Jose Feliciano – And The Feeling’s Good (1974)

FrontCover1José Monserrate Feliciano García (born September 10, 1945), better known simply as José Feliciano [xoˈse feliˈsjano], is a Purto Rican-American musician, singer and composer, best known for many international hits, including his rendition of The Doors’ “Light My Fire” and the best-selling Christmas single, “Feliz Navidad”. His music is known for its fusion of styles: Latin, jazz, blues, soul and even rock, created primarily with his unique, signature acoustic guitar sound. His oftentimes mellow easy listening influences are easily recognizable in many songs heard around the world.

In the United States, he first received widespread popularity in the 1960s, particularly after his 1968 album Feliciano! reached number two on the music charts. Thus far, he has released over fifty albums, worldwide, in both English and Spanish. (by wikipedia)

This nice album from 1974 contains Feliciano’s last Top-100 hit to appear on thye US Charts: “Chico and the man”. This song was used as the soundtrack for the TV series by the same name and reached widespread popularity, eventually being performed by such artists as Sammy Davis Jr. The album especially contains a wonderful rendition of “Golden Lady”, a Stevie Wonder song and, in my opinion, one of the best things ever recorded by Jose’ Feliciano, a soul samba cover totally reinvented “a-la-only-jose-can-do”
Nice set also for “Essence of your love”, “Stay with me” and “Virgo”. This last piece is noteworthy for being one of the few instrumental pieces recorded by Jose’ on electric guitar in a “Hendrix way” (by Markjm)


Duke Bardwell (bass)
Janna Merlyn Feliciano (handclaps, vocals)
José Feliciano (guitar, vocals, mellotron)


01. Hard Times in El Barrio (José Feliciano/Janna Feliciano) 3.01
02. I’ve Got to Convince Myself (Toussaint) 2.44
03. You’re No Good (Ballard) 3.09
04. Differently (Graham) 4.18
05. Virgo (José Feliciano) 3.13
06. Golden Lady  (Wonder) 4.18
07. Stay With Me (José Feliciano/Janna Feliciano) 2.44
08. Chico And The Man (José Feliciano) 2:55
09. And the Feeling’s Good (Fox/Gimbel) 3.17
10. Essence Of Your Love (José Feliciano) 3.21



Roxy Music – Viva (1976)

FrontCover1Viva! Roxy Music was the first live Roxy Music album. It was released in August 1976 and was recorded at three venues in the United Kingdom between 1973 and 1975. The recordings were from the band’s shows at the Glasgow Apollo in November 1973, Newcastle City Hall in October 1974 and the Wembley Empire Pool in October 1975. (by wikipedia)

As Roxy Music took an extended hiatus, the live album Viva! was released. Comprised of material recorded on tours from 1973, 1974, and 1975, Viva! is a tough, powerful document of Roxy at the peak of their live powers, featuring a fine cross-section of their best work. (by Stephen Thomas Erlewine)

The biggest flaw with this album is that it isn’t longer. I’d love to hear more music from this great live unit. The song selection leans heavily on the first two Roxy albums, when Eno was part of the band.

Roxy Music

Those numbers, here played live by the Eddie Jobson version of Roxy (Jobson was Eno’s replacement), are effectively reworked versions and are great. Not necessarily better, though Do The Strand and Pyjamarama are way more energetic then the originals, just different and very well done. For me, a highlight is the expanded If There Is Something, with its beautiful instrumental passages and powerful drumming. Great music and a great complement to the studio albums. (by Jonathan Krall)

This is Roxy Music after developing a reportoire of numbers. This formation would basically set the formula of Roxy Musics live performance. This is not the big Concert Bowl perfomance but the intimate concert hall performance that Roxy satisfied itself with and probably more that any other group featured more the skills of the musicians and at the same time keep itself in contact with the audience. (by TDN)


Bryan Ferry (vocals, keyboards)
Eddie Jobson (violin, synthesizer, keyboards)
Andy Mackay (saxophone, oboe)
Phil Manzanera (guitar)
Paul Thompson (drums)
John Wetton (bass)
John Gustafson (bass on 05.)
Sal Maida – bass on 02. + 04.)
The Sirens (Doreen Chanter and Jacqui Sullivan) (background vocals on 05.)


01. Out Of The Blue 4.45
02. Pyjamarama 3.37
03. The Bogus Man 7.06
04. Chance Meeting 2.58
05. Both Ends Burning 4.47
06. If There Is Something 10.39
07. In Every Dream Home A Heartache 8.22
08. Do The Strand 4.01

All songs written by Bryan Ferry.
except 01., which was written by Bryan Ferry andPhil Manzanera






Ace – Five-A-Side (1974)

FrontCover1Ace were a British rock band, who enjoyed moderate success in the 1970s. Their membership included Paul Carrack, who later became famous as the co-lead vocalist of Mike + The Mechanics and as a solo artist. Ace are best known for their hit single “How Long”, which was a top 20 single in the United Kingdom in 1974, and reached no. 3 in the United States and Canada in 1975.

The band was formed in December 1972 in Sheffield as “Ace Flash and the Dynamos”, but the name was soon abbreviated to “Ace”. The members were assembled from various professional bands. Carrack and Terry Comer had previously played with Warm Dust, and Alan “Bam” King with Mighty Baby, whose antecedents were the 1960s band The Action. Ace were popular on the pub rock circuit. Their music was a fusion of pop and funk .

Before the recording of their debut album, Five-A-Side, the former drummer of Bees Make Honey, Fran Byrne, replaced Steve Witherington. The single “How Long” was taken from this record, and was a significant chart success, achieving a Top 20 place in the UK Singles Chart, and reaching number three in the US Billboard Hot 100 chart in the spring of 1975. The Five-A-Side album did well on its own, too, peaking at number 11 on the Billboard 200. Carrack, the band’s keyboardist and chief songwriter, sang lead on “How Long”, but was not the band’s only vocalist. Follow-up singles were sung by other band members.


Ace eventually moved to the United States, and replaced Phil Harris with Jon Woodhead in June 1976, releasing their third and final album No Strings in January 1977. Unlike earlier Ace LPs, this album featured an emphasis on Carrack’s vocals, and the two singles issued from the album both featured Carrack as lead singer. The singles, however, didn’t chart and the group disbanded in July 1977, when Carrack, Comer and Byrne all joined Frankie Miller’s backing band.

In addition to his solo career, Carrack has since played in Eric Clapton’s band, Roger Waters’ The Bleeding Heart Band, Roxy Music for the Manifesto album and tour, Squeeze in the early 1980s, and Mike + The Mechanics, for which he is best known. His solo re-recording of “How Long” became a UK Top 40 hit again in 1996.

Five-A-Side is the debut album by the pop rock band Ace, released by Anchor Records in 1974.

The album landed on the Billboard 200 chart, reaching #11 in 1974.

The single “How Long” reached #3 on the Billboard Hot 100. The song also reached #24 on the Adult Contemporary chart, #3 on the Canadian Singles Chart, and #20 on the UK Singles Chart. The song “Rock & Roll Runaway” peaked at #71 on the Billboard Hot 100 in 1975.

The album was recorded at Rockfield Studios near Monmouth in Wales and at Trident Studios in London, England. It was produced by John Anthony. ((by wikipedia)


“How Long,” the song that broke Ace and by many measures defines them, doesn’t necessarily present the most accurate picture of the band or its 1974 debut, Five-A-Side. Sure, Ace had a knack for a soft soulful groove that distinguished them from their pub rock brethren and in Paul Carrack they had perhaps the best blue-eyed soul singer the scene produced (Frankie Miller being a close contender for the title), but neither are the focal point on Five-A-Side, a record evenly balanced between the singer and quintet, as the title implies.


Most of the ten-track record doesn’t ride the same easy rhythm as “How Long”; “The Real Feeling” and “Why” come close, containing some of the same ‘70s polyester sheen, but those bear stronger resemblance to the rest of the record, the songs that are heavily rooted in American roots rock, some of which are not sung by Carrack. Ace deftly mimicked the bluesy country-rock of Delaney & Bonnie, choosing to emphasize R&B over shaggy country-folk, thereby sounding quite different than their Band-loving peers. All this gives Five-A-Side a smooth, relaxed quality even on Ace’s relatively harder-rocking numbers like “Sniffin’ About” and that laid-back groove is appealing, partially because there’s just enough grit in their interplay to keep this from being lazy, partially because the songs — chiefly written by Carrack, who bears eight songwriting credits — are so strong, excellent pieces of straight-ahead rock & roll and blue-eyed soul that make this album something of a minor gem of its time. (by Stephen Thomas Erlewine)


Fran Byrne (drums, percussion)
Paul Carrack (keyboards, vocals)
Terry “Tex” Comer (bass)
Phil Harris (lead guitar, vocals)
Alan “Bam” King (guitar, vocals)
Bud Beadle (horns on 05.)
Mick Eves (horns on 05.)
Chris Hughes (horns on 05. + 09.)

US  frontcover:

01. Sniffin’ About” (Carrack/King) 4.43
02. Rock & Roll Runaway (Carrack/Comer/Harris/King) 3.10
03. How Long (Carrack) 3.21
04. The Real Feeling (Carrack) 2.27
05. 24 Hours (Carrack) 4.09
06. Why? (Carrack) 3.21
07. Time Ain’t Long (Carrack/Walker) 3.56
08. Know How It Feels (Carrack)
09. Satellite (Carrack) 3.34
10. So Sorry Baby (Harris) 3.57



The Lafayette Afro Rock Band – Malik (1974)

FrontCover1Lafayette Afro Rock Band was an American funk rock band formed in Roosevelt, Long Island, New York in 1970 and soon relocating to France. Though little-known in their native United States during their recording period, they have since become celebrated as one of the standout funk bands of the 1970s and are particularly noted for their use of break beats. The band also recorded under the names Ice, Crispy & Co. (Krispie & Co. in Europe), Captain Dax, and others.

Upon their relocation to Paris, the local music scene influenced the group’s work, inspiring the addition of rock and African elements. They recorded their debut album as Ice and then adopted the name Lafayette Afro Rock Band. The band’s next two albums, Soul Makossa and Malik, included the songs “Hihache” and “Darkest Light” which would be sampled in numerous culturally significant hip-hop compositions. They broke up in 1978. (by wikipedia)

Lafayette Afro Rock Band01

You’ve probably heard Lafayette Afro Rock Band without even realizing it. Their song “Darkest Light” has been sampled by Public Enemy (“Show ‘Em Watcha Got”), Wreckx-N-Effect (“Rump Shaker”), and Jay Z (“Show Me What You Got”). Other snippets of LARB tracks also have appeared in cuts by LL Cool J, Biz Markie, De La Soul, Wu-Tang Clan, Gorillaz, and Pizzicato Five. And it’s easy to hear why: LARB brought the funk with pizzazz. Through these stealth methods, they’ve become integral to club culture. But they created plenty of riveting music that’s worthy on its own merits, not merely as fodder for other artists’ output.

Lafayette Afro Rock Band02

The Lafayette Afro Rock Band consisted of seven musicians from Long Island, New York who cut two albums in Paris after deciding they’d have a better chance of breaking out in Europe instead of in the funk-saturated United States. Things didn’t quite pan out for LARB commercially, but 1974’s Soul Makossa and 1975’s Malik have emerged as underground funk classics. Aided by French producer Pierre Joubert, LARB created a flamboyant brand of funk that soared with buoyant horn charts and grooved with intricate bass/drum interplay. Ultimate party jam “Conga” predates the stark, percussion-heavy Latino funk of ESG and Konk by about six years. The title track is a laid-back, summertime-cruise joint whose loping rhythms, organ swells, and Kool & The Gang-like soul-jazz horn swoops evaporate your worries and LARB dabble compellingly with Afrobeat on “Raff.” The notorious “Darkest Light” is a paradoxical classic: It rolls sublimely on an utterly seductive rhythmic undercarriage, but above it there ululates a deeply melancholic sax motif, all of it filigreed with rococo guitar and some weirdly distorted organ (or electronically muted trumpet?). Whatever the case, the song endures as a moving (in all senses of the word) tribute to LARB’s phenomenal chemistry and arranging skills. They conclusively proved that a funk band didn’t need vocals to keep you interested. Every instrument on Malik sings with great eloquence and vibrant litheness. (Buckley Mayfield)


Frank Abel (keyboards)
Bobby Boyd (vocals)
Ronnie James Buttacavoli (horns)
Ernest “Donny” Donable (drums)
Lafayette Hudson (bass)
Larry Jones (guitar)
Michael McEwan (guitar)
Keno Speller (percussion)
Arthur Young (horns, percussion)

Lafayette Afro Rock Band03

01. I Love Music (bonus track) (unknown) 7.13
02. Raff (Gomes) 3.16
03. Conga (Hudson) 5.04
04. Avi-Vo (Young/James) 3.37
05. Malik (Donable) 5.13
06. Darkest Light (McEwan) 6.24
07. Djunji (Young/Donable/Abel) 3.08
08. What You Need (bonus track) (unknown) 6.37
09. Baba Hya (Abel) 5.33



McCoy Tyner – Donaueschinger Musiktage (1974)

FrontCover1McCoy Tyner, a cornerstone of John Coltrane’s groundbreaking 1960s quartet and one of the most influential pianists in jazz history, died on March 6, 2020 at his home in northern New Jersey. He was 81. His nephew Colby Tyner confirmed the death. No other details were provided.

Along with Bill Evans, Herbie Hancock, Chick Corea and only a few others, Tyner was one of the main expressways of modern jazz piano. Nearly every jazz pianist since Tyner’s years with Coltrane has had to learn his lessons, whether they ultimately discarded them or not. Tyner’s manner was modest, but his sound was rich, percussive and serious, his lyrical improvisations centered by powerful left-hand chords marking the first beat of the bar and the tonal center of the music.

That sound helped create the atmosphere of Coltrane’s music and, to some extent, all jazz in the 1960s. (When you are thinking of Coltrane playing “My Favorite Things” or “A Love Supreme,” you may be thinking of the sound of Tyner almost as much as that of Coltrane’s saxophone.) To a great extent he was a grounding force for Coltrane. In a 1961 interview, about a year and a half after hiring Tyner, Coltrane said: “My current pianist, McCoy Tyner, holds down the harmonies, and that allows me to forget them. He’s sort of the one who gives me wings and lets me take off from the ground from time to time.”


Tyner moved to the Milestone label in 1972, an association that continued until 1981 and that brought him a higher profile and much more success. In those years he worked steadily with his own band, including at various times the saxophonists Azar Lawrence and Sonny Fortune and the drummers Alphonse Mouzon and Eric Gravatt.

His Milestone albums with his working group included “Enlightenment” (1973), recorded at the Montreux Jazz Festival, which introduced one of his signature compositions, the majestic “Walk Spirit, Talk Spirit.” He also recorded for the label with strings, voices, a big band and guest sidemen including the drummers Elvin Jones, Tony Williams and Jack DeJohnette.


Tyner did not use electric piano or synthesizers, or play with rock and disco backbeats, as many of the best jazz musicians did at the time; owning one of the strongest and most recognizable keyboard sounds in jazz, he was committed to acoustic instrumentation. His experiments outside the piano ran toward the koto, as heard on the 1972 album “Sahara,” and harpsichord and celeste, on “Trident” (1975).

He resisted analyzing or theorizing about his own work. He tended to talk more in terms of learning and life experience. “To me, living and music are all the same thing. And I keep finding out more about music as I learn more about myself, my environment, about all kinds of different things in life. I play what I live. Therefore, just as I can’t predict what kinds of experiences I’m going to have, I can’t predict the directions in which my music will go. I just want to write and play my instrument as I feel.” (New York Times)

And here is one of his brilliant concert … listen and enjoy !

Recorded live at the Donaueschinger Musiktage, Donaueschingen, Germany
October 20, 1974. Very good satellite broadcast.


Juini (Joony) Booth (bass)
Wilbert B (Wilby) Fletcher (drums)
Guilherme Franco (percussion)
Azar Lawrence (saxophone)
McCoy Tyner (piano)

01. Walk Spirit, Talk Spirit (Tyner) 17.41
02. In A Sentimental Mood (Ellington) 6.26
03. Love Bossa (Powell/ de Moraes) 26.39
04. Radio outro 0.21




McCoy Tyner (December 11, 1938 – March 6, 2020)

Headstone – Bad Habits (1974)

FrontCover1Mark Ashton or Mark Ashton Vey (born Mark McVey; 23 June 1949) is a British painter, musician, compositer, ex-drummer of an English progressive rock band Rare Bird.

Mark Ashton was born 23 June 1949, in Bridge, Kent, England. Soon he moved to Scotland and grew up in the Scottish countryside of Stirlingshire, near Glasgow. At a very young age, he shows a talent for drawing and music, and the passion for music soon predominated.
Music career

When he came back to England (Herne Bay, Kent) he joined his first band The Vikings as a drummer at 11 years old. The 2nd band Corvettes was voted the best band in Kent, U.K and played in a band which opened for acts such as The Rolling Stones, Pink Floyd and The Yardbirds, at this time he began writing music. Formed his first band in 1965 Turnstile at 16 years old, began composing and released their first single Riding A Wave (Side B “Trot”) on Pye Records. devoted to the original songs, as early as the single “Riding Wave” will be released by pie record.


In 1968 Mark Ashton moved to London. he joined a band called Rare Bird and their first single “Sympathy” became an international hit record, sold more than 2 million albums, and over 350 cover versions.

After “Rare Bird”, he quit the drums and concentrate to writing music. In 1974 Mark formed “HEADSTONE” and made two albums with Trident Production – EMI Records, 1st album Bad Habit (1974), the 2nd album Headstone (1975). Producer John Anthony has already produced the 1st Album of Yes (1968) and Queen(1973).

In 1976 he recorded his first solo album Mark Ashton L.A. in Los Angeles and the producer was Chris Bond (produced of Hall & Oats).

Then the second solo album Solo Mark Ashton was recorded in England, the producer Alain Callan is the personal manager of Led Zeppelin.


In 1980 he moved to New York or Los Angeles and pursued a solo career. Impressed by the scenery of the U.S.A., so different from his native Scotland, Mark Vey rediscovered gradually his love of painting, parallel to his musical activities. In 1988, released the album Modern Pilgrims by R.C.A. Records.

1991 Recorded and produced his “New Volum of Music” L.A. 1993-1996: Sign with Sony Music Publishing Paris as comositeur. 1996-2002: Director of exclusive A/F APG Music (an independent record label) in New York. 1996 Begin as a painter and exhibits in New York, London, Barcelona, St. Tropez, Aix-en-Provence, Hambourg.

After 3 years painting in Spain, Mark Ashton moved to Nice, French Riviera. His love for this famous Mediterranean light has inspired his creations. And in parallel to his painting career he formed in 2012 his new “Mark Ashton project” with French musicians. Mark Ashton Vey exhibited in New York, London, Nice, Berlin etc. His paintings are on permanent display in various galleries around the world. Since 2015, he changed the style of his music more acoustic using Hurdy Gurdy. (by wikipedia)

US front + backcover:

And here´s is the fisrt album of te short lived Headsone: Ex Rare Bird and Atomic Rooster alumni, Mark Ashton and Steve Bolton with Phil Chen and Chili Charles in release from 1974. USA cover differs considerably from UK issue.

This is an incredible album, every track a standout, i have touted this lp with enthusiasm since its 1974 release. Those of us that own this “hidden gem” would agree it is truly a piece of ”off the scale” listening pleasure! My youth comes roaring back at every spin, and is as powerful if you chose to go with headphones as your listening pleasure. Perfect mesh of guitars,percussion,brass,strings and a slight touch of ”Moog”. In my humble opinion i usually recommend a room filling volume level to bring the experience of this work to its fore. (An amazon customer)


Mark Ashton (vocals, guitar)
Steve Bolton (guitar)
Chili Charles (drums)
Phil Chen (bass)
Daryl (percussion on 07.) (tracks: B2)
Dave Kaffinetti (piano on 09.)
Joe O’Donnell (violin on 02.)
Tony Lukyn (synthesizer on 02.)
background vocals on 01. + 10.)
Carl Douglas – Juanita – Sparky – Steve Gould


01. Don’t Turn Your Back 4.19
02. Take Me Down 4.11
03. High On You 3.05
04. Love You Too 2.17
05. 3 O B 4.04
06. Open Your Eyes 0.31
07. Live For Each Other 3.45
08. You’ve Heard It All Before 3.33
09. Bad Habits 3.51
10. Take A Plane 4.34
11. D M T 4.28

All songs written ny Mark Ashton.
except 05. which was written by Steve Bolton



Some of Mark Ashton´s paintings:

John Lennon – Rock N Roll (1975)

FrontCover1Rock ‘n’ Roll is the sixth studio album by John Lennon. Released in 1975, it is an album of late 1950s and early 1960s songs as covered by Lennon. Recording the album was problematic and spanned an entire year: Phil Spector produced sessions in October 1973 at A&M Studios, and Lennon produced sessions in October 1974 at Record Plant Studios (East). Lennon was being sued by Morris Levy over copyright infringement of one line in his song “Come Together”. As part of an agreement, Lennon had to include three Levy-owned songs on Rock ‘n’ Roll. Spector disappeared with the session recordings and was subsequently involved in a motor accident, leaving the album’s tracks unrecoverable until the beginning of the Walls and Bridges sessions. With Walls and Bridges coming out first, featuring one Levy-owned song, Levy sued Lennon expecting to see Lennon’s Rock ‘n’ Roll album.

The album was released in February 1975, reaching number 6 in both the United Kingdom and the United States, later being certified gold in both countries. It was supported by the single “Stand by Me”, which peaked at number 20 in the US, and 30 in the UK. The cover was taken by Jürgen Vollmer during the Beatles’ stay in Hamburg. It was Lennon’s last album until 1980; with no recording contract obligation, he took a hiatus from the music business to raise his son Sean.


In 1969, Lennon composed the song “Come Together” for the Beatles’ album Abbey Road. Inspired by the Chuck Berry tune “You Can’t Catch Me”, it bore too much of a melodic resemblance to the original—and Lennon took the third line of the second verse (“Here come [old] flat-top”) for the new lyric. Publisher Morris Levy brought a lawsuit for infringement, and the case was due to be heard in a New York court in December 1973. It was later settled out of court, with the agreement that, according to an announcement by Levy, Lennon had to “record three songs by Big Seven publishers on his next album”. The songs [he] intends to record at this time are “You Can’t Catch Me”, “Angel Baby” and “Ya Ya”.” Lennon had the right to change the last two songs to any other songs that were published by Big Seven. In the meanwhile, Lennon had split with Yoko Ono and was living in Los Angeles with his personal assistant, May Pang. Nostalgia was a popular trend on film with American Graffiti, and television was readying the series Happy Days (Lennon and Pang had even visited the set). Lennon, rather than writing his own songs, and partly inspired by his arrangement to include at least three songs from Levy’s publishing company catalogue, Big Seven Music, decided to record an album of oldies as his next release, following on from Mind Games.


Lennon initially teamed up with producer Phil Spector to record the album, letting Spector have full control. Spector chose some of the songs, booked the studio, and the musicians.[8] When news got around that Lennon was in Hollywood making a record, every musician there wanted to be part of the sessions. In mid-October 1973, sessions were booked at A&M Studios, with many of them having over 30 musicians, but the sessions quickly fell into disarray—fueled by alcohol. Spector once showed up dressed in a surgeon’s outfit and shot a gun in the ceiling of the studio, hurting Lennon’s ears. On another occasion, a bottle of whiskey had spilled on the A&M Studio’s mixing console causing future sessions to be banned from the facility. Unknown to Lennon, each night Spector would remove the master tapes from the studio, and move them to his house.

Spector then disappeared with the session tapes and would not be heard from for several months. Spector made one cryptic call to Lennon, claiming to have the “John Dean tapes” from the recent Watergate scandal; Lennon deduced that Spector meant he had the album’s master tapes. When a car accident on 31 March 1974 left Spector in a coma, the project was put on indefinite hold. In mid-1974, Lennon returned to New York with Pang and began writing and recording a new album of original material, Walls and Bridges.

JohnLennon1962_02Shortly before these sessions began, Al Coury, then-head of A&R/promotion for Capitol Records retrieved the Spector tapes. Not wanting to break stride, Lennon shelved the tapes and completed work on Walls and Bridges.

With Walls and Bridges coming out first, Lennon had reneged on his deal with Levy, and Levy threatened to refile his lawsuit, but Lennon explained to Levy what had happened, and assured him that the covers album was indeed in the works. Levy gave Lennon use of his farm in upstate New York to rehearse material. Lennon then recalled the session musicians from Walls and Bridges to complete the oldies tracks. Several tracks never made it past the rehearsal stage: “C’mon Everybody”, “Thirty Days”, “That’ll Be the Day” – the band also played a few impromptu jams. On 21 October, Lennon went into Record Plant East, completing the oldies tracks in a few days. Lennon wanted the musicians to stay close to the original arrangements of the songs, apart from “Do You Wanna Dance?”. Mixing and editing lasted until mid-November. To assure him progress was being made, Lennon gave Levy a rough tape of the sessions to review. Levy took the tapes and pressed his own version of the album called Roots: John Lennon Sings the Great Rock & Roll Hits on his record label, Adam VIII, then proceeded to sue Lennon, EMI and Capitol for $42 million for breach of contract. Capitol/EMI quickly sought an injunction. After two trials, in which Lennon had to convince the court of the difference between a rough version and a final take, Levy won $6,795 in damages, and Lennon won $144,700, in February 1976. The album was originally scheduled for release in April 1975; however, in February 1975, Capitol Records rush-released the official Rock ‘n’ Roll as a Capitol “budget” album (prefix code SK—one dollar cheaper than the usual releases) to counteract sales of the Levy album.


Lennon said the following about Rock ‘n’ Roll: “It started in ’73 with Phil and fell apart. I ended up as part of mad, drunk scenes in Los Angeles and I finally finished it off on me own. And there was still problems with it up to the minute it came out. I can’t begin to say, it’s just barmy, there’s a jinx on that album.”

Lennon planned to use some of his childhood drawings for the cover of his oldies album, and production had already begun when Lennon switched gears, so the artwork was used instead for Walls and Bridges. In September 1974, May Pang attended the first Beatlefest convention at Lennon’s behest, and met Jürgen Vollmer, an old friend of the Beatles from Hamburg, Germany, who had photographed the band from their Hamburg days. He was selling some striking portraits, and Pang immediately phoned Lennon to tell him of her find. Reuniting with Vollmer in New York, Lennon chose one of his photos for the album’s cover.


The photo depicts Lennon in a doorway with three blurry figures walking past him in the foreground. Those figures are George Harrison, Stu Sutcliffe and Paul McCartney.[40] It was taken on 22 Wohlwill Street in Hamburg. The album’s working title had been Oldies But Mouldies; no official title had been chosen until Lennon saw the neon sign prepared as cover art by John Uomoto, with Lennon’s name and the words “ROCK ‘N’ ROLL” beneath. This struck Lennon in a positive way, and it became the album title. (by wikipedia)


Although the chaotic sessions that spawned this album have passed into rock & roll legend and the recording’s very genesis (as an out-of-court settlement between John Lennon and an aggrieved publisher) has often caused it to be slighted by many of the singer’s biographers, Rock ‘n’ Roll, in fact, stands as a peak in his post-Imagine catalog: an album that catches him with nothing to prove and no need to try. Lennon could, after all, sing old rock & roll numbers with his mouth closed; he spent his entire career relaxing with off-the-cuff blasts through the music with which he grew up, and Rock ‘n’ Roll emerges the sound of him doing precisely that. Four songs survive from the fractious sessions with producer Phil Spector in late 1973 that ignited the album, and listeners to any of the posthumous compilations that also draw from those archives will know that the best tracks were left on the shelf — “Be My Baby” and “Angel Baby” among them. But a gorgeous run through Lloyd Price’s “Just Because” wraps up the album in fine style, while a trip through “You Can’t Catch Me” contrarily captures a playful side that Lennon rarely revealed on vinyl.

Beatles PromoCard1962

The remainder of the album was cut a year later with Lennon alone at the helm, and the mood remains buoyant. It might not, on first glance, seem essential to hear him running through nuggets like “Be Bop A Lula,” “Peggy Sue,” and “Bring It on Home to Me,” but, again, Lennon has seldom sounded so gleeful as he does on these numbers, while the absence of the Spector trademark Wall-of-Sound production is scarcely noticeable — as the object of one of Lennon’s own productions, David Peel once pointed out, “John had the Wall of Sound down perfectly himself.” Released in an age when both David Bowie and Bryan Ferry had already tracked back to musical times-gone-by (Pin-Ups and These Foolish Things, respectively), Rock ‘n’ Roll received short shrift from contemporary critics. As time passed, however, it has grown in stature, whereas those other albums have merely held their own. Today, Rock ‘n’ Roll sounds fresher than the rock & roll that inspired it in the first place. Imagine that. (by Dave Thompson)


Ken Ascher (keyboards)
Hal Blaine (drums)
Jim Calvert (guitar)
Steve Cropper (guitar)
Jesse Ed Davis (guitar)
José Feliciano (guitar)
Michael Hazelwood (guitar)
Arthur Jenkins (percussion)
Jim Keltner (drums)
Michael Lang (keyboards)
John Lennon (guitar, vocals)
Gary Mallaber (drums)
Eddie Mottau (guitar)
Leon Russell (keyboards)
Klaus Voormann (bass guitar, answer vocals on 10.)
brass section:
Nino Tempo – Jeff Barry –Barry Mann –Bobby Keys – Peter Jameson – Joseph Temperley Dennis Morouse –Frank Vicari


01. Be-Bop-A-Lula (Davis/Vincent) 2.40
02. Stand By Me (Leiber/Stoller/King) 3.26
03. Medley: Rip It Up/Ready Teddy (Blackwell/Marascalco) 1.35
04. You Can’t Catch Me (Berry) 4.51
05. Ain’t That A Shame (Domino/Bartholomew) 2.38
06. Do You Wanna Dance? (Freeman) 3.16
07. Sweet Little Sixteen (Berry) 3.01
08. Slippin’ And Slidin’ (Bocage/Collins/Penniman/Smith) 2.17
09. Peggy Sue (Allison/Petty/Holly) 2.05
10. Medley: Bring It On Home To Me/Send Me Some Lovin’ (Cooke/Marascalco)Price) 3.42
11. Bony Moronie (Williams) 3.47
12. Ya Ya (Dorsey/Lewis/Robinson/Levy) 2.17
13. Just Because (Price) 4.26



Coming soon:
John Lennon Sings the Great Rock & Roll Hits