Renee Geyer Band – Ready To Deal (1975)

FrontCover1Renée Geyer is Australia’s most respected and successful soul singer, with a recording career of nearly 30 years. Her career began around 1971 in Sydney, when a girlfriend took her along to the rehearsal of friends who were forming a band. Geyer was encouraged to get up and have a sing and was instantly invited to join as singer. Although she was so shy in the beginning she couldn’t face the audience, musicians noticed her, and Geyer was invited to join one more experienced band after another until 1971, when she became part of an ambitious jazz fusion group called Sun. Geyer was still just 19.

After one album (Sun ’72), Sun and Geyer parted company; Geyer eventually found herself part of a group called Mother Earth, still with jazz leanings but also incorporating the soul and R&B Geyer loved and excelled at. With Mother Earth, she started touring and was offered a solo recording contract. She insisted that Mother Earth provide the backings on her first album. For her second album, the cream of Melbourne musicians were assembled for the sessions. Geyer formed such a strong bond with these musicians, but by the time the It’s a Man’s World album was released and her powerfully provocative version of the James Brown title song was a big hit, Geyer was ready to throw her lot in with those musicians rather than be a solo performer.

Renee Geyer02Her two solo albums so far had been cover versions or sourced songs, apart from the single “Heading in the Right Direction.” The Renée Geyer Band wrote the songs for 1975’s Ready to Deal album in the studio and toured extensively. A live album, Really.. Really Love You, followed, based on Geyer’s building reputation as a powerfully voiced, raunchy performer.

That reputation found its way to America and led to an invitation to record an album in Los Angeles with famed Motown producer Frank Wilson. While the Movin’ Along album provided another hit at home, in America Stares and Whispers created confusion. R&B stations loved the record, but didn’t know what to do when they discovered Geyer was a white Jewish girl from Australia. For the next few years, Geyer bounced between Australia and America, working in Australia and recording two more albums in America. When 1981’s So Lucky album presented her with a huge hit with “Say I Love You” both in Australia and New Zealand, it became necessary to put the American dream aside for two years. In 1983, Geyer returned to base herself in America permanently, still keeping in touch with her Australasian fans with tours.

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While in America, Geyer became part of a group called Easy Pieces with former members of the Average White Band. But the album took so long to record, by the time it was finished, the group had never performed and were going their separate ways. Geyer spent several years in America doing session work for Sting (the fade vocal on “We’ll Be Together”), Neil Diamond, Jackson Browne, and others, touring with Joe Cocker and Chaka Khan and others, and writing songs.

During one foray back to Australia, Geyer was invited to sing the Paul Kelly song “Foggy Highway” for the soundtrack of a TV series based on the seven deadly sins. Kelly was so impressed by Geyer’s version, he offered to produce an album and wrote some of the songs, including the title track, which (alongside “It’s a Man’s Man’s World” has become Geyer’s signature song, Difficult Woman). The working relationship with Paul Kelly was such a happy and satisfying one, Geyer decided to base herself back in Australia. With Paul Kelly and Joe Camilleri (Jo Jo Zep, Black Sorrows) producing, she recorded 1999’s Sweet Life album.

At the end of 1999, Geyer released her frank life story, Confessions of a Difficult Woman through Harper Collins. (by Ed Nimmervoll)

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In January 2023, Geyer was admitted to hospital in Geelong where she had hip surgery. It was subsequently discovered that she had inoperable lung cancer. She died from surgical complications on 17 January 2023 at the age of 69. (wikipedia)

Ready to Deal is the third studio album by Australian singer Renée Geyer. The album was released in November 1975 and peaked at number 21, becoming Geyer’s highest-charting album. The album is credited to Renée Geyer Band. The album features the track “Heading in the Right Direction” which became Geyer’s first top 40 single in 1976.

“Sweet Love” featured in the 2000 film Chopper starring Eric Bana.

In October 2010, Ready to Deal was listed in the book, 100 Best Australian Albums. (wikipedia)

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And here´s a real nice story about this album:

When I was a 13 year old boy in Sydney, Australia in 1975, I was playing guitar in a metal band, covering Deep Purple, Led Zepplin and so on. One day I heard a song called “Shining Star” by Earth, Wind and Fire on the radio, and my musical world began to shift. I taped it on a reel-to-reel tape recorder, transcribed it, and forced my teenage comrades to start to play funk songs. They hated it, and the band soon split in half.

Later that year, my older brother and I began to go into the city to see Renée Geyer, who had an amazing soulful, jazzy voice and a funky band. Smells of marijuana and patchouli oil swirled around us, and people would laugh at the “little kids” as we walked around, but I was just transfixed by the music. She’d do a song by Chaka Khan and Rufus, and the next day i’d harass the import record shop owner for a record by them. Everything had changed.

There are some great funky tracks on this album, picks are “Sweet Love”, “Love’s got a hold” and “Heading In the Right Direction” . Plenty of Rhodes, clav and wah-wah. (

Indeed … a fascinating album … funk, soul and blues… and …what a voice ! And .. if you like Maggie Bell … then you really should listen to this album !


Renee Geyer (vocals)
Mal Logan (keyboards)
Mark Punch (guitar, background vocals)
Barry Sullivan (bass)
Greg Tell (drums, percussion)
Tony Buchanan (saxophone, flute)
Russell Smith (trumpet)


01. Sweet Love 3.19
02. If Loving You Is Wrong 4.20
03. Spilt Milk 5.01
04. Whoop 6.49
05. Heading In The Right Direction 3.59
06. Two Sides 3.29
07. Ready To Deal 3.30
08. Love’s Got A Hold 3.47
09. I Really Love You 5.53

Music & lyrics:
Renee Geyer – Mal Logan – Mark Punch – Barry Sullivan – Greg Tell




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Jim Capaldi – Short Cut Draw Blood (1975)

FrontCover1Nicola James Capaldi (2 August 1944 – 28 January 2005) was an English singer-songwriter and drummer. His musical career spanned more than four decades. He co-founded the progressive rock band Traffic in 1967 with Steve Winwood with whom he co-wrote the majority of the band’s material. He was inducted into the Rock and Roll Hall of Fame as a part of Traffic’s original lineup.

Capaldi also performed with Jimi Hendrix, Eric Clapton, George Harrison, Alvin Lee, Cat Stevens, and Mylon LeFevre, and wrote lyrics for other artists, such as “Love Will Keep Us Alive” and “This is Reggae Music”. As a solo artist he scored more than a half dozen chart hits in various countries, the best-known being “That’s Love” as well as his cover of “Love Hurts”.

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Capaldi married Brazilian-born Aninha E S Campos in 1975 in All Saints Church, Marlow [23] and in 1976 toured with his band Space Cadets before moving to Brazil in 1977.

He had two daughters, Tabitha born in 1976 and Tallulah born in 1979. The Capaldis lived in the Bahia region of Brazil until the beginning of 1980 and while there he became heavily involved with environmental issues. They maintained homes in Marlow, Buckinghamshire, and Ipanema, Rio de Janeiro. The track “Favela Music” on his 1981 album Let The Thunder Cry arose from his love of Brazil, and he worked with several Brazilian composers.

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Capaldi was a friend and supporter of the London School of Samba and played with the bateria on at least one occasion. He did a lot of charitable work for organisations in Brazil, such as the Associação Beneficiente São Martinho street children’s charity in Lapa, Rio de Janeiro, which the LSS also supported between 1994 and 2001. His wife was also the Porta Bandeira (flag bearer) of the LSS in the 1994 and 1995 Notting Hill Carnival parades.

Outside his music and environmental activism, Capaldi also assisted his wife in her work with Jubilee Action to help Brazilian street children. Because of this charity work, Capaldi and his wife were guests of Tony Blair at the Prime Minister’s country house, Chequers. He remained professionally active until his final illness prevented him from working on plans for a 2005 reunion tour of Traffic. He died of stomach cancer in Westminster, London, on 28 January 2005, aged 60.

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Short Cut Draw Blood is the third studio album by the British musician Jim Capaldi, released by Island Records in 1975. It marked a major turning point in Capaldi’s career: it was his first album recorded after the breakup of Traffic, and more importantly it was his commercial breakthrough. While Capaldi’s first two solo albums had been moderately successful in the United States (in fact, in Short Cut Draw Blood was his least successful album in the United States thus far, with both the album itself at number 193[1] and the single “Love Hurts” barely scraping into the Billboard charts at number 97[2]), Short Cut Draw Blood entered the charts in several other countries for the first time. This was particularly evident in his native United Kingdom; the single “It’s All Up to You” at number 27, released a year before the album, became his first top 40 hit there, only to be overshadowed the following year by his cover of “Love Hurts”, which went all the way to number 4.

The title of the album was conceived by co-producer Chris Blackwell.

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The song “Boy with a Problem” was written about former Traffic bandmate Chris Wood, whose self-destructive tendencies (particularly his drug addiction) were a cause of increasing concern for Capaldi. The song features Paul Kossoff on guitar.

Rolling Stone called the album “still uneven” and “unfocused” but a promising step forward from his first solo work. Their review approved of both the session musicians and the arrangements, but criticized Capaldi’s lyrics as “simply absurd” or “rather embarrassingly sentimental”, being at his best only on the cover of “Love Hurts”, where “he brings a sense of pain very different from Roy Orbison’s original.” (wikipedia)


Jim Capaldi struck out on his own following the break-up of Traffic and the result is the upbeat Short Cut Draw Blood. This album produced hit singles in the form of such tracks as “It’s All Up to You,” “Love Hurts,” and the FM staple “Johnny Too Bad.” Aided by a wide variety of musician friends and dipping into a wide range of musical styles, there is something for everyone on Short Cut Draw Blood. While some cuts still have a thrown-together sound to them, this album holds together even better than his first release. A fine look at the mid-’70s in terms of just how wide a variety of music could be contained on one album by one personality. (by James Chrispell)


Ray Allen (saxophone (on 01., 04., 08. percussion on 03.
Rebop Kwaku Baah (percussion on 02., 04., 05., 07., 08.)
Barry Beckett (keyboards on 04., piano on 05., 07.)
John “Rabbit” Bundrick (piano, clavinet on 02.)
Pete Carr (lead guitar on 04., 05. 07., guitar on 06.)
Phil Chen (bass on 02.)
Jim Capaldi (vocals, drums on 02., percussion on 02. 05., 06., drum machine on 01.
Gerry Conway (drums on 03.)
Rosko Gee (bass on 03., 08.)
Roger Hawkins (drums on 04. – 07.)
David Hood (bass on 04 – 07.)
Jimmy Johnson (guitar on 04. – 07.)
Remi Kabaka (percussion on 01., 04., 08.)
Paul Kossoff (lead guitar on 07.)
Phil (guitar on 08.)
Jess Roden (guitar on 02.)
Rico Rodriguez (trombone on 08.)
Jean Roussel (piano, minimoog on 03.)
Chris Spedding – guitar (on 03., 05.), lead guitar on 06.)
Steve Winwood (guitar on 01. + 08.,  keyboards on 01., 08., bass on 01. piano on 03., bass on 06. mellotron, harpsichord on 08.)
Chris Wood (flute on 08.)
Peter Yarrow (guitar on 04.)
Muscle Shoals Horns (horns on 04.)


01. Goodbye Love (Capaldi) 4.34
02. It’s All Up to You (Capaldi) 4.14
03. Love Hurts (Bryant) 3.31
04. Johnny Too Bad (Bailey/Beckford/Crooks) 4.16
05. Short Cut Draw Blood (Capaldi) 4.29
06. Living On A Marble (Capaldi) 4.31
07. Boy With A Problem (Capaldi) 6.34
08. Keep On Trying (Capaldi) 7.28
09. Seagull (Capaldi) 4.17



More from Jim Capaldi:

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Manuel Göttsching – Inventions For Electric Guitar (1975)

FrontCover1Manuel Göttsching (9 September 1952 – 4 December 2022) was a German musician and composer.

As the leader of the groups Ash Ra Tempel and Ashra in the 1970s and 80s, as well as a solo artist, he was one of the most influential guitarists of the Krautrock (also known as Kosmische Musik) genre. He also participated in the Cosmic Jokers sessions. His style and technique influenced dozens of artists in the post-Eno ambient and Berlin School of electronic music scenes in the 1980s and 1990s.

As a child, Göttsching was exposed to the music of Verdi and Puccini by his mother, who was a fan of opera. He also listened to radio stations run by American and British allied forces. Too young for early rock and roll, it was not until the 1960s that Göttsching found the music that really inspired him such as Motown music from the United States, as well the Rolling Stones and British blues bands. Originally a classical guitarist, the music he heard inspired him to switch to the electric guitar.

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In school, Göttsching played with a cover band. “We played some Rolling Stones, we played some Beatles, we played some Who, some what was the popular music and that was just for fun,” he recalls. However upon hearing Blue Cheer’s proto-metal cover of “Summertime Blues” and learning about the free jazz movement inspired Göttsching and his bandmates to pursue a freer, more improvisatory approach to music.

As Göttsching and his bandmates moved from song-based music to free improvisation, Ash Ra Tempel was born in 1970. “We didn’t play blues,” Göttsching recalls. “We used some elements of it but tried to keep the freestyle of improvisation and using some blues themes.”  Along with Göttsching, the group included Klaus Schulze (who had just left Tangerine Dream) and Hartmut Enke. Just after Ash Ra Tempel released its self-titled debut album in 1971, Schulze left to pursue what became a successful solo career.

In 2000, Göttsching and Klaus Schulze released a studio album and a live album as Ash Ra Tempel. The live album was recorded as part of the Cornucopia concerts curated by Julian Cope at the Royal Festival Hall in London.

Göttsching died on 4 December 2022, at the age of 70. (wikipedia)

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Inventions for Electric Guitar is the first solo studio album by electronic artist Manuel Göttsching. However, it was released with the subtitle Ash Ra Tempel VI, technically making it the sixth and final album under the Ash Ra Tempel name. The album was written and performed entirely by Göttsching on electric guitar. (wikipedia)

Some copies of this album indicate that it was encoded with the Stereo Quadraphonic, or “SQ” matrix system, for 4 channel quadraphonic sound. SQ recordings are compatible with standard 2 channel stereo playback systems.

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This album is sometimes credited to Ash Ra Tempel, but the music was composed and performed by Manuel Göttsching alone. All sounds were created with guitar, but Göttsching’s use of echo, delay, and assorted treatments give these pieces the flavor of sequenced synthesizer music, occasionally reminiscent of Tangerine Dream’s work from the period. The opening “Echo Waves” is a trance-inducing space guitar masterpiece, with repeating rhythm figures and gradual phase shifts creating a warped sense of time. The first 14 minutes of the track consist of short, subtly changing melodic phrases, until Göttsching questionably chooses to close with a searing, acid-fried guitar solo. “Quasarsphere” is much more contemplative, with Göttsching processing his guitar to sound like a synthesizer in the vein of Robert Fripp.

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The closing “Pluralis” consists of endless variations constructed around a simple guitar sequence; it possesses a structure similar to “Echo Waves” (down to the late-breaking blast of psychedelic soloing) with a bit more space and a slower tempo. In some respects a precursor to the groundbreaking proto-techno of E2-E4, Inventions for Electric Guitar is an essential document for space rock enthusiasts. (by Mark Richardson)


Manuel Göttsching (all instruments)

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01. Echo Waves 17.45
02. Quasarsphere 6.38
03. Pluralis 21.32

Music: Manuel Göttsching



The US edition:

Memorial plaque at the former Electronic Beat Studio in Berlin/Germany:

Manuel Göttsching01

The official website:


Hot Tuna – America’s Choice (1975)

FrontCover1Hot Tuna is an American blues rock band formed in 1969 by former Jefferson Airplane members Jorma Kaukonen (guitarist/vocals) and Jack Casady (bassist). Although it has always been a fluid aggregation, with musicians coming and going over the years, the band’s center has always been Kaukonen and Casady’s ongoing collaboration.

As the band prepared for its 1974 tour in support of The Phosphorescent Rat, Kaukonen laid off Piazza after deciding to have the band return to its semi-acoustic repertoire. Kaukonen and Casady then proceeded to record Kaukonen’s first solo album, Quah. However, July 1974 marked a departure from their primarily bluesy, acoustic style when Hot Tuna dropped their acoustic sets completely and morphed into a heavy rock band. In October 1974, the group performed on The Midnight Special.


The albums America’s Choice (1975), Yellow Fever (1975), and Hoppkorv (1976) showcase a power trio with the addition of new drummer Bob Steeler. Jeff Tamarkin’s liner notes on the RCA “Platinum Gold Hot Tuna Collection” characterize this trilogy as being emblematic of the band’s “rampage years.” Kaukonen is quoted as saying the change of focus was due to the fact that “it was just fun to be loud.” During this period, Kaukonen’s electric guitar playing was multi-layered, prominently showcasing such effects as the Roland Jet phaser. His “rampage” style is typified by the solos on “Funky #7” and “Serpent of Dreams” on America’s Choice and “Song for the Fire Maiden,” “Sunrise Dance with the Devil,” and “Surphase Tension” on Yellow Fever. Live performances throughout the epoch were distinguished by free-flow improvisational jams and very long sets (up to six hours uninterrupted) with extended versions of their studio material.

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A November 1976 concert at the Palladium in New York City featured a 16-minute version of “Invitation.” However, producer Harry Maslin did not appreciate the group’s style and held them to a more traditional rock format (including several cover songs) for Hoppkorv. In 1977, Kaukonen began to perform solo sets before the band would perform. The trio stopped touring at the end of 1977 and performed its final concert at the Palladium on November 26, with keyboardist Nick Buck and saxophonist “Buffalo” Bob Roberts.

Although live performances from all iterations of the group enjoyed a notable cult following for much of the 1970s, Hot Tuna failed to rival or eclipse Jefferson Airplane and Jefferson Starship from a commercial standpoint. All but two Hot Tuna albums from the era reached the Billboard Top 100, America’s Choice was their only post-1972 album to chart for more than ten weeks, peaking at No. 75.

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America’s Choice is the fifth album by the American blues rock band Hot Tuna, recorded in 1974, and released in 1975 as Grunt BFL1-0820. The album was also released in Quadraphonic as Grunt BFD1-0820. The first of the “Rampage” trilogy albums (the others being Yellow Fever and Hoppkorv) recorded by the now power trio, it marked a major shift in musical direction by the group. With new drummer Bob Steeler, Tuna now performed in a predominantly hard rock style, leaving the earlier band’s mixture of electric and acoustic material.

The album rose to No. 75 on the Billboard charts. One of the tracks is named “Hit Single #1”. Despite its title, it was not released as a single.

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The album cover art depicts a box of laundry detergent, complete with dripping suds, labeled “America’s Choice: Hot Tuna”. The lettering and color scheme are loosely based on the style of Tide. On one side of the detergent box, a contents label lists the musicians as the “active ingredients”, and also says, “Pure, unadulterated sounds with amplified additives and the necessary polytonal ingredients to handle heavy loads.” On another side of the box is a “warning” stating, “This album to be played at full volume for maximum effect.” Unedited extended live versions of “Invitation” recorded at the New York York Palladium November 26, 1976, and Santa Clara University May 28, 1977, are available. In 1996, RCA released the CD box set Hot Tuna in a Can which included a remastered version of this album, along with remasters of the albums Hot Tuna, First Pull Up, Then Pull Down, Burgers, and Hoppkorv. (wikipedia)

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Hot Tuna returned to a heavier sound on their fifth album, which, although it again was dominated by Jorma Kaukonen’s compositions, leaned more heavily on extended electric-guitar solos and even included a Robert Johnson classic, “Walkin’ Blues.” Drummer Bob Steeler replaced Sammy Piazza as of this release. The result was a modest recovery from the disappointing sales of The Phosphorescent Rat, although not a complete return to form. (by William Ruhlmann)


What it suffers from most is Jorma’s cringy mixed-down/double-tracked/reverbed studio vocals, something that old Tuna fans would find strange and unappealing because they and in direct contrast to how he sang in live setting. These are bad production elements that marred this record in a few spots (Funky #7 and Great Divide, notably)
But each fault (and there are more) is offset by a plethora of musical brilliance that make me chuckle and say, “damn”. When this is on all cylinders, it’s really on, and that is most of the time.
A favorite Tuna record. (Sancho Wobbivitz)


Jack Casady (bass)
Jorma Kaukonen (guitar, vocals)
Bob Steeler (drums, percussion)


01. Sleep Song (Kaukonen) 4.25
Funky #7 (Casady/Kaukonen) 5.49
03. Walkin’ Blues (Johnson) 5.22
04. Invitation (Kaukonen) 6.55
05. Hit Single #1 (Kaukonen) 5.16
06. Serpent Of Dreams (Kaukonen) 6.53
07. I Don’t Wanna Go (Kaukonen) 4.57
08. Great Divide: Revisited (Kaukonen) 5.17



More from Hot Tuna:

The official website:



Passport – Cross Collateral (1975)

FrontCover1Passport was a German jazz/fusion group formed in 1971. Founded by Ace Saxeman, composer and arranger Klaus Doldinger along with Curt Cress (percussion), Kristian Schultze (keyboards), and Wolfgang Schmid (bass & guitar). This was the classic lineup that started with their 4th album “Looking Thru” in 1973, their first US release. I’m not familiar with their first 3 albums, but outside Klaus, the lineup was pretty different. This classic lineup continued through the next 5 albums. Utilizing spacey electronic jazz with rock and classical styles, this group was very groundbreaking. Klaus has a knack for coming up with some of the most beautiful saxe melodies you ever heard.


Curt Cress was probably one of the first drummers to experiment with electronic drums. Bassist Wolfgang Schmid’s classical guitar adds a nice demension. And Kristian Schultze’s use of synth and mellotron gives them an expansive orchestral sound. After their 8th album, PASSPORT went through many different incarnations with only Klaus as the common denominator in all of them. In the 80’s, Klaus did other projects like motion picture soundtracks, most notably “Das Boot”. But PASSPORT still to this day records and performs (mostly in Europe, they came to the US only once) with various personnel. But it was the classic lineup that expanded their audience and gave them critical acclaim. (by progarchives)


And here´s the 6th album:

Along with “Infinity Machine”, this is probably the best of the German Jazz-Rock (actually more Rock-Jazz) combo’s run of classic albums in the 1970s, all of them distinguished by the colorful surrealism of their cover art. PASSPORT was never in the same league as the MAHAVISHNU ORCHESTRA or WEATHER REPORT (the latter in particular an obvious influence), but the group nevertheless managed to carve their own distinctive niche in an overcrowded market: no small accomplishment at the time.

I love the way that jittery opening sequencer pattern (in what sounds like a hellishly complex time signature) suddenly gels into the easy Space-Jazz swing of “Homunculus”, with Klaus Doldinger’s saxophone dancing gracefully around a sparkling electric piano solo. And the 13+ minute title track covers a lot of territory, working almost like a Beginner’s Guide medley to the music of PASSPORT.

Wolfgang Schmid & Klaus Doldinger:

In quick succession it moves from a kinetic start/stop introduction (featuring some primitive electronic percussion triggers) to a brief but lively drum solo by the incomparable Curt Cress, and from there into a relentless mid-tempo rocking section. A blast of rare high-amp electric guitar signals another change of pace, matching equal parts power and finesse before another saxophone freak-out reprise of the opening jam ends the track as it began: stopping on a dime.

Flipping the album over to Side Two (not recommended with a compact disc) doesn’t offer any immediate relief, throwing the unwary listener headlong into the full-throttle punch of “Jadoo”: three minutes of pure adrenalin guaranteed to raise your blood pressure a few notches. Kristian Schultze’s distorted electric piano solo is totally haywire, and the whole thing is propelled by the monster beat of Cress, again proving (and not for the first time) that he was one of the most dynamic and creative drummers of the decade…at least until he later briefly joined TRIUMVIRAT in their declining years.


The rest of the album is almost a let-down after “Jadoo”: three tracks of pleasant instrumental music, played with Doldinger’s trademark melodic funk and flair, but still sounding tame after all the preceding fireworks. In retrospect, maybe the running order could have been rearranged to better effect.

PASSPORT was a band that was never about to change the world, but they did make it a more pleasant place to live for a while. This album would be an ideal introduction for newcomers, as easy as anywhere else in their long discography, but why not start at the top? (by Neumann)


Curt Cress (drums, percussion)
Klaus Doldinger (saxophone, synthesizer, piano, mellotron)
Wolfgang Schmid (bass, guitar)
Kristian Schultze (keyboards)
Curt Cress01Tracklist:
01.Homunculus 6.18
02. Cross-Collateral 13.33
03. Jadoo 3.09
04. Will-O‘-The Wisp 6.20
05. Albatros Song 5.22
06. Damals 4.50

Music composed by Klaus Doldinger



Kristian Schultze02

More from Passport:

The official website:

St. Louis Symphony Orchestra (Walter Susskind) – Ma Vlast (Smetana) (2004)

FrontCover1The nation’s second-oldest orchestra, the SLSO traces its roots to 1880 with the founding of the St. Louis Choral Society by Joseph Otten, recognized as the SLSO’s first Music Director. The St. Louis Symphony Society was formed ten years later when, in the spring of 1890, the St. Louis Choral Society absorbed the St. Louis Musical Union, a small symphonic group that was organized in 1881 by August Waldauer. Upon consolidation of these two groups, the name of the Choral Society was changed to St. Louis Choral-Symphony Society. In 1907, when Max Zach assumed the leadership of the orchestra, it became known as the St. Louis Symphony Society. Shortly after this change, musicians were first hired for a 20-week regular season.

The SLSO has performed in five buildings since its founding in 1880: the first concerts took place in the Mercantile Library Hall; the St. Louis Grand Exposition Hall, at Olive and Thirteenth Streets, was its second home; near the turn of the century, the Odeon at Grand and Finney; and in 1934 the orchestra moved to Kiel Auditorium. In 1968, it moved to its first permanent home, Powell Hall in Grand Center, the current home of the orchestra.

Over its 140-year-plus history, the SLSO has had 13 Music Directors. They include Joseph Otten (1880-1894), Alfred Ernst (1894-1907), Max Zach (1907-1921), Rudolph Ganz (1921-1927), Vladimir Golschmann (1931-1958), Eduard van Remoortel (1958-1962), Eleazar de Carvalho (1963-1968), Walter Susskind (1968-1975), Jerzy Semkow (1975-1979), Leonard Slatkin (1979-1996), Hans Vonk (1996-2002), David Robertson (2005-2018), and Stéphane Denève (2019-present). (

Jan Walter Susskind (1 May 1913 – 25 March 1980) was a Czech-born British conductor, teacher and pianist. He began his career in his native Prague, and fled to Britain when Germany invaded the city in 1939. He worked for substantial periods in Australia, Canada and the United States, as a conductor and teacher.

Süsskind was born in Prague. His father was a Viennese music critic and his Czech mother was a piano teacher. At the State Conservatorium he studied under the composer Josef Suk, the son-in-law of Dvořák. He later studied conducting under George Szell, and became Szell’s assistant at the German Opera, Prague, making his conducting debut there with La traviata; early in his career, he was often known as H. W. Süsskind (H for Hans or Hanuš).

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Susskind was conducting a concert in Amsterdam in March 1939 when Germany occupied Czechoslovakia, and his mother advised him not to return home. (She was later interned in Theresienstadt but survived the war). With the help of a British journalist and consular officials, he arrived in Britain as a refugee. He formed the Czech Trio, a chamber ensemble in which he was the pianist. Encouraged by Jan Masaryk, the Czech ambassador in London, the trio obtained many engagements.

In 1942 Susskind joined the Carl Rosa Opera Company as a conductor, working with singers such as Heddle Nash and Joan Hammond, and married (1943-1953) the British cellist Eleanor Catherine Warren. In 1944 he made his first recording for Walter Legge of EMI, conducting Liu’s arias from Turandot with Hammond.

After the war, Susskind became a naturalised British citizen, and though he spent much of his subsequent career outside Britain, he said he would never dream of giving up his British citizenship.

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Susskind’s first appointment as musical director was to the Scottish Orchestra, where he served from 1946 to 1952. He and his wife divorced in 1953. From 1953 to 1955 he was the conductor of the Melbourne Symphony Orchestra (then known as the Victorian Symphony Orchestra). After free-lancing in Israel and South America he was appointed to head the Toronto Symphony Orchestra (TSO) from 1956 to 1965.

In 1960 he founded the National Youth Orchestra of Canada.[1] While with the TSO he taught conducting at The Royal Conservatory of Music where among his pupils were Milton Barnes and Rudy Toth.

From 1968 to 1975 he was conductor of the St. Louis Symphony Orchestra with which he made more than 200 recordings. During his seven-year tenure with St. Louis, he taught across the Mississippi River at Southern Illinois University Edwardsville. He was also closely involved with the Mississippi River Festival, an annually recurring outdoors crossover concert series organised by the local university.

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Susskind served as artistic advisor of the Cincinnati Symphony Orchestra from 1978 until his death in 1980.

On May 3, 1971, Susskind returned to the New York City Opera to conduct Leoš Janáček’s Makropulos Case.

Susskind died in Berkeley, California, at the age of 66. His personal archives document his career as a conductor, piano accompanist and avant-garde composer. The BBC Radio 3 program Music Matters broadcast 29 Jan. 2022 an interview with Susskind’s widow Janis, in the process of transferring these materials to the Exilarte Centre, University of Music and Performing Arts, Vienna. (wikipedia)

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Má vlast (Czech pronunciation: [maː vlast], meaning “My homeland” in the Czech language) is a set of six symphonic poems composed between 1874 and 1879 by the Czech composer Bedřich Smetana. While it is often presented as a single work in six movements and – with the exception of Vltava – is almost always recorded that way, the six pieces were conceived as individual works. They had their own separate premieres between 1875 and 1880; the premiere of the complete set took place on 5 November 1882 in Žofín Palace, Prague, under Adolf Čech, who had also conducted two of the individual premieres.

In these works Smetana combined the symphonic poem form pioneered by Franz Liszt with the ideals of nationalistic music which were current in the late nineteenth century. Each poem depicts some aspect of the countryside, history, or legends of Bohemia. (wikipedia)

More about this masterpiece: here.

Bedrich Smetana

Originally issued by Vox/Turnabout in 1975, this performance by Walter Susskind of Bedrich Smetana’s set of descriptive tone poems has remained a favorite recording of many listeners for over thirty-five years. It’s nice to hear it so lovingly remastered by Mo-Fi.

Smetana completed Ma Vlast, “My Country,” in 1874 and dedicated it to the city of Prague. The work is, as most of you know, made up of six interrelated symphonic pictures, the first four, “Vysehrad,” “Vltava” (“The Moldau”), “Sarka,” and “From Bohemia’s Woods and Fields,” describing the sights and sounds of Smetana’s native Czechoslovakia, while the last two, “Tabor” and “Blanik,” celebrate famous military victories in Czech history. Incidentally, the composer requested that “Tabor” and “Blanik” never be played separately; that is, never without the other. Anyway, the complete cycle displays a varied number of moods and actions that have delighted audiences for as long as it’s been around.


Maestro Susskind’s way with the work is elegant and refined, much as we might find a Marriner or a Mackerras approaching the score. Not that the interpretation lacks energy or excitement–it would be hard to deny the music its due, no matter who was conducting it–but it does seem to lack an essential intensity that several other favorite conductors demonstrate.

Among the recordings I compared are the totally committed one with Rafael Kubelik and the Czech Philharmonic on Supraphon, the involving account with Paavo Berglund and the Dresden State Orchestra on EMI Seraphim, the period-instruments version by Roger Norrington and the London Classical Players on Virgin, the stylish production with Vaclav Neumann and the Leipzig Gewandhaus on Berlin Classics, the winning rendition with Libor Pesek and the Royal Liverpool Philharmonic on Virgin, and the wholly involving interpretation with Antal Dorati and the Concertgebouw on Newton Classics. By comparison, Susskind seems a tad lax, content to let the music set its own course, certainly not a bad idea. In any case, Susskind is best in the surging currents of “The Moldau” and the sweeping hills and valleys of the “Bohemia” section. Then again, the two rather bombastic concluding poems have never impressed me as much, so Susskind may not be at fault for not offering them up in a more rousing manner.


The sound, originally made, as I said, by Vox in the mid 70’s, as remastered by Mobile Fidelity on this hybrid SACD issue is ultrasmooth, ultraclean, and uncommonly widespread, even on the stereo layer to which I listened, but by comparison again to the recordings mentioned above, it’s also a tad too warm and soft. Interestingly, it’s the Berglund and Dorati recordings I found sonically superior on my system (VMPS RM40s)–more detailed, transparent, and dynamic than the rest. And the Berglund, at budget price, is also the cheapest of the bunch I auditioned. But for those listeners who have always cherished the Susskind reading, it has undoubtedly never sounded so good. (JJP,


St. Louis Symphony Orchestra conducted by Walter Susskind


01. 1 Vyšehrad 14.34
02. Vltava (The Moldau) 12.10
03. Šárka 9.55
04. Z Český Luhův A Hájů (From Bohemias Woods And Fields) 12.02
05. Tábor 12.45
06. Blanik 14.29

Compose by Bedřich Smetana



The official website:

More from Bedřich Smetana:

Edgar Froese – Epsilon In Malaysian Pale (1975)

GermanLPFrontCover1Edgar Willmar Froese (6 June 1944 – 20 January 2015) was a German musical artist and electronic music pioneer, best known for founding the electronic music group Tangerine Dream in 1967. Froese was the only continuous member of the group until his death. Although his solo and group recordings prior to 2003 name him as “Edgar Froese”, his later solo albums bear the name “Edgar W. Froese”.

Froese was born in Tilsit, East Prussia (now Sovetsk, Russia), on D-Day during World War II; members of his family, including his father, had been killed by the Nazis and after the war his mother and surviving family settled in Berlin. He took piano lessons from the age of 12, and started playing guitar at 15. After showing an early aptitude for art, Froese enrolled at the Academy of the Arts in Berlin to study painting and sculpture.

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One of his most lucrative jobs was to design advertising posters for the Berlin buses. He started an evening degree in psychology and philosophy and received his doctorate on Kant’s categorical imperative.[citation needed] Since his interpretation was not in accordance with the academic way of thinking, he left the college with the remark: “The dust of the universities is like a shroud over the truth.”

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In 1965, he formed a band called The Ones, who played psychedelic rock, and some rock and R&B standards. While playing in Spain, The Ones were invited to perform at Salvador Dalí’s villa in Cadaqués. Froese’s encounter with Dalí was highly influential, inspiring him to pursue more experimental directions with his music. The Ones disbanded in 1967, having released only one single “Lady Greengrass” (b/w “Love of Mine”) on Star Club Records. After returning to Berlin, Froese began recruiting musicians for the free-rock band that would become Tangerine Dream.

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Froese declared himself to be vegetarian, teetotal, and a non-smoker; he also did not take drugs. Froese was married to artist and photographer Monika (Monique) Froese from 1974 until her death in 2000. Their son Jerome Froese was a member of Tangerine Dream from 1990 through 2006. In 2002, Edgar Froese married artist and musician Bianca Froese-Acquaye.

Froese died suddenly in Vienna on 20 January 2015 from a pulmonary embolism. He was posthumously awarded the Schallwelle Honorary Award for Lifetime Achievement in 2015. He was quoted by the BBC as having once said: “there is no death, there is just a change of our cosmic address”.

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Froese was a friend of such artists as David Bowie, Brian Eno, Iggy Pop, George Moorse, Volker Schlöndorff, Alexander Hacke and Friedrich Gulda.[10] Pop and Bowie lived with Froese and his family at their home in Schöneberg before moving to their apartment on Hauptstraße. Froese also helped Bowie with his recovery and introduced him to the Berlin underground scene. Bowie named Froese’s solo album Epsilon in Malaysian Pale as a big influence and a soundtrack to his life in Berlin.

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If you are familiar with Tangerine Dream’s typical sound developed during the “Phaedra”, “Rubycon” period you will be very enthusiastic by this second Edgar Froese’s solo album. The electronic / synth explorations are also clearly similar to “Aqua”. This record announces the colour with concrete sounds taken from ambient samples of monkeys. “Concrete” experiences were also delivered on the previous “Aqua” with aquatic, airplane sounds. Next to this brief and original introduction we fall into a hypnotic and contemplative electronic adventure, dominated by Mellotron parts, sometimes experimenting acoustic elements as the flute (already used in the sad, melancholic TD’s track “sequent C”).” Rubycon” & “Ricochet” fans will enjoy all the old analog synth melodic parts accompanied by heavy / rhythmic electronic arpeggios. Froese’s best effort in solo, a landmark and a memorable album of experimental / electronic prog music. (Philippe)

In other words: a masterpiece !


Edgar Froese (electronics, all instruments)

01. Epsilon In Malaysian Pale 16.27
02. Maroubra Bay 16.57

Music: Edgar Froese



The UK Labels:

The official website:

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Todd Rundgren’s Utopia – Another Live (1975)

FrontCover1Todd Rundgren´s Utopia was an American rock band formed in 1973 by Todd Rundgren. During its first three years, the group was a progressive rock band with a somewhat fluid membership known as Todd Rundgren’s Utopia. Most of the members in this early incarnation also played on Rundgren’s solo albums of the period up to 1975.

By 1976, the group was known simply as Utopia and featured a stable quartet of Rundgren, Kasim Sulton, Roger Powell and John “Willie” Wilcox. This version of the group gradually abandoned progressive rock for more straightforward rock and pop.

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In 1980, they had a top 40 hit with “Set Me Free”. Though often thought of as a Rundgren-oriented project, all four members of Utopia wrote, sang, produced and performed on their albums; “Set Me Free”, for example, was sung by Sulton. The group broke up in 1986, but reunited briefly in 1992. More recently, beginning in 2011 the earlier prog-rock incarnation known as Todd Rundgren’s Utopia was revived for a series of live shows. In 2018 Rundgren, Sulton, and Wilcox reunited for a tour with new keyboardist Gil Assayas under the moniker Todd Rundgren’s Utopia.

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Another Live is a live album by the progressive rock band Utopia. It was recorded in August 1975 and released in 1975 on Bearsville.

The record was the band’s first fully live album, the first Utopia album to include future mainstays Powell and Wilcox, and the last to feature founding members Schuckett and Klingman. The trio of backing singers Arnold McCuller, David Lasley and Phil Ballou were also new to the group and toured the summer tour, being replaced that September with future star Luther Vandross and Anthony Hinton, who had toured the UK with Utopia later that year.

Side one contains three new songs that had not been previously issued, and which were either never recorded or not released as studio versions. (Live 1975 versions of Powell’s “Mister Triscuits” and Rundgren’s “The Wheel” can also be heard on the album Todd Rundgren’s Utopia Live at Hammersmith Odeon ’75). (Shout Music, 2012).

UK front + backcover:

Side two is a mix of live cover versions of songs by band members and other artists. Jeff Lynne’s “Do Ya” was a B-side to The Move’s “California Man” single (1972) which had a double-track B-side also featuring the song “Ella James”.

As well as referring to the fact the album was recorded live, the title is an obvious paraphrase of the phrase “Another Life,” referencing the Eastern philosophical concept of reincarnation, as alluded to in the first track on Side One. The printed title of Powell’s instrumental “Mister Triscuits” was reportedly the result of Powell’s publisher mistranscribing its original full title, “The Emerald Tablet of Hermes Trismegistus”.

With no singles released to push it higher, the album peaked at #66 on the Billboard 200 charts.(wikipedia)

UK inlets:

It’s hard to say exactly why Another Live works better than either Todd Rundgren’s Utopia or Initiation, Rundgren’s two previous excursions into synth-heavy prog-rock. It’s not that the music is more energetic or focused, since it isn’t. Neither is the music more challenging or ambitious — it’s simply better. It’s true that the second half is devoted to covers (West Side Story’s “Something’s Coming,” the Move’s “Do Ya”) or Rundgren classics (“Heavy Metal Kids,” “Just One Victory”), all of which are more song-oriented than anything on the first half, or anything on either TR’s Utopia or Initiation. That said, the prog-rock epics that comprise the first half of the album cut deeper than before, possibly because the band has worked out the kinks in its style, developing a unified, provocative sound. It still tends to be a little excessive and impenetrable, but intriguing moments float to the surface alarmingly often. Too bad the hideous cover will prevent anyone but the most devoted Rundgren/Utopia fan from discovering that… (by Stephen Thomas Erlewine)


Once you can get past the cover (“Can you make my ass any look tighter?”), this is a great live-if-over-dubbed album; great playing by excellent musicians, well recorded and well conceived. Great mix of originals and covers, with the best live version of West Side Story’s Something’s Coming I ever heard, and it was a live staple for many years. Another Life and Intro/Mr Triscuits are obscure and just burn; hell, the whole album burns. I still play my original copy on a regular basis.
I’m admittedly biased (Todd Is Godd), and still resentful; I had tickets to see this tour at Cape Cod Coliseum but I had just turned 17 and I got grounded for borrowing someone’s car/driving without a license, so.
Just close your eyes when you pull the album out, or put it in a brown paper bag or something; you’ll be fine, I promise. (by Bertha DeCool)


Mark “Moogy” Klingman (keyboards, synthesizer, harmonica, glockenspiel, background vocals)
Roger Powell (synthesizer, trumpet, vocals)
Todd Rundgren (guitar, vocals)
Ralph Schuckett (keyboards, vocals, clavinet, accordion)
John Siegler (bass, vocals)
John “Willie” Wilcox (drums)
background vocals:
David Lasley – Arnold McCuller – Phillip Ballou
Ric E.(vocal shouting “Hey Todd!” during The Wheel – introduction)


01. Another Life (Cape Cod Coliseum, Cape Cod Massachusetts 8-23-75) (Rundgren/ Shuckett 7.26
02. The Wheel (Wollman Rink, Central Park NYC 8-25-75) (Rundgren) 7.17
03. The Seven Rays (Cape Cod Coliseum, Cape Cod Massachusetts 8-23-75) Rundgren/ Siegler) 8.53
04. Intro/Mister Triscuits (Wollman Rink, Central Park NYC 8-25-75) (Edited for time) (Powell) 5.27
05. Something’s Coming (Wollman Rink, Central Park NYC 8-25-75) /Bernstein/Sondheim) 2.53
06. Heavy Metal Kids (Wollman Rink, Central Park NYC 8-25-75) (Rundgren) 4.18
07. Do Ya (Lynne) 4.20
08. Just One Victory (Rundgren) 5.32




More from Todd Rundgren:

The official website:

Jack Bruce – Live ’75 (2003)

FrontCover1John Symon Asher Bruce (14 May 1943 – 25 October 2014) was a Scottish bassist, singer-songwriter, musician and composer. He gained popularity as the co-lead vocalist and ‍bassist ‍of British rock band Cream. After the group disbanded in 1968, he pursued a solo career and also played with several bands.

In the early 1960s Bruce joined the Graham Bond Organisation (GBO), where he met his future bandmate Ginger Baker. After leaving the band, he joined with John Mayall & the Bluesbreakers, where he met Eric Clapton, who also became his future bandmate.


His time with the band was brief. In 1966, he formed Cream with lead guitarist Clapton and drummer Baker; he co-wrote many of their songs (including “Sunshine of Your Love”, “White Room” and “I Feel Free”) with poet/lyricist Pete Brown. After the group disbanded in the late 1960s he began recording solo albums. His first solo album, Songs for a Tailor, released in 1969, was a worldwide hit. Bruce formed his own band to perform the material live, and subsequently formed a blues-rock band West, Bruce and Laing in 1972, with guitarist Leslie West and drummer Corky Laing. His solo career spanned several decades. From the 1970s to the 1990s he played with several groups as a touring member. He reunited with Cream in 2005 for concerts at the Royal Albert Hall and at Madison Square Garden in New York.


Bruce is considered to be one of the most important and influential ‍bassists ‍of all time. ‍Rolling Stone magazine readers ranked him number eight on their list of “10 ‍Greatest ‍Bassists ‍Of All Time”. He was inducted in the Rock and Roll Hall of Fame in 1993,[2] and was awarded the Grammy Lifetime Achievement Award in 2006,[3] both as a member of Cream.


Live at Manchester Free Trade Hall ’75 is a live album by the Jack Bruce Band released in 2003. It was compiled from a rough mix of a recording of a performance at Manchester Free Trade Hall in June 1975, the only surviving remnant of an abandoned live album project. Bruce’s bass guitar is not very prominent in the mix. (wikipedia)


This double-CD set was one of the unexpected bonuses of the 2001/2002 remastering of Jack Bruce’s RSO/Polydor catalog — amid a search of the vaults, a tape of this performance, the only official live recording of the Jack Bruce Band, was unearthed. They were news to Bruce at the time of their discovery, rough mixes done in contemplation of a concert album that was abandoned. It has its technical problems, but it was possible to clean up most of the sound to a fully professional modern standard, except for a couple of spots where extraneous noise does intrude, especially on the opening of disc two. But those are insignificant flaws in relation to the overall content of these tapes, which capture the band in fine form, especially Bruce, lead guitarist Mick Taylor, and keyboardist Carla Bley — Ronnie Leahy fills out the keyboard sound and Bruce Gary handles the drumming. Their sound is surprisingly tight and their playing rich and crisp, doing a mix of progressive rock and blues-rock in which there are at least four potential lead instruments beyond Bruce’s voice, which is extremely powerful throughout and, indeed, more expressive on-stage than it ever seemed amid the cacophony of Cream’s concerts.


The repertory is drawn almost entirely from his solo catalog (though they do close with an extended version of “Sunshine of Your Love”), with a special emphasis on songs from Out of the Storm. Though Carla Bley gets a lot of the spotlight for her work on piano, organ, Mellotron, and various other keyboard instruments, Leahy gets an extended featured spot on the piano for the medley of “Tickets to Waterfalls”/”Weird of Hermiston”/”Post War.” Although there are a few standard-length songs here, this was a band that mostly preferred to stretch out, a fact illustrated by the presence of only four numbers on the second CD, which runs the better part of an hour. What made it work was that they had enough to say to fill that length, even on the 23-minute “Smiles and Grins,” and the otherwise familiar “Sunshine of Your Love,” here flexed out to over 13 minutes. They switch gears effortlessly between vocal numbers like “One” and instrumental-driven jams such as “You Burned the Tables on Me,” without skipping a beat or letting the listener go.


It’s difficult to imagine how RSO would have released this recording reasonably intact in its own time — there are too many tracks here that would have taken up a full side of an LP, and while Leon Russell and a few others had made the triple-live album a reality in rock, one is hard-put to imagine RSO springing for that with Bruce, whose critical notices were fantastic but whose sales — especially in England — had never matched his reviews. So perhaps it’s just as well that this recording was forgotten but not lost, to show up today. The mix of blues, jazz elements, and hard rock, all in a free-form jam format, now seems all the more bracing and the CD market allows it to be kept intact. It’s also doubly fortunate that this show was recorded during the period in which technology had finally mastered the art of capturing the sound of various electronic keyboard devices on-stage intact — it’s a small matter, but fans of the Mellotron will probably love this release.(by Bruce Eder [-])


Carla Bley (keyboard, clavinet, synthesizer)
Jack Bruce (vocals, bass piano)
Bruce Gary (drums)
Ronnie Leahy (piano, synthesizer)
Mick Taylor (guitar)



CD 1:
01. Can You Follow? (Bruce/Brown) 1.45
02. Morning Story (Bruce/Brown) 7.55
03. Keep It Down (Bruce/Brown) 5.44
04. Pieces Of Mind (Bruce/Brown) 5.55
05. Tickets To Waterfalls/Weird Of Hermiston/Post War (Bruce/Brown) 25.05
06. Spirit (Williams) 10.43

CD 2:
01. One/You Burned the Tables On Me (Bruce/Brown) 16.59
02. Smiles and Grins(Bruce/Brown) 24.36
03. Sunshine Of Your Love (Brown/Bruce/Clapton) 12.06



More from Jack Bruce:

The official website:

Golden Earring – Switch (1975)

FrontCover1Golden Earring was a Dutch rock band, founded in 1961 in The Hague as The Golden Earrings. They achieved worldwide fame with their international hit songs “Radar Love” in 1973, which went to number one on the Dutch charts, reached the top ten in the United Kingdom, and went to number thirteen on the United States charts, “Twilight Zone” in 1982, and “When the Lady Smiles” in 1984.

During their career they had nearly 30 top-ten singles on the Dutch charts and released 25 studio albums.


The band went through a number of early line-up changes, though the band reached a stable line-up in 1970, consisting of Rinus Gerritsen (bass and keyboards), George Kooymans (vocals and guitar), Barry Hay (vocals, guitar, flute and saxophone), and Cesar Zuiderwijk (drums and percussion), which remained unchanged until the band broke up in 2021 following the diagnosis of Kooymans with ALS. A number of other musicians also appeared in short stints with the band over its history as well. (wikipedia)


Switch is the tenth album by Dutch rock band Golden Earring, released in 1975.

After the success of Moontan, Golden Earring could have easily parlayed its success into international stardom by continuing to play up that album’s commercial elements. Instead, the group did an about-face, pursuing uncommercial song themes and pushing the prog rock side of its sound to the fore (this move included the addition of Dutch prog rock keyboardist Robert Jan Stips, formerly of Supersister, to the lineup). The band even lampooned the sexy cover art of its recent hit album with a similar cover that replaced the gorgeous showgirl on Moontan with a marionette. The result is an album that lacks the consistent sound and coherence of Moontan, but makes up for it with an adventurous spirit and plenty of instrumental firepower.


Highlights include “Love Is a Rodeo,” a tune that starts as a thrilling guitar rocker before taking a sudden left turn into a finger-snapping instrumental coda dominated by synthesizer, and “Kill Me (Ce Soir),” a mystical epic that starts with a pulsating bassline and builds to a thunderous, orchestrated climax as its lyrics present a surprisingly incisive portrait of how society inevitably destroys its idols. A downside is that, by encompassing so many different styles, the songs lack the logical flow that would allow Switch to feel like a full, cohesive album. Another problem is that the lyrics have a bitter and defensive tinge (especially on “The Switch,” a hard-edged explanation of the group’s artistic rationale) that sometimes sits at odds with the exciting quality of the music. Despite these problems, Switch remains a solid album that Golden Earring’s fan base will enjoy; the disc might also appeal to adventurous fans of prog and hard rock. (by Donald A. Guarisco)

And: on “Daddy’s Gonna Save My Soul” we hear a brilliant saxophone solo by the great Bertus Borgers !


Rinus Gerritsen (bass, keyboards)
Barry Hay (flute, vocals)
George Kooymans (guitar, vocals)
Robert Jan Stips (keyboards)
Cesar Zuiderwijk (drums)
Bertus Borgers (saxophone)
Eelco Gelling (guitar)


01. Intro: Plus Minus Absurdio 3.08
02. Love Is A Rodeo 3.37
03. The Switch 5.27
04. Kill Me (Ce Soir) 6.23
05. Tons Of Time 4.21
06. Daddy’s Gonna Save My Soul 4.16
07. Troubles And Hassles 4.21
08. Lonesome D.J. 4.38

All songs written by Barry Hay and George Kooymans
except 04. written by Barry Hay, George Kooymans & John Fenton




More from Golden Earring:

The official website: