Jeff Beck – Plus Nobody In Japan (1999)

JeffBackFrontCover1.jpgThis is a great performance by one of the best players ever, if not the best depending on your taste. Jeff has the aid of Jennifer Batten on this show and they perform some of the songs from their sudio albums. If you are a fan of the albums Who Else! and You had it Coming then you will like this CD. This is a sound that is unique to Jeff and an example of a very good performance by him and the band. I saw this tour and it is still one of my favorite shows. Jeff takes 90 % of the solos and Jennifer provides 90% of the backing guitar, keyboard sounds and effects. There is a lot of sound coming from two guitars, a bass and a drum. In fact I kept looking for the keyboard player on the stage, until I realized there wasn’t one. It was Jennifer playing her guitar through the effects she had. You may or may not dig every song played because there is such a huge variety of sounds coming from Jeff’s guitar. But there is enough material on the two discs to justify the price of admission. A Day In the Life is so over the top that it remains one of my favorite concert experiences. But I like it all so I am very pleased with this two CD set. (by Chris)

It’s Jeff- It’s Live and it is very very good. I have a few live outings from Mr Beck and they are all good and all slightly different showing that he just doesn’t go through the motions JeffBeck02when he performs live. This is a very solid and the bass is heavy and driving. Good (but probably not audiophile) recording – if you are a Jeff beck fan you need this in your collection. And if you are a Jeff Beck fan you will know that out of the Great English Guitar Triumvirate (Beck, Page & Clapton) he is the best, the most innovative and the most under rated by the music world. (Ducman)

It sounds better and more acoustically even than a soundboard recorded bootleg I’ve got. The set list is less than an hour and a half, but this CD set is worth twice the price. As I recall, the concert got progressively louder and louder until it became quite painful, but the mastering of these CDs takes care of that. What an enjoyable show to hear again and again. Beck sounds amazing as you might guess, and Jennifer Batten sits prominantly in the mix. She’s a gifted player–but this is Jeff’s show. (David Porter)

A splendid album, all the way around. The audio clarity highlights the astonishing midi playing of Jennifer Batten and her interplay with beck amazes me. There is no keyboard person: the keyboard and synthesizer is Batten. Which gets me to a gripe: I have read reviews saying that Batten plays inaudible guitar. This is simply wrong and evidence of a lack of information that is preposterous in people writing reviews for publication.
Beck is, as always, a joy, delight, inspiration, and unique. (Philosophical Lizard)

I add the official tour programm from this tour through Japan.

Recorded live at the Club Kanagawa Kennin, Kaikan, Japan, May 25, 1999
 excellent soundboard quality

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Personnel:
Steve Alexander (drums)
Jennifer Batten (guitar)
Jeff Beck (guitar)
Randy Hope-Taylor (bass)

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Tracklist
01. What Mama Said (Beck/Batten/Hymas) 3.55
02. Psycho Sam (Hymas) 4.50
03. Brush With The Blues (Beck/Hymas) 6.42
04. Star Cycle (Hammer) 3.52
05. Savoy (Beck/Bozzio/Hymas) 4.17
06. Blast From The East (Hymas) 4.40
07. A Day In The Life (Lennon/McCartney) 5.09
08. Declan (Lunny) 4.02
09. THX 138 (Hymas) 6.23
10. The Pump (Phillips/Hymas) 5.47
11. Led Boots (XXX) 9.18
12. Cause We’ve Ended As Lovers (Wonders) 4.39
13. Angels (Hymas) 6.34
14. Even Odds (Hammer) 2.44
15. You Never Know (Hammer) 6.15
16. Blue Wind (Hammer) 7.23
17. Where Were You (Beck/Bozzio/Hymas) 3.19
18. Big Block (Beck/Bozzio/Hymas) 7.55

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Gillian Welch and David Rawlings – Nobody Sings Dylan Like Gill ‘n’ Dave (2019)

FrontCover1.jpgIf you saw Gillian Welch and David Rawlings on the Oscars this year, you know they’re amazing. You may not know they are also amazing interpreters of a certain Nobel Prize-winning singer-songwriter. They were featured often on my 40-volume Dylan cover collection “Nobody Sings Dylan Like Dylan,” but when I heard that the Dave Rawlings Machine had covered “Lily, Rosemary and the Jack of Hearts” at a San Francisco concert last year – opening the show with the first half of the song, and closing it with the second half – I decided it was time to give them their own NSD collection. A year later, here it is.

As always, thanks to the tapers – they are the true heroes of the ROIO world – and to Gill and Dave for daring to test their mettle on these incomparable songs. As you might remember, in the summer of 2015 Gill ‘n’ Dave did a 50th anniversary tribute at the Newport Folk Festival to the historic show at which Dylan first plugged in. Surprisingly, it has never turned up on any of the download sites I frequent, though there is a barely listenable/watchable version on YouTube. If you have a better version to offer, please do; if you don’t want to bother with the nuts and bolts of uploading, let me know and I’ll do it for you.

A few of these songs are featured on other NSD sets, but these are different versions. Finally, please allow me to dedicate this collection to my friend and fellow Dylan fan Erik, who first introduced me to Gill ‘n’ Dave’s music in 1996 by giving me a copy of “Revival” and telling me I’d love it. I did, and I still do. (jeffs98119 at dime)

Various dates and venues. Mix of audience and soundboard recordings
between 1996 and 2018

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Dave Rawlings & Gillian Welch (Oscar 2019)

Personnel:
Dave Rawlings Machine (on 01., 03., 05., 07., 11. + 13.)
The Esquires (on 02. + 09.)
Gillian Welch & David Rawlings (on 04., 06., 08., 10. + 12.)

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Tracklist:
01. Lily, Rosemary, and the Jack of Hearts (1) (Mar 1, 2018, Fillmore, San Francisco, CA) 7.36
02. Gotta Serve Somebody (Sep 27, 1999, Radio Cafe, Nashville, TN) 7.31
03. I’ll Be Your Baby Tonight (Oct 4, 2007, Tangier Restaurant, Los Angeles, CA) 5.00
04. I Dreamed I Saw St Augustine (Aug 21, 1996, Acoustic Coffee House, Nederland, CO) 3.42
05. As I Went Out One Morning (Sep 24, 2014, Moore Theatre, Seattle, WA) 5.32
06. Billy (Nov 18, 1998, Off Broadway, St. Louis, MO) 6.13
07. Oh, Sister (Mar 8, 2018, McDonald Theater, Eugene, OR) 5.10
08. Goin’ to Acapulco (Oct 13, 2004, McDonald Theatre, Eugene, OR) 5.53
09. Quinn The Eskimo (Sep 27, 1999, Radio Cafe, Nashville, TN) 3.29
10. Odds And Ends (Aug 2004, WXPN Studios/World Café session, Philadelphia, PA) 2.58
11. Queen Jane Approximately (Jun 20, 2014, Town Park, Telluride, CO) 10.28
12. Mr Tambourine Man (Oct 3, 2015, Golden Gate Park, San Francisco, CA) 6.07
13. Lily, Rosemary, and the Jack of Hearts 2 (Mar 1, 2018, Fillmore, San Francisco, CA) 5.05

All songs written by Bob Dylan

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The Brandos – Live At Loreley (2018)

FrontCover1.jpgThe Brandos are an American rock band formed in 1985 in New York City by Dave Kincaid (vocals, guitar), Ernie Mendillo (bass, vocals), Ed Rupprecht (guitar, vocals) and Larry Mason (drums, vocals).

The Brandos achieved commercial success in the United States in 1987 with the release of their first album, Honor Among Thieves and the single “Gettysburg”. They have also established a strong fan base in Europe, where they have done promotion and extensive touring since the late 1980s. They have occasionally made it high on the record charts in countries such as the Netherlands.

In 2010 the recordings from the 2004 Irish Tour were mixed and the live album David Kincaid and The Brandos – Live in Europe was released on Dec. 1, 2010 and distributed in Europe by Blue Rose. The only current member of The Brandos is singer, guitarist and songwriter Dave Kincaid.

The passion, grit and power of New York’s The Brandos has origins in the Seattle scene of the early eighties. In the fall of 1984, Dave Kincaid and Larry Mason were playing the Seattle club circuit as members of The Allies. With a local radio hit (‘Emma Peel’), critically acclaimed recordings, and a video under their belts. At the same time, New Jersey based Soul Attack (with Ernie Mendillo and Ed Rupprecht) were playing gigs in and around their home state, with occasional jaunts into New York City. They had also made and released a local record in 1984.

The Brandos, 1985A

Frustrated with The Allies’ lack of success, Kincaid decided to move to New York in 1985. Immediately upon arrival Kincaid began scouring the local music papers, namely the Village Voice, looking for a new band. Soul Attack had just lost their principal singer and songwriter, and had just placed an ad looking for a replacement. Kincaid joined the band and they eventually changed their name to The Brandos and performed their first show on February 14, 1986. Featuring Kincaid on vocals and guitar, Ernie Mendillo (bass, vocals), Ed Rupprecht (guitar), and Larry Mason (drums), the band began playing most of New York’s most renowned clubs such as CBGB, Tramps, The Bitter End and Kenny’s Castaways. The band also spent one month touring the Pacific Northwest. By October they had enough material for an album. While recording, the band continued to perform in the New York area, along with a brief tour of Germany in May 1987.

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The Brandos released their debut album, Honor Among Thieves, on Relativity Records in late August 1987. The album spent 19 weeks in the Billboard charts and peaked at No.108 in late October. During this period, the band began touring the U.S. and Europe, opening for well-known bands such as The Georgia Satellites, INXS, The Cars and The Alarm. Their first video was released and was placed in medium rotation on MTV. The favorable reviews began to pour in: the Gavin Report dubbed them “Best new American band”, Rolling Stone magazine ran a full-page story describing them as “Real contenders”, and Time magazine clinched it with their quote “The Brandos’ roots run deep and offer great nourishment”. In early 1988, the band won Best Album (Independent Label), and Kincaid was honored with Best Male Vocalist (Independent Label) at the New York Music Awards. The Brandos also left Relativity that year and signed with Geffen Records. Their relationship with Geffen was strained from the outset and the group ended up at RCA Records in 1989. After a massive corporate restructuring, RCA dropped The Brandos upon completion of their second LP, Trial by Fire (unreleased), in 1990.

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The better part of 1991 was spent writing and recording new material for a new album that would become Gunfire at Midnight, which would land a contract with SPV GmbH in Germany in the spring of 1992. Two singles from the album (‘The Solution’ and ‘The Keeper’) would reach the top 100 in the Netherlands. Extensive touring in Europe would follow, solidifying the band’s fan base even further, however Rupprecht and Mason decided to leave the band in 1993. The Brandos recorded their next album The Light of Day with the help of a few friends, especially ex-Del Lords members Scott Kempner (guitar, vocals) and Frank Funaro (drums, vocals). They filled out the live band, and an extensive tour and live album, recorded in Amsterdam in December 1994, followed. In 1996, The Brandos returned with Pass the Hat and Frank Giordano (guitar, vocals) replacing Kempner. The album marked a return to a more stripped-down guitar sound. Kincaid released a solo album, The Irish Volunteer, in 1997 but returned to The Brandos for another album (Nowhere Zone) in 1998 followed by two tours of Europe with the likes of Bryan Adams, Van Morrison, and Deep Purple.

1999 saw the release of Contribution: The Best of 1985-1999. The band continued to tour Europe over the next few years. (by wikipedia)

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And here´s one of their high energy gigs … recorded live in Germany, 1999:

1999 the Brandos did another European tour with the line-up Dave Kincaid, Ernie Mendillo, Frank Giordana and Tom Engels. One of the anchor dates the four piece played a outdoor festival for German TV show “Rockpalast” at Loreley on July 9th. The ste included nine songs, two more live tracks have been added to the disc; “I got It”, a Little Richard cover, was recorded at the Stadsfest in Bremen, germany 1987, another one in 1998 at the Kongresshalle in Giessen, also in Germany. (by sonicrendezvous.com)

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Personnel:
Tom Engels (drums, vocals)
Frank Giordana (guitar, vocals)
Dave Kincaid (vocals, guitar, mandolin)
Ernie Mendillo (bass, vocals)

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Tracklist:
01. Introduction (in German by Alan Bangs)/Can’t Go Home (Kincaid) 5.06
02. The Solution (Kincaid) 4.29
03. Trial By Fire (Funk/Kincaid) 6.54
04. Nothing To Fear (Funk/Kincaid) 6.38
05 The Warrior’s Son (Kincaid) 5.25
06. My Father’s Gun / Connachtmans’s Rambles / The Mist Covered Mountain (Kincaid) 6.48
07. Gettysburg (Funk/Kincaid) 4.57
08. Walk On The Water (Fogerty) 5.36
09. Gunfire At Midnight (Kincaid) 5.03
10. Strange Interiors (Funk/Kincaid) 3.54
11. I Got It (Penniman) 3.56

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Pornosonic – Unreleased 70s Porn Music (1999)

lpfrontcover1Pornosonic is a project by Don Argott inspired by the style of music in adult films. Two albums have been released.

This album claim to be soundtracks from non-existent unreleased porn movies, but they are modern creations. Famous adult film actor Ron Jeremy was to hired by Mini Mace Pro Records to perform voice overs. (by wikipedia)

Especially in the wake of Boogie Nights, it’s common to think of the ’70s as the golden age of porn, before a more businesslike, crank-’em-out approach and lower-budget production techniques began to rob the films of some of their liveliness. It’s also possible to link the music used in their soundtracks to that general trend, since much ’80s and ’90s porn used cheap-sounding, repetitive vamps played by generic synth/guitar rock combos, which never quite augmented the films like the classic, sexy ’70s sound. That sound — wah-wah guitars sometimes spiced with organ or horn accents, and a backbeat that’s half funk, half hard rock — is all over Pornosonic: Unreleased 70s Porno Music, which purportedly contains soundtrack excerpts from mid-’70s porn flicks. However, there are a few too many knowing winks in producer/guitarist/composer Don Argott’s presentation to believe that — from the spoken introductions by highly recognizable porn veteran Ron Jeremy, which mimic the blindingly obvious innuendo of porn-film dialogue, to the way the song titles play off of the titles of their supposed “source films.”

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Alternate frontcovers

But even if it isn’t genuine, Pornosonic accomplishes its mission quite well — so well, in fact, that the wink-wink-nudge-nudge dialogue snippets can actually break the mood created by some pretty sexy music. The irony is kind of fitting in a way, since porn rarely takes itself too seriously, but the slinky grooves are so effective at recreating their intended atmosphere that it isn’t really necessary. Quibbles aside, though, it’s a highly entertaining project. (by Steve Huey)

You don´t have to like porns from the Seventies … this is a pretty good Funk album … and it´s  a sort of a trash album …

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Personnel:
Jarred Alterman (bass, piano (clavinova)
Don Argott (guitar)
Rob Giglio (drums)
Jo Hewitt (vocals)
Nick Kendall (percussion, violin)
Daniel Lee (trumpet)
Dan McKinney (organ)
Benjamin Shwartz (flute)
Mike Viggiani (guitar)
+
Nancy Falcow (vocals on 10.)
+
background vocals:
D. Mason Bendewald – Laura Shepherd
+
Ron Jeremy as Ron Jeremy

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Tracklist:
01. Dick Dagger’s Theme (from: Dick Dagger’s Big Dick Dilemma) (Argott) 3.10
02. Cramming For College (from: Cramming For College) (Argott) 2.53
03. Nice n’ Sleazy Does It (from If It Ain’t Easy It Ain’t Sleazy) (Argott) 3.25
04. Spiderpussy (from Spiderpussy) (Argott) 2.40
05. Special Delivery (from A Happy Ass) (Argott) 2.40
06. Sex Starved Secretaries (from Takin’ Dictation) (Viggiani/Argott) 3.52
07. Prepare For Take Off (from: Mile High Club) (Argott) 2.50
08. Her Magic Carpet (from: Donna Does DeNise) (Argott) 3.19
09. Laying Pipe (from Plumber’s DeLight) (Argott) 2.23
10. Spiderpussy (Slight Return) (from Spiderpussy 2: Caught in the Web) (Argott) 4.59

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US porn Star Ron Jeremy in action during the Seventies

Alpha Blondy – Elohim (1999)

FrontCover1.jpgAlpha Blondy (born Seydou Koné; 1 January 1953 in Dimbokro, Ivory Coast) is a reggae singer and international recording artist. Many of his songs are politically and socially motivated, and are mainly sung in his native language of Dioula, French and in English, though he occasionally uses other languages, for example, Arabic or Hebrew.

Elohim is his 1999 reggae album.

Six years old when it finally reached America, Elohim isn’t the great lost Alpha Blondy album as much as it is an exciting collection of tunes with a crummy cover and so-so production. The original Elohim cover displayed Blondy as a righteous, cross-carrying warrior, but ignore the post-concert, shoved-in-the-corner singer here and you’re in for an excellent — sometimes chilling — set of conscious lyrics with breezy music. Breezy to a fault, actually, since Blondy’s Solar System band seems flattened by the thin production most of the time. Compare the version of “Black Samourai” on the live Paris Bercy album to the one included here for proof, or consider how the wicked lyric “We take no prisoners/And we eat the wounded” sits on mannered, sterile beats. The tougher Merci from 2002 displayed that Blondy would grow as an executive producer, but Elohim is filled with prime Blondy songs, ones good enough to forgive the musical stiffness. “The Devil’s Tail” is up there with his best, “Take No Prisoner” is tougher than tough, and “Black Samourai” became the man’s anthem. To Shanachie’s credit, Elohim is 80 percent in French and the label does an excellent job of translating the lyrics for the booklet. Elohim is hardly the first reggae album to be brought down a peg by cheap, sterile production, but it makes you pine harder than usual for what could have been. (by David Jeffries)

Booklet01A

Personnel:
Wayne Armond (guitar)
Alpha Blondy (vocals)
Jacques Bolognesi (trombone)
Christopher Burch (keyboards)
Alain Hatot (saxophone)
Christophe Hebert Assistant
Clive “Azul” Hunt (bass)
Samuel Kone (drums)
Guy N’Sangue (bass)
Mao Otayeck (guitar)
Rohan Romain (programming)
Guy Sangue (bass)
Philipp Slominski (trumpet)
Abou Watt (percussion)
+
background vocals:
Sarr Julia – Julia Fenere Sarr – Marylou Seba – Lydie “Oliza” Zamata

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Tracklist:
01. Black Samouri (Blondy) 4.39
02. Haridjinan (Blondy) 4.25
03. Les Voleurs de la République (Blondy) 4.22
04. Dictature (Blondy) 4.18
05. La Queue du Diable (Blondy) 4.52
06. Journalistes en danger (Démocrature) (Blondy) 4.13
07. When I Need You (Blondy) 3.48
08. Djeneba (Blondy) 4.37
09. Sabotage (Dekker) 4.01
10. Take No Prisoner (Cannibalistic) (Blondy) 4.43
11. Lune de miel (Honeymoon) (Blondy) 3.55
12. Waïkiki Rock (Blondy) 4.35
13. Petini Go Gaou (Blondy) 5.05
14. Mônin (Blondy) 4.13

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Nigel Kennedy – The Kennedy Experience (1999)

FrontCover1As one of the most successful classical performers of his time, violinist Nigel Kennedy’s genre-defying music helped him achieve a level of fame typically reserved for pop stars. A native of Brighton, England, he studied music at the Yehudi Menuhin School and at Juilliard; his debut recording, Elgar Violin Concerto, appeared in 1984, shortly followed by Nigel Kennedy Plays Jazz. In the years to follow, Kennedy collaborated not only with the more traditional likes of Riccardo Muti and the Philharmonia Orchestra, the Berlin Philharmonic Orchestra, and Andre Previn, but also with pop figures including Paul McCartney and Kate Bush; his fame reached new heights with the 1989 release of his recording of Vivaldi’s The Four Seasons, which went as high as number three on the U.K. pop charts and went on to sell well over a million copies. In 1992, neck surgery forced Kennedy to retire for several years; when he resurfaced with 1996’s Kafka, he performed his own compositions for the first time, broadening his scope to include not only classical music but also elements of Celtic, rock, and jazz. The Jimi Hendrix tribute The Kennedy Experience followed in 1999. (by Jason Ankeny)

The Kennedy Experience is a music group and eponymous instrumental album conceived and produced in 1999 by violinist Nigel Kennedy. The album is largely derived from the music of rock guitarist Jimi Hendrix and the title references his group The Jimi Hendrix Experience. According to a BBC interview with Kennedy, the violinist stated that the recording is “an album of music inspired by Jimi Hendrix. It is an extended instrumental work in six movements, each movement a classical interpretation of a Hendrix song”. On the recording, Kennedy is accompanied by seven other musicians, and the lineup includes two cellos, an oboe, two guitars, a Dobro, flute, and double bass. With cellist Lynn Harrell, he has recorded an album of duets. (by wikipedia)

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This disc goes places. Nominally it’s a set of improvisations by Nigel Kennedy and friends based on Jimi Hendrix tunes, but what starts out in ‘Third Stone from the Sun’ as a Celtic-flavored “unplugged” style jam session stretches a little further out in ‘Little Wing’ and ‘1983’ and becomes transformed into something much more dynamic and unpredictable in ‘Drifting,’ ‘Fire,’ and ‘Purple Haze,’ the music-making turning into the kind of kaleidoscopic voyage of discovery for which Hendrix was famous. Amazingly, the “Kennedy Experience,” two cellos, two guitars, oboe, flute and bass in addition to Nigel’s fiddle, is an entirely acoustic group and only a minimum of electronic effects are used in the production. This is a trip animated entirely by the energy and commitment of the performers. (by allmzsic.com)

Fascinating stuff. Worth a listen, fan or otherwise. (by Daniel Berry)

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Personnel:
Emma Black (cello)
John Etheridge (guitar)
Dave Heath (flute)
Nigel Kennedy (violin)
Rory McFarlane (bass)
Kate St. John (oboe)
Gerri Sutyak (cello)

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Tracklist:
01. Third Stone Drom The Sun 14.06
02. Little Wing 10.57
03. 1983… (A Merman I Should Turn to Be) 15.22
04. Drifting 6.04
05. Fire 3.26
06. Purple Haze 5.17

Music composed by Jimi Hendrix

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Spooky Tooth – Live In Europe (2001)

FrontCover1.jpgA new dawn broke in England in 1966-67 and it was a blues-rock dawn. Bands like Cream, Free, Ten Years After, The Rolling Stones and even Fleetwood Mac were blending their blues roots with the insistent beat of rock and gaining commercial success from it. and during the late 1960s, Spooky Tooth was one of a contingent of new British rock bands inspired by the first British Rock Invasion of acts like The Rolling Stones, The Yardbirds and The Animals.

Spooky Tooth took Europe and America by storm; alongside their Island Records label mates Traffic, Free and Jethtro Tull. From 1967 through 1974, they released seven Billboard-charting albums. After the band’s demise, all of the members went on to careers as solo artists or members of other successful bands.

It’s been 30 years since “It’s All About”, their first Stateside release on Bell Records (later reissued by A&M as “Tobacco Road”). For musicians who have not recorded together for many years, there were a number of obstacles to overcome. Each of the group members had created their own lives and coming together again presented somewhat of a challenge. Although the group wanted to honor some of their past material, they were also very conscious of writing contemporary new material which would reflect who they are now.

Part of the Spooky Tooth legacy is that they were always great at covering songs by then-unknown writers (Elton John, Robbie Robertson) and at recording songs by established writers and making them their own (Lennon/McCartney, Al Kooper, Bob Dylan) in the inimitable Spooky Tooth style.

Booklet01A

One of the more intriguing components of the blues-rock movement was Spooky Tooth. They differed from other bands in that they utilized two very distinctive, talented vocalists (Mike Harrison and Gary Wright) and they featured an ominous yet potent organ sound.

By 1968, they had broken through commercially in England and were on the verge of releasing their most popular material. It was at this time that they performed on several editions of BBC´s radio program Top Gear.

Six of the nine tracks presented on BBC Sessions are taken from those appearances and showcase a band poised at the brink of big-time success. An aural snapshot of a well known band at that juncture of its recording career is very rare.

~Spooky Tooth´s “BBC Sessions” is that rare photograph~

As a special bonus, three additional tracks are included, one an obscure 1966 recording from Deep Feeling (featuring Spooky Tooth guitarist Luther Grosvenor and pre Traffic drummer Jim Capaldi !)) and two alternate mixes from the Spooky Tooth´s 1999 reunion release Cross Purpose.

Music from Deep Yesterday, Classic Yesterday and Reunion Yesterday´s BBC Sessions is everything a title like this should be.

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This is a nice addition for every serious Spooky Tooth collector, but:

For years now bootlegs of Spooky Tooth’s BBC recordings have been circulating, most with less than excellent sound. Finally we get a chance to hear the band at its finest: LIVE “at the Beeb,” and what do we get? A truncated set, short in selections and definitely not what we would like to hear. The half dozen BBC songs come from but one or two of the numerous sessions the band recorded between 1968 and 1969, and many are faded in, suggesting that they are taken from transcription discs with spoken voice-over introductions that were simply edited out. Missing are some of the best BBC sessions, songs like “Tobacco Road,” and “Evil Woman” that were hallmarks of the band in concert. Although the studio outtakes from the 1999 reunion album are nice to have, they really do not fit comfortably into this collection. Equally disappointing are the two “bonus cuts” tacked on to the end of the disc which come from a 1970 Berlin concert, but which are rather shabby sounding, and which appear with no explanation as to their origins. In short we get a taste of what might have been, namely a Spooky Tooth BBC set to rival those recently issued by the Kinks, and the Who, but which instead winds up a missed opportunity. (by Christopher L. Dolmetsch)

More rare Spooky Tooth recordings will come !

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Personnel:

Live at the BBC:
Mike Harrison (vocals, keyboards)
Luther Grosvenor (guitar)
Mike Kellie (drums)
Greg Ridley (bass)
Gary Wright (vocals, organ)

Deep Feeling:
Jim Capaldi (drums, vocals)
Luther Grosvenor (guitar, vocals)
Gordon Jackson (guitar)
David Meredith (bass)
Poli Palmer (vibraphon, flute)

1999 Reunion:
Mike Harrison (vocals)
Luther Grosvenor (guitar, percussion)
Mike Kellie (drums, percussion, background vocals)
Dave Moore (keyboards, synthesizer)
Greg Ridley (bass, background vocals)

Live in Berlin, 1970:
Mike Harrison (vocals, keyboards)
Luther Grosvenor (guitar)
Mike Kellie (drums)
Andy Leigh (bass)
Gary Wright (vocals, keyboards)

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Tracklist:

Live at the BBC:
01. Sunshine Help Me (Wright) 2.03
02. Too Much Or Nothing (Dylan)I 3.54
03. Feelin’ Bad (Kellie/Wright) 2.56
04. The Weight (Robertson) 3.17
05. I Can’t Quit Her (Kooper/Levine) 3.02
06. Blues Town (Harrison/King/Wright) 3.35

Deep Feeling (feat. Jim Capaldi and Luther Grosvenor):
07. Pretty Colours (unknown) 2.41

1999 Reunion Recordings Studio Outtakes:
08. Sunshine (Wallinger) 4.55
09. How (Kellie) 4.49

Live in Berlin, 1970:
10. Better You Better Than Me (Wright) 4.17
11. Soulful Lady (unknown) 8.50

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Booklet07A

Mike Harrison (03 September 1945 – 25 March 2018)
Mike Kellie (24 March 1947 – 18 January 2017)
Greg Ridley (23 October 1947 – 19 November 2003)