitar), Dave MacRae (electric piano) and Trevor Tomkins (drums).

The album title is a pun on the piece ‘Giles Farnabys Dreame’ by the renaissance composer Giles Farnaby.

The album largely consists of renaissance dance tunes played on a combination of early and modern instruments. This prefigures some of the work later undertaken by the Albion Band and Home Service. It is chiefly notable for its experimental nature, demonstrating some of the diverse attempts at fusion at the time which resulted in subgenres such as folk jazz and medieval folk rock. It is most similar in its sound to medieval folk and progressive rock bands like Gryphon and Gentle Giant. The rarity of the album has made it the subject of enthusiasm for some collectors.

The song ‘Newcastle Brown’ was subsequently released as a single (Argo, AFW112, 1973). (by Wikipedia)

“Giles Farnaby’s Dream Band make an entirely new medieval-electric sound. Formed by linking the medieval St George’s Canzona with the folk trio Broken Consort, the resulting band brings together early and present day instruments in imaginative and unique performances of some of the most tuneful and infectious music of all time.

The Dancing Master

“Most of the titles on this album are taken from ‘The English Dancing Master, published by John Playford, Britain’s first ever music publisher. The Tin Pan Alley of 1655 was situated near the Temple Church in London, and it was from a tiny shop near the church door that Playford’s publications were sold.

“The English Dancing Master or ‘Plaine and easie rules for the dancing of country dances, with the tune to each dance’ was first published in 1651, during the period of Oliver Cromwell’s Puritan Commonwealth. It was an austere time, with most of the old customs forbidden: dancing, profane singing, wakes, revels, ringing of bells, maypoles were all banned as dangerous to the security of the nation, and it seems a curious time to publish a collection of dance music. Playford’s own explanation was simple…’I publish this book lest the tunes be forgot’…

“The volume was immediately successful and went into several editions over the next twenty years (in fact it is still in print today). A possible reason for its popularity might have been that although Parliament abolished most forms of merry making, the Lord Protector himself seems to have enjoyed the occasional revel and given dancing a subdued show of approval…

Back Inside1

“14th November 1657: ‘On Wednesday last was my Lord Protector’s daughter married to the Earl of Warwick’s grandson; and on Thursday was the wedding feast kept at Whitehall, where they had 48 violins, 50 trumpets and much mirthe with frolics, besides mixed dancing (a thing heretofore accounted profane) till five of the clock yesterday morning.’ (by Kevin Daly; taken from the original liner notes)

Oh yes … not only an extremely rare album, but an album, that is really wonderful … old renaissance tunes performed in a very gentle and warm sound and style …

A more than unique and brilliant album !



St. George’s Canzona:
Frank Grubb (rebec, Recorder)
John Grubb (lute, harpsichord)
Derek Harrison (rebec)
John Lawes (crumhorn, Recorder)
Mike Oxenham (crumhorn, clarinet, curtal, Recorders)
John Sothcott (citole, crumhorn, rebec, recorders, whistle)
Leila Ward (crumhorn, Recorders)

The Druids (vocals):
Judi Longden – Keith Kendrick – John Adams – Mick Hennessy

Trevor Crozier’s Broken Consort:
Annie Crozier (concertina, bowed psaltery)
Trevor Crozier (vocals, banjo, cittern, guitar, harmonica, mandolin)
Vic Gammon (concertina, guitar)
Jeff Clyne (bass)
Dave MacRae (piano)
Trevor Tomkins (drums)


01. The Hare’s Maggot 2.45
02. Rufty Tufty/Beau Stratagem/Appley House 1.45
03. Hole In The Wall/The Chirping Of The Nightingale 1.50
04. Pastime With Good Company 2.55
05. Daphne/Nonsuch/Jack’s Maggot/Childgrove 4.47
06. Shrewsbury Lasses 2.36
07. Newcastle Brown 2.54
08. Helston Furry Dance/Picking Of Sticks/The Butterfly 2.02
09. The Indian Queen 2.40
10. The Happy Clown 1.44
11. Ratcliffe Highway 2.42
12. The Twenty Ninth Of May 2.01
13. The Black Nag/Poor Robins’ Maggot/Greensleeves 1.59
14. Portabella 2.37
15. The Draper’s Maggot/Tower Hill 3.07
16. Mr. Beveridge’s Maggot/The British Toper/London’s Glory 4.11

All songs are traditionals except “Newcastle Brown” which was written by Sothcott/Daly