REO Speedwagon – Ridin´ the Storm Out (1973)

OriginalFC1REO Speedwagon (originally stylized as R.E.O. Speedwagon) is an American rock band from Champaign, Illinois. Formed in 1967, the band cultivated a following during the 1970s and achieved significant commercial success throughout the 1980s. The group’s best-selling album, Hi Infidelity (1980), contained four US Top 40 hits and sold more than 10 million copies.

Over the course of its career, the band has sold more than 40 million records and has charted 13 Top 40 hits, including the number ones “Keep On Loving You” and “Can’t Fight This Feeling”. REO Speedwagon’s mainstream popularity waned in the late 1980s, but the band remains a popular live act.

Ridin’ the Storm Out is the third studio album by REO Speedwagon, released in 1973. It peaked at number 171 on the Billboard 200 chart in 1981, and reaching platinum status in 1989. It was the first album to feature Mike Murphy on vocals. The sessions started out with Kevin Cronin, but he left the band before the album was finished, due to creative differences. The title track would later become a hit for the band on their live album, after Cronin had returned to the band. The song refers to the band being stuck in a harsh winter blizzard after a show in Boulder, Colorado, at a bar named Tulagi’s (now closed).

The album includes a new composition by Stephen Stills, “Open Up”, which was never recorded by Stills himself or any of his bands, though “Know You Got to Run” from Stephen Stills 2 is essentially an embryonic version of the song. “Know You Got to Run” consists of only verses and uses a sombre acoustic folk arrangement, while “Open Up” includes a chorus and uses an up-tempo rock arrangement. (by wikipedia)


REO Speedwagon began to come into its own with its third album, Ridin’ the Storm Out. Over the years, the record became a platinum-seller, due to the strength of their series of opening shows for more successful rock acts, but it originally charted at number 171. While the group still had elements of their bar band boogie, they began to streamline their approach on this album. Although it only resulted in one minor hit, with the title track scraping the bottom of the singles charts, the record was one of their most consistent efforts. by Stephen Thomas Erlewine)


Neal Doughty (keyboards)
Alan Gratzer (drums)
Mike Murphy (vocals)
Gregg Philbin (bass)
Gary Richrath (guitar, vocals on 04.)
Gene Estes (percussion)
Guille Garcia (percussion)
Joe Walsh (slide guitar on 02., 05. + 08.)
background vocals:
Gloria Jones – Carolyn Willis – Oma Drake

REO Speedwagon

01. Ridin’ The Storm Out (Richrath) 4.13
02. Whiskey Night (Richrath) 4.44
03. Oh Woman (Richrath) 2.48
04. Find My Fortune (Richrath) 2.54
05. Open Up (Stills) 3.32
06. Movin’ (Cronin 3.22
07. Son Of A Poor Man (Richrath) 3.45
08. Start A New Life (Richrath) 3.50
09. It’s Everywhere (Cronin) 3.26
10. Without Expression (Don’t Be The Man) (Reid) 3.53



More from REO Speedwagon:

Inti Illimani – Viva Chila ! (1973)

FrontCover1Inti-Illimani (Spanish pronunciation: [in.ti.ji.ˈ]; from Quechuan inti and / Aymara illimani) are an instrumental and vocal Latin American folk music ensemble from Chile. The group was formed in 1967 by a group of university students and it acquired widespread popularity in Chile for their song Venceremos (We shall win!) which became the anthem of the Popular Unity government of Salvador Allende. At the moment of the September 11, 1973 Chilean coup they were on tour in Europe and were unable to return to their country where their music was proscribed by the ruling military junta. In Europe their music took on a multifarious character, incorporating elements of European baroque and other traditional music forms to their rich and colourful Latin American rhythms – creating a distinctive fusion of modern world music. They are perhaps the best internationally known members of the nueva canción movement. Their name means ‘Sun of the Illimani.’ In Aymara Illimani is the name of a mountain in the Bolivian Andes.


The group was formed by students at Universidad Técnica del Estado at Santiago, Chile in 1967. In 1973 as they were on tour abroad, General Augusto Pinochet launched a coup d’etat and took power. Having heard of the numerous extra-judicial killings of many fellow artists by Chile’s army, they took up residence in Italy, resulting in “the longest tour in history” for Inti-Illimani as they lived in de facto exile. They continued their efforts supporting Chilean democracy internationally; magnitizdat copies of their work continued to be widely distributed in Chile. In September 1988, days after they were no longer banned from Chile, they began touring Chile again. They helped organize the voting down of the referendum that would have re-elected Pinochet. Recently, they were actually supported by Chile as representatives of Chilean culture.


In the past the group was musically led by Horacio Salinas and politically led by Jorge Coulon. However, in 2001 there was a controversial split of the group, which started when three key members left the group (José Seves, Horacio Durán and Horacio Salinas). They were replaced by Manuel Meriño (from Entrama), Cristián González and Juan Flores. Due to the importance of departed members, many called into question the ability of the remainder to carry on the Inti-Illimani name. Meanwhile, the three departed members started their own group they call Inti-Histórico. From 2005 there are two groups:

Inti-Illimani New (Coulon brothers)
Inti-Illimani Histórico (José Seves, Horacio Durán and Horacio Salinas) (by wikipedia)


And here´s is their 13th album, but the first, they recorded in exile in Italy.

And it´s a sad album, because list their homeland and it´s a strong album, because this musicans were ready to fight against the dictator Augusto Pinochet … and they won ! What a great, proud sucessful story !


Horacio Salinas Alvarez (guitar, Charango, percussion, quena, panpipes, cuatro, tiple)
Max Berru Carrion (guitar, percussion)
Jorge Coulon Larranaga (guitar, tiple, panpipes, rondador)
Jose Seves Sepulveda (guitar, charango, percussion, quena, panpipes)
Jose Miguel Camus Vargas (percussion, quena, panpipes)
Horacio Duran Vidal (guitar, charango, panpipes, cuatro, tiple)


01. Fiesta De San Benito (Traditional) 3.34
02. Longuita (Strumentale) (Traditional) 1.53
03. Canción Del Poder Popular (Rojas/Advis) 2.57
04. Alturas (Salinas) 2.56
05. La Segunda Independencia (Lena) 2.30
06. Cueca De La C.U.T. (Pavez/Traditional) 1.43
07. Tatati (Salinas) 3.27
08. Venceremos (Iturra/Ortega) 2.24
09. Ramis (Traditional) 2.16
10. „Rin“ Del Angelito (Parra) 3.19
11. Subida (Bailecito) (Cavour) 1.57
12. Simón Bolívar (Anónimo/Lena) 2.46



Alternate frontcovers:

And in 2017 they celebrate their 50th anniversary … what a great concert:

Almost Brothers – A Band Of Roadies (2014)

FrontCover1On one hand, the vibe of A Band Of Roadies comes as no surprise: after all, the band comprised members of the Allman Brothers Band’s road crew circa ’73-’74, along with some other players from the Macon, GA music scene at the time. This mix of covers and originals – infused with bluesy, jazzy grooves and adventurous jams – is exactly what you might expect from offshoots of the ABB family.

What is a pleasant surprise, however, is the fact that this is a great album made by some solid players. After all, just because they lugged the Allmans’ gear, it doesn’t guarantee they could play it … but A Band Of Roadies stands on its own hind legs as a cool chunk of early 70s bluesrock recently rediscovered.

If you’re familiar at all with ABB history, you’ll recognize some of the band members: the late Twiggs Lyndon – the Allmans’ original road manager – plays guitar; longtime road crew member Joseph “Red Dog” Campbell (who passed away in 2011) mans the drums, along with soundman Michael Artz; Buddy Thornton (who handled front-of-house sound for the Allmans) plays bass. Virginia Speed’s talents on piano earned her a job as a keyboard tech for the ABB; her killer Steinway work and lead vocals on the classic “Fever” demonstrate just how good she was. And Dave “Trash” Cole was actually working on the farm that the Allmans owned in Juliette, GA when Lyndon discovered he was also a wicked guitar picker. Cole was hired on as an ABB guitar tech – and he was a natural for the Almost Brothers lineup.


The Almost Brothers were birthed from the need to do pre-gig sound checks in the absence of the actual ABB members. As Chuck Leavell writes in the liner notes, “As we began to tour behind the release [of Brothers And Sisters ] in 1973 there were times when, for various reasons, the band wouldn’t or couldn’t make sound checks.” (Ahhhh … those “various reasons” …)

The Almost Brothers progressed from warming up gear (and often the crowd when the doors opened early) for the Allmans to playing their own gigs in and around the Macon area. When the ABB took 1974 off so Gregg Allman and Dickey Betts could burrow into their respective solo projects, the Almost Brothers got serious about playing in an effort to keep some money coming in.

The 10 cuts on A Band Of Roadies were recorded over a long weekend during that time period – the band was basically helping to break in the newly-revamped Capricorn Studios. The original masters of those sessions have disappeared, but the two-track studio tapes were recently unearthed. The format allowed for no re-mixing – simply basic EQ touchup and editing; but the raw, in-the-moment feel of this music makes up for any sonic flaws.


The addition of band buddy Joe English on congas for the piano-driven blues romp “Driving Wheel” and the instrumental “Knurled Knob” (penned by Thornton) is a happenstance crystal ball view of what the Allmans’ sound would evolve into when percussionist Marc Quiñones joined them 17 years later.

Dave Cole’s vocals throughout the album are soulful – more Bobby Whitlock-style than Gregg Allman – and he and Lyndon complement each other well on guitar. They stand shoulder to shoulder on the signature riff of Memphis Slim’s “Stepping Out” before taking turns putting their own spins on the number. (A bit of pickin’ porn for you: Twiggs Lyndon was playing the late Duane Allman’s ’59 Tobacco Burst Les Paul for these sessions … listen for that tone.)


The Allmans had their classic one-two punch of “Don’t Want You No More” into “It’s Not My Cross to Bear”; the Almost Brothers here take off on the shape-shifter instrumental “Modular Motion” before banging down a couple gears to grind out a cover of “Drifting”. Virginia Speed’s solo on Capricorn’s big ol’ Steinway here is a classic – unhurried, lovely and just raunchy enough to be sexy.

Cole leads the band through his self-penned “Is It Wrong” – a much gentler tune than the rest of the album, but a great, spacious opportunity for the band to get loose and glide. Swooping bass lines by Thornton weave around Speed’s rippling piano; the guitars bounce in and out of harmony lines; and guest Scott Boyer (from the band Cowboy) contributes some sweet pedal steel.


“Complicated Shoes”, “Rainbow Chase” and “Compactor” are more Buddy Thornton instrumentals that prove what kind of players the Almost Brothers really were. Don’t expect aimless noodling over standard blues progressions; these songs all feature complex grooves that challenge the rhythm section, cool melodies and themes that allow Speed to work the keyboard, and perfect launchpads for Lyndon and Cole to blast off.

All in all, A Band Of Roadies is a great listen, regardless of the Allman connection. The fact that this music was created from a mix of service to the job at hand and a passion for the music that surrounded them makes the story of the Almost Brothers one that causes you to smile and shake your head. In another time; another setting … who knows what might have become of this band?

In the moment, it was set it up; get it right; tear it down; do it again. (by Brian Robbins)


Liner notes by Chuck Leavell:
Back in “The Day”, when the Allman Brothers Band had recorded the “Brothers and Sisters” album and we were riding high with the LP reaching No. 1 on the Billboard Album Charts
and the song “Rambling Man” reaching No. 2 on the Singles chart, our road crew were riding high with us.
They were all very talented in their respective positions, and all very dedicated to us,
and to the fans that came to see us.
They were recognized by our peers and theirs as being the best road crew in the world,
and in my opinion that was certainly the case.
As we began to tour behind the release of the record in 1973, there were times when for various reasons the band wouldn’t or couldn’t make sound checks.
Our crew would sometimes do them for us, which was a great help and ensured that we would be comfortable when we hit the stage.
As time went on, they began to play more on their own, adding in some other players
that were in the Macon, Ga. area at the time.

The result of this was The Almost Brothers.
I can remember them rehearsing quite a lot, working up some cover tunes and writing some of their own. They were all having a great time, and were honing in their musical skills.
They became very popular around town, and created a reputation for themselves,
playing in some clubs and various other settings.
Fortunately, they also recorded some of their material, and after all these years,
our then house sound engineer, Buddy Thornton, has uncovered those two track tapes,
cleaned them up as much as possible with his expert skills, and herein is the result.
Listening to these recordings bring back some great memories for me, and all the musicians involved put their hearts and souls into the Almost Brothers.
They were all great folks to work with and I am so glad that we have this recording
to document this piece of history.
You can hear the fun they were having and the passion they put into their own band…so, listen and enjoy!


Michael Artz (drums)
Joseph ‘Red Dog’ Campbell (drums)
Dave ‘Trash’ Cole (guitar, vocals)
Joe English (percussion)
Twiggs Lyndon (guitar)
Virginia Speed (piano, vocals on 07.)
T.T. Thornton (bass)
Scott Boyer (steel-guitar on 09.)


01. Driving Wheel (Sykes) 4.01
02. Knurled Knob (Thornton) 2.59
03. Love You (Like A Man) (Smither) 4.33
04. Stepping Out (Slim) 2.23
05. Modular Motion/Drifting 5.34
05.1 Drifting (Thornton)
05.2. Drifting (Brown/Moore/Williams)
06. Complicated Shoes (Thornton) 2.43
07. Fever (Cooley) 3.54
08. Rainbow Chase (Thornton) 5.14
09. Is It Wrong (Cole) 4.46
10. Compactor (Thornton) 4.40




Rory Gallagher – Lausanne Radio (1972)

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

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

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

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

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

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

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

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

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


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

Alternate frontcover:


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

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


  • (coming soon)


More Rory Gallagher:

Traffic – Live At Winterland (1973)

FrontCover1Traffic were an English rock band, formed in Birmingham, in April 1967 by Steve Winwood, Jim Capaldi, Chris Wood and Dave Mason. They began as a psychedelic rock group and diversified their sound through the use of instruments such as keyboards like the Mellotron and harpsichord, sitar, and various reed instruments, and by incorporating jazz and improvisational techniques in their music. Their first three singles were “Paper Sun”, “Hole in My Shoe”, and “Here We Go Round the Mulberry Bush”.

Traffic disbanded in 1969, during which time Winwood joined Blind Faith, then reunited in 1970 to release the critically acclaimed album John Barleycorn Must Die. The band’s line-up varied from this point until they disbanded again in 1974. A partial reunion, with Winwood and Capaldi, took place in 1994.

Traffic were inducted into the Rock and Roll Hall of Fame in 2004. (by wikipedia)


Despite some dodgy edits, this is one of the best Traffic bootlegs. A soundboard warts ‘n’ all recording rumored to have once been the property of famous rock promoter Bill Graham. Great playing with the Muscle Shoals augmented line-up as on “On the Road”. The major plus about this recording is the inclusion of tracks that never made the aforementioned official live album – Roll Right Stones, Evening Blue, Empty Pages, 40,000 Headmen, and Rock ‘n’ Roll Stew. The sound quality on this set ranges from very good to excellent, with the bass and drum sound appearing much more dominant than on “On the Road”; the telepathy between the musicians is as good as it gets, thus making this a must for anyone’s collection. If there was any justice in the world, this would be available by doctor’s prescription! (

Recorded live at th Winterland, San Francisco, CA January 26th 1973


Rebop Kwaku Baah (percussion)
Barry Beckett (keyboards)
Jim Capaldi (drums, percussion, vocals)
Roger Hawkins (drums)
David Hood (bass)
Steve Winwood (keyboards, guitar, vocals)
Chris Wood (saxophone, flute)

Alternate frontcovers:

01. Shootout At The Fantasy Factory (Capaldi/Winwood) 6.14
02. Rock n’ Roll Stew (Capaldi/Winwood) 7.43
03. Roll Right Stones (Capaldi/Winwood) 13.16
04. Empty Pages (Capaldi/Winwood)  5.36
05. Evening Blue (Capaldi/Winwood) 5.34
06. 40.000 Headmen 40,000 Headmen 5.27
07. Glad (Winwood) 10.10
08. Freedom Rider (Capaldi/Winwood) 6.11
09. Tragic Magic (cut) (Wood) 1.55
10. (Sometimes I Feel So) Uninspired (Capaldi/Winwood) 12.03
11. Light Up Or Leave Me Alone (Capaldi/Winwood) 9.43

Steve Winwood

Chris WoodChris Wood ( (24 June 1944 – 12 July 1983)

Jim CapaldiJim Capaldi (2 August 1944 – 28 January 2005)

John Martyn – Solid Air (1973)


Iain David McGeachy OBE (11 September 1948 – 29 January 2009), known professionally as John Martyn, was a British singer-songwriter and guitarist. Over a 40-year career, he released 22 studio albums, and received frequent critical acclaim. The Times described him as “an electrifying guitarist and singer whose music blurred the boundaries between folk, jazz, rock and blues”.

Martyn began his career at age 17 as a key member of the British folk music scene, drawing inspiration from American blues and English traditional music, and signed with Island Records. By the 1970s he had begun incorporating jazz and rock into his sound on albums such as Solid Air (1973) and One World (1977), as well as experimenting with guitar effects and tape delay machines such as Echoplex. He struggled with substance abuse and domestic problems throughout the 1970s and 1980s, though continued to release albums while collaborating with figures such as Phil Collins and Lee “Scratch” Perry. He remained active until his death in 2009.

Solid Air is the fourth studio album by British folk singer-songwriter John Martyn, released in February 1973 by Island Records.


The album was recorded over eight days and features instrumental contributions by bassist Danny Thompson and members of Fairport Convention. “Solid Air”, the title track, was dedicated to a friend of Martyn’s, Nick Drake, who would die of an antidepressant overdose 18 months after the album was released. Martyn said of the track “It was done for a friend of mine, and it was done right with very clear motives, and I’m very pleased with it, for varying reasons. It has got a very simple message, but you’ll have to work that one out for yourself.” The album features an avant-garde cover of Skip James’ “Devil Got My Woman,” here retitled “I’d Rather Be the Devil” and performed with heavy use of Martyn’s Echoplex tape delay effect.

“May You Never” became something of a signature song for Martyn, becoming a staple of his live performances. Released in November 1971 as a single in an early form, the song JohnMartyn02was re-recorded during the Solid Air sessions.[8] Eric Clapton covered “May You Never” on his 1977 album Slowhand. When Martyn was presented with a lifetime achievement award by Phil Collins (a collaborator of Martyn’s) at the 2008 BBC Folk Awards, In 2006, Martyn performed the album live in its entirety as part of the All Tomorrow’s Parties-curated Don’t Look Back series and subsequently toured the UK.

A remastered CD was issued by Universal Records in October 2000. This CD was packaged in a card slipcase, and featured a remastered version of the original album with the addition of a live version of “I’d Rather Be The Devil”. Solid Air was given a further remastering and repackaging when a double CD reissue curated by John Hillarby was released in 2009, and which included several alternate studio and live versions.

The album cover is an example of schlieren photography demonstrating the ‘solid’ nature of air.

Solid Air was rated as the 67th Greatest British Album Ever by the British music magazine Q, and was also included in their list of Best Chill-Out Albums Of All Time. The album is included in the book 1001 Albums You Must Hear Before You Die by Robert Dimery. It was voted number 826 in Colin Larkin’s All Time Top 1000 Albums 3rd Edition (2000).  (by wikipedia)


Solid Air is one of the defining moments in British folk, in the same league as Fairport Convention’s Liege & Lief, Richard & Linda Thompson’s Shoot Out the Lights, and Michael Chapman’s Rainmaker. Martyn stepped out of his comfort zone to record and produce it, including not only jazz and blues but rock and plenty of sound effects, and featuring Rhodes piano on some of its tracks, dismaying some fans while winning a ton more for its genre-blurring presentation. A number of its cuts — such as the title track (written for Martyn’s friend, Nick Drake), “Over the Hill,” “I’d Rather Be the Devil,” and “May You Never” — remained staples in his live sets until the end of his life. (by by Thom Jurek)


Neemoi “Speedy” Acquaye (percussion)
John “Rabbit” Bundrick (keyboards, clavinet)
John Martyn (guitar, vocals, keyboards on 09.)
Dave Mattacks (drums)
Dave Pegg (bass)
Danny Thompson (bass)
Tristan Fry (vibraphone on 01.)
Tony Coe (saxophone on 01. + 06.)
Sue Draheim (violin on 02.)
Simon Nicol (autoharp on 02.)
Richard Thompson (mandolin on 02.)

01. Solid Air (Martyn) 5.47
02. Over The Hill (Martyn) 2.51
03. Don’t Want To Know (Martyn) 3.02
04. I’d Rather Be The Devil (James) 6.19
05. Go Down Easy (Martyn) 3.36
06. Dreams By The Sea (Martyn) 3.18
07. May You Never (Martyn) 3.43
08. The Man In The Station (Martyn) 2.55
09. The Easy Blues (Martyn) 3.22



JohnMartyn03John Martyn (11 September 1948 – 29 January 2009)


Kevin Coyne – Marjory Razorblade (1973)

FrontCover1Marjory Razorblade is a double-LP by English rock singer Kevin Coyne and was one of the earliest releases on Virgin Records, which had launched four months earlier in June 1973. The double album includes the song “Marlene”, which was issued as a single, and “Eastbourne Ladies”, which was featured among the selection of tracks played by John Lydon (aka Johnny Rotten) at the height of the Sex Pistols notoriety on the Capital Radio show A Punk & His Music, broadcast in London in the summer of 1977.

The gatefold album sleeve was designed by prominent graphic artist Barney Bubbles utilising photographs of Coyne by Phil Franks; Bubbles also designed the distinctive logo carrying the album title and artist name, though was content not to receive a credit himself.[3] Twenty five years later, in 1998, Virgin’s financial director Ken Berry recalled that, on his first day at the company’s west London offices, he was presented with artist royalty statements scrawled on the back of Bubbles’ invoice for the Marjory Razorblade design.

Awarding the album a B+, Robert Christgau wrote:

PromoPosterAnother British eccentric with a voice scratchy and wavery enough to make Mick Jagger sound like Anthony Newley, only this one can write songs. The annoying kid-stuff tone of the perversity here purveyed is redeemed by the fact that there isn’t a chance it will sell, not even with the Brit double-LP condensed down to one. Also, “House on the Hill” is as convincing a madman’s song as I know.” (by wikipedia)

There are not that many artists with 40 albums to their name who haven’t at least once enjoyed significant mainstream recognition. But despite the backing of Virgin Records, the late Kevin Coyne never reached these heights. His label tried – the delightful Marlene, from this collection, was released as a single first in 1973 and then again four years later, its initial under-performance a mystery to all. Ultimately, sadly, Coyne’s legacy is one that’s remained relatively under the radar.

A student of the blues, Coyne’s timbre wasn’t as pristine as charting artists of the time; the songs collected here – the original 20-track album, plus a second disc of bonus selections including BBC session takes and previously unreleased fare – wear their edges roughed, their imperfections proudly displayed. But while the pop market was resistant, Coyne found fans amongst the music world’s cognoscenti: John Lydon expressed his admiration of Marjory Razorblade in 1977, particularly praising the swaggering Eastbourne Ladies, and John Peel was an early supporter, signing Coyne’s pre-solo-career band Siren to his Dandelion label.


This re-issue features some insightful liner notes, including contributions from bassist Tony Cousins as well as press release snippets. The original one-sheet for this album, generally considered to be Coyne’s landmark release (though his small but passionate fanbase still debate that), states that Coyne had 26 tracks laid down after just five recording sessions. Subsequently Marjory had to be a double album – making this set, with 37 tracks, effectively a four-album package by 12” timings. But indulgent it’s not, restraint expressed both lyrically – words cut deep, but with precise strokes rather than repeat swings – and exercised in the skeletal frames of several of these songs.


There’s a lovely Rhodes warmth to Old Soldier, Coyne’s twangy guitar complemented by Jean Roussel’s organ contributions and subtle string arrangement; similarly notable of verdant texture is the synthesizer-embellished Mummy. But by and large this is a stripped-bare affair, a musical unit unburdened by technological temptation and just letting the music flow through them. At the heart might be Coyne, but each player is a vital component, more than a constituent part that could be swapped at a moment’s notice. There’s a comfortable compatibility evident, a synthesis of individual ability into one effective, enchanting end product.

So if you’ve never heard it before, don’t delay any longer: Marjory Razorblade is a trove of largely forgotten delights ready for rediscovery. (by Mike Diver)

Chili Charles (drums, percussion)
Dave Clague (guitar)
Tony Cousins (bass, tuba)
Kevin Coyne (vocals, guitar)
Ed DeGenaro (guitar)
Malcom Healey (synthesizer)
Jean Roussel (piano)
Gordon Smith (guitar, mandolin)
Steve Verroca (piano)
Mel Collins (horns on 21.)
Nick Cudworth (piano on 21.)
John Varnom (guitar on 21.)


01. Marjory Razorblade (Coyne) 1.47
02. Marlene (Coyne) 2.43
03. Talking To No One (Coyne) 2.31
04. Eastbourne Ladies (Coyne) 4.38
05. Old Soldier (Coyne) 3.55
06. I Want My Crown (Traditional) 4.20
07. Nasty (Coyne) 5.05
08. Lonesome Valley (Carter) 2.58
09. House On The Hill (Coyne) 4.55
10. Cheat Me (Coyne) 3.43
11. Jackie And Edna (Coyne) 4.05
12. Everybody Says (Coyne) 4.27
13. Mummy (Coyne) 4.11
14. Heaven In My View (Carter) 3.15
15. Karate King (Coyne) 3.19
16. Dog Latin (Coyne) 4.55
17. This Is Spain (Coyne) 2.11
18. Chairman’s Ball (Coyne) 3.14
19. Good Boy (Coyne) 2.41
20. Chicken Wing (Coyne) 4.23
21. Lovesick Fool (Coyne) 2.20
22. Sea Of Love (Khoury/Baptiste) 3.08



Kevin Coyne (27 January 1944 – 2 December 2004)

The Legends Of Jazz – Same (1973)

FrontCover1The title of this all-star group hast not been casually selected. Each of these illustriou gentlemen ois truly a living legend of jazz.

Their combined backgrounds total more than year of jazz activity !

Within their lifetime serveral oofThe Legens Of Jazz hve seen the spirited music of New Orleans move from the streets and riverboats to the ehalted concert stages of the world.

Paradoxically, this veteran group has been brought together by a young Englich drummer, Barry Martin, who is at least 40 years younger then his averae “dieman”. Despite his youth, Martyn looks back upon 15 years of intensive jazz productivity.

Listen to the exciting sound ofThe Legends Of Jazz. They display a fresh, tasteful approach to a music that reflects their own enduring achievments

Age certainly hast not dimmed their brilliance. Like fine wine mellowing oin a cask. The Legends Of Jazz adroitly demonstrate the true value of their vintage. (taken from the original liner notes)


So, enjoy another sentimental journey to the very early days of jazz from New Orleans, it´s a phantstic trip, believe me.

It´s up to you !


Andrew Blakeney (trumpet, vocals on 10.)
Joe Darensbourg (clarinet)
Edward “Montudi” Garland (bass)
Barry Martyn (drums)
Alton Purnell (piano, vocals on 08.)
Louis Nelson (trombone)

01. Conti Street Parade (Purnell/Delay) 3.08
02. Out In The Cold Again (Bloom/Kohler) 3.59
03. Legends Boogie (Martyn) 4.27
04. Apex Blues (Hines/Noone/Poston) 4.23
05. Down Among The Sheltering Palms (Olman/Rockman) 3.52
06. Lou-Easy-An-I-A (Darensbourg) 4.27
07. Just A Little While To Stay (Traditional) 3.35
08. Old Man Mose (Armstrong/Randolph) 2.26
09. Red Man Blues (Piron) 2.29
10. Do You Know What It Means To Miss New Orleans (Delange/Alter) 4.53






Jan Akkerman – Profile (1973)

LPFrontCover1Jan Akkerman (born 24 December 1946) is a Dutch guitarist.[1] He first found international commercial success with the band Focus, which he co-founded with Thijs van Leer. After leaving Focus, he continued as a solo musician, adding jazz fusion influences. (by wikipedia)

Profile is the second solo album by Dutch jazz guitarist Jan Akkerman.

In 1972, Focus was experiencing planetary success with the single “Hocus Pocus” and the accompanying LP Moving Waves. With this kind of momentum, guitarist and leader Jan Akkerman decided it was time for a parallel solo career. Profile is not disconnected from his work with Focus, but was at the time a good medium to show the extent of his talent. The two main musicians on this record apart Akkerman himself are Focus alumni Pierre van der Linden (drums) and Bert Ruiter (bass). The first half contains “Fresh Air,” a 20-minute epic in seven parts. This is a jazz-rock track like Focus rarely recorded (except maybe the In and Out of Focus version of “Anonymous”). Akkerman is smoking on the electric guitar and the whole thing sounds a lot like early Mahavishnu Orchestra: There is a strong sense of urgency to it coupled with the feeling that these guys were having a wonderful time.

Jan Akkerman 1974

The second half is more eclectic in styles and in results. Here, Akkerman indulges in his interest for medieval and classical music. A rendition of “Kemps Jig” (a medieval tune that was also part of Gryphon’s repertoire) and an Etude by Carcassi are both played on the lute, and Diabelli’s Andante Sostenuto is performed on Spanish guitar. A rather poor blues number and two Focus-inspired tracks complete the set. More technical, the album’s second half is a showcase for Akkerman’s guitar chops, but it is really “Fresh Air” that best exemplifies his talent both as a composer and a performer and puts this album Jan Akkerman 1974_02.jpga cut above other prog guitarists’ solo projects, namely Steve Howe’s first two records. (by François Couture)

This album is full of excellent electric & acoustic guitars and Baroque lute parts. Akkerman here can be classical (Baroque), hard rock and even slightly bluesy, and sometimes a bit folk. He includes some powerful rhythmic elements, especially on the first side of the record. The album is at least very original and unique. The first side is an epic track of nearly 20 minutes, full of good moments, sometimes melodic, although it may sound experimental, improvised and raw like the more bizarre stuff of Jimi Hendrix, if you consider the visceral electric guitar notes and the fast drums: it reminds me a bit the Lenny White’s “Venusian Summer” album. The other side is made of short tracks full of acoustic and electric string instruments, with sometimes good bass and drums parts. Jan Akkerman proves here that he is an outstanding guitarist. (by greenback)


Jan Akkerman (guitar, bass)
Pierre Van Der Linden (drums)
Bert Ruiter (bass)
Jaap Van Eyck (bass on 08.)
Ferry Maat (piano on 08.)
Frans Smit (drums on 08.)


01. Fresh Air (Akkerman) 19.55
01.1Must Be My Land
01.2.Wrestling to Get Out
01.3. Back Again
01.4.This Fight
01.5.Fresh Air – Blue Notes for Listening
01.6.Water and Skies Are Telling Me
01.7. Happy Gabriel?
02. Kemp’s Jig (Anonymous) 1.35
03. Etude (Carcassi) 1.33
04. Blue Boy (Akkerman) 2.26
05. Andante Sostenuto (Diabelli) 4.09
06. Maybe Just A Dream (Akkerman) 2.35
07. Minstrel/Farmers Dance (Akkerman) 1.46
08. Stick (Akkerman) 3.39




More from Jan Akkerman:


The Who – Live At The Spectrum (1973)

FrontCover1.jpgThe Who Tour 1973 was The Who’s first concert tour supporting their Quadrophenia album.

Prior to recording the Quadrophenia album, the band played a one-off performance in Voorburg, Netherlands for a Dutch TV special in March. They then did one tour each in England and North America supporting the new rock opera, released in October; four additional dates in London were added after their November dates at the Lyceum failed to meet the large demand for tickets. The set list for these tours was altered considerably from their 1971 and 1972 tours, with a large part of the act devoted to Quadrophenia, while “Won’t Get Fooled Again” was the only Who’s Next track retained until “My Wife” was reintroduced during the North American dates. Unlike performances of the rock opera Tommy, the group opted to introduce and explain the context of most of the new numbers rather than play them one after the other without breaks. They often struggled with some of the new material, choosing to play to a number of pre-recorded backing tracks featuring the album’s original piano and synthesizer parts, as well as various sound effects. “The Dirty Jobs”, “Is It in My Head”, and “I’ve Had Enough” were only played in the first concert in Stoke-on-Trent before proving unworkable, and both “Helpless Dancer” and “The Rock” (also played to backing tracks) were eventually dropped. Drummer Keith Moon received a solo vocal spot during “Bell Boy”, with Pete Townshend often teasing him over his singing abilities.


Memorable (and infamous) performances during these tours included the group’s 5 November show in Newcastle upon Tyne, when troubles with the Quadrophenia backing tracks caused Townshend to suffer a meltdown that resulted in sound engineer Bob Pridden being dragged onstage and suffering an assault in front of the bemused audience. Additionally, Moon passed out about 70 minutes into the opening night of the North American tour at the Cow Palace in Daly City, California, resulting in audience member Scot Halpin sitting in with the band to help them finish the concert.[1] The show at the Spectrum in Philadelphia on 4 December was recorded and occasionally broadcast in incomplete form on the King Biscuit Flower Hour radio show starting in 1974; the following show at the Capital Center in Landover, Maryland was also recorded, but was not aired (the King Biscuit recordings were rumored to be from both dates, but eventually proved to all be from the Philadelphia performance). The King Biscuit Flower Hour Shows were recorded on the Record Plant NY Remote Truck with David Hewitt and Crew. (by wikipedia)

AlternateFront+BackCover1.jpgAlternate front + backcover

I grabbed this off of Dime in Feb 2008, but still appears to be under-circulated, considering this one of the best Who shows circulating in terms of performance and sound quality. This version is mostly intact from the original grab, but I did make a few minor changes. I included the original artwork, but appears to be missing a track.

This does appear to be the complete show – minus Love Reign O’er Me, so for most of you, this should be a nice upgrade with several extra Quadrophenia tracks unavailable on the boot and KBFH versions.

Here is the Famous “Tales From The Who” show that has been around and incomplete for years. This seems to be the whole unedited show with The Punk and the Godfather, 5:15, My Wife and a great version of Naked Eye. In-between song banter with references to “Philly” and cursing are intact.

John Entwistle

I also found a site that had pics of the 16 track tape boxes that these shows were allegedly sourced from. What I am uploading here is from the 3-disc CD-R set.

I have owned various versions of this show on vinyl, silver CD and downloads.This is the most complete version I have ever heard. This is from a different source as the mix is different. The drums seem to be more upfront and the vocals aren’t as echoey. This was recorded for The King Bisquit Flower Hour radio broadcast, and when they got their hands on it they definately mixed/added crowd noise and a bit of echo.They are notorious for that. Makes it easier to trim performances to fit in an hour.


I am assuming this is how it sounded before KBFH got it. I am not positive. Last time this show was posted by “Freezer” it led to a nasty argument about the source tape, was it mixed in Quad, etc. Personally, i’m not too concerned with those details and hope i’ve answered any questions about this recording you may have. I hope I don’t add to the confusion. If an argument should break out, try to keep it down, I am listening to The WHO!! (by whotrader)

In other words: One of the best Who bootlegs ever in a superb soundboard quality !!!


Roger Daltrey (vocals, harmonica, tambourine)
John Entwistle (bass, background vocals)
Keith Moon (drums, percussion, background vocals)
Pete Townshend (guitar, tambourine, background vocals)


01. I Can’t Explain (Townshend) 3.27
02. Summertime Blues (Cochran/Capehart) 4.03
03. My Wife (Entwistle) 7.17
04. My Generation (Townshend) 8.19
05. I Am The Sea (Townshend) 1:43
06. The Real Me (Townshend) 5.51
07. The Punk And The Godfather (Townshend) 6.07
08. I’m One (Townshend) 3.03
09. 5:15 (Townshend) 6.33
10. Sea And The Sand (Townshend) 8.10
11. Drowned (Townshend) 9.07
12. Bell Boy (Townshend) 5.28
13. Doctor Jimmy (Townshend) 8.32
14. Won’t Get Fooled Again (Townshend) 9.09
15. Pinball Wizard (Townshend) 2.56
16. See Me, Feel Me (Townshend) 14.08
17. Naked Eye (Townshend) 13.18



More from The Who: