John Renton – Half In Half Out (1975)

FrontCover1John Renton was a singer and multi-instrumentalist (guitar, keyboards, harmonica, etc.). Born in India, lived for a shirt time in England and then moved to Vancouver, Canada where he first worked as session musician in the 1960s.

During the Sixties he played in locals bands like
The Raja and Three To One before he tried to start a shortlived solo career.

And this album is a pretty good one … a great mixture between Folk-Rock with some Psych elements (“Picture Tree”, “Monday Morning”).

Unfortunately I gave no idea what was happened with John Renton after recording this beautiful album.

A forgotten treasure ot the Seventies (including a great cover) !


This first and last solo album of this Canadian musician, released by the label “Reprise Records”, was not reprinted on the CD …

So you hear another vinyl rip by myself.

And … Hey … Mr. John Renton … where are you now ?


Paul Beedham (drums)
Susie Campbell (background vocals)
Hagood Hardy (vibraphone, marimba)
John Hartford (banjo, fiddle)
Jerry Lester  (bass)
John Renton (guitar, vocals, harmonica percussion)
Pat Riccio (keyboards)
Lance Saegusa (guitar)
Don Thompson (flute, reeds)

Frontcover of the test pressing

01. In The Middle (Renton/Bay) 2.27
02. When I Talk (Renton) 3.07
03. Monday Morning (Renton/Bay) 2.45
04. City Walking Blues (Renton/Bay) 3.22
05. You Know (Renton/Beckwith) 2.16
06. Half In, Half Out (Renton/Bay) 4,01
07. Darkness And Light (Renton/Bay) 3.45
08. Picture Tree (Renton/Bay) 4.46
09. Down Parade (Renton/Bay) 3.57



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TestpressingLabelA+BTestpressing Labels A + B

Charlie Rich – Every Time You Touch Me (I Get High) (1975)

FrontCover1.jpgThe 1970s were a magical time for Charlie Rich and producer Billy Sherrill. Sherrill was the first producer who not only understood how gifted Rich was musically — he knew virtually no bounds when it came to popular music styles — but could comprehend and deliver Rich’s vision to record buyers. On the title track, restrained bass notes and minimal, jazzy pianism coast into a space where strings glide into Rich’s verse. Shimmering trills in the piano’s mid-range accent the end of each line, as do the female vocalists of the Nashville Edition. It’s dreamy and ethereal and the listener encounters quite literally what the song’s protagonist is describing. And “All Over Me” is a country tune with Rich’s honky tonk accents caressed by Sherrill’s strings and Pete Drake’s pedal steel in a broken paean to love gone awry. This is the album that pointed to all the various directions Rich wanted to explore musically. Like Ray Charles’ Modern Sounds in Country and Western Music, Rich extended it to include new textures and sounds in pop and country. A stunning example is “Since I Fell for You,” where Rich treats the melody like a rhythm & blues crooner and takes it to the breaking point of its country root.

Charlie Rich01

Side two holds a surprise in the dark, film noir-ish beauty of Margaret Ann Rich’s “Pass on By.” Again, the deep R&B strains meet doo wop, soul, and early rock in a setting provided by Sherrill that could have been in a 1950s thriller sung in a smoky lounge. And while the rest of the side is terrific as well, Rich’s own “Midnight Blues” walks the edge of rock and soul à la the Memphis sound. Shimmering strings in glissandi, stinging lead guitar, a trio of female verses echoing Rich’s lines, and Hargus “Pig” Robins’ honky tonk piano make the track swagger and shimmy, carrying the listener out on a rough and rowdy, darkly tinted note. Whew! (by Thom Jurek)


Tommy Allsup (guitar)
Larry Butler (keyboards)
Jimmy Capps (guitar)
Jerry Carrigan (drums)
Pete Drake (steel-guitar)
Ray Edenton (guitar)
Mary Alice Hoepfinger (harp)
Glenn Keener (guitar)
Sheldon Kurland (violin)
Charlie McCoy (harmonica)
Bob Moore (bass)
Hargus “Pigg” Robbins (keyboards)
Billy Sanford (guitar, mandolin)
Henry Strzelecki (bass)
Pete Wade (guitar),
The Nashville Edition (background vocals)


01. Every Time You Touch Me (I Get High) (C.Rich/Sherrill) 3.03
02. All Over Me (Peters) 2.53
03. A Little Bit Here (A Little Bit There) (M.Rich) 2.31
04. A Mellow Melody (Sherrill) 2.25
05. Since I Fell for You (Johnson) 3.05
06. Pass On By (M.Rich) 2.35
07. Rendezvous (Sherrill/Wilson) 2.53
08. She (C.Rich) 2.49
09. You and I (Strzelecki) 3.24
10. Midnight Blues (Bowman/C.Rich) 3.07



Broken Glass – Same (1975)

FrontCover1.jpgStan Webb was in the blues band Chicken Shack, but decided to form Broken Glass after playing with blues band Savoy Brown. The new band formed with Robbie Blunt on guitar, Rob Rawlinson on bass, Mac Poole on drums, and Miller Anderson on guitar.[2][3] The EMI record label backed the band’s debut album, simply titled Broken Glass (1975, Capitol Records), which was produced by Tony Ashton. Lack of promotion limited the album’s sales, and the band split up. Webb later re-formed Chicken Shack.

Broken Glass was reissued on compact disc in 2005 on the Progressive Line label. (by wikipedia)


After the split of Chicken Shack and a very short period in whixch Stan Webb played with Kim Simmonds` Savoy Brown (where he met Miller Anderson), Webb decided to open a new chapter in his career. He didn´t want to do a reunion of Chicken Shack, so he start a new group called “Broken Glass”. He teamed up with Robbie Blunt (ex-Bronco) and Miller Anderson and recorded the more or less very unknown “Broken Glass” album.


After Chicken Shack disbanded in 1974, Stan Webb briefly joined Savoy brown for the Boogie Brothers album and some live gigs. Shortly afterwards Stan decided to found a project called Broken Glass. Away from the blues standards this super band recorded a great album of rock music, with different influences from all the band members. Along with Stan the great guitarists Robbie Blunt and Miller Anderson, with a tight rhythm section composed by Mac Poole and Rob Rawlinson.
The album opener is Standing on the Border, a catchy melody with alternate vocals from Stan and Miller, followed by It’s Alright, a softer number penned by Stan with very good guitars work in it. Then Keep Your Love ventures in different territories, reggae echoes along with typical Stan vocals on top.


Can’t Keep you Satisfied is a rough rock blues number, with harder and softer moments, brilliant. Jersey Lightning close side 1 and it’s an acoustic number, short and direct. Side 2 opens with It’s Evil sang by Miller Anderson and with its roughness it recalls the famous Evil from Howlin Wolf. Ain’t No Magic is more experimental stuff, with a filtered voice, and very good bass and guitars licks.


Crying Smiling is a come back to more traditional rock, catchy melody. Take the Water opens with a fade in, this song was played by Stan in his recent live gigs, another classic number. The closer is Broken Glass, another acoustic number with no drums or bass.
The band did some live gigs in 1975, and recorded only this album. (by Ghost Train)

This is a good album featuring Miller Anderson (Keef Hartley Band), Stan Webb (Chicken Shack), and Robbie Blunt, formerly of Silverhead, who later turned up during the early 80’s playing with Robert Plant.

With a three guitar attack, these guys had a great heavy blues rock sound. I would have thought this band would have gone on to bigger and better things, but due to managerial problems, the band eventually called it a day.
All the songs on this album are great rockers, and should be part of any respectable record collection, right alongside the likes of; Ten Years After, Humble Pie, Savoy Brown, Cactus, etc.
But one song, ‘It’s Evil’ puzzles me. Most people will recognize this song as a well known blues standard, along with being a song Cactus did on their album titled Restrictions. Only they called it ‘Evil’, and gave credit to one C. Burnett for writing this classic, though Broken Glass credits ‘Robbie Blunt and Stan Webb’ as the writers. In case you’re wondering, C. Burnett is none other than the great Howlin’ Wolf. (Doc_Smiley)

This album is one of the most satisfying Stan Webb recordings, because he found a new way to express his style of Blues-Rock. Just listen and you know what I mean.

The album was produced by Tony Ashton !


Robbie Blunt (guitar)
Mac Poole (drums)
Rob Rawlinson (bass)
Stan Webb (guitar, vocals)
Miller Anderson (guitar, vocals)
Tony Ashton (keyboards)


01. Standing On The Border (Webb/Alexander) 3.39
02. It´s Alright (Webb) 3.38
03. Keep Your Love (Webb/Blunt) 4.40
04. Can´t Keep You Satisfied (Webb/Blunt) 5.18
05. Jersey Lightning (Webb) 1.52
06. It´s Evil (Webb/Blunt) 3.46
07. Ain´t No Magic (Webb/Blunt) 5.13
08. Crying Smiling (Webb/Blunt) 3.52
09. Take The Water (Webb/Alexander) 5.40
10. Broken Glass (Alexander) 2.29




Miller Anderson in his own words: “I was brought in to help on the “Broken Glass” album, and wrote under the name “Alexander”: more contract difficulties! It was a great band but we had poor management. So it all fell apart… It was a real shame! “


Willie Nelson – Live At The The Troubadour (West Hollywood CA) (1975)

FrontCover1.jpgThe year was 1975, and Willie Nelson figured he could trust bad luck more than good. His last album, Phases and Stages, had sold a pleasant 400,000 copies, but 21 previous records had largely lackluster sales. He’d tried pig farming on the side and ”lost my ass and all its fixtures.” His house had burned down, and rushing into the flames, he’d saved only his guitar and a pound of Colombian weed. So, after years of bucking the country establishment in Nashville, playing bass for Ray Price, and watching songs he wrote for himself (”Crazy,” ”Night Life,” ”Hello, Walls”) become hits for others, Nelson, who had moved back to his native Texas in 1970, got ready to deliver his Columbia debut, Red Headed Stranger, a concept album of love, murder, and redemption involving an Old West preacher and his cuckolding wife.

It was Nelson’s first effort at combining his own songs with others’ in a cohesive story. ”I Willie Nelson01.jpgwrote it as if I were the guy, which is probably the way I write everything,” he would later say. Produced in three days for $20,000 in a small studio in Garland, Tex., Stranger was everything a commercial country record shouldn’t be. It was a song cycle, not a grab bag of detached ditties. It used his own rough-edged band instead of smooth studio pickers.

When Billy Sherrill, Columbia’s top man in Nashville, heard it, he walked out of the room. When Waylon Jennings and Willie’s manager, Neil Reshen, played it for the New York brass, they thought it was a demo. Nelson reminded them of his creative-control clause and pledged to give it up if the LP bombed — but not even he foresaw what was about to happen.

Stranger became the first Nelson album ever to reach the Billboard pop chart when it debuted at No. 189 on July 26, 1975. It yielded two crossover singles, ”Blue Eyes Crying in the Rain” and ”Remember Me.” The album, too, was a mainstream hit, selling like Gatorade at a chili cook-off-some 2 million copies over the next decade. It propelled Nelson to cult status overnight and, most important, introduced modern country music, single-handedly revitalizing a genre long considered the province of hayseeds. (

And here´s a wonderful Willie Nelson concert from this year … this show should promote his “Red Headed Stranger”.

And here´s is theKWST-FM Broadcast Recording of this shoiw.

Another highligt in the history ofWillie Nelson !

Recorded live at the Troubadour West Hollywood CA., November 06, 1975


Paul “The Devil” English (drums)
Rex Ludwick (drums)
Bobbi Nelson (piano)
Willie Nelson (guitar, vocals)
Jody Payne (guitar, vocals
Micky Raphael (harmonica)
Bee Spears (bass)

Alternate frontcover

01. Introduction 0.12
02. Whiskey River (Bush/Stroud) 4.35
03. Stay All Night (Wills/Duncan) 2.55
04. Funny How Time Slips Away (Nelson) 2.29
05. Crazy (Nelson) 1.36
06. Night Life (Nelson) 3.55
07. Me & Paul (Nelson) 2.44
08. Bloody Mary Morning (Nelson) 2.36
09. I Still Can’t Believe You’re Gone (Nelson) 4.08
10. It’s Not Supposed To Be That Way (Nelson) 2.04
11. A Good Hearted Woman In Love With A Good Timin’ Man (Jennings/Nelson) 2.53
12. KWST-FM Los Angeles Radio Station Promo 0.12
13. Time Of The Preacher (Nelson) 2.09
14. I Could Not Believe It Was True (Mellencamp) 1.08
15. Time Of The Preacher Theme (Nelson) 1.16
16. Blue Rock Montana (Nelson/Stutz/Lindeman) 1.30
17.Blue Eyes Crying In The Rain (Rose) 2.19
18. Red Headed Stranger Nelson/Stutz/Lindeman) 3.16
19. Time Of The Preacher Theme (reprise) (Nelson) 2.00
20. Unknown Song (instrumental) 1.27
21. Band introductions 1.01
22. What Can You Do To Me Now (Nelson/Cochran) 3.24
23. Shotgun Willie (Nelson) 2.41
24. A Song For You (Russell) 3.00
25. Rollin’ In My Sweet Baby’s Arms (Traditional) 3.01
26. Will The Circle Be Unbroken (Habershon/Gabriel) 3.55

Willie Nelson02


Clifton Chenier – Clifton Chenier And His Red Hot Louisiana Band (1977)

FrontCover1.jpgLike many before me, my early interest as a teenager in jazz, funk and blues led me to the music of New Orleans. That interest piqued further when I found a collection of sides recorded for Atlantic by Professor Longhair in the 1950s at a public library , and then went out and bought everything I could get my hands on. Before long my ear wandered up the countryside to the bayous and swamps where music sounded a little different than in the city, namely to cajun and zydeco records. Not speaking any French, let alone Acadian or Creole, I couldn’t understand a word of much of it, yet I still felt like I connected to the music. Before the term ‘zydeco’ came into common musical parlance outside its region of origin, Clifton Chenier was said to have played “the blues accordion.” That description makes sense. Chenier, who had been recording since the early 60s, had a style capable of filling the space usually filled by a harmonica in a blues band and blending it with the piano or organ riffs you would expect from a keyed instrument. Reeds and keys together in one place. But his musical ladle also dipped into a stew containing fiddle tunes from around Louisiana’s “Cajun belt,” along with rhythm and blues, boogie-woogie, and early rock and roll music. His band briefly featured his brother Morris Chenier on fiddle in the 60s, but his lineups more typically counted on saxophone, electric guitar, bass, organ and piano to back him up. And he was always accompanied by his brother Cleveland on the washboard, who is credited with being the first washboard player to wear his instrument draped over the torso in a customized breastplate-type thing. Cleveland would tap out his rhythms using up to a half-dozen bottle openers in each hand.


This particular album has quite a few tunes that are fairly straight forward blues, and “Hungry Man” may strike many as being eerily close to a certain McKinley Morganfield song. It is also from the period when a young Stanley Dural (aka Buckwheat Zydeco) was playing keyboards with Chenier. It might be Dural (who previously played in a funk band) whose influence we hear on the one tune that deviates a bit from the rest on this album. “Party Down (At The Blue Angel Club)” is positively funky with a taste of wah guitar and some delicious sax riffs. Between the ballads and the burners there is one tune that cries out for fiddle, the waltz-time “Tante Na Na,” but Chenier’s accordion carries the day with grace and grace notes. The song is kind of a staple in a lot of dance band repertoires and I’d be interested in knowing its origins if there is anyone out there who knows. (All the tracks are attributed to Chenier, which seems like a bit of legal fiction by the folks at Arhoolie). The next track (Do Right Sometime) disposes with everything but the drums, washboard and the sax which just plays rhythm, but the chord changes somehow still sound fleshed out.


This is also a cool record because it catches Chenier’s band at an interesting time, riding a wave of mounting interest in the genre that he played a huge in creating. By the late 70s he could be found playing both the Montreux and New Orleans Jazz Festivals. But zydeco would become even more famous in the next decade, and Chenier himself would become the first zydeco musician to win a Grammy award. (

Recorded April 25, 1977 at Sea-Saint Studios, New Orleans, La. except 04- which was recorded October 27, 1975 in Bogalusa, La.


Joseph Bruchet (bass)
Cleveland Chenier (washboard)
Clifton Chenier (vocals, accordion)
tanley “Buckwheat” Dural (keyboards)
John Hart (saxophone)
Robert Peter (drums)
Paul Senegal (guitar)

01. Grand Prix 3.09
02. Hungry Man Blues 4.45
03. Parti De Paris 2.24
04. Take Off Your Dress 4.41
05. Party Down (At The Blue Angel Club) 4.36
06. Falksy Girl 3.57
07. Easy, Easy Baby 3.10
08. Tante Na Na 3.46
09. Do Right Sometime 3.41
10. Highway Blues 3.21

All songs written by Clifton Chenier



Chenier Brothers performing at Jay’s Lounge and Cockpit, Cankton, Louisiana, Mardi Gras, 1975 (Clifton Chenier on accordion, brother Cleveland on washboard and John Hart on tenor saxophone):


Emmylou Harris – Pieces Of The Sky (1975)

FrontCover1.jpgPieces of the Sky is the second studio album by American country music artist Emmylou Harris, released in February 1975 through Reprise.

Although she had released the obscure folk-styled Gliding Bird five years earlier, Pieces of the Sky became the album that launched Harris’s career and is widely considered to be her début. In those intervening years she forged a musical relationship with Gram Parsons that altered the musical direction of her career. The album includes Harris’s first high-charting Billboard country hit, the #4 “If I Could Only Win Your Love,” and the relatively low-charting #73 “Too Far Gone” (originally a 1967 hit for Tammy Wynette). The overall song selection was varied and showed early on how eclectic Harris’s musical tastes were. In addition to her own “Boulder to Birmingham” (written for Gram Parsons, who had died the previous year), she included the Merle Haggard classic “The Bottle Let Me Down,” The Beatles’ “For No One,” and Dolly Parton’s “Coat of Many Colors.” (Parton, in turn, covered “Boulder to Birmingham” on her 1976 album All I Can Do (album).) On Shel Silverstein’s “Queen Of The Silver Dollar,” Harris’s longtime friend and vocal collaborator, Linda Ronstadt, sings harmony.

Pieces of the Sky rose as far as the #7 spot on the Billboard country albums chart.

Pieces of the Sky was included in Robert Dimery’s 1001 Albums You Must Hear Before You Die. (by wikipedia)


Emmylou was an army brat from the South who thought country music was “boring.” As Harris later recounted, “You have to grow up, start paying the rent and have your heart broken before you understand country.” No. Folk was where it was at for young Emmylou. It was the mid-60s after all. Dylan was king. And Joan Baez was queen. And like countless other girls her age and of her time she dropped out of college & headed to The Village to be the next Joan Baez. “I mean, what girl back then didn’t want to be her?” Emmylou gushed. And for a little window of time it looked like she just might! She had the looks. The voice. And fell in with a talented songwriting boyfriend turned husband named Tom Slocum who had contacts in the record industry. And before you know it, she had a record contract and a debut album – Gliding Bird! But, her timing sucked. Her label bit the dust. Gliding Bird flopped. (Emmylou now disowns it pretty much and consider THIS her real debut. Personally, time is short and no one seems to high on it so I’ll just trust the pretty lady until Mercury tells me different. lol.) And before you know it, she was a divorced single mom trying to raise her baby on food stamps. So like any smart, well adjusted kid will do, she moved back home. (To an actual farm believe or not just on the outskirts of Washington DC.)


Dreams of being the next Joan Baez dashed just like a thousand other pretty girls. In other words, she was now ready for her Country awakening. For Gram. And so much of life is just persevering and continuing to be ready. You never know when your luck may change. When the providence of the Gods may smile on you. So she didn’t give up. She started a little folk band and started playing gigs around DC. And divine Providence in the guise of the Gram Parsons showed up. On a hot tip from fellow Flying Burrito brother in arms, and former Byrdman,Chris Hillman. She’s talking about Gram of course. Yet again. The album is filled with references to him. How he saved her. Mentored her. Showed her his take on music. His vision of what country music could & should be. Cosmic American Music he called it. And Gram’s vision was so pure & inspired that it infected everybody around him. They would become instantaneously inflicted with his country bug.Whether it be striking up a conversation in a bank line at the Beverly Hills bank with Chris Hillman of the Byrds, singlehandedly taking over the creative reigns of one the most popular American bands of the entire 1960s as a freakin’ nobody, or convincing Emmylou to drop everything and join him on his quest for cosmic country goodness. Gram just had one of those magnetic personalities that could convince you of pretty much anything. Like Steve Jobs. There’s even a name for it – a Reality Distortion Field (look it up if you don’t believe me!). And Gram had one of the biggest Fields in all of music history. While the did they or didn’t they (they didn’t) gossip tends to overshadow… (by Repo Man)


Brian Ahern (guitar, bass)
Bruce Archer (guitar)
Duke Bardwell (bass)
Byron Berline (fiddle, mandolin)
James Burton (guitar, dobro)
Mark Cuff (drums)
Rick Cunha (guitar)
Amos Garrett (guitar)
Richard Greene (fiddle)
Tom Guidera (bass)
Glen D. Hardin (piano)
Emmylou Harris (vocals, guitar)
Ben Keith (pedal steel-guitar)
Bernie Leadon (guitar, bass, banjo, dobro, background vocals)
Bill Payne (piano)
Herb Pedersen (guitar, banjo, background vocals)
Danny Pendleton (pedal steel-guitar)
Ray Pohlman (bass)
Ricky Skaggs (fiddle, viola)
Ron Tutt (drums)
background vocals:
Linda Ronstadt – Fayssoux Starling


01. Bluebird Wine (Crowell) 3.21
02. Too Far Gone (Sherrill) 4.07
03. If I Could Only Win Your Love (C.Louvin/I.Louvin) 2.37
04. Boulder To Birmingham (Harris/Danoff) 3.38
05. Before Believing (Flowers) 4.45
06. The Bottle Let Me Down (Haggard) 3.20
07. Sleepless Nights (F.Bryant/B.Bryant) 3.29
08. Coat Of Many Colors (Parton) 3.45
09. For No One (Lennon/McCartney) 3.44
10. Queen Of The Silver Dollar (Silverstein) 5.18



More from Emmylou Harris



Stan Webb’s Chicken Shack – Live In Germany ’75 (2015)

FrontCover1.jpgAlthough he is best known for his lengthy career in Heavy Metal (including playing bass on – and penning the lyrics and co-writing the music for – some of Ozzy Osbourne’s most recognizable songs), bassist Bob Daisley is a bona fide Blues lover. Forty years ago, Daisley indulged his love for this music as a member of Chicken Shack, one of the most beloved Blues acts in the world. Earlier this year, he released Live In Germany ’75, a CD recording of a Chicken Shack lineup completed by founding member Stan Webb on vocals/guitar, guitarist Robbie Blunt and drummer Bob Clouter. And man is it killer.

With only nine songs in 78 minutes, it’s clear that jamming is at the heart of this recording. From a driving nine-minute take on Willie Dixon’s “Homework” to the rock-solid shuffle of their nearly eight-minute cover of Sonny Thompson’s “I’m Tore Down,” Chicken Shack bring these Blues staples into new and exciting worlds. With Live In Germany ’75, you get a sonic snapshot of four musicians truly enjoying themselves on stage.


Naturally, Stan Webb’s fiery playing gets better and better with each listen. A true master of the guitar, Webb is in his perfect habitat on Live In Germany ’75, using the stage to explore his instrument in ways simply not possible in a studio setting. And when this combines with Blunt’s formidable skills, the results (such as in the band’s interpretation of Don Nix’s “Going Down” and Robert Johnson’s “Dust My Broom”) are otherworldly.

Not surprisingly, the band’s ability to handle real Blues rubs off on their own material, especially on the Webb/Blunt number “Rain On My Window Pane” and the Webb/Daisley/Blunt-written “Crying Again.” The epitome of authenticity, Chicken Shack’s originals effortlessly hold their own against the Blues standards explored throughout the set. The band on this CD is absolutely the real thing.


While every moment of Live In Germany ’75 offers high-caliber sounds, the 20-minute “Poor Boy” is the release’s undisputed masterpiece. Originally a five minute tune on Chicken Shack’s 1972 album Imagination Lady, the Webb composition reaches transcendental heights on the German stage, encompassing Blues, Heavy Rock, Funk and some truly awe-inspiring dynamics. (Check out the quiet jam that breaks out around the 5:40 mark.)

With a lineup comprised of players who would later end up working with the likes of Rainbow (Daisley) and Robert Plant (Blunt), it comes as little surprise that there is a heaviness to Live In Germany ’75 that easily puts the band in the same Hard Rock league as their mid ’70s touring mates in Deep Purple. If you’re a Metal fan interested in exploring the genre’s Bluesy roots, this is an album not to miss.


Limited to only 1,000 copies, Live In Germany ’75 is a perfect introduction to the onstage magic of Chicken Shack and an intriguing glimpse into one of the many fascinating eras to define Bob Daisley’s long-running career. Get it while you still can. (
By the mid 70s Stan Webb,one of a celebrated trio of 60s English blues guitar players,was the only one still dusting his broom onstage.With Clapton expensively suited and evermore soporific, Peter Green out of the business entirely,pursued by tabloid lowlifes and other demons,only Stan The Man still trod the boards in true blue shoes. Shifting public taste meant he’d often now appear on undercards of egocentric ‘prog’ bands,yet he still retained a grassroots following across Europe, especially in West Germany where his song ‘Poor Boy’ raised many a stein of pilsner.


After Christine (McVie) had moved on,Chicken Shack featured Stan’s underrated vocals.During a half-century career (yes, that does merit a round of applause) he would cut many records with many different bandmates…all creditable and listenable, but something special has been captured here, delivering one of the most red blooded English blues albums for many a year.
The featured mid 70s lineup gels with a chemistry that cannot be scripted. The ‘Three Bobs’ as tagged here, craft irresistible launchpads for spirited takes on such chestnuts as ‘Tore Down’ and ‘Have You Ever Loved a Woman’. Fifty seconds into the opener, ‘Homework’ that trademark vibrato leaps from the right hand channel with blistering immediacy, whisking you off on a seventy eight minute two guitar sleighride…maybe ‘Poor Boy’ noodles on a bit, but that’s a minor carp, for this is a magnificently energetic and noisy blues gig from an age before the 12-bar format became synonymous with 53 year old accountants decaffing down to East Grinstead to ‘get their Quornbone boiled’. Without passion and feeling white blues often defaults to the turgid play-by-numbers dullardry of trad-jazz…no such issues with this puppy. (Peter Nicholas Zear)


Robbie Blunt (guitar, slide-guitar)
Bob Clouter (drums)
Bob Daisley
Stan Webb (guitar, vocals)


01. Homework (Dixon) 9.26
02. Have You Ever Loved A Woman? (Myles) 10.20
03. I’m Tore Down (Thompson) 7.37
04. Rain On My Window Pane (Webb/Blunt) 4.17
05. Delilah (Webb/Daisley/Blunt) 5.18
06. Poor Boy (Webb) 20.26
07. Crying Again (Webb/Daisley/Blunt) 6.02
08. Dust My Broom (Johnson) 8.22
09. Going Down (Nix) 6.33



I recorded this gig 40 years, so this has been sitting in my archive since 1975. I’m pleased to be able to share it and air it. This show epitomises Chicken Shack at the time – raw Blues, Rhythm and Blues and a bit of Funk thrown in. It was my second stint with Stan Webb, I’d been with the Shack from early 1972 until mid ’73, when I left to join Mungo Jerry, which didn’t quite satisfy my lust for real Blues, hence my return to Stan. On this show Stan and I are joined by the aptly named Bob Clouter on drums and Robbie Blunt on slide guitar. Bob Daisley.jpgRobbie went on to be Robert Plant’s guitarist in the early ’80s after Led Zeppelin became defunct. Stan was a legend, and is still highly regarded by many of his Blues peers. This lineup, to me, was one of the best, we’d been gigging a lot, our musical communication was almost telepathic. Stan and the ‘three Bobs’ were on tour with Deep Purple and an American band called Elf. Their lead singer, Ronnie James Dio, and I ended up in a band called Rainbow two years later with Deep Purple’s discontented lead guitarist, Ritchie Blackmore. During our time touring with Deep Purple in March 1975, we did some shows on our own in small theatres and clubs; this is a recording of one of them. In those days bands used to jam on songs when they played live, so this is typical of how we played the basic structure of a song then improvised and had fun with it; I’m very proud of how we sound on this. At the end of our show the tape ran out, but only the tail-end of the last song was lost. So until that point comes, sit back, relax and enjoy; these are ‘those days’… (Bob Daisley)


More from Chicken Shack: