Hot Tuna – Splashdown (1984)

FrontCover1.JPGSplashdown is a Hot Tuna album released in 1984 containing the tracks from a previously unreleased live acoustic performance that had been played on the short-lived radio station WQIV in the mid-1970s. During the recording, news of the Apollo-Soyuz mission returning to Earth after the first USA-USSR rendezvous in space reached the station, and the astronauts’ radio transmissions were played at the same time as Jorma and Jack continued with “Police Dog Blues.” The transmissions mixed with the song were preserved for this release as the last track of side 1. The album was Hot Tuna’s first release on Relix Records, and one of the first Relix releases. Jorma Kaukonen was signed on as a solo artist to the label as well. In 1997 an expanded version of the album was released as Splashdown Two. (by wikipedia)


This archival release is taken from a broadcast on New York radio station WQIV-FM on July 25, 1975, and features the duo of guitarist Jorma Kaukonen playing acoustic and bassist Jack Casady performing at the station. At the time, Hot Tuna recently had released its America’s Choice album, but this set harks back to the group’s 1970 debut album, Hot Tuna, both in its acoustic format and in the selection of mostly folk-blues standards. The performance also has an informality and intimacy that rivals the debut. Casual fans are likely to find the album redundant, but more fervent followers rejoiced when this album appeared nine years after the broadcast occurred and five years after the group’s apparent demise. The album’s title is derived from the re-entry of an Apollo spacecraft during the broadcast, which is mixed in with the performance of “Police Dog Blues.” (by William Ruhlmann)


Jack Casady (bass)
Jorma Kaukonen (guitar, vocals)

01. Death Don’t Have No Mercy (Davis) 6.49
02. I Am the Light Of This World (Davis) 4.17
03. Embryonic Journey (Kaukonen) 2.07
04. Police Dog Blues (Blake) / Splashdown” (U. S. Astronauts) 4.23
05. Keep Your Lamps Trimmed And Burning (Davis) 3.03
06. I Know You Rider (Traditional) 5.19
07. Keep On Truckin’ (Carleton) 4.16
08. Candy Man (Davis) 6.01





John Mayall – New Year, New Band, New Company (1975)

FrontCover1.JPGBy the start of the 1970s Mayall had relocated in the USA where he spent most of the next 15 years, recording with local musicians for various labels. In August 1971, Mayall produced a jazz-oriented session for bluesman Albert King[16] and a few months later took on tour the musicians present in the studio.

A live album Jazz Blues Fusion was released in the following year, with Mayall on harmonica, guitar and piano, Blue Mitchell on trumpet, Clifford Solomon and Ernie Watts on saxophones, Larry Taylor on bass, Ron Selico on drums and Freddy Robinson on guitar. A few personnel changes are noted at the release of a similar album in 1973, the live Moving On. During the next decade Mayall continued shifting musicians and switching labels and released a score of albums. Tom Wilson, Don Nix and Allen Toussaint occasionally served as producers. At this stage of his career most of Mayall’s music was rather different from electric blues played by rock musicians, incorporating jazz, funk or pop elements and even adding female vocals. A notable exception is The Last of the British Blues (1978), a live album excused apparently by its title for the brief return to this type of music. (by wikipedia)


And here´s is one of this unsucessful albums of this decade.

But even such an unsucessful album ist a good album … featuring Rick Vito and Larry Taylor !

On the 1975 release New Year new Band New Company John Mayall turns a new leaf, from blues-rock to Southern hippie country funk-rock. He enlists Dee McKinnie for female co-lead vocals, which blend nicely with Mayall’s nasal tone for the wild in the woods effect. Also on board for the session is Don “Sugarcane” Harris, whose psych-funk fiddle fills out the mix nicely! (Lou Hinkhouse)


Don “Sugarcane” Harris (violin, vocals)
John Mayall (vocals, piano, guitar, harmonica, slide-guitar)
Dee McKinnie (vocals)
Soko Richardson (drums)
Jay Spell (piano, clavinet)
Larry Taylor (bass)
Rick Vito (guitar)


01. Sitting On The Outside 6.07
02. Can’t Get Home 4.09
03. Step In The Sun 3.17
04 To Match The Wind 4.36
05. Sweet Scorpio 3.21
06. Driving On 2.29
07. Taxman Blues 3.16
08. So Much To Do 6.30
09. My Train Time 4.48
10. Respectfully Yours 5.25

All songs written by John Mayall




More John Mayall:

More John Mayall.jpg

Arlo Guthrie & Pete Seeger – Together In Concert (1975)

FrontCover1.jpgThis is a live double album recorded during a series of concerts in 1975. In the words of Harold Leventhal (Sometime manager of Pete, Arlo and Woody), “It took only two phone calls to get Pete Seeger and Arlo Guthrie to agree to perform together in concert. I rang Pete. “Listen, how about you and Arlo doing some concerts together?” Pete didn’t hesitate, “Sure,” he quickly replied. I then dialed Arlo. “Say, Arlo, how about you and Pete doing some concerts together?” His reply was as prompt as Pete’s. So concerts were lined up for New York, Chicago, Montreal, Boston, Denver and Tanglewood.

“Now the big problem was to get Pete and Arlo to meet, to decide on a program and to rehearse. Arlo hates to travel beyond the border of Berkshire County in Massachusetts and Pete is traveling all over the country doing benefits. Luckily, just one week before the first concert in Carnegie Hall, Arlo escaped from his farm and found his way to Pete’s place in Beacon, New York. They spent a couple of hours together, decided on a program, ran through a couple of songs…and they were ready.


“Pete Seeger had been singing with a Guthrie for some 35 years. Back in 1940, Woody Guthrie and Pete traveled cross country singing their way from state to state, and until the early 1950s Woody and Pete often shared singing in a union hall or at a political rally. In the mid-1960s, as Arlo became a “professional” singer, he was also beginning to share the same platform or concert hall with Pete, as they both participated at peace demonstrations or sang for the Farm Workers Union. The Seeger-Guthrie Union keeps going.

“There is no gap in the two generations of singers heard on this record. Rather, the music and songs express a continuity of understanding and a reflection of the world as it is and has been. The audience at these concerts- those who were lucky enough to get tickets- spanned several generations: grandfathers and grandmothers with their grandchildren, workers and students, young and old. A New York reviewer perhaps best summed up when he wrote,”It is another time, but the need for the Seegers and Guthries of whatever generation remains.”


Pete and Arlo’s Together In Concert is the first of their three concert albums. (More Together Again and Precious Friend are the other two). It differs from those albums. The audience sings more with Arlo than with Pete and Pete tells more stories than Arlo. “Hard to believe, but its true.”

Pete tells the story of Victor Jara’s death and reads his last poem, smuggled out of the detention camp. A story that is suspiciously similar to Joe Hill’s Last Will and Testament. (Another demonstration that folk singers know the difference between truth and factual accuracy.)
Arlo encourages the audience to join in Walking Down The Line, hilariously, as only Arlo can.
The audience’s voice isn’t prominent in Lonesome Valley, but from there are three voices from the stage (I wonder who sung the bass line). A different sound than any of my other versions.
Well May The World Go is so typical of optimistic 60’s folk, one wonders if it’s a parody, sung with a straight face.
The album contains Arlo/Pete favorites like Guantanamera, City Of New Orleans, Deportee and Joe Hill.
It has obscure songs, like the Red Army’s Three Rule Of Discipline and The Eight Rules of Attention as well as two songs written by pre-school children.
Arlo’s covers Don’t Think Twice, It’s Allright and Stealin’. Pete quotes his father on the folk process, “plagiarism is basic to all culture”.

If Precious Friend and More Together Again are “must have” albums. Together In Concert is a “really, really should have” album. (by Mike E.)


This album is an old friend. Like others, I bought (and still have!) the vinyl version of this. It’s an old friend too in the relationship between Pete, Arlo, and the audience, which will include you. I had the honor of talking with Arlo once. He told we that they still get together now and then to jam. The Carnegie Hall sessions are merely an extension of those family get-togehers.

Pete Seeger is Americana. He gave to an America that took unjustly from him. Pete was black-listed during the McCarthy Era and struggled to feed his family. Yet he worked to bring dignity to migrants and the family man on the assembly line. Pete marched with Martin Luther King Jr., stood with him at the Lincoln Memorial, and introduced him to “We Shall Over Come.” Pete cleaned up the Hudson River and taught thousands to play banjo with his cult classic “How To Play The 5 String Banjo”, more than just a book on banjo, its about us. Pete belongs in the Smithsonian, and he is! Via Folkway Records.

Arlo…. Arlo talks a lot! And people like to listen. Woody Guthries son who played at Woodstock. Arlos version of Steve Goodmans “City of New Orleans” was played on the moon. Arlo brings soul to his fathers poem (turned into the song) “Deportee”, the rage of Nixon’s betrayal in “Presidential Rag”, and a sad longing to Dylans “Don’t Think Twice”.

These are songs of a great America by great Americans. (by James Kopf)


Arlo Guthrie (guitar, vocals)
Pete Seeger (banjo, vocals)


01. Way Out There (Nolan) 3.47
02. Yodeling (Traditional) 1.21
03. Roving Gambler (Houston) 2.22
04. Don’t Think Twice, It’s All Right (Dylan) 3.13
05. Declaration Of Independence (Gibbs/Dougherty) 2.32
06. Get Up And Go (Seeger) 2.43
07. City Of New Orleans (Goodman) 4.37
08. Estadio Chile (Jara) 3.19
09. Guantanamera (Angulo/Marti/Seeger) 4.24
10. On A Monday (Ledbetter) 3.00
11. Presidential Rag (A.Guthrie) 4.59
12. Walkin’ Down The Line (Dylan) 4.38
13. Well May The World Go (Seeger) 2.19
14. Henry My Son (Traditional) 2.14
15. Mother, The Queen Of My Heart (Bryant/Rogers) 3.21
16. Deportee (Plane Wreck At Los Gatos) (W.Guthrie/Hoffman) 4.01
17. Joe Hill (Robinson/Hayes) 3.19
18. May There Always Be Sunshine (Oshanin/Ostrovsky/Batting) 1.58
19. Three Rules Of Discipline And The Eight Rules Of Attention (unknown) 2.29
20. Stealin’ (Cannon) 2.35
21. Golden Vanity (Traditional) 4.12
22. Lonesome Valley (Traditional) 4.35
23. Quite Early Morning (Seeger) 4.34
24. Sweet Rosyanne (Bright Light Quartette/Lomax) 6.00
25. Don’t Think Twice, It’s All Right (Dylan) / Freight Train (Traditional) 6.39



Allen Toussaint – Southern Nights (1975)

FrontCover1.jpgSouthern Nights is a 1975 R&B concept album by Allen Toussaint. Seminal to the development of New Orleans R&B, Toussaint incorporated into the album elements of funk and soul music, while, according to AllMusic, suggesting neo-psychedelia. Two singles were released in support of the album, “Country John” backed with “When the Party’s Over” and “Southern Nights”—Toussaint’s signature song—backed with “Out of the City”. Although neither single charted for Toussaint, “Southern Nights” as later covered by Glen Campbell in 1977 reached number one in Billboard’s country, pop and adult contemporary charts. Released in May 1975 by Reprise Records, the album has been subsequently reissued multiple times on both LP and CD.

Among the better known songs of the album, “Southern Nights” was Toussaint’s tribute to evenings spent with his Creole family on a porch in the song-writer’s native Louisiana. The song that would become Toussaint’s signature song was brought to the attention of Glen Campbell by Campbell-collaborator Jimmy Webb. Campbell released it on an album he titled Southern Nights in February 1977, whereupon it spent four weeks at the top of the country, pop and adult contemporary charts. Toussaint’s version of the song was very different from the “cheerful catchiness and…bright, colorful feel” of Campbell’s; AllMusic comments in its album review on the “swirling, trippy arrangement that plays like a heat mirage” of Toussaint’s version, while The Times-Picayune remarked in 2009 on its “strange psychedelic-swamp-water sound.”


In 1994, Toussaint came out of a lengthy hiatus as a performer to record the song in duet with Chet Atkins for the compilation album Rhythm, Country and Blues. Toussaint frequently performed the song in concert. (by wikipedia)

Allen Toussaint produced a kind of masterpiece with his first Reprise album, Life, Love and Faith, finding previously unimagined variations on his signature New Orleans R&B sound. For its 1975 sequel, Southern Nights, he went even further out, working with producer Marshall Sehorn to create a hazy vague concept album that flirted with neo-psychedelia while dishing out his deepest funk and sweetest soul. It’s a bit of an unfocused album, but that’s largely due to the repeated instrumental “filler,” usually based on the theme of the title song, that pops up between every two or so songs, undercutting whatever momentum the album is building.


That, along with a song or two that are merely average Toussaint, prevents Southern Nights from being a full-fledged masterpiece, but it comes close enough to that level of distinction anyway due to the brilliance of its best songs. There is, of course, “Southern Nights,” which Glen Campbell later took to the top of the charts, but it’s nearly unrecognizable here, given a swirling, trippy arrangement that plays like a heat mirage. It’s rivalled by the exquisite “What Do You Want the Girl to Do?,” later covered by both Bonnie Raitt and Boz Scaggs, neither of which equal the beautiful, sighing resignation of Toussaint’s impeccable vocal performance. Then, there are the songs that weren’t covered, but should have been, like the nearly anthemic “Back in Baby’s Arm,” the rolling, catchy “Basic Lady,” the stately “You Will Not Lose,” or the steady-grooving end-of-the-night “When the Party’s Over.”


Then, there are the songs that perhaps only Toussaint could sing, given their complex yet nimble grooves: witness how “Country John” seems like a simple, straight-ahead New Orleans raver but really switches tempo and rhythm over the course of the song, or how the monumental “Last Train” builds from its spare, funky opening to a multi-layered conclusion boasting one of Toussaint’s best horn arrangements and vocal hooks. These disparate sounds may not be tied together by the interludes, as they were intended, but they nevertheless hold together because they’re strong songs all bearing Toussaint’s unmistakable imprint. They’re so good that they nearly knock the “near” of off the near-masterpiece status for Southern Nights, and they’re the reason why the album should be a part of any serious soul collection. (by Stephen Thomas Erlewine)


Carl Blouin (saxophone)
Gary Brown (saxophone)
Lester Caliste (trombone)
Steve Howard (trumpet)
Claude Kerr, Jr. (trumpet, flugelhorn)
Ziggy Modeliste (drums)
Charles Victor Moore (guitar)
Jim Moore (flute, saxophone)
Arthur “Red” Neville (organ)
Leo Nocentelli (guitar)
George Porter, Jr. (bass)
Lon Price (flute, saxophone)
Alfred “Uganda” Roberts (percussion)
Teddy Royal (guitar)
Allen Toussaint (guitar, harmonica, keyboards, vocals)
Clyde Williams (drums)
background vocals:
Joan Harmon – Sharon Nabonne  – Deborah Paul


01. Last Train 3.02
02. Worldwide 2.43
03. Back In Baby’s Arms 4.50
04. Country John 4.46
05. Basic Lady 2.59
06. Southern Nights 3.38
07. You Will Not Lose 3.42
08. What Do You Want The Girl To Do?” 3.42
09. When The Party’s Over 2.38
10. Cruel Way To Go Down 3.55

All songs composed by Allen Toussaint



Southern nights
Have you ever felt a southern night?
Free as a breeze
Not to mention the trees
Whistling tunes that you know and love so.
Southern nights
Just as good even when closed yours eyes.
I apologize to anyone who can truly say
That he has found a better way
Southern skies
Have you ever noticed southern skies?
It’s precious beauty lies just beyond the eye.
It goes running through your soul
Like the stories told of old
Old man
He and his dog that walked the old land
Every flower touched his cold hand.
As he slowly walked by
Weeping willows
Would cry for joy, joy
Feel so good
Feel so good
It’s frightening.
Wish I could stop this world from fighting.
La da da da da da la da da da da da da da da . . .
Mysteries like this and many others in the trees
Blow in the night
In the southern skies.
Southern nights
They feel so good it’s frightening . . .



Nazareth – Hair Of The Dog (1975)

FrontCover1.jpgHair of the Dog is the sixth studio album by the Scottish hard rock band Nazareth, released in 1975. The album was recorded at Escape Studios, Kent, with additional recording and mixing at AIR Studios, London, and is the group’s best known and highest selling release, with over two million copies sold worldwide.

After three albums with Deep Purple’s Roger Glover producing, Manny Charlton stepped into that position, one he filled for several subsequent albums.

It was Nazareth’s first big hit album (aside from the minor success of Razamanaz), including classics such as the title track, “Love Hurts” (on the US version, but not the Canadian/European, it replaced the original “Guilty”), “Beggars Day” and “Please Don’t Judas Me”.

According to Nazareth frontman Dan McCafferty, the track on Hair of the Dog in which a dishonest young woman finally meets her match provided the original album title with its recognizable chorus of “now you’re messing with a… a son of a bitch! (an “heir of the dog,”)” Nazareth’s record label, wasn’t about to let them name the project Son of a Bitch. Thus, Hair of the Dog was selected as a compromise, putting the finishing touches on a career-defining release. The album title is often considered to be a shortened form of the phrase describing a folk hangover cure, “the hair of the dog that bit you”.


The album was first reissued on CD in 1990. There are also remastered editions released since 1997 with different sets of bonus tracks.

The song “Hair of the Dog” was also covered by Guns N’ Roses on their album The Spaghetti Incident? in 1993, and by Britny Fox on their album Boys in Heat in 1989. (by wikipedia)

After slowly but surely building a fanbase around the world with albums like Razamanaz and Loud ‘N’ Proud, Nazareth finally hit the big time in 1975 with Hair of the Dog. The title track sets the mood for this stark album of hard rock with its combination of relentless guitar riffs, a throbbing, cowbell-driven beat, and an angry vocal from Dan McCafferty that denounces a “heart-breaker, soul-shaker.” The end result is a memorably ferocious rocker that has become a staple of hard rock radio stations. The remainder of the album divides its time between similarly pulverizing hard rock fare and some intriguing experiments with the group’s sound. In the rocker category, notable tracks include “Miss Misery,” a bad romance lament driven by a doomy riff worthy of Black Sabbath, and “Changin’ Times,” a throbbing hard rock tune driven by a hypnotic, circular-sounding guitar riff.


In the experimental category, the big highlight is “Please Don’t Judas Me,” an epic tune about paranoia that trades heavy metal riffs for a spooky, synthesizer-dominated atmosphere that is further enhanced by some light, Pink Floyd-styled slide guitar work. The American edition of this album also included a surprise hit for the group with their power ballad reinterpretation of the Everly Brothers classic “Love Hurts.” However, the album’s surprise highlight is a song that bridges the gap between the straight hard rock and experimental songs, “Beggars Day/Rose in Heather”; it starts out as a stomping rocker but smoothly transforms itself midway through into a gentle and spacey instrumental where soaring synthesizer lines support some moody guitar work. All in all, Hair of the Dog is the finest album in the Nazareth catalog. It is a necessity for both the group’s fans and anyone who loves 1970s hard rock. by Donald A. Guarisco)


Pete Agnew (bass, background vocals)
Dan McCafferty (vocals, talk box on 01.)
Manny Charlton (guitar, synthesizer)
Darrell Sweet (drums, background vocals)
Max Middleton (piano on 03.)
Simon Phillips (tabla on 07.)
background vocals:
Vicki Brown – Liza Strike – Barry St. John (on 03.)
Vicky Silva (on 07.)


01. Hair Of The Dog (Charlton/McCafferty/Agnew/Sweet) 4.11
02. Miss Misery (Charlton/McCafferty/Agnew/Sweet) 4.42
03. Guilty (Newman) 3.39
04. Changin’ Times (Charlton/McCafferty/Agnew/Sweet) 5.59
05. Beggars Day/Rose In The Heather (Lofgren) 6.30
06. Whiskey Drinkin’ Woman (Charlton/McCafferty/Agnew/Sweet) 5.29
07. Please Don’t Judas Me (Charlton/McCafferty/Agnew/Sweet) 9.45
08. Love Hurts (Bryant) 3.51
09. Down (B-side to Love Hurts single) (Charlton/McCafferty/Agnew/Sweet) 3.53
10. Railroad Boy” (B-side to Holy Roller single) (SweetCharlton/Agnew) 4.05
12. Hair of the Dog” (single edit) (Charlton/McCafferty/Agnew/Sweet) 3.20



Lonnie Brooks – Sweet Home Chicago (1975)

FrontCover1Lonnie Brooks (born Lee Baker Jr., December 18, 1933 – April 1, 2017) was an American blues singer and guitarist. The musicologist Robert Palmer, writing in Rolling Stone, stated, “His music is witty, soulful and ferociously energetic, brimming with novel harmonic turnarounds, committed vocals and simply astonishing guitar work.” Jon Pareles, a music critic for the New York Times, wrote, “He sings in a rowdy baritone, sliding and rasping in songs that celebrate lust, fulfilled and unfulfilled; his guitar solos are pointed and unhurried, with a tone that slices cleanly across the beat. Wearing a cowboy hat, he looks like the embodiment of a good-time bluesman.” Howard Reich, a music critic for the Chicago Tribune, wrote, “…the music that thundered from Brooks’ instrument and voice…shook the room. His sound was so huge and delivery so ferocious as to make everything alongside him seem a little smaller.” (by wikipe

The French Black & Blue label was savvy enough to spirit Brooks into a studio when he was touring the continent in 1975 as part of Chicago Blues Festival ’75. As befits the jam-session ambience of the date (pianist Willie Mabon, harpist Mack Simmons, and two-thirds of the Aces are on hand), hoary standards predominate: “Crosscut Saw,” “Things I Used to Do,” “Mama Talk to Your Daughter,” and the ubiquitous title track (which remains a signature song). The omnipresent “The Train and the Horse” returns as well. (by Bill Dahl)

Lonnie Brooks.jpg

A prolific musician known for his intense guitar solos and his raspy but strong singing voice, Mr. Brooks told The Chicago Tribune in 1992 that the blues did not come naturally to him at first.

“Then one night, I saw Magic Sam in a little blues club on the South Side,” he said, referring to the blues singer and guitarist born Samuel Maghett. “He went onstage right after he’d gotten into a big fight with his girlfriend, and it was like he was taking it out on his guitar.

“I seen how it came from the heart, so I went home to the basement, and got into that mood that Magic Sam had been in, and the blues came to me.” (

Oh yes … that´s the Blues and the Blues only !


Alternate frontcovers

Fred Below (drums)
Lonnie Brooks (guitar, vocals)
Willie Mabon (piano)
Dave Myers (bass)
Little Mac Simmons (harmonica)
Hubert Sumlin (guitar)


01. Sweet Home Chicago (Johnson) 5.01
02. Two Guitars Shuffle (Brooks) 6.24
03. Crosscut Saw (Clennan) 5.40
04. Reconsider Baby (Fulson) 3.12
05. Things I Used To Do (Jones) 4.12
06. The Train And The Horse (Brooks) 5.08
07. Crazy About My Baby (Jacobs) 5.32
08. Big Leg Woman (Temple) 3.28
09. Mama Talk To Your Daughter (Brooks) 3.25
10. Woke Up This Morning (King) 4.11



ZZ Top – Fandango (1975)

FrontCover1.jpgFandango! is the fourth album by the American blues rock band ZZ Top, released in 1975. Half the tracks are selections from live shows, the rest are new songs from the studio. A remastered and expanded edition of this album was released on February 28, 2006.

Fandango, from which the album gets its name, is a type of dance similar to flamenco.

In the late 1980s a digitally remixed version of the recording was released on CD and the original 1975 mix version was discontinued. 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, containing three bonus live tracks. The 2006 edition is the first CD version to use Terry Manning’s original 1975 mix. The album was re-released in 2009 on 180 gram vinyl using the original master tapes. It appears exactly the same except that it had a 180 gram vinyl LP sticker, by Back to Vinyl records.

The only single released from the album was “Tush”. The single peaked at #20 on the US Billboard Hot 100, making it the band’s first top 40 single.

Tracks 1-3 (side A of the original LP) were recorded live at The Warehouse in New Orleans on April 12 1974, “captured as it came down-hot, spontaneous and presented to you honestly, without the assistance of studio gimmicks”. Tracks 4-9 (side B) were new studio recordings. (by wikipedia)


Blessed with their first full-fledged hit album, ZZ Top followed it up with Fandango!, a record split between a side of live tracks and a side of new studio cuts. In a way, this might have made sense, since they were a kick-ass live band, and they do sound good here, but it’s hard not to see this as a bit of a wasted opportunity in retrospect. Why? Because the studio side is a worthy successor to the all-fine Tres Hombres, driven by “Tush” and “Heard It on the X,” two of their greatest songs that build on that album by consolidating their sound and amplifying their humor. If they had sustained this energy and quality throughout a full studio album, it would have been their greatest, but instead the mood is broken by the live cuts. Now, these are really good live cuts — and “Backdoor Medley” and “Jailhouse Rock” were fine interpretations, making familiar songs sound utterly comfortable in their signature sound — and Fandango! remains one of their better albums, but it’s hard not to think that it could have been even better. (by Stephen Thomas Erlewine)


Frank Beard (drums, percussion)
Billy Gibbons – guitar, vocals)
Dusty Hill (bass, keyboards, background vocals, vocals on 02., “Balinese”, and “Tush”, co-lead vocals on “Backdoor Medley” and “Heard It on the X”



Side one (live):
01. Thunderbird (Gibbons/Hill/Beard) 4.10
02. Jailhouse Rock (Leiber/Stoller) 1.56
03. Backdoor Medley (9.25):
03.01. Backdoor Love Affair (Gibbons/Ham) 1.10
03.02. Mellow Down Easy (Dixon) 3.39
03.04. Backdoor Love Affair No. 2 (Gibbons) 2.05
03.04. Long Distance Boogie (Hooker) 2.32

Side two (in the studio):
04. Nasty Dogs And Funky Kings (Gibbons/Hill/Beard) 2.45
05. Blue Jean Blues (Gibbons/Hill/Beard) 4.45
06. Balinese (Gibbons/Hill/Beard) 2.38
07. Mexican Blackbird (Gibbons/Hill/Beard) 3.05
08. Heard It On The X (Gibbons/Hill/Beard) 2.23
09. Tush (Gibbons/Hill/Beard) 2.16