Supercharge – Local Lads Make Good (1976)

FrontCover1.jpgSupercharge were a 1970s English rock band from Liverpool, founded by singer/saxophonist Albie Donnelly and drummer Dave Irving. They had a number three hit single in Australia with “You’ve Gotta Get Up and Dance” in 1977.

Founded in early 1974, by Liverpool tenor-saxophonist, Albie Donnelly (born Albert Edward Donnelly, 12 August 1947, Huyton, Liverpool), and drummer Dave Irving (born David Geddes Irving, 18 November 1946, Crosby, Liverpool) after they had both left the ‘In Crowd’ cabaret band, Supercharge soon built up quite a cult following in Liverpool at ‘The Sportsman’, a popular city-centre pub on Sunday and later Monday nights and also at the ‘Dove and Olive’ at Speke.
Original members included Donnelly (bandleader, vocalist, and tenor saxophonist), Ozzie Yue (guitar/vocals) (born Austin J Yue, 12 August 1947, Liverpool), Allen ‘Gaz’ Gaskell (tenor sax, guitar, harmonica, and vocals), Alan Peters (trumpet), Bob Robertson (baritone sax), Pete Newton (bass guitar), Tony Dunmore (bass) and Dave Irving (drums).
Supercharge also quickly established themselves as a major player on the UK college / university circuit. Their first album Between Music and Madness, which was locally produced, soon followed.

Around 1975, in an attempt to attract a major record label offer, Supercharge began to gig regularly on the London live circuit at venues such as the Hope and Anchor, Islington, the Nashville Rooms, and the Marquee Club. As a result, Supercharge were soon signed by Virgin Records, and with the company’s new record producer, Robert “Mutt” Lange, they had a number three hit in Australia with their 1976 single “You’ve Gotta Get Up and Dance”. Personnel on these recordings also included organist Iain Bradshaw. It was also in Australia that their first album, Local Lads Make Good went gold – resulting in a number of successful major tours with a version of the band that included Les Karski on guitar.


And here´s is their beautiful album called “Local Lads Make Good” and it´s a real crazy mixture between Rhythm & Blues and the Disco Sound from this period … you can´t believe it?

Listen and enjoy this total crazy stuff  … between music and madness …


Iain Bradshaw (keyboards)
Albie Donnelly (saxophone, flute, vocals)
Tony Dunmore (bass, vocals)
Dave Irving (drums)
Les Karski (guitar, vocals)
Ozzie Yue (guitar, vocals)

01. Lonely And In Love (Lange) 3.35
02. Hole Town (Karski) 5.33
03. Everyone! Everywhere! (Lange) 5.29
04. I Believe In You (Robertson/Bradshaw) 4.13
05. Get Down Boogie (Lange) 3.16
06. Only You (Karski) 4.02
07. Gimme Your Love (Lange) 3.43
08. You’ve Gotta Get Up And Dance (Lange) 2.57
09. She Moved The Dishes First (Donnelly) 7.01



Joni Mitchell – Hejira (1976)

FrontCover1.jpgHejira is the eighth studio album by Canadian singer-songwriter Joni Mitchell.

The songs on the album were largely written by Mitchell on a trip by car from Maine back to Los Angeles, California, with prominent imagery including highways, small towns and snow. The photographs of Mitchell on the front and back cover were taken by Norman Seeff and appear against a backdrop of Lake Mendota, in Madison, Wisconsin, after an ice storm.

Characterized by lyrically dense, sprawling songs, and graced with the overdubbed fretless bass playing of Jaco Pastorius, whom Joni had just met, Hejira continued Mitchell’s journey beyond her pop records towards the freer, jazz inspired music she would implement on later recordings.

The album did not sell as well as its predecessors, peaking at No. 22 in her native Canada. It reached No. 13 on the Billboard 200 pop album chart in the United States, where it was certified gold by the RIAA, and No. 11 in the UK, where it attained a silver certification. Critically, the album was generally well received, and in the years since its release, Hejira has been considered one of the high marks of her career. (by wikipedia)


Joni Mitchell’s Hejira is the last in an astonishingly long run of top-notch studio albums dating back to her debut. Some vestiges of her old style remain here; “Song for Sharon” utilizes the static, pithy vocal harmonies from Ladies of the Canyon’s “Woodstock,” “Refuge of the Roads” features woodwind touches reminiscent of those in “Barangrill” from For the Roses, and “Coyote” is a fast guitar-strummed number that has precedents as far back as Clouds’ “Chelsea Morning.” But by and large, this release is the most overtly jazz-oriented of her career up to this point — hip and cool, but never smug or icy. “Blue Motel Room” in particular is a prototypic slow jazz-club combo number, appropriately smooth, smoky, and languorous. “Coyote,” “Black Crow,” and the title track are by contrast energetically restless fast-tempo selections. The rest of the songs here cleverly explore variants on mid- to slow-tempo approaches.


None of these cuts are traditionally tuneful in the manner of Mitchell’s older folk efforts; the effect here is one of subtle rolls and ridges on a green meadow rather than the outgoing beauty of a flower garden. Mitchell’s verses, many concerned with character portraits, are among the most polished of her career; the most striking of these studies are that of the decrepit Delta crooner of “Furry Sings the Blues” and the ambivalent speaker of “Song to Sharon,” who has difficulty choosing between commitment and freedom. Arrangements are sparse, yet surprisingly varied, the most striking of which is the kaleidoscopically pointillistic one used on “Amelia.” Performances are excellent, with special kudos reserved for Jaco Pastorius’ melodic bass playing on “Refuge of the Roads” and the title cut. This excellent album is a rewarding listen. (by David Cleary)


Max Bennett (bass on 03. + 06.)
Larry Carlton (guitar on 01., 02, 04., 07. + 08.)
Chuck Domanico (basss on 08.)
Victor Feldman (vibraphone on 02.)
Chuck Findley (horn on 09.)
John Guerin (drums on 06., 08. + 09.)
Bobbye Hall (percussion on 01., 04. + 05.)
Jonui Mitchell (vocals, guitar)
Abe Most (clarint on 05.)
Jaco Pastorius (bass on 01., 05., 07. + 09.)
Tom Scott (horn on 09.)
Neil Young (harmonica on 03.)


01. Coyote 4.58
02. Amelia 5.57
03. Furry Sings The Blues 5.03
04. A Strange Boy 4.15
05. Hejira 6.36
06. Song For Sharon 8.28
07. Black Crow 4.12
08. Blue Motel Room 5.03
09. Refuge Of The Roads 6.37

All songs written by Joni Mitchell



Old Beale Street  is coming down
Sweeties’ Snack Bar boarded up now
And Egles the Tailor and the Shine Boy’s gone
Faded out with ragtime blues
Handy’s cast in bronze
And he’s standing in a little park
With a trumpet in his hand
Like he’s listening back to the good old bands
And the click of high heeled shoes
Old Furry  sings the blues
Propped up in his bed
With his dentures and his leg removed
And Ginny’s there
For her kindness and Furry’s beer
She’s the old man’s angel overseer

Pawn shops glitter like gold tooth caps
In the grey decay
They chew the last few dollars off
Old Beale Street’s carcass
Carrion and mercy
Blue and silver sparkling drums
Cheap guitars eye shades and guns
Aimed at the hot blood of being no one
Down and out in Memphis Tennessee
Old Furry sings the blues
You bring him smoke and drink and he’ll play for you
lt’s mostly muttering now and sideshow spiel
But there was one song he played
I could really feel

There’s a double bill murder at the New Daisy
The old girl’s silent across the street
She’s silent waiting for the wrecker’s beat
Silent staring at her stolen name
Diamond boys and satin dolls
Bourbon laughter ghosts history falls
To parking lots and shopping malls
As they tear down old Beale Street
Old Furry sings the blues
He points a bony finger at you and says
“I don’t like you”
Everybody laughs as if it’s the old man’s standard joke
But it’s true
We’re only welcome for our drink and smoke

W. C. Handy * I’m rich and I’m fey
And I’m not familiar with what you played
But I get such strong impressions of your hey day
Looking up and down old Beale Street
Ghosts of the darktown society
Come right out of the bricks at me
Like it’s a Saturday night
They’re in their finery
Dancing it up and making deals
Furry sings the blues
Why should I expect that old guy to give it to me true
Fallen to hard luck
And time and other thieves
While our limo is shining on his shanty street
Old Furry sings the blues


JD Souther – Live At Ebbets Field, Denver, Colorado (1976)

FrontCover1.jpgSinger-songwriter JD Souther is probably best known for his well-honed writing abilities, especially in the field of country rock. He co-wrote some of the biggest hits for the Eagles, including Best Of My Love, Victim Of Love, Heartache Tonight, and New Kid in Town.

He wrote Run Like A Thief, which appeared on Home Plate by Bonnie Raitt in 1975. Souther dated Linda Ronstadt briefly, co-produced her Don’t Cry Now album, and wrote songs for several of her multi-platinum albums. (by wikipedia)

“Hanging out in the bar at the Troubadour with Glenn Frey and Jackson Browne and playing open mike Mondays, then opening for Poco and The Flying Burrito Brothers – it was the best study in songwriting I can imagine… It’s also where I met Linda Ronstadt and where Don Henley and Glenn Frey met to form this little country rock band called Eagles that would go on to make musical history.” (

And here´s a pretty good solo acoustic show.

Thanks to rzahakos for the CD rip; and to kingrue for sharing the show at The Traders’ Den.

Recorded live at Ebbets Field, Denver, Colorado; July 2, 1976.
Very good FM broadcast.

JD Souther01

John David Souther (vocals, guitar)


01. Kite Woman 3.16
02. Intro for Run Like A Thief 3.04
03. Run Like A Thief 3:41
04. Faithless Love 4.54
05. Mexico 4.10
06. Simple Man, Simple Dream 2.32
07. Silver Blue 3.59
08. Your Turn Now 4.35
09. Banging My Head Against The Moon 5.22
10. Prisoner In Disguise 5.36
11. Baby Come Home 4.24

All songs written by John David Souther

JD Souther02


JD Souther03

Polish Radio Orchestra + Peter Sanders & His Players -Melody & Rhythm – Volume 10 (1976)

FrontCover1.JPGI am really excited and anxious to find out what kind of reception this new “Melody & Rhythm” album will get from our listeners and professional programme builders. However I am confident that the originality of the musical ideas offered by Polish composers, arrangers and performer is much to good to be ignored. I would even go further and dare to suspect that the style and somehow peculiar mixture of their kind of pop music will be imitated and followed by the Anglo-Saxon leaders in this field an will ceate a new fashion. Obviosly everybody admires the genius of great Polish composers and musicians in the field of serious and avant-garde music, but this time please listen to their “instrumental pops”, convincingly played by the Polish Radio Orchestra and you will get, I hope, a few nice surprices.

Peter Sander was born in Hungary bt settled in this country when he was still very young. His musical career as a composer, arranger and pianist is quite impressive and covers a wide range of serious and commercial music. Between writing the scores for films and conducting sessions in a recording studio, he finds time to hold the post of lecturer in composiion at the Institute of Adult Education in London.

Peter was very pleased with the kind of combination chosen for our album. The instrumentation of two flutes and bass-clarinet with a light rhythm section of harpsichord, piano, bass-guitar and tuned percussion he found ideal for his sensitive musical taste. In effect he offers a refreshing sound, delicate yet colourful. The excellent quality of the recording makes the listening a pleasant experience (by Richard Frank, taken from the origiaal liner notes).

Polish Radio Orchestra01.jpg

On side one we hear a real crazy mixture of very different styles … from Discosound (“Bej-Ge-Le”), to sentimentals ballads (“Theme In A-Minor”, “Feminine Touch”), Funk (“Hurry, Hurry”) and Big Band Jazz (“The Curtain Goes Up “)

On side B we hear Peter Sanders & His Players …. and he played in a really soft and gentle way … the interaction between the flutes and the bass is really intersting and nice.

Peter Sanders sounds like music from fairy tales …

Some informations about the producer of this album, Richard Frank and the Apollo Sound label:

Richard Frank (Henry Richard Spritzer Frank) is a Polish composer, producer and music publisher. Associated with publisher Anglo-Continental Music Co., based in Denmark Street, London, who notably had a contract with Apollo Sound.

Apollo Sound:
British label based at 32 Ellerdale Road, London and largely centered around composer/publishers Albert Kunzelmann, Heinz Herschmann and Richard Frank.
The catalogue features composers from both the UK and continental Europe, including Poland, the former Yugoslavia and Hungary. Some of the material appears to be licensed. And this label is still active.

So here is a very rare libary music album .

Enjoy !

ApolloSoundWebsite.jpgThe Apollo Sound website

Polish Radio Orchestra (01. – 07.)
Peter Sanders & His Players (08. – 14.)



Polish Radio Orchestra:
01. Bej-Ge-Le (Sikora) 2.13
02. Theme In A-Minor (Żylis) 2.51
03. Hurry, Hurry (Gernard) 2.42
04. Abdul Ben Omar (Mikuła) 2.46
05. Feminine Touch (Maliszewski) 2.29
06. The Curtain Goes Up (Kalemba) 3.15
07. Why Do You Say Goodbye (Gernard) 2.27

Peter Sander And His Players:
08. Love At First Sight (Chubb/Sander/Moncrieff) 3.54
09. Let Me Do It (Deryng/Lauri/Crandell) 2.44
10. Dyevushka (Maylin/Elcome/Molescu) 4.53
11. I’ll Be With You (Wellgarth/Sander/Konar) 3.19
12. Sometime, Somewhere (Liebana/Elcome/Moncrieff) 3.37
13. Tell Me More (Korten/Chubb/Moncrieff) 3.42
14. Fairy Tale (Liebana/Meldrum/Elcome) 4.17



Jess Roden Band – Blowin´(1977)

FrontCover1.JPGSinger/guitarist Jess Roden was born in Kidderminster in England’s West Midlands, and his first band was the Shakedown Sounds. In 1967, he joined the Alan Bown Set as their new lead singer. Although their records never charted nationally, he did pick up a fandom in London (and belatedly became something of a star on the Northern Soul scene) with the release of their single “Emergency 999.” He remained with the Bown group through 1970, after which he formed the band Bronco, and later worked on Wildlife, the third Mott the Hoople album, and with Keef Hartley on the album Lancashire Hustler. In the mid-’70s, he teamed up with ex-Doors John Densmore and Robby Krieger in the Butts Band, and sang on their first album. Roden finally emerged as a solo artist in his own right in the mid-’70s on Island Records, with his 1974 self-titled solo album, which was cut in New Orleans and included Allen Toussaint and Art Neville on keyboards. His albums throughout the ’70s got great reviews but he never saw any significant sales; in between his own work, he managed to sing and play on albums by Carol Grimes, Jim Capaldi, Stomu Yamashta, Sandy Denny, and Grace Jones. He was with the group Rivits on Island for one album at the outset of the ’80s. (by Bruce Eder)

Jess Roden Band.jpg

The former gravel-voiced Butts Band shouter sounds riotously confident on this live album, which has no real agenda except documenting a hot night before a British college crowd. Roden’s band is slick and proficient, with guitarists Bruce Roberts and Steve Webb being the standouts, though percussionist/saxophonist Ron Taylor gets lots of space, too. Roden and company manage to show themselves as diverse performers and crowd-pullers at the same time — no mean feat when hits drove the engine of ’70s mass-market rock. The preeminent sound is slinky, laid-back pop-funk, as exemplified on story songs like “The Ballad of Big Sally” or “Me and Crystal Eye.” Cut from similarly breezy cloth, “In a Circle” is an example of how Lowell George might have sounded if he’d grown up across the pond. The band stretches out on “Can’t Get Next to You,” which dips into the blues bag, but Roden’s husky howl shines brightest on the glistening title track (which also makes clever use of varying internal rhymes). There’s also a blistering boogie in “Jump Mama,” where Roden pushes his throat in the manner of peers like Frankie Miller and Maggie Bell. The album ends on an unconventional note with a brief, piano-led reprise of “Blowin’.” Unlike many live albums of this period, there’s no side-long solos to pad out an average evening — just a proficient band and their frontman throwing down before a packed house. The story would change after Britain went punk, but there’s no denying what Roden could offer. This isn’t an easy album to find, but worth the hunt if you see it. (by Ralph Heibutzki)

Recorded live at the Birmingham Town Hall & Leicester University, Autumn 1976

AlternateFrontCover.JPGAlternate frontcover

John Cartwright (bass)
Chris Gower (trombone, perussion)
Pete Hunt (drums)
Billy Livsey (keyboards, vocals)
Bruce Roberts (guitar, vocals)
Jess Roden (vocals)
Ron Taylor (saxophone, vocals)
Steve Webb (guitar, vocals)


01. The Ballad Of Big Sally (Cartwright/Roberts) 5.51
02. In A Circle (Webb/Cartwright) 5.51
03. Desperado (Henley/Frey) 7.34
04. Me And Crystal Eye (Roden) 7.01
05. Blowin’ (Roden/Cartwright)
06. Jump Mama (Roden) 4.59
07. Blowin’ (Reprise) (Roden/Cartwright) 2.43
08. Blowin´ Side 1 (uncut version) 19.19
09. Blowin´ Side 2 (uncut version) 19.51



I add the inlet fo this album: An Island Catalogue from spring 1977:




Little Bob Story – High Time (1976)

FrontCover1.jpgThis is the story of Roberto Piazza aka Little Bob, the diminutive French rocker whose band Little Bob Story rode the crest of the New Wave in the UK during the late 70s showing there was more depth and edge to French rock ‘n’ roll than Johnny Halliday

For those who recall the opening salvoes of the original Punk Wars in the UK, in the late months of 1976 and the first few months of 1977, if you wanted to hear Punk Rock, there wasn’t much recorded evidence of it. Moreover, in that period, inside the (London-based) Music Press bubble, there was an ongoing debate as to who and what exactly was ‘Punk’. Where there was no real recorded evidence, artists as varied as Graham Parker & The Rumour, Nils Lofgren, Tom Petty & The Heartbreakers, and even Bruce Springsteen were given the adjective. Whilst those names were perhaps labelled thus more for attitude than actual back-to-basics musical values, there was, nonetheless, a fairly fevered press debate.


If the Press and music-consuming public alike were a little confused, then record labels were also anxious to include under the ‘Punk’ (or, as it was sometimes known ‘New Wave’) banner any act that might, just might, snag enough of the audience curious enough to want to hear more. In 1977, the Phonogram Records label issued a mid-price sixteen-track ‘sampler’ album, entitled ‘New Wave’, which featured a leather-jacketed spike-haired Herbert ‘gobbing’ lager over the sleeve photographer. It pulled together an array of disparate acts that may or may not have been ‘Punk’. At the time, they distributed the US label, Sire Records, so included in the track listing were songs by The Ramones, Talking Heads, Richard Hell & The Voidoids, The Flamin’ Groovies, The Dead Boys, Irish combo The Boomtown Rats and licensed-in stuff by The Damned, Patti Smith, Australian art-rockers Skyhooks, the all-girl combo The Runaways, and a cover of The Small Faces’ sixties smash, All Or Nothing, by French rockers Little Bob Story.


Little Bob Story had played the Mont de Marsan Punk Festival in 1976, which was covered in the UK music papers at the time, alongside The Pink Fairies and Eddie & The Hot Rods. It turns out that ‘Little Bob’ was born in Italy, as Roberto Piazza, but his family relocated to the Northern French port town of Le Havre in 1958, when he was thirteen years of age. Being that age, at that time, meant that he was perfectly poised to be well and truly bitten by the bug of primal rock and roll. That proved to be the case. Around 1974, he convened Little Bob Story in his adoptive home town. With a deep-seated love of classic fifties rock and roll (which the French have always shared), and also an appreciation of the likes of The MC5 and The Flamin Groovies, as well as British sixties rock and rollers, he honed a stage act and a tightly-drilled band that found a wildly appreciative audience in France, and by the mid-seventies, his notoriety had started to spread to this side of the channel. Playing the Pub Rock circuit in London brought him to the attention of notable Brit musicians, including Lemmy Kilminster, when Little Bob opened for Motorhead at the time. Future notables Glen Matlock (Sex Pistols) and Brian James (The Damned) checked out the Bobster, and were not disappointed.


Little Bob was uncompromising in his desire to excite a live crowd, and had the requisite level of attitude all-important at the time. The band were rather more in the vein of Dr Feelgood (with whom they had gigged), or The Flamin’ Groovies in their pre-Beatle boots era circa 1972/73 when they cut a set of ferocious tracks released on the French Skydog label in 1975. They were straight-up celebratory rock and roll, with trace elements of rhythm and blues and sixties pop, not the shouty amateurishness of a lot of UK Punk bands, but very enjoyable, and radiating a good-time energy. Bob himself cut a diminutive figure, somewhat portly and clad in a red leather bikers jacket, and possessed of a rasping, quite high voice.


In 1978, Little Bob Story released their second album, ‘Off The Rails’, on the Chiswick Records label, alongside Stiff one of the first UK indie outfits. It helped them secure a record deal with the RCA Victor label, for which the four albums on this month’s release The Collection were recorded, between 1978 and 1982. The band’s appetite for live work and canny knack for knocking out concise, appealing and very direct rock and roll make for a very entertaining listen from one of France’s most distinctive rock and roll combos.

Little Bob is still an active performing and recording artist, and by all accounts still puts on a rocking stage show with his band Blues Bastards. (by Jonathan Beckitt)


High-energy French rock & rollers Little Bob Story came so close to proto-punk glory that they could almost smell it. Uncompromisingly fronted by the man-mountain Bob Piazza, but equally highlighted by the elegantly wasted scarecrow guitarist Guy George Gremy, Little Bob Story effortlessly bridged the gulf between the hooligan R&B of Eddie & the Hot Rods and the nihilistic adrenaline of all that was to follow. They were just a little too early, a little too hairy (bassist Barbe Noire would have melted into the Grateful Dead), and a little too French. And so it is with High Time. For every swaggering slash of feel-good Feelgoods bar-brawling blues (the title track, a decidedly MC5-ish interpretation of “Lucille”), there’s an over-earnest attempt to update Dylan; for every slab of brutal roots (“So Bad,” the Animals’ “I’m Crying”), there’s something like “Ho Suzy,” which really should have been a Chinn/Chapman B-side. Still, at its best, High Time is as grindingly blues-nasty as any album of its age, those last dark hours before punk dawned (and, lest we forget, even the Hot Rods’ earliest albums weren’t exactly hot-snot stoking from beginning to end, either). And, while the true majesty of Little Bob Story was the live show and a couple of singles on the British Chiswick label, High Time at least is allowed in the same room as them. (by Dave Thompson)

AlternateFront+BackCover.jpgAlternate front + back cover

Guy George Gremy (guitar)
Dominique Lelan (bass)
Dominique Quertier (drums)
Robert Piazza (vocals)


01. High Time (Piazza/Quertier) 4.09
02. Delices Of My Youth (Piazza/Gremy) 3.01
03. It’s All Over Now, Baby Blue (Dylan) 4.07
04. You’ll Be Mine (Dixon) 3.29
05. Ho Suzy (Piazza/Gremy) 2.25
06. So Bad (Piazza) 4.16
07. Lucille (Collins/Penniman) 2.56
08. I Don’t Wanna Be A Loser (Piazza/Lelan) 4.14
09. I’m Crying (Burdon/Price) 4.07



Various Artists (Keith Mansfield & Co.) – Pan-American Travelogue (1976)

FrontCover1.jpgThe KPM Themes International library is a resounding example of KPM’s heritage. Founded in the ’70s by renowned composers of the day, this library was created to get back in touch with the popular music of the times. The result is an incredible testament to the music of its era, and a fantastic collection of archival gems.

The Themes International Vinyl Series were recorded throughout the 1970s and ‘80s by some of the greatest session musicians of our time including Madeline Bell and Brian Bennett. Founded by Alan Parker, the collection encapsulates the true essence of those decades. From soulful jazz and ultra-cool funk to breezy, carefree easy listening; you needn’t look any further for a diverse, classic catalogue. (

And here´s a nice funky album from 1976

You know: soulful jazz and ultra-cool funk to breezy, easy listening ….


A bunch of great British studio musicians

Keith Mansfield

01. Alan Parker: Home Freeway 2.56
02. Alan Parker: Unlimited Love 2.08
03. Keith Mansfield: Californian Freeway 3.17
04. Alan Hawkshaw: Broad Theme 2.30
05. Keith Mansfield: The Champions 2.19
06. Len Hunter: Underpass 3.03
07. Harry Roberts: Night Rider 2.40
08. Harry Roberts: Braziliana 3.19
09. Les Hurdle: Tequila Festival 2.22
10. The Frank Ricotti Quartet: Girl From Rio 2.55
11. Mike Moran: El Zoro 2.09
12. Keith Mansfield: L.A. Groove 2.55
13. Les Hurdle: Jellyroll 1.59



Mike Moran