Acme Thunder – Let´s All Get Naked (1978)

frontcover1Chicago’s Acme Thunder sprang from the ashes of area group, Aliotta Haynes Jeremiah in 1977. Where AHJ were decidedly hippy influenced, Acme Thunder were unquestionably a full on rock outfit. With essentially the same lineup as AHJ, the band enlisted Harvey Mandel on lead guitar and soon, their debut “Let’s All Get Naked” was issued the following year. Though Acme Thunder were a credible act in and around the Chicago area, the addition of Mandel helped elevate the band to a whole other level musically. Having a successful solo career for many years, as well as ties to artists like Canned Heat, John Mayall, The Ventures and Love, Mandel’s expertise was an instrumental factor in the development of the band’s new sound.

Strangely enough though, the band only lasted two years before fizzling out completely. Aliotta continued in music primarily as a session player, Haynes went on to form his own publishing company and has issued a drug rehabilitation self-help album. Jeremiah is living near St. Louis, but his musical activities are unknown at this time. Mandel continues to thrive as a solo artist.

“Let’s All Get Naked” is a respectable effort with a rather schizophrenic viewpoint. Swaying from bluesy rock to hard rock to glossy pop, the album doesn’t quite know where it’s going. The highlights are undoubtedly the rock tracks like “If I Only Had a Girl”, “Go Like a Beast” and “Flowers”. Several of the cuts including the fusion jam “Mexico”, lack the presence of strong hooks, rendering the overall impression of this album as a bit lopsided in the quality department. Despite the magnificent musicianship here, the album fails to stand up on its own as a whole. Taken in parts, however, “Let’s All Get Naked” is an interesting excursion into many genres. Never issued on compact disc, here’s a sweet vinyl transfer straight from the archives. Check it…


Ted Aliotta in 2015

Mitch Aliotta (bass, vocals)
Ted Aliotta (guitar, vocals, harmonica, cowbell)
John Jeremiah (keyboards, vocals)
Harvey Mandel (guitar)
Bob Parisio (drums, vocals)


01. If I Only Had A Girl (Prewitt/T. Aliotta) 2.50
02. Go Like A Beast (Prewitt/T. Aliotta) 3.33
03. Flowers (Mandel) 4.38
04. Heller (Prewitt/T. Aliotta) 4.51
05. Let’s All Get Naked (Hurc/T. Aliotta) 3.21
06. Harley (Prewitt/T. Aliotta) 2.32
07. Mexico (McPherson) 2.38
08. I’ll Get Down (T. Aliotta) 2.32
09. Love Tonight (Prewitt/T. Aliotta) 3.50
10. You Make It Hard (Mandel) 5.39


Various Artists – An Easy Christmas (2001)

frontcover1This is just a sampler, full with 20 old and classic christmas songs, performed by many stars in the easy listening style.
You can hear singers like Don McLean, David Bowie, Andy Williams, Nat King Cole, Doris Day, Perry Como and Al Green.

“This is my most favourite christmas album ever-I had to order a second copy as the first had a scratch on. I listen to it all the time. Not your average Christmas album!”(by miss r aughton)

“Great to listen to while wrapping presents” (by Zoe Bell)

And I guess, I will play this album (amongst others) on December 24, 2016 … Enjoy this romantic and sentimental sampler.


01. Andy Williams: Most Wonderful Time Of Year (2001) (Pola/Wyle) 2.34
02. Nat King Cole: Christmas Song (1963) (Chestnuts Roasting On An Open Fire) (Tormé/Wells) 3.14
03. Eartha Kitt: Santa Baby (1953) (Javits/Springer) 3.26
04. Dean Martin: Let It Snow Let It Snow Let It Snow (1965) (Cahn/Styne) 1.58
05. Judy Garland: Have Yourself A Merry Little Christmas (1944) (Martin/Blane) 2.45
06. Harry Belafonte: Mary’s Boy Child (1957) (Hairston) 2.59
07. Bing Crosby: White Christmas (1954) (Berlin) 3.04
08. Al Green: Silent Night (1963) (Gruber/Mohr) 3.19
09. Crystal Gayle: Rudolph The Red Nose Reindeer (1996) (Marks) 2.57
10. Anne Murray: Snowbird (1978) (MacLellan) 2.11
11. Don McLean: Winter Wonderland (1991) (Bernard/Smith) 2.54
12. Charles Brown: Please Come Home For Christmas (Christmas Finds Me Oh So Sad) (1961) (Brown/Redd) 3.18
13. Doris Day: I’ll Be Home For Christmas (1964) (Gannon/Kent/Ram) 2.27
14. Andy Williams: Sleigh Ride (live) (2001) (Anderson) 2.22
15. Crystal Gayle: Silver Bells (1996) (Livingston/Evans) 4.09
16. Don McLean: Santa Claus Is Comin’ To Town (1991) (Coots/Gillespie) 3.06
17. Perry Como: God Rest Ye Merry Gentlemen (1959)(Traditional) 2.56
18. Al Green: What Christmas Means To Me (1963) (Story/Gaye/ Gordy) 3.44
19. Bing Crosby + David Bowie: Peace On Earth/Little Drummer Boy (1977) (Fraser/Grossman/Alan Kohan/Simeone/Davis/Onorati) 2.38
20. Michael Ball: Happy New Year (1999) (Andersson/Ulvaeus) 4.18






Alexis Korner – Eat A Little Rhythm And Blues (VHS rip) (1988)

frontcoverAlexis Korner (born Alexis Andrew Nicholas Koerner, 19 April 1928 in Paris, France – died 1 January 1984 in Westminster, Central London), was an English blues musician, born to an Austrian father and Greek mother.

Korner is probably best remembered as a networker and blues historian, although he was a proficient guitarist and a distinctive (if not accomplished) vocalist. Often referred to as “the Father of British Blues”, Korner was instrumental in bringing together various English blues musicians.

In 1961, Korner and Davies formed Blues Incorporated, initially a loose-knit group of musicians with a shared love of electric blues and R&B music. The group included, at various times, such influential musicians as Charlie Watts, Jack Bruce, Ginger Baker, Long John Baldry, Graham Bond, Danny Thompson and Dick Heckstall-Smith. It also attracted a wider crowd of mostly younger fans, some of whom occasionally performed with the group, including Mick Jagger, Keith Richards, Brian Jones, Rod Stewart, John Mayall and Jimmy Page.

In 1970 Korner and Peter Thorup formed a big band ensemble, C.C.S. – short for The Collective Consciousness Society – which had several hit singles produced by Mickie Most, including a version of Led Zeppelin’s “Whole Lotta Love” which was used as the theme for BBC’s Top Of The Pops for several years. This was the period of Korner’s greatest commercial success in the UK.

In 1973, he formed another group, Snape, with Boz Burrell, Mel Collins, and Ian Wallace, previously together in King Crimson. Korner also played on B.B. King’s Supersession album, and cut his own, similar album, Get Off My Cloud, with Keith Richards, Peter Frampton, Nicky Hopkins, and members of Joe Cocker’s Grease Band.

In the mid 1970s, while touring Germany, he established an intensive working relationship with bassist Colin Hodgkinson who played for the support act Back Door. They would continue to collaborate until the end.

In the 1970s Korner’s main career was in broadcasting. In 1973 he presented a six part documentary for the BBC, The Rolling Stones Story, and in 1977 he established a weekly blues and soul show on Radio 1, which ran until 1981. He also used his gravelly voice to great effect as an advertising voice over artist.

In 1978, for Korner’s 50th birthday, an all-star concert was held featuring many of his friends mentioned above, as well as Eric Clapton, Paul Jones, Chris Farlowe, Zoot Money and other friends, which was later released as The Party Album, and as a video.

And here´s the video, including interviews with Alexis Korner, Paul Jones and Zoot Money.
















What a hell of a party … with such fine musicians … and I will present the official “Party” double album in this blog very soon … And please don´t forget: this is a VHS rip …


Eric Clapton (guitar)
Mel Collins (saxophone)
Chris Farlowe (vocals)
Neil Ford (guitar)
Dick Heckstall-Smith (saxophone)
Colin Hodgkinson (bass, vocals)
Paul Jones (harmonica)
Alexis Korner (guitar, vocals)
Zoot Money (keyboards, vocals)
Dick Morrissey (saxophone)
Duffy Power (harmonica)
Stu Speer (drums)
John Surman (saxophone)
Art Themen (saxophone)
Mike Zwerin (trombone)


01. Louisiana Blues (Traditional)  4.00
02. Whole Mess Of Blues (Pomus/Shuman) 5.41
03. Linin’ Track (Traditional) 3.14
04. Blue Monday (Domino/Bartholomew) 3.02
05. Skipping (Korner) 3.10
06. Spoonful (Dixon) 6.42
07. Finkles Cafe (Korner) / Dooji Wooji (Ellington) 9.43
08. Got To Get You Off My Mind (Burke/Burke/Moore) 6.27
09. Stormy Monday (Walker) 9.00
10. Hi-Heel Sneakers (Higginbotham) 6.20




JoJa Band – Cold Winds (1977)

frontcover1The JoJa Band’s roots stem from two earlier groups:  The Easywalkers and JoJo.  The Easywalkers grew out of informal jam sessions held during 1972 in the basement of Savannah’s downtown YWCA.  John Clark (bass), Steffens Clark (guitar), Bobby Hanson (harp and vocals), Jesse Jordan (drums and vocals), Jimmy Maddox (keyboards, sax, and vocals), and Gene Weatherford (guitar and vocals) participated in these sessions.  After Steffens had moved to Atlanta for a brief period, the others moved to a farmhouse in Register, Georgia to rehearse and write original material.  With the addition of Michael Amburgey on guitar, the Easywalkers moved back to Savannah and became the house band at the Hershey Bar on Congress Street, where they played a combination of R & B covers mixed with original songs.  Many of the songs written by Bobby and Jimmy during the Easywalkers days would become material for future JoJa Band recordings.

The first incarnation of JoJo was formed in 1973 by Steffens, Danny Branson (bass and vocals), Danny Williby (drums), and Chuck Womble (keyboard). Under various band names, Steffens and the two Dannys performed together for some time, both on their own and as a backup group for other artists, most notably for Sam “The Sham” Samudio.  When singer Howard Jobe joined in 1974, the band re-named itself JoJo, at the insistence of legendary booking agent Don James.  (JoJo was Howard’s nickname, and Don correctly believed that club owners already familiar with Howard’s work would be interested in booking the group immediately.)  In various forms, this band toured the eastern U. S. for several years, playing mostly their own arrangements of rock, R & B, roots and pop music covers.  After Chuck left to return to college, several other keyboard players filled in with the group until Jimmy Maddox joined in 1975.

After nearly two years of touring, the band returned to Savannah for a break. By the time they hit the road again a few months later, Danny Branson was unavailable, and Phil Alaimo took over on bass.  Varying versions exist of exactly how and when the band name morphed into JoJa from JoJo, but by 1976 the band was working under the new name.  Phil retired from the road a few months after joining, and Danny Branson became the group’s bassist again.

In 1977, the band returned to Savannah, and, with the addition of Bobby Hanson, recorded their first album, Cold Winds.  The recording lineup included Danny Branson, Steffens Clark, Bobby Hanson, Howard Jobe, Jimmy Maddox, and Danny Williby; many people consider this to be the “original JoJa Band.”  Recorded at Rocky Evans’ Ragdoll Studios on a shoestring budget, the album solidified the group’s regional following but got little distribution or airplay.  Talks with Capricorn Records proved useless when the label faltered shortly after the Cold Winds recording sessions. (by )

“We were the thinking man’s southern rock band,” Jimmy Massix recalls. Mixing lush ballads and jazz rhythms with lowdown blues and country harmonies, this effort culminated in two critically acclaimed albums” (by

Listen to this very rare piece of a more or less unknown southern rock band !

Danny Branson (bass)
Steffens Clark (guitar)
Bobby Hanson (harmonica, backbround vocals, vocals on 07.)
Howard Jobe (vocals)
Jimi Maddox (keyboards, saxophone, strings, background vocals)
Danny Williby (drums, percussion)


01. Savannah Mama (Maddox) 4.52
02. I Don’t Know (Maddox)  5.47
03. Better Days (Jobe/Branson) 3.54
04. Keep On Movin’  3.46 (Maddox/Branson)
05. Sooner Or Later (Maddox) 3.32
06. My Whiskey & My Blues (Maddox/Branson)  5.29
07. Georgia Rag (Maddox) 2.38
08. Cold Winds (Maddox) 9.44




Little Feat – Waiting For Columbus (1978/2002)

frontcover1Waiting for Columbus is the first live album by the band Little Feat. The album was recorded during seven performances in 1977. The first four shows were held at the Rainbow Theatre in London on August 1–4, 1977. The final three shows were recorded in George Washington University’s Lisner Auditorium on August 8–10 that same summer in Washington, D.C. Local Washington radio personality Don “Cerphe” Colwell can be heard leading the audience in a “F-E-A-T” spellout in between the first (“Join the Band”) and second (“Fat Man in the Bathtub”) tracks.

The band were backed by the Tower of Power horn section with whom they had recorded in previous studio sessions.[citation needed] The result was one of their biggest selling albums.

Many of their more well-known songs were either re-worked or extended. For instance, one of their signature songs, “Dixie Chicken”, was heavily extended to include a lengthy piano solo by keyboardist Bill Payne, a Dixieland horn arrangement and finally a dual guitar jam between the band’s two guitarists, Lowell George and Paul Barrere. In some cases, songs such as “Rocket In My Pocket” and “Mercenary Territory” were re-worked to include the horn section, and Little Feat additionally covered such tunes as “Don’t Bogart That Joint” and “On Your Way Down”. Former Rolling Stones guitarist Mick Taylor makes a guest appearance playing slide guitar on “A Apolitical Blues”.

The band recorded and mixed enough material from these performances for a triple LP, but for marketing reasons kept it to a double album. Three of the unused tracks were included on their 1981 album Hoy-Hoy!. All were eventually released on the 2002 “Deluxe edition” CD. (by wikipedia)


Little Feat was one of the legendary live bands of the ’70s, showered with praise by not only their small, fiercely dedicated cult of fans, but such fellow musicians as Bonnie Raitt, Robert Palmer, and Jimmy Page. Given all that acclaim, it only made sense for the group to cut a live album. Unfortunately, they waited until 1977, when the group had entered its decline, but as the double-album Waiting for Columbus proves, Little Feat in its decline was still pretty great. Certainly, the group is far more inspired on stage than they were in the studio after 1975 – just compare “All That You Dream,” “Oh Atlanta,” “Old Folks’ Boogie,” “Time Loves a Hero,” and “Mercenary Territory” here to the cuts on The Last Record Album and Time Loves a Hero. The versions on Waiting are full-bodied and fully-realized, putting the studio cuts to shame. Early classics like “Fat Man in the Bathtub” and “Tripe Face Boogie” aren’t as revelatory, but it’s still a pleasure to hear a great band run through their best songs, stretching them out and finding new quirks within them. If there are any flaws with Waiting for Columbus, it’s that the Feat do a little bit too much stretching, veering toward excessive jamming on occasion – and that mildly fuzzy focus is really the only way you’d be able to tell that this is a great live band recorded slightly after their prime. Even so, there’s much to savor on Waiting for Columbus, one of the great live albums of its era, thanks to rich performances that prove Little Feat were one of the great live bands of their time. (by Stephen Thomas Erlewine)

This is the deluxe edition from 2002.


Paul Barrere (guitar, vocals)
Sam Clayton (percussion, vocals)
Lowell George (vocals, guitar)
Kenny Gradney (bass)
Richard Hayward (drums, vocals)
Bill Payne (keyboards, synthesizer, vocals)
Michael McDonald (background vocals on 26.)
Patrick Simmons (background vocals on 26.)
Mick Taylor (slide guitar on 15.)
The Tower of Power horn section:
Greg Adams (trumpet)
Emilio Castillo (saxophone)
Mic Gillette (trombone, trumpet)
Stephen “Doc” Kupka (saxophone)
Lenny Pickett (saxophone, clarinet on 06.)



The original album:
01. Join The Band (Traditional)  1,54
02. Fat Man In The Bathtub (George) 4.54
03. All That You Dream (Payne/Barrere) 4.29
04. Oh Atlanta (Payne) 4.20
05. Old Folk’s Boogie (G.Barrere/P.Barrere) 4.27
06. Dixie Chicken (George/Kibbee) 8.58
07. Tripe Face Boogie (Payne/Hayward) 7.10
08. Rocket In My Pocket (George) 3.58
09. Time Loves A Hero (Payne/Gradney/Barrere) 4.20
10. Day Or Night (Payne/Tate) 5.31
11. Mercenary Territory (E.George/L.George/Hayward) 4.37
12. Spanish Moon (George) 5.36
13. Willin’ (George) 4.42
14. Don’t Bogart That Joint (Ingber/Wagner) 1.02
15. A Apolitical Blues (George) 3.51
16. Sailin’ Shoes (George)
17. Feats Don’t Fail Me Now (George/Kibbee/Barrere) 5.35
Previously unissued outtakes:
18. One Love Stand (Payne/Gradney/Barrere) 4.27
19. Rock And Roll Doctor (George/Kibbee) 4.17
20. Skin It Back (Barrere) 5.40
21. On Your Way Down (Toussaint) 6.26
22. Walkin All Night (Payne/Barrere) 4.13
23. Cold, Cold, Cold (George) 5:19
24. Day At The Dog Races (Payne/Gradney/Barrere/Hayward/Clayton) 12.12
Outtakes first issued on “Hoy-Hoy!”:
25. Skin It Back (Barrere) 4.41
26. Red Streamliner (Payne/Tate) 5.00
27. Teenage Nervous Breakdown (George) 4.12



Hot Tuna – Double Dose (1978)


Double Dose was the eighth album by the American blues rock band Hot Tuna, and their third live album. The album was originally released as a double-LP as Grunt CYL2-2545. After their 1977 tour, Jorma Kaukonen moved on to a solo career and Jack Casady joined the new wave band SVT. Hot Tuna would not perform together again until 1983. The album had its highest peak at #92 on the Billboard charts. (by wikipedia)

Hot Tuna, then a quartet with the official addition of keyboardist Nick Buck, released this two-LP live album, its first concert material in seven years, and having thus summed things up, broke up as the album hit record stores. Double Dose gave a good sense of mature Hot Tuna as a vehicle for the musical interests of Jorma Kaukonen, who used the entire first side as an acoustic solo set, then included the excellent “Genesis” from his solo album Quah on side B. Elsewhere, the electrified group alternated between Kaukonen’s best Hot Tuna compositions and blues and rock standards. It was produced by Felix Pappalardi (Cream, Mountain), who gave Hot Tuna its best recorded sound; even though it’s a “live” record, there seems to have been a lot of studio overdubbing. (by William Ruhlmann)

This is a damn hot blues-rock power album !

Recorded live by Wally Heider Recording at Theatre 1839, San Francisco
Additional recording at Wally Heider Studios, San Francisco


Jack Casady (bass)
Jorma Kaukonen (vocals, guitar)
Bob Steeler (drums)
Nick Buck (keyboards, background vocals on 08.)

01. Winin’ Boy Blues (Morton) 5.57
02. Keep Your Lamps Trimmed And Burning (Davis) 3.08
03. Embryonic Journey (Kaukonen) 1.56
04. Killing Time In The Crystal City (Kaukonen) 6.35
05. I Wish You Would (Arnold) 4.20
06. Genesis (Kaukonen) 4.16
07. Extrication Love Song (Kaukonen) 4.26
08. Talking ‘Bout You (Berry) 5.34
09. Funky #7 (Kaukonen/Casady) 8.49
10. Serpent Of Dreams (Kaukonen) 6.43
11. Bowlegged Woman, Knock Kneed Man (Rush/Carter) 4.51
12. I See The Light (Kaukonen) 5.49
13. Watch The North Wind Rise (Kaukonen) 4.58
14. Sunrise Dance With The Devil (Kaukonen) 5.38
15. I Can’t Be Satisfied (Morganfield) 4.58

LabelD1* (coming soon)


Scorpions – Tokyo Tapes (1978)

FrontCover1Tokyo Tapes is the first live album by German Rock band Scorpions and their final album released by RCA Records.

Tokyo Tapes includes songs from all Scorpions’ albums released before 1978, which were recorded at Nakano Sun Plaza (Tokyo’s Nakano Ward, Japan) on April 24 and 27, during the band’s Japanese tour in 1978. These shows were guitarist Uli Jon Roth’s last performances with the band, who had announced his departure after the release of the studio album Taken by Force.

The songs “Hell-Cat”, “Catch Your Train” and the Japanese national anthem (“Kimi ga yo”) were also performed during these shows but were not included in the official album. On the 2001 EMI re-mastered CD, “Polar Nights” was omitted so as to fit a single CD, although it was included on the re-mastered version of Taken by Force. The earlier two-CD release, however, is the original album in its entirety. The original release was in August 1978 in Japan only with cover artwork of an embossed platinum Scorpion on a rose as opposed to a live shot of the band when it was eventually released in Europe in late 1978. It was released in January 1979 in the U.S.A..

Roth commented about the recording of the album:

“Tokyo Tapes was a peak time, we have played together for all these years and it all came together at that time. Particularly on the first show, which unfortunately wasn’t recorded. There were three shows in Tokyo, the first one was by far the best, but the second one was good too. Those are the ones on the album, the second and the third that were used. The first one I thought was a lot better and I was disappointed that it wasn’t recorded.” (by wikipedia)


If you played in a hard rock band during the ’70s, what were you likely to be doing circa 1978? Why, recording a live album, of course. Preferably a double vinyl set, and in Japan to boot. The Scorpions were no exception, and in fact, their Tokyo Tapes were captured only days after Cheap Trick’s At Budokan in April 1978. Though hardly as inspired or successful, the Tokyo Tapes set still serves as an ideal greatest-hits collection of the Scorpions’ first decade. This recording also showcases the spectacular playing (and occasionally, the dreadful singing) of guitarist Uli Jon Roth, who would soon leave the band for a misguided solo career, but displays some jaw-dropping technique here, most notably on the epic “We’ll Burn the Sky.” The rest of the band also puts in competent performances on such early standards as “In Trance,” “Fly to the Rainbow,” and “Speedy’s Coming.” The material on disc one is consistently strong, and though a number of pointless covers (“Houng Dog,” “Long Tall Sally”) and that most dreaded concert spectacle — the drum solo — break the flow on disc two, the band still closes strong with the crowd-pleasing Japanese folk song “Kojo No Tsuki” and frenetic versions of “Dark Lady” and “Robot Man.” Ultimately, if you have any curiosity about the Scorpions’ early material, Tokyo Tapes provides the perfect introduction. (by Eduardo Rivadavia)


Francis Buchholz (bass, background vocals)
Klaus Meine (vocals)
Herman Rarebell (drums, percussion, background vocals)
Ulrich Roth (guitar, vocals on 04., 09. + 16., background vocals)
Rudolf Schenker (guitar, background vocals)

Inside LP1

01. All Night Long (Roth/Meine) 3.44
02. Pictured Life (R.Schenker/Meine/Roth) 3-12
03. Backstage Queen (R. Schenker/Meine) 3.44
04. Polar Nights (Roth) 6.43
05. In Trance (R. Schenker/Meine) 5.25
06. We’ll Burn The Sky (R. Schenker/Dannemann) 8.07
07. Suspender Love (R. Schenker/Meine) 3.38
08. In Search of the Peace of Mind (R. Schenker/M.Schenker/Meine/Heimberg/Dziony) 3.02
09. Fly To The Rainbow (M. Schenker/Roth) 9.39
10. He’s A Woman, She’s A Man (R. Schenker/Meine/Rarebell) 5.22
11. Speedy’s Coming (R. Schenker/Meine) 3.40
12. Top Of The Bill (R. Schenker/Meine) 6.45
13. Hound Dog (Leiber/Stoller) 1.14
14. Long Tall Sally (Johnson/Blackwell/Penniman) 2.50
15. Steamrock Fever (R. Schenker/Meine) 3.41
16. Dark Lady (Roth) 4.18
17. Kōjō no Tsuki (Taki/Tsuchii) 3:35
18. Robot Man (R. Schenker/Meine) 5.47