Bakerloo – Same (1969)

FrontCover1And here´s another band from the Midlands:

Bakerloo (previously The Bakerloo Blues Line) was an English heavy blues-rock trio, established by Staffordshire guitarist David “Clem” Clempson, Terry Poole and others in the late 1960s, at the high point of the influence of The Jimi Hendrix Experience and Cream. Although the group was prominent only for around a year (1968-9) and released only one album it played an important part in the history of the genre, especially in view of its members’ subsequent involvement with Colosseum, Humble Pie, May Blitz, Graham Bond, Vinegar Joe, Judas Priest and Uriah Heep.

The Bakerloo Blues Line was formed in February 1968 by David “Clem” Clempson and Terry Poole, who worked with several drummers, including John “Poli” Palmer and John Hinch, before settling with Keith Baker. Under the management of Jim Simpson, they began performing regularly at Henry’s in Birmingham and joined Simpson’s U.K. ‘Big Bear Ffolly’ tour with Earth (the future Black Sabbath), Locomotive and Tea And Symphony. The group appeared as the support act for Led Zeppelin’s debut at London’s famed Marquee Club on 18 October 1968.

TerryPooleAfter simplifying the name to “Bakerloo” the group signed to Harvest Records in mid-1969. Their first release was a single, “Drivin’ Bachwards”/”Once Upon a Time” (HAR 5004) that July. The A-side is an arrangement of the J.S. Bach tune Bourrée in E minor. This record appeared just prior to the release of a similar song, Bourrée, by Jethro Tull, on their second album Stand Up in August 1969.

The single A-side also appeared on their self-titled album in December.

The album Bakerloo (Harvest SHVL 762) was further promoted by the inclusion of “This Worried Feeling,” a slow blues number, on the 1970 Harvest double sampler album Picnic – A Breath of Fresh Air and by sessions for the BBC. The album was produced by Gus Dudgeon. Notable tracks included Last Blues, a heavy rocker, and the album’s closer, Son of Moonshine, a driving metal blues. Other tracks contained “progressive” classical and jazz elements.

While reviews for the debut LP were favorable, the group itself was in disarray at the end of 1969. By the time the record was released, the Clempson-Poole-Baker lineup had decided to go their separate ways. Clempson initially sought to form a new blues-rock power trio, one that reportedly included drummer Cozy Powell, before electing to replace James Litherland as the guitarist in Colosseum. Poole and Baker also moved on, forming May Blitz with Jamie Black on vocals and guitar, although both departed before the band was signed to Vertigo Records.

Poole later played with several other bands, including Graham Bond and Vinegar Joe, while Baker bounced from Supertramp to Uriah Heep. Clempson would continue to achieve greater fame with Colosseum and, in 1971, as Peter Frampton’s replacement in Humble Pie. (by wikipedia)

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One of the first acts signed to the fledgling Harvest label in 1969, Bakerloo were very much a product of their time, a hard-hitting progressive blues band whose predilections ranged from a straightforward assimilation of Willie Dixon to some positively dazzling flashes of instrumental prowess. Guitarist Dave Clempson’s “Big Bear Folly,” the opening cut on the band’s first and only album, is a dazzling Ten Years After-style showcase, while a jazzy variation on a theme of Bach, the aptly titled “Driving Bachwards,” proves that the band wasn’t averse to messing with the classics, either. The quartet’s virtuosity occasionally overwhelms the songs themselves, although there is no shortage of gripping atmosphere. Bassist Terry Poole unleashes an almost sepulchral vocal across the stygian “Last Blues,” a seven-minute marathon that swiftly develops into a full-fledged heavy rocker, punctuated by mood shifts that amount to separate movements — it’s a magnificent piece, rendered with both musical precision and some of producer Gus Dudgeon’s most inspired washes and effects. Impressive, too, is “Son of Moonshine,” a distorted metal effort that clocks in at double that length and combines Clempson’s intensive guitar soloing with a desperately driving blues rhythm. Period comparisons with Cream and early Led Zeppelin really weren’t that far off the mark. Bakerloo were not long for this earth — Clempson quit to join Colosseum shortly after the album’s release; Poole reappeared alongside Graham Bond; drummer Keith Baker departed for Uriah Heep; and Bakerloo itself disappeared off the shelves fairly quickly. (by Dave Thompson)

And here Dave Clempson in his own words about his time with Bakkerloo (taken from an interview with psychedelicbabymag.com, 2012) :

I want to go back in time to your childhood. Where did you grew up and what are perhaps some influences that made an impact on you?

I grew up in Tamworth, in the UK Midlands… my earliest influences were the bands that would be playing in the local working mens’ clubs, where my family would go on Sunday evenings for a drink… I was always very excited about seeing those bands, the “hip” ones would be playing the latest Shadows tunes, and I especially loved to see and hear the electric guitars they had – electric guitars weren’t so common around that area in those days! The best band was called The Wanderers, and the guitarist had a white Stratocaster – I would just sit there gazing at that!

Was Bakerloo your first band or were you in any other bands?

Vipers.jpgMy first band was formed with friends at school, we were called “The Vipers”, and we played a lot of gigs at the working men’s clubs I just mentioned

Let’s talk about Bakerloo. How did you guys came together to form this powerful trio?

A local guy called David Mason asked me to join his band, which was called “The Pinch”, and which had a drummer called John Hinch – Mason wasn’t the world’s best bass player and he was soon replaced by a local boy called Terry Poole! John left the band soon after, and then Terry and I began a long quest to find the drummer of our dreams; we got through quite a few including Pete York and Poli Palmer, before we found Keith Baker, who was just what we’d been looking for – a drummer with a great rock feel and attitude but also the chops to play more adventurous stuff!

Harvest Records signed you up and in 1969 you released a single and your selftitled LP. I would like if you could share some of the strongest memories from recording and producing this LP?

The main memory is that it was my first real experience of recording, and there was a lot to learn! It was the first production by Gus Dudgeon, who had engineered some of my favourite albums, including the legendary Bluesbreakers with Eric Clapton.

What gear did you guys use and in what studio did you record?

It was recorded in Trident studios in London, I played my ’58 Les Paul goldtop through a Laney stack.

Why did you choose the name? Did it have a deeper meaning for you or was it just a coincidence?

Our manager came up with the name when he was travelling on the Bakerloo line on London’t underground – it didn’t have any special meaning, it just sounded cool!

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Tell us about concerts. Where did Bakerloo play and with who?

After John Peel heard us play in Birmingham we appeared on his radio show, which was incredibly influential and the only chance to hear good music on the BBC! Soon after that we were booked by all the best blues clubs around the UK, such as the Roundhouse and the Marquee, where we supported Led Zeppelin on their first UK date!

What happened next. I know you joined Colosseum and after that you were in Humble Pie. How did that happened and what are some memories from playing in this two great bands?

Bakerloo supported Colosseum at a gig at Cambidge University, and when Bakerloo split up soon after Jon Hiseman called me and asked me to audition for Colosseum – I got the gig! I have a lot of wonderful memories of that time – Bakerloo had mostly just gigged in the UK, but now I started playing all over Europe which was very exciting … ”

And the rest ist history …

This album is still a killer  … listen to “Son Of Moonshine ” in the style of Cream (including “Cat´s Squirrel”) !

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Personnel:
Keith Baker (drums)
Dave ‘Clem’ Clempson (guitar, vocals, harmonica, harpsichord, piano)
Terry Poole (bass, vocals)
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Jerry Salisbury (trumpet on 03.)

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Tracklist:

01. Big Bear Folly (Clempson/Poole) 3.58
02, Bring It On Home (Dixon) 4.18
03. Drivin’ Bachwards (Bach) 2.09
04. Last Blues (Clempson/Poole) 7.06
05. Gang Bang (Clempson/Baker/Poole) 6.18
06. This Worried Feeling (Clempson/Poole) 7.00
07. Son Of Moonshine (Clempson/Poole) 14,55
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08. Once Upon A Time (Clempson/Poole) 3.40
09. This Worried Feeling (alternte take) (Clempson/Poole) 5.45

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The Spencer Davis Group – The Second Album (1966)

FrontCover1.jpgThe Second Album is the second studio album by the British band The Spencer Davis Group, released in 1966. Many of the songs were a slightly experimental blend of beat, folk, jazz and blues, but included Jackie Edwards’ “Keep on Running”, which gave the group their first U.K. number 1 single, and the R&B standard “Georgia on My Mind”. The album spent eighteen weeks on the U.K. album chart, peaking at number 3.[1] While the album was not released in the US, the single “Keep on Running” was released in February, 1966, and spent four weeks on the Billboard Hot 100 chart peaking at number 74 on March 12. (by wikipedia)

The Spencer Davis Group – The Second Album – More Blues and soul from Britain’s highly American influenced soulful blues band of sorts. Their first really big single, “Keep On Running” appears on this disc and is a soulful rock classic and I guess I call it that because there’s a fuzz tone guitar. More blues and soul fill the air with tunes like “Georgia on My Mind” “This Hammer” Strong Love” and “Since I Met You Baby”, all classic American soul songs of that particular time period. Their is also included 8 bonus tracks of some US Versions on here as well. Great album … (by Joe Eastlackon )

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Their best one. Early British group doing jazz and blues like you want to hear. Stevie on piano is soulful in the raw. Georgia on my mind for example. Look away a classic and some more. A few pop like ones but hey something for everyone and not easy to track down finally I have and its on its way. (by bodon)

The Spencer Davis Group from Birmingham is one of my most favortite bands from the British Beat Boom …  and they was much more the only a beatgroup …

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Rare French single

#Personnel:
Spencer Davis (guitar, vocals)
Muff Winwood (bass)
Steve Winwood (guitar, vocals, keyboards)
Pete York (drums, percussion)

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Tracklist:
01. Look Away (Meade/Russell) 2.46
02. Keep On Running (Edwards) 2.51
03. This Hammer (Traditional) 2.19
04. Georgia On My Mind (Carmichael/Gorrell) 4.44
05. Please Do Something (Covay) 2.28
06. Let Me Down Easy (Ford) 3.06
07. Strong Love (Malone/Silvers/Brown) 2.18
08. I Washed My Hands In Muddy Water (Babcock} 2.39
09. Since I Met You Baby (Hunter) 3.30
10. You Must Believe Me (Mayfield) 2.48
11. Hey Darling (Davis/S.Winwood) 4.50
12. Watch Your Step” (Parker) 2.57
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13. Stevie’s Blues (Davis/M.Winwood/S.Winwwod/York) 3.49
14. Trampoline (S.Winwood 2.28
15. Back Into My Life Again (Davis/M.Winwood/S.Winwwod/York) 2.26
16. Kansas City (Leiber/Stoller) 3.52
17. Oh! Pretty Woman (Williams) 3.22
18. Det war in Schöneberg / Mädel ruck ruck ruck (Kollo/Traditional) 2.42
19. Stevie’s Groove (Davis/M.Winwood/S.Winwwod/York) 2.46
20. Stevie’s Blues (US Version) (Davis/M.Winwood/S.Winwwod/York) 3.49

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Linda Hoyle – Pieces Of Me (1971)

FrontCover1A more than important jazz/blues singer from UK:

Linda Nicholas (born Linda Hoile, 13 April 1946), known by her stage name Linda Hoyle, is a singer, songwriter and art therapist. She is best known for her work with the band Affinity (1968–1971), as well as for her collaboration with Karl Jenkins on her album Pieces of Me, produced in 1971. Hoyle’s latest album, The Fetch, produced by Mo Foster, was released by Angel Air on 7 August 2015.

Linda was born and grew up in Hammersmith, London. Her mother, Marjorie (“Madge”, née Penfold), was a shorthand typist, working with the Kensington and Chelsea Police Force and CID. Her father, Gordon (“Dick”) was an accountant with Sun Life Insurance.

For the first decade of Linda’s life, the family lived in a small ground-floor flat with few amenities. Nevertheless, on a Saturday, Dick would buy a new 78 rpm jazz record which was played for the family to dance to. This music consisted mostly of Fats Waller, Louis Armstrong, Mezz Mezzrow and others, with an historic backlog of Bessie Smith, Bix Beiderbeck, Mugsy Spanier and Fletcher Henderson. Oddities from 1920s and 30s jazz were the backbone of Linda’s musical experience, stirred into Madge’s attempts to introduce classical music – Vaughan Williams, Tchaikovsky, Elgar.

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Wendy + Linda Hoyle ca. 1961

Her early education was at St Peter’s, a Church school, then Chiswick County School for Girls. She was told in no uncertain terms by her music teacher, Miss Cooper, that she showed no ability. However, she happily sang Everly Brothers songs, in harmony with friends, in the echoing school toilets.

Wendy Hoile, Linda’s younger sister, was able to sing in harmony from a very young age. She played guitar and sang in a band, Blanch Carter and the Lounge Lizards, in the late 1960s and early 70s.[2] Both Linda and her sister learnt first to play the ukulele and then the guitar. They performed together often at family gatherings and parties, sometimes using the family convector heater, a Valor, as a primitive piece of echo and reverb equipment, singing into it even when it was lit.

Linda’s main vocal influence, Billie Holiday, was introduced to her at 16 by a family friend who played her “Strange Fruit”. She went immediately and spent her savings on Volume One of the CBS compilation The Billie Holiday Story, learning all the vocals note for note. After hearing Ella Fitzgerald’s recording of “I Can’t Face the Music” she began to include more modern improvisation influences: Sara Vaughan, Anita O’Day, Frank Sinatra and later Betty Carter, Cleo Laine, Karen Dalton, Laura Nyro and others.

After finishing at Chiswick County, Linda worked for a year at Hammersmith Hospital as a trainee Laboratory Technician, followed by a three-year teacher training course at Wall Hall College of Education, Hertfordshire.

LindyLynton

Linda Hoyle + Lynton Naiff

Through a boyfriend who was a student at Sussex University, Hoyle met the University of Sussex’s US Jazz Trio – Lynton Naiff (keyboards), Foster (drums) and Nick Nicholas (double bass) – who asked her to sing with them at a nightclub on the Sussex coast. It was during this time that a flurry of interchangeable jazz-rock bands were playing at Sussex, culminating in a decision by Naiff, Foster and Grant Serpell to pursue playing professionally. Naiff, at the time enrolled to do a MSc in Mathematics, dropped out of his course after a few months, renting a bungalow on the South Downs to organise the band. Mike Jopp was recruited as lead guitarist, and after considering male singers it was decided to take the risk of having a female front the band. Although in a previous incarnation the band had been known as “Ice”, the name Affinity was chosen. Naiff, particularly, was a huge fan of Oscar Peterson, after whose 1961 album the name was chosen.

The shift of Linda’s name from Hoile to Hoyle occurred early in her singing career. Journalists and interviewers invariably spelt it incorrectly as Hoyle, a much more common spelling.

The band quickly found work and their first live performance was in London at the Revolution on Bruton Street in 1968, which was managed by an insomniac businessman, Jim Carter-Fea, who also owned the Speakeasy and the Pheasantry in Chelsea. The Revolution was, in the late 1960s, a hot spot for celebrities. Affinity, over its many engagements there, had in their audience at various times Judy Garland, John Lennon and Stevie Wonder, the latter taking to the stage to play harmonica with the band.

LindaHoyle03Foster, in many ways the most enterprising member, introduced the band to Ronnie Scott’s management, who at the time were looking for new bands to play Upstairs at their renovated club. Almost immediately signed, they spent three years under contract, starting early in 1969. By the middle of that year, Scott’s decided that Affinity should also play Downstairs, opposite such jazz musicians as Les McCann and Stan Getz. This encouraged them to become more demanding of their own musical creativity. At the time of Affinity’s appearance opposite McCann in July 1969, Hoyle was interviewed by Melody Maker and spoke about her musical influences and her time with the band.

During this time Affinity were managed by Chips Chipperfield, who later produced The Beatles Anthology, a documentary series for television.

Naiff’s father, himself a musician, owned a music shop and business in Soho. The band initially used his own brand of amplifiers and speakers, called ‘Impact’. However, the quality was poor and Hoyle, pressing hard for vocal volume during live performances, damaged her vocal cords. Surgery became necessary to remove nodes, and she was unable to sing for some months. She decided to seek vocal training from a professional singing teacher.

The album Affinity was released in 1970. Affinity’s contract with Vertigo, a branch of Philips Records, included an advance payment, which allowed them to buy new equipment and a more comfortable six-wheel vehicle, and to employ a roadie. The band were busy with TV appearances, and touring in the UK and Europe; even so they were finding it hard to live on their earnings. In her interview with Jackie magazine in December 1970, Hoyle talked about the upsides and downsides of life on the road.

LindaHoyle04

Linda Hoyle in Germany with Affinity, ca. 1970

The same year Hoyle recorded the jingle for a Shredded Wheat television commercial “There are two men in my life” with Foster and Mike Jopp, both playing acoustic guitars. The commercial achieved much attention in the UK and Hoyle performed the song on the Michael Parkinson Show.

Annie Nightingale, a pioneering BBC presenter, travelled with the band in January 1971, making a film about their life on the road for TV. However, at this time Hoyle’s three-year relationship with Naiff was coming to an end and she was ready to quit the band.

LindaHoyle05

Affinity reunion at a private party in 2006 (L to R: Linda Hoyle, Mike Jopp, Mo Foster, Grant Serpell and Geoff Castle, replacing Lynton Naiff)

In 1971 Ronnie Scott suggested that Hoyle work with Karl Jenkins on a solo album. They wrote many of the songs together and Jenkins invited Chris Spedding, John Marshall, and Jeff Clyne, all from Nucleus, among others to play on the album. Only 300 copies of the album, Pieces of Me, were pressed. It is one of Vertigo’s rarest albums.

Hoyle emigrated to Canada in 1972, where she continued to sing, mostly jazz, with various musicians. During a sabbatical year in England in 1980, Hoyle performed and sang with the People Show. People Show No 84 (The Bridge), was staged at the Royal Court Theatre, London and the Crucible, Sheffield. Since 1984, Hoyle has sung and worked with Oliver Whitehead. Hoyle’s return to writing and recording was sparked by an Affinity reunion at a private party in 2006. After performing again with Foster at Sussex University’s 50th anniversary celebration in 2011 (this performance released as The Baskervilles Reunion 2011), work on The Fetch began. The songs on this album are all original, composed by Foster or Whitehead, with lyrics by Hoyle. The musicians include Ray Russell, Gary Husband, B. J. Cole, Peter Van Hooke and Julian Littman.

Hoyle received an Honours BA in Psychology in 1975, and a Master’s degree in Biomedical Ethics in 1982, both from the University of Western Ontario. She worked as a therapist in various agencies, and trained in Art Therapy with Irene Dewdney (1914–1999). They remained colleagues and co-workers for the rest of Dewdney’s life. With Dewdney and others, she started The Ontario Art Therapy Association in 1979. In 1988 Hoyle was invited to establish the Post Graduate Diploma in Art Therapy at the University of Western Ontario, running the programme and teaching. She co-authored, with Dewdney an art therapy textbook, Drawing Out The Self: The Objective Approach in Art Therapy, which was published in 2011, together with an accompanying Web site.

In 1972 Hoyle married John “Nick” Nicholas, the original bass player with the University of Sussex Jazz Trio. Nicholas is a historian of philosophy and science. Their daughter, Emily, was born in 1982. (by wikipedia)

And this is her extremly rare first solo album:

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It probably isn’t surprising to learn that Hoyle’s solo debut, cut following the final dissolution of Affinity in 1971, does not deviate too far from that band’s jazz-rock modus operandi. However, in seeking to trim the instrumental fat from Affinity’s sometimes gruelling work-outs, and concentrate the attention on the songs (and lyrics) themselves, it rises far above its role model, to showcase Hoyle as a far more exciting figure than her footnotes in history would have you believe. Reminiscent in places of the best of Julie Driscoll’s late 1960s work — a role model that Hoyle was singularly well-placed to succeed — Pieces of Me likewise borrows from several of Driscoll’s own influences.

Karl Jenkins

Karl Jenkins

The Nina Simone and Laura Nyro songbooks both contribute to the proceedings, with the latter’s “Lonely Woman” standing among the best tracks on the entire album. But Hoyle’s own work, largely written in tandem with keyboard player Karl Jenkins, is equally powerful, with the eerie “Hymn to Valerie Solanis” (titled for, but never mentioning the woman who shot Andy Warhol), and the regretful “Journey’s End” ranking among the other highlights. The intriguing “Ballad of Marty Mole,” meanwhile, reads like a cross between Bob Dylan and Beatrix Potter, and could well give children nightmares for days. (by Dave Thompson)

This is one of the most fascinating albums I ever heard  … it starts with one of the best Blues songs ever recorded …

And then you´ll hear very intensive and intimate songs … this album is a must !

And it ends with another great blues song from 1936, written by Willard Robison  … :

Down in Alabama, in the Revenue Mountains,
Laughing water comes out of strange fountains!
And when the evenin’ sun goes down,
Come ye’s on down to Barrelhouse Town.

There’s a dim lighted tavern,
Known as Mammy’s Rest;
Folks down in ‘Bam will tell you
That it’s Mammy’s place that they love the best.

Theres a sweet tone piano,
Worn by many thumbs,
And there’s a fellow that plays it
That uses his pedal for drums.

If you come down to Birmingham
With nary a place to go,
Fond a man called Cactus Sam,
Tell him you wanna go barrelhouse,
That’s all he needs to know!

Be there for supper
Or a plate of barbecue,
And this, along with the music,
Will make a barrelhouse man of you;
What I mean is,
You will have that lowdown feelin’ too!

If you find yourself in Birmingham
without a place to go,
Come on down to my house,
Make a palette on the floor.

I’ll have you meet some southern gal,
A-gentle sweet and kind;
There, words for your music
And music for your mind!

Let’s go barrelhouse,
All night long!

I would like to dedicate this entry to a very special woman !

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Personnel:
Jeff Clyne (bass)
Linda Hoyle (vocals)
Karl Jenkins (piano, oboe)
John Marshall (drums, percussion)
Chris Spedding (guitar)
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Colin Purbrook (piano (on 11.)

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Tracklist:
01. Backlash Blues (Simone) 5.54
02. Paper Tulips (Hoyle/Jenkins) 3.32
03. Black Crow (Hoyle/Jenkins) 3.16
04. For My Darling (Hoyle/Jenkins) 3.57
05. Pieces Of Me (Hoyle/Jenkins) 4.07
06. Lonely Women (Nyro) 4.05
07. Hymn To Valerie Solanas (Hoyle/Jenkins) 4.02
08. The Ballad Of Morty Mole (Hoyle/Jenkins) 4.32
09. Journey’s End (Hoyle/Jenkins) 3.14
10. Morning For One (Hoyle/Jenkins) 4.22
11. Barrel House Music (Bailey) 2.44

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Linda Hoyle in 2015

Jerry Murad’s Fabulous Harmonicats – Sentimental Serenade (1962)

FrontCover1Jerry Murad’s Harmonicats were an American harmonica-based group. The band was founded in 1947; by 2009, it was no longer performing. Originally they were named The Harmonica Madcaps and the group consisted of Jerry Murad (chromatic lead harmonica), Bob Hadamik (bass harmonica), Pete Pedersen (chromatic harmonica), and Al Fiore, (chord harmonica). They reformed later as a trio with Murad, Fiore, and bass harmonica player Don Les.

Pedersen and Gail Wallace remained contributors to the group throughout its existence, working on arrangements and occasionally recording.
Jerry Murad
Jerry Murad (chromatic harmonica), was an Armenian born in Istanbul, Turkey who moved to America at the age of 2. He played diatonic harmonicas at first, and took up chromatic soon after. Murad played Hohner 270s and 64s, as well as the Musette, a harmonica made especially for him that replicates the sound qualities of a French accordion. It is featured on their 1960s recording of “Parisienne Fantasy”. Murad also played the Hohner Polyphonia (a type of orchestral melodic harmonica).

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Don Les
Don Les (bass harmonica) was born in Chicago, and was blind at birth. He was able to see again at the age of twelve after a successful surgery. At one point, he formed his own version of the Harmonicats. The Don Les Harmonicats, which featured Mildred Mulcay (of the harmonica duo the Mulcays) and Lenny Leavitt. They released a Christmas album entitled Christmas with the Don Les Harmonicats.

Al Fiore
Al Fiore (chord harmonica), was born in Chicago and started experimenting with chord harmonicas at the age of 13. Fiore played the rare pre-war Hohner Chord harmonica. He recorded the band’s No. 1 hit, Peg o’ My Heart on this harmonica. (by wikipedia)

Or, in their own words:

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Ok, this is Easy Listening music but witha real unique sound.

Just listen to the legendary magic of Jerry Murad and his fabulous Harmonicats – you won’t have heard anything like it!

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Personnel:
Al Fiore (harmonica 24″ chord)
Don Les (bass harmonica)
Jerry Murad (harmonica)
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unknown bass player and drummer

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Tracklist:
01. Who’s Sorry Now? (Kalmar/Ruby/Snyder) 2.09
02. Moonlight Cocktail (Roberts/Gannon) 2.33
03. Sentimental Journey (Homer/Green/Brown) 2.15
04. Blue Champagne  (Ryerson/Watts) 2,36
05. My One And Only Love (Wood/Mellin) 2.29
06. Ebb Tide (Sigman/Maxwell) 2.21
07. September Song (Weill/Anderson) 2.18
08. On Green Dolphin Street (Kaper/Washington) 2.00
09. Nora’s Theme (Lynn) 2.12
10. There Goes My Heart (Silver/Davis) 2.39
11. Shangri-La (Malneck/Maxwell) 2.11
12. Sunrise Serenade (Carle/Lawrence) 2.45

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Magna Carta – In Concert (1971)

OriginalFrontCover1One of the six Magna Carta albums that went gold in Europe, In Concert was recorded live in Amsterdam in 1971, and remains one of the most atmospheric concert recordings of its age.

A wonderful venue (the Concertgebouw), an appreciative audience, and a genuinely intimate selection of songs result in performances that cannot even be compared to their studio counterparts.

They’re not better, they’re not worse, they’re just delightfully different, spun with a spontaneity and warmth that truly place the listener stage center. “Airport Song” opens the proceedings, of course, but the band was preaching to the converted that night — every song is received as a conquering hero, and the band responds with equal generosity.

A playful “Banjo Man,” a haunting “Seven O’Clock Hymn,” an eerie “Ring of Stones” — every track is a highlight, while the newly arrived Davey Johnstone, making his recorded debut with the band, shines so brightly that it’s hard to believe he was still unknown at the time. (by Dave Thompson)

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Personnel:
Davey Johnstone (guitar, mandolin, sitar, banjo, vocals)
Vocals, Acoustic Guitar – Chris Simpson (vocals, guitar)
Glen Stuart (vocals, glockenspiel, harmonium)

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Tracklist:
01. Introduction by Liesbeth List 0.51
02. Airport Song (Simpson) 3.39
03. Speech 0.39
04. Time For The Leaving (Simpson) 4.25
05. Speech 0.26
06. The Boatman (Johnstone) 3.10
07. Speech 1.07
08. Sea And Sand (Simpson) 4.10
09. Speech 0.394.36
11. Speech 10.02
10. Banjo (Traditional)
11. Speech 1.02
11. Old John Parker (Simpson) 2.49
12. Speech 0. 47
13. Seven O’Clock Hymn / Midwinter (Simpson) 12.51
14. Speech 0.41
15. Country Jam (Simpson/Johnstone/Stuart) 1.48
16. Speech 0.21
17. Ring Of Stones (Simpson) 5.42

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Cactus – Same (1970)

FrontCover1Cactus is the debut album by the American hard rock band Cactus, released in 1970 under the Atco label. It includes original songs as well as cover of Mose Allison’s version of a blues standard, “Parchman Farm” and another one, Willie Dixon’s “You Can’t Judge a Book by the Cover”. (by wikipedia)

Cactus may have never amounted to anything more than a half-hearted, last-minute improvised supergroup, but that don’t mean their eponymous 1970 debut didn’t rock like a mofo. The already quasi-legendary Vanilla Fudge rhythm section of Bogert and Appice may have provided the backbone of the band’s business cards, and soulful, ex-Amboy Duke Rusty Day brought the voice, but it was arguably former Detroit Wheels guitarist Jim McCarty who was the true star in the Cactus galaxy, spraying notes and shredding solos all over album highlights such as “You Can’t Judge a Book By the Cover,” “Let Me Swim,” and, most notably, a manic, turbocharged version of “Parchman Farm.”

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The fact that Cactus chose to tackle this classic blues song just a year after it’d been blasted into the fuzz-distortion stratosphere by Blue Cheer betrays — at best — a healthy competitive spirit within the early-’70s hard rock milieu, and at worst it suggests something of a mercenary nature to Cactus’ motives, but that’s an issue for the surviving bandmembers to duke it out over in the retirement home. And we digress — for the blistering closing duo of “Oleo” and “Feel So Good” (complete with bass and drum solo slots) easily certifies the Cactus LP as one of the best hard rock albums of the then brand-new decade, bar none. Too bad the illustrious members of Cactus would quickly lose interest in this band project and deliver increasingly mediocre efforts in the years that followed. (by Eduardo Rivadavia)

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Personnel:
Carmine Appice (drums, background vocals)
Tim Bogert (bass, background vocals)
Rusty Day (vocals, harmonica)
Jim McCarty (guitar)

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Tracklist:
01. Parchman Farm (Allison) 3.06
02. My Lady From South Of Detroit (Appice/Bogert/Day/McCarty) 4.26
03. Bro. Bill (Appice/Bogert/Day/McCarty) 5.10
04. You Can’t Judge a Book By The Cover (Dixon) 6.30
05. Let Me Swim (Appice/Bogert/Day/McCarty) 3.50
06. No Need To Worry (Appice/Bogert/Day/McCarty) 6.14
07. Oleo (Appice/Bogert/Day/McCarty) 4.51
08. Feel So Good (Appice/Bogert/Day/McCarty) 6.03

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