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



Dana Valery – Same (1975)

LPFrontCover1Dana Valery Catalano (born Fausta Dana Galli; 1944, Codogno) is an Italian-born South African-reared singer, actress, and television performer who started her career in the entertainment industry at the age of 16 in Johannesburg, South Africa where her family emigrated from Italy in 1947.

The Codogno-born singer has performed on television, radio, Broadway and in live concert performances worldwide, including major cities such as New York, London, Monte Carlo, Las Vegas, Atlantic City, and Johannesburg. She is the sister of singer and actor Sergio Franchi.

Valery starred in three productions of the South African musical revue Wait A Minim!: The Original 1962 South African production; The 1964 London production; and the Broadway production which ran for 456 performances at the John Golden Theatre from 7 March 1966 – 15 April 1967. Miss Valery recorded Original Cast Albums of all three productions.


In 1965, she appeared on the British television series called Ladybirds for ITV Southern England. In the programme, interviewers Shaw Taylor and Terence Carroll attempt to find out about the individual behind the image. She appeared on several different television shows in the United States in the 1960s and 1970s. One such appearance was as a panellist on the episode of the television game show, What’s My Line? that featured then-Governor of Georgia, Jimmy Carter, as a contestant.

Dana Catalano made a career change later in life to become a healer. Her areas of expertise include Reiki and hypnotherapy. Her main practice is based in New York.

She is married to Peter Catalano who has worked both as a musician, trained at the Brooklyn Conservatory of Music, and as an architect.

DanaValery02The couple founded a company dedicating its efforts to good health and meaningful relationships. They have hosted the New York radio talk show, Natural Harmony which is dedicated to these ideals.

Valery’s first USA album was an RCA collaboration album with Al Hirt and Boots Randolph. Her solo debut album in the United States was called Dana Valery. The cover artwork shows her wearing black against a black background, resulting in a cameo-like effect. This album can still be found on Internet record stores and auction sites. This album was issued on RCA’s custom label – Phantom. She recorded ten LP albums, two EPs, and a number of singles in South Africa prior to going abroad. In Johannesburg, Dana won two SARIE awards in (1964 and 1965) for Best Female Vocalist (by wikipedia)

And here´s her rare album for Phantom Records … produced by the one and only Leslie West !

This 1975 album by female vocalist Dana Valery  is a very underrated, must be heard classic. Italian-born Dana had been singing for well over a decade , cutting her first records in , of all places, South Africa. There she recorded for Columbia, and had several 45’s released in the US also, including her soulful version of Paul Simon’s “You Don´t Know Where Your Interest lies”. She also had played on the stage, made TV appearances and cut other singles as well. She also is the sister to the late singer Sergio Franchi. Her first US album was in 1972 with the Soul label, Brunswick, “Not The Flower But The Root”. In 1975, she worked with ex-Mountain guitarist/vocalist/songwriter Leslie West on his album, “The Great Fatsby” , and also on this, her self-titled 2nd album. Both Dana’s and West’s albums may have been been recorded simaltaneously, as both came out in 1975, have the same musicians playing on both albums and were released on Phantom Records.

“Dana Valery” is a great album of both rock, and some rock ballads. She’s got an excellent voice that can sing out with power, or softer with restraint. Her version of the Lobo  hit “I’d Love You To Want Me” is a perfect song for her, with acoustic guitars that build up as her voice carries the song to new heights. Neil Sedaka’s “Solitaire” is also in the same vein, another great take that stands apart from other versions. Biggest surprise is her version of The Rolling Stones’ “Play With Fire”. The production is a mix of powerful lead & background vocals, guitars and an atmospheric production. Sort of conjures up mysticism, and expands the short Stones version into a longer rock jam. Leslie West surrounds Dana with production and playing that does not get in the way of the main attraction, her voice.
A mix of rock with some noteworthy ballads make this album a consistent listening experience. Other rockers include “Power To All Our Friends”,  “To Be Alive”, and “Music And My Man”, the latter 2 songs of which Dana co-wrote with Leslie and others . The more acoustic ballad oriented songs include the exquisite Paul Williams-Roger Nichols penned “I Never Had It So Good” and Jimmy Cliff’s “Many Rivers To Cross”. The Beatles’ “Ob-La-Di, Ob-La-Da” is a fun version that opens up Side 2.
This is a great, initially overlooked album that is being listened to today more than when it was released. Coupled with West’s “The Great Fatsby”, on which Dana contributed many lead & background vocals, this has some excellent music that stands the test of time. (by melomanodiscos.blogspot)


Don Kretmar (bass)
Corky Laing (drums, percussion)
Dana Valery (vocals)
Frank Vicari (saxophone, flute)
Sredni Vollmer (harmonica, percussion)
Leslie West (guitar, background vocals)
Howie Wyeth (keyboards, mellotron)


01. I’d Love You To Want Me (Lobo) 2.45
02. Solitaire (Sedaka) 3.01
03. Play With Fire (Jagger/Richards) 3.32
04. Power To All Our Friends (Flett/Fletcher) 2.28
05. I Never Had It So Good (Williams/Nichols) 4.21
06. Ob-La-Di, Ob-La-Da (Lennon/McCartney) 2.41
07. On Fire For You (Elliot) 3.20
08. To Be Alive (Valery/I.Stone/M.Stone/West) 2.10
09. Music And My Man (Valery/West/Saunders) 2.43
10. Many Rivers To Cross (Cliff) 2.19



Outlaws – Same (1975)

LPFrontCover1Southern rock unit the Outlaws were formed in Tampa, Florida, in 1972 by singers/guitarists Hughie Thomasson and Henry Paul, bassist Frank O’Keefe, and drummer Monte Yoho. With the 1973 addition of guitarist Billy Jones, the lineup was complete, and after a year of intense touring the band became the first act signed to Arista under Clive Davis; the Outlaws’ self-titled 1975 album spotlighted their Eagles-influenced harmonies and Allman Brothers-like guitar attack, yielding the Top 40 hit “There Goes Another Love Song.”

In the wake of 1977’s Bill Szymczyk-produced Hurry Sundown, both Paul and O’Keefe exited, with guitarist Freddie Salem, bassist Harvey Dalton Arnold, and second drummer David Dix signing on for the 1978 concert set Bring It Back Alive and the studio effort Playin’ to Win. The lineup shuffles continued when Arnold announced his departure following 1979’s In the Eye of the Storm, with bassist Rick Cua recruited for the next year’s Ghost Riders in the Sky, which netted a Top 40 entry with its title track, a rendition of the Vaughn Monroe favorite. Yoho left to rejoin Henry Paul soon after, and with the subsequent exit of Jones, only Thomasson remained from the original Outlaws roster — not surprisingly, the group disbanded upon completing 1982’s Los Hombres Malo.

A year later Thomasson and Paul formed a new Outlaws lineup, adding guitarist Chris Hicks, bassist Barry Borden, and drummer Jeff Howell; after issuing 1986’s Soldiers of Fortune, Paul again quit the band, with the remaining quartet returning in 1993 with Hittin’ the Road. While Paul resurfaced in 1994 in the chart-topping contemporary country band Blackhawk, Thomasson later toured with the re-formed Lynyrd Skynyrd while continuing to lead the Outlaws, releasing So Low in 2000.


Sadly, Jones and O’Keefe died within three weeks of one another in early 1995. In 2005, original members Thomasson, Paul, Yoho, and David Dix reunited as the Outlaws, rounding out the lineup with three members of Blackhawk, guitarist Chris Anderson, bassist Randy Threet, and keyboardist Dave Robbins. Paul and Robbins departed a year later to concentrate again on Blackhawk, while Thomasson, the only original member of the Outlaws to make it through all of the band’s configurations, kept things going, reportedly finishing a new studio album, Once an Outlaw, before his death from a heart attack in 2007. (by Jason Ankeny)

By the mid-’70s, Southern bands seemed be making a last stand for rock & roll, with two- and three-guitar lineups and not a keyboard in sight. The Outlaws’ self-titled debut was released in 1975, a few years after the Allman Brothers Band’s greatest glories and a couple of years before the untimely demise of the original Lynyrd Skynyrd. The Outlaws latched onto their Southern heritage by way of Florida, threw in some harmony by way of the Eagles, and then wrote a number of songs that played to their strengths. The result was — and is — a good classic rock & roll album. Several of The Outlaws’ best songs are present here, including “There Goes Another Love Song,” “Green Grass and High Tides,” and “Song for You.” Hughie Thomasson only sings lead on these three songs, but since two of them were the best-known Outlaw songs, it is his voice that is most associated with the band. It’s fun to hear cuts like “Song for You” and “Knoxville Girl,” which never received a lot of radio play. “Keep Prayin’,” sung by Henry Paul and Billy Jones, is a fine piece of Southern boogie with high soaring harmony on the chorus. Although “Green Grass and High Tides” has been played a million and six times on album-oriented rock stations, it nonetheless deserves mention. Created in the tradition of the Allman Brothers Band’s “Dreams” and Lynyrd Skynyrd’s “Free Bird,” the song still sounds fresh in the context of the album, and doesn’t feel long at its nearly ten-minute length. The Outlaws’ debut blew a fresh blast of rock & roll onto a scene increasingly dominated by synthesizers and dance music. It will leave the listener singing along and dreaming about the good ol’ days. (by Ronnie D. Lankford, Jr. )

And the last song of this album, “Green Grass And High Tides” is another highlight in the history of Southern Rock !!!


Billy Jones (guitar, vocals)
Frank O’Keefe (bass)
Henry Paul (guitar, vocals)
Hughie Thomasson (guitar, vocals)
Monte Yoho (drums)
J.D. Souther (background vocals on 04.)


01. There Goes Another Love Song (Thomasson/Yoho) 3.03
02. Song For You (Jones/Thomasson) 3.30
03. Song In The Breeze (Paul) 3.03
04. It Follows From Your Heart (Jones) 5.19
05. Cry No More (Jones)4.17
06. Waterhole (Tomasson/Jones/Yoho/O’Keefe/Paul) 2.03
07. Stay With Me (Paul) 3.28
08. Keep Prayin’ (O’Keefe) 2.42
09. Knoxville Girl (Paul) 3.29
10. Green Grass And High Tides (Thomasson) 9.46




Scorpions – In Trance (1975)

FrontCover1.jpgIn Trance is the third studio album by German rock band Scorpions, released by RCA Records in 1975. The album’s music was a complete departure from the progressive krautrock of the two previous albums in favor of a hard rock sound of shorter and tighter arrangements with which the band would achieve their later global success and fame; extended suites in the vein of songs such as “Lonesome Crow” and “Fly to the Rainbow” are absent altogether. It is the first album by the band to contain the now-famous logo and controversial artwork.

The original version of the album cover, photographed by Michael von Gimbut,[4] was censored for clearly showing the cover model’s exposed breast hanging down towards the guitar. Later releases have the breast blacked out so that it is not visible. This is the first of many Scorpions album covers that have been censored. The band’s former lead guitarist Uli Jon Roth claimed he may have come up with the “idea to do the thing with the guitar for the cover of In Trance”.

However, in a 2008 interview Roth claimed that early Scorpions album covers in general were “the record company’s idea, but we certainly didn’t object. And so shame on us. Those covers were probably the most embarrassing thing I’ve ever been involved with.” He did, though, classify the In Trance cover as “borderline”.


The White Stratocaster shown on the cover belonged to Roth and he can be seen playing the same guitar on the cover of the Electric Sun album Fire Wind. This is the guitar that Roth used on all subsequent Scorpions and Electric Sun albums on which he played.

This was the band’s first album to feature the band’s name written in the now-familiar font used on nearly all subsequent album covers, as well as their first collaboration with producer Dieter Dierks. (by wikipedia)


The Scorpions’ third release, In Trance, continues to display their high-energy music, which is impossible to ignore. With the eyebrow-lifting “Dark Lady” as the opening track, the album immediately captures the listener’s attention and keeps it all the way until the end. The interesting title track is clearly the best song of the album, but singles such as the fast-paced “Robot Man” and the hard-rocking “Top of the Bill” also stand out as highlights. Excellent singing and powerful music make this the best Scorpions recording working with Uli Jon Roth. (by Barry Weber)


Francis Buchholz (bass, background vocals)
Rudy Lenners (drums, percussion)
Klaus Meine (vocals)
Uli Jon Roth – lead guitar, background vocals, vocals on 01. + 08.)
Rudolf Schenker (guitar, background vocals)
Achim Kirschning (keyboards)

01. Dark Lady (Roth) 3.29
02. In Trance (Schenker/Meine 4.45
03. Life’s Like A River (Roth/Schenker/Fortmann) 3.51
04. Top Of The Bill (Schenker/Meine) 3.24
05. Living And Dying (Schenker/Meine) 3.22
06. Robot Man (Schenker/Meine) 2.45
07. Evening Wind (Roth) 5.05
08. Sun In My Hand (Roth) 4.23
09. Longing For Fire (Schenker/Roth) 2.45
10. Night Lights (Instrumental) (Roth) 3.13



Agnes Strange – Same (Strange Flavour) (1975)

FrontCover1Sometimes, albums become far more interesting because of their back story. Case in point: Agnes Strange. This heavy trio from Southampton, England, led by singer-guitarist John Westwood, somehow didn’t make a splash on the early ’70s boogie circuit despite their obvious similarities to beloved acts like the Groundhogs, Budgie and the almighty Status Quo. Despite some heavy names in their corner, including management company DJM (led by Dick James, who had made a mint off the Beatles’ publishing) and A&R folks at Pye Records, some bad luck and inexplicable business decisions led them off course. Foremost among these was a fundamental misunderstanding of the term “pub rock,” which led Pye to release Strange Flavour on a one-off label called Birdsnest, which was affiliated with a chain of theme pubs of the same name, owned by the beer manufacturer Watney’s. The existing heavy rock audience at the time reacted much as straight-edge punks would if McDonald’s and Sony BMG joined forced to release a hardcore album available only at fast food restaurants, and Strange Flavour disappeared without trace, as did Agnes Strange.

Agnes Strange01

Funny thing, though: it turns out that Strange Flavour is actually pretty good. Produced by Dave Travis, whose remarkably cheesy country albums from the ’60s are much beloved by Anglo-kitsch collectors, and engineered by Colin Thurston, who was about a half decade away from his heyday as a name post-punk and new romantic producer, Strange Flavour is comfortably pitched between the old and the new, or at least the new iterations of the old. “Clever Fool” is a basic bluesy shuffle that would sound right at home on one of Dave Edmunds’ Rockpile-era albums, while “Motorway Rebel” is tailor-made for the Foghat crowd, with its faux bluesy riffage and a hackneyed opening line “Well, I been to New York City/You know I been to L.A.” delivered in a voice that screams that its owner has never been further west than Liverpool.


On side two, things get a lot spacier, culminating in the epic freak-out “Children of the Absurd,” complete with Pink Floyd-style sonar guitar pings and rampant wah-wah abuse. Westwood and his compatriots, bassist Alan Green and drummer Dave Rodwell, may not have been able to solidify a trademark Agnes Strange sound, but the “see if it works” variety and generally tasteful playing makes Strange Flavour an interesting listen for rock obscurantists and old boogie fans alike. This reissue features remastered sound, full liner notes of the whole odd story and four bonus tracks including the punchier 45 single mix of the anthemic opening track “Give Yourself a Chance.” (by Stewart Mason)

Hey boys … where are you now ???


Alan Green (bass, vocals)
Dave Rodwell (drums, vocals)
John Westwood (guitar, vocals)
Colin Thurston (background vocals)
Dave Travis (guitar, slide guitar, harmonica, vocals)


01. Give Yourself A Chance (single mix) (Westwood/Green) 3.29
02. Clever Fool (Westwood) 3.23
03. Motorway Rebel (previously unreleased) (Westwood) 4.04
04. Traveling (previously unreleased) (Travis) 2.54
05. Strange Flavour (Westwood/Green/Rodwell) 3.56
06 Alberta (Travis) 5.44
07. Loved One (Green) 6.00
08. Failure (Rodwell) 5.18
09. Children Of The Absurd (Rodwell/Green/Barber) 7.48
10. Odd Man Out (Westwood) 3.54
11. Highway Blues (Westwood) 5.31
12. Granny Don’t Like Rock ‘n’ Roll (Westwood) 5.22
13. Interference (Travixs) 1.44
14. Give Yourself A Chance (LP mix) (Westwood/Green)