The Lovin' Spoonful - You're A Big Boy Now / Everything Playing (1967-68 us, fabulous psych folk rock, 2011 remastered with extra tracks and 2016 Blu Spec bonus tracks issue)

A pair of tasty sets from The Lovin Spoonful! You're A Big Boy Now is soundtrack to the early Francis Ford Coppola film, and a surprisingly groovy batch of tracks! John Sebastian composed the whole score, and unlike most of the other albums by The Lovin Spoonful, this one's got a lot of instrumental numbers, arranged by the great Artie Schroek – short little grooves with a really nice feel, and mixes of percussion, horns, and guitar that come off with a great groovy 60s sound! The vocal numbers are pretty great too – and titles include the sublime "Darling Be Home Soon", plus "Miss Thing's Thing", "Letter To Barbara", "March", "The Finale", "Try & Be Happy", "Wash Her Away", and "Lonely". 

1968 was a milestone year for rock music, and the Lovin' Spoonful's 'Everything Playing', although mostly overlooked today, was one of the many reasons why. It  is their last long player with chief songwriter/arranger John Sebastian – a solid effort in a (thankfully) similar vein to their earlier classic work, but with hints of the sprawling efforts that blanketed late 60s pop. There's still a few big hits in the mix – "Six O'Clock, "She Is Still A Mystery" and "Money", none of which seemed to find their way onto oldies radio playlists the way the group's earlier efforts did. 

Thanks to that lack of saturation it's pretty deeply satisfying all the way through – warm to our hearts the same way a lot of early 70s Beach Boys stuff is! Comes with 3 bonus tracks: alternate versions of "She Is Still A Mystery", "Only Pretty, What A Pretty" and "Try A Little Bit".

Tracks
1967  You're A Big Boy Now
1. You're A Big Boy Now - 2:30
2. Lonely (Amy’s Theme) (Instrumental) - 3:19
3. Wash Her Away (From The Discotheque) - 2:30
4. Kite Chase (Instrumental) - 1:21
5. Try And Be Happy (Instrumental) - 1:03
6. Peep Show Percussion (Instrumental) - 1:18
7. Girl Beautiful Girl (Barbara's Theme) - 2:23
8. Darling Be Home Soon 3:33
9. Dixieland Big Boy - 1:13
10.Letter To Barbara (Instrumental) - 0:58
11.Barbara's Theme (From The Discotheque) - 1:27
12.Miss Thing's Thang (Instrumental) - 1:37
13.March (Instrumental) - 2:28
14.The Finale - 2:29
All Songs written By John B. Sebastian

1968  Everything Playing 
15.She Is Still A Mystery 2:59
16.Prisc1lla Millionaira - 3:11
17.Boredom - 2:23
18.Six O'clock - 2:41
19.Forever (Steve Boone) - 4:21
20.Younger Generation - 2:39
21.Money - 1:53
22.Old Folks (Joe Butler) - 3:03
23.Only Pretty What A Pity (Joe Butler, Jerry Yester) - 3:00
24.Try A Little Bit - 3:03
25 Close Your Eyes (John Sebastian, Jerry Yester) - 2:43
26.She Is Still A Mystery (Bonus Track, Alternate Version) - 3:08
27.Only Pretty What A Pity (Bonus Track, Alternate Version) (Joe Butler, Jerry Yester) - 2:55
28.Try A Little Bit (Bonus Track, Alternate Version) - 3:02
All Songs written By John B. Sebastian except otherwise.

The Lovin' Spoonful
1967  You're A Big Boy Now
*Joe Butler - Drums
*John Sebastian - Guitar, Harmonica,Autoharp
*Steve Boone - Bass, Piano
*Zal Yanovski - Lead Guitar

1968  Everything Playing 
*Joe Butler - Drums
*John Sebastian - Guitar, Harmonica,Autoharp
*Steve Boone - Bass, Piano
*Jerry Yester - Lead Guitar, Piano

 The Lovin' Spoonful
1965  Do You Believe In Magic (2016 Blu Spec Bonus Tracks Edition)
1966  Daydream  (2016 Blu Spec Bonus Tracks Edition)
1966  Hums Of The Lovin' Spoonful  (2016 Blu Spec Bonus Tracks Edition)
1966 The Lovin' Spoonful - What's Up, Tiger Lily (2008 japan remaster) 
1969  Revelation: Revolution '69
Related Acts
1969-76  John Sebastian - Faithful Virtue, The Reprise Recordings 
1969  Judy Henske And Jerry Yester - Farewell Aldebaran 

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Ruthann Friedman ‎– Hurried Life / Lost Recordings (1965-71 us, gorgeous acoustic folk rock)

Born in the Bronx in July 6th 1944. Too early to be a baby boomer and too late for the 4th of July. Dog Tag days in the post WWII 50s at P.S.94, with Nuclear Bomb Drills part of our daily lives. Perhaps that is why I have spent so much of my life ducking under desks...

The Friedman family loved all kinds of music. We always sang in the car, perhaps to avoid speaking.  I started playing at Hoot nights at the Troubador when I was sixteen, hanging out with Steve Mann and Hoyt Axton and doing some serious underage drinking at Barney's Beanery and pot smoking at the Fifth Estate.

After Bob Dylan's first album was released and LSD was discovered by all, I headed down the road. My first paying gig was at the Green Spider Coffee House in Denver. It was the time of the great Hippy Migration and I sang for my supper up and down the coast of California. One summer I lived in North Beach sharing a room with good friend and brilliant guitarist Steve Mann, playing alternate weekends at the Coffee Gallery and The Coffee and Confusion. Tromping down Broadway in my short madras dress and high green boots...

Later that year I returned to San Francisco and lived with members of the Jefferson Airlplane in Haight Ashbury...sang with Country Joe and the Fish at the Avalon Ballroom and learned the pleasures of Southern Comfort from Janice Joplin while hunting for hot smokey links in the Fillmore District and purple acid from Owsley.

In Hollywood, about 1964, I became friends with Van Dyke Parks who, among other things, was the first one to say that if I wanted to be a professional all I had to do was make the commitment...always had a pot of soup on the stove...was the most fun to trip with...got me to Warner Brothers...was there helping me at every turn as I tried to make my way through the maze that is the record business.

One truly life changing effect Van Dyke had on me was to introduce me to the Association. Again they were kind enough to let me stay in the spare bedroom of their group house on Melrose Ave. The house was near Vermont Avenue within earshot of the Watts riots. In the midst of all that chaos we had great times together and there was always lots of music being played and strange potions, herbal and otherwise, being consumed.

The next years were spent in recording studios and bouncing from one relationship to another. I have miles of recording tape from that period...some good...and some that I hope to keep buried in the vault forever.

In 1967, thanks to his kindness, I was living in a spare room in David Crosby's home in Beverly Glenn Canyon. It was while living there that I wrote the song Windy. The Association recorded it and my life changed forever. The success of that simple tune gave me the freedom to do whatever I wanted.
by Ruthann Friedman

Tracks
1. Hurried Life - 2:33
2. That's All Right - 3:23
3. To Treat A Friend - 2:59
4. Sky Is Moving South (Peter Kaukonen, Ruthann Friedman) - 4:02
5. Looking Glass - 3:28
6. Silver Bird - 2:30
7. Betweeen The Lines - 2:52
8. I’m Askin’ - 2:02
9. Windy - 2:22
10.Typical Sunday - 2:23
11.Southern Comfortable - 3:22
12.Alone At Last - 2:51
13.Boy Took A Ticket - 2:15
14.Method Madness - 2:52
15.Little Girl Lost And Found (Tandyn Almer) - 3:02
All compositions by Ruthann Friedman except where indicated

*Ruthann Friedman - Vocals, Guitar

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Turnquist Remedy - Iowa By The Sea (1970 us, tremendous west coast psych folk blues rock, Gear Fab release)

Turnquist Remedy were a band that embodied the fluid guitar sound and vocal harmonies so prevalent of the late 60's and early 70's. Turnquist Remedy played together from 1968 to at least 1971, possibly later. Band members were Michael Woods, Murphy Scarnecchia, Scott Harder, and John Maggi (Larry Vilaubi, Larry Knechtel, and George Semper played on the album). 

They toured Northern and Southern California extensively during these years. Research shows they played together as early as December 13,1968 at The Bank in Torrance, California and as late as August 1, 1971 at the San Diego Sports Arena. We have also heard a rumor that they appeared on the 1960's drama show "The Mod Squad" as a hippie band; however, this has not yet been confirmed. Michael Woods went on to play with America in the late 70's and early 80's while John Maggi later performed with String Cheese. 

Larry Knechtel was a session musician best known for his work with Simon & Garfunkel (piano on Bridge Over Troubled Waters), The Beach Boys (Pet Sounds, Smile), and Bread. His electric bass guitar riffs on The Byrd's "Mr. Tambourine Man" are now legendary. Special thanks to Al Schmitt for his assistance in this project.

by Roger Maglio

Tracks
1. Just A Number - 2:42
2. Last Cigarette (Michael Woods, Douglas Benton, Dennis Hudson) - 3:26
3. Anytime Soon - 3:00
4. Flyin' Dudley Waltz - 2:30
5. We Don't Even Know - 3:57
6. All Gone Blues Act - 7:02
7. Cowboy Song - 3:20
8. Reno, Nevada (Richard Farina) - 5:22
All songs by Michael Woods except where stated

Turnquist Remedy
*Michael Woods - Guitar, Vocals
*Murphy Scarnecchia - Lead Guitar, Vocals
*Scott Harder - Bass, Vocals
*John Maggi - Drums, Percussion
*Larry Vilaubi - Drums
*Larry Knechtel - Piano, Organ
*George Semper - Piano,  Organ

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Fargo - I See It Now (1969 us, charming sunny flower baroque psychedelia, Vinyl issue)

This post is dedicated to Cor by Anatoly

Dean Wilden and Tony Decker are Fargo. Their home is Salt Lake City, Utah. People who meet them or hear their music find that fact incongruous, for thinking of Salt Lake City brings to mind the Tabernacle with its mysteries and its majesty and the descendents of Brigham Young quietly living their lives by that oddly isolated sea in the heartland of America. Somehow it's hard to imagine young contemporary singers-composers at work against this backdrop. 

Twenty-one years of living in and around Utah and Colorado have been etched into their memories and have made the personalities of Tony and Dean. A mother plays the violin to entertain her children; a father softly strums his guitar in the evening; Sundays echo the magnificent music of the church. 

There is always music—choir practice, school concerts and the radio bringing in the sounds of New York, Nashville and Hollywood. Two distinct musical personalities evolve, and upon meeting they merge, and the halfthought- out melodies of childhood can no longer wait to become songs.

I See it Now by Tony and Cross with No Name by Dean are new songs about Jesus. A Castle in Wales is about a castle in Wales, unless you want to search for hidden meanings. Lady Goodbye is a timeless morality ballad.

Here are Tony Decker and Dean Wilden with their songs and music. Not New York, Nashville or Hollywood – not even pure Salt Lake City - just FARGO.

Original Liner-notes

Tracks
1. 'Round About Way Of Describing Our Situation (Decker)- 2:37
2. Lady Goodbye (Wilden, Cooper)- 1:52
3. The Sound Of It (Decker)- 2:40
4. Places Everyone (Decker)- 2:01
5. A Castle In Wales (Decker)- 2:50
6. Talks We Used To Have (Decker)- 2:35
7. When The Dew Drops Change To Teardrops (Wilden)- 2:11
8. Promises Of Love (Decker)- 2:17
9. You Need Me (Decker)- 1:24
10.Cross With No Name (Wilden, Cooper)- 2:49
11.I See It Now (Decker)- 2:29

Fargo
*Dean Wilden - Vocals Guitar
*Tony Decker - Vocals Guitar
With
*Terry Paul - Bass
*Rick Cunha - Guitar

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The Siegel Schwall Band - 953 West (1973 us, amazing electric blues folk rock)

This is my favorite Siegel-Schwall album. It's the one I would take with me to a desert island, if I had to choose just one. Why? Well, the songs are all so well played and the writing is the most mature of all thier records. Jim's "I Think It Was The Wine" is a great story song and features one of the best guitar solos he ever played. Just superb. Corky gets a harp solo in there too and it compliments the song so well, it just sounds seamless.

 "Just Another Song About The Country Sung By A City Boy", besides being the longest song title in the band's canon, laments the spread of urban sprawl, unchecked growth, pollution and traffic choked city streets. "Reed Zone" (Psychiatric Institution Blues) is a number about a fellow bent on suicide ('Bring me my shotgun babe, bring me my sleeping pills') and Big Bill Broonzy's "When I've Been Drinkin'" tells the story of a fellow who's had a few too many and just wants to sleep it off. Jim's acoustic finger picked guitar and vocal and Corky's harp accompaniment combine to make this a standout track on the album. 

This album also features drummer Shelly Plotkin's only vocal and songwriting appearance on a Siegel-Schwall record ("Good Woman"). All in all, a great album and a satisfying listen.

Oh, yeah. Jim Schwall told me it's his favorite too, so there ya go. 

by William H. Haines

Tracks
1. I'd Like To Spend Some Time Alone With You Tonight My Friend (C. Siegel) – 4:12
2. Traitor From Decatur (Patrick Garvey) – 2:54
3. Good Woman (Shelly Plotkin) – 4:10
4. Just Another Song About The Country Sung By A City Boy (Danny Glicken, Siegel) – 5:23
5. When I've Been Drinkin' (Big Bill Broonzy, Additional Lyrics by Jim Schwall) – 4:06
6. Old Time Shimmy (Rollo Radford) – 3:54
7. Off To Denver (Siegel) – 3:13
8. I Think It Was The Wine (Schwall) – 3:50
9. Reed Zone (Psychiatric Institution Blues) (Siegel) – 5:59
10.Blow Out The Candle (Schwall) – 2:25

Siegel Schwall Band
*Corky Siegel – Piano, Harmonica, Vocals
*Jim Schwall – Guitar, Vocals
*Rollow Radford – Bass, Vocals
*Sheldon Ira Plotkin – Drums, Percussion

1971  The Siegel-Schwall Band
1972  Sleepy Hollow

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Foghat - Energized (1974 uk, fantastic hard funky boogie rock, japan remaster)

It jumps open with an unequivocal derangement of ol' Kansas City Joe Turner's "Honey Hush," in a marvelously shameless send-up of the Yardbirds. A rare cut that makes you discover how loud your equipment can go, it sets the album's tone. Ten Years After comes in for the same treatment with "Wild Cherry." Throw in a thankfully tasteless "That'll Be the Day" for an album than wins full points on irreverence alone.

In addition, Energized has a great "Step Outside" that reminds me of Three Dog Night, and an original "Home in My Hand" that's almost as good as the oldie of the same title everyone else is doing. It's a rude, raving riot of an album, from a group that's doing a bang-up job of closing the gap between where rock & roll has been and where it ought to be going.

by Greg Shaw, Rolling Stone, 1974

Tracks
1. Honey Hush (Turner) - 4:21
2. Step Outside (Peverett, Price, Earl, Stevens) - 6:18
3. Golden Arrow (Peverett, Price) - 4:03
4. Home in My Hand (Peverett, Price) - 5:13
5. Wild Cherry (Peverett, Price, Earl, Stevens) - 5:27
6. That'll Be the Day (Allison, Holly, Petty) - 2:53
7. Fly by Night (Stevens) - 4:47
8. Nothin' I Won't Do (Peverett, Price) - 6:57

Foghat
*Dave Peverett - Rhythm Guitar, Vocals
*Rod Price - Lead Guitar, Slide Guitar
*Tony Stevens - Bass
*Roger Earl - Drums

Foghat
1972  Foghat (1st Album, Japan remaster)
1973  Rock And Roll (Japan remaster)
Related Acts
1967-68  Savoy Brown - Shake Down / Getting To The Point
1969-70  Savoy Brown - Raw Sienna / Looking In

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Steppenwolf - Live (1970 canada, great classic hard rock, 2013 japan SHM bonus tracks remaster)

The group's first live album, recorded in one night and originally released as a two record set including some studio recordings overdubbed despite the bands will. Nevertheless, it catches the band in excellent form and is a reminder of what a great live band Steppenwolf is.

After the “Monster” album, The band needed a breather from the constant studio recording activities. It was therefore decided that a live album was exactly what we needed. We recorded one of our concerts at the Santa Monica civic auditorium which was a benefit for the “Students Against The War In Cambodia Committee”.

The resulting recordings had more material that would fit on one album but not enough to fill 2 disks. Consequently we recorded additional songs such as “Hey Lawdy Mama” “Corina Corina” and “Twisted” in the studio where we then (through the addition of canned applause) tried to integrate these extra cuts into the truly live tracks. While with hindsight, I wish we would have had the chance to record multiple concerts because then we would not have had to live or die with the results of only one performance, this album.

Steppenwolf

Tracks
1. Sookie, Sookie (Don Covay, Steve Cropper) – 3:09
2. Don't Step On The Grass, Sam (John Kay) – 6:01
3. Tighten Up Your Wig (Kay) – 4:23
4. Monster (Kay, J Edmonton, L Byrom, N. St. Nicholas) – 9:56
5. Draft Resister (Kay, Goldy Mcjohn, Byrom) – 3:46
6. Power Play (Kay) – 5:41
7. Corina, Corina (M Parish, J. Mayo Williams, B. Chatman) – 4:09
8. Twisted (Kay) – 5:02
9. From Here To There Eventually (Kay, Mcjohn, Edmonton) – 6:40
10.Hey Lawdy Mama (Kay, Byrom, Edmonton) – 2:59
11.Magic Carpet Ride (Kay, Rushton Moreve) – 4:06
12.The Pusher (Hoyt Axton) – 6:02
13.Born To Be Wild (Mars Bonfire) – 5:43
14.Hey Lawdy Mama (Mono Single Version) (Kay, Byrom, Edmonton) – 3:20
15.Twisted (Mono Single Version) (Kay) – 3:44

Steppenwolf
*Larry Byrom - Guitar
*Jerry Edmonton - Drums
*John Kay - Vocals, Guitar
*Goldy McJohn - Keyboards
*Nick St. Nicholas - Bass Guitar

1968  Steppenwolf (2013 japan SHM bonus tracks and 2014 SACD)
1969  Early Steppenwolf (1967 Live, Japan SHM mini lp)
1969  At Your Birthday Party (Japan SHM 2013 remaster)
1969  Monster (2013 japan SHM issue)
1971  For Ladies Only (Japan SHM 2013 remaster)
Related Act
1968  John Kay and the Sparrow
1972  John Kay – Forgotten Songs and Unsung Heroes

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Guess Who - Shakin' All Over / Hey Ho (What You Do To Me) / It's Time (1965-66 canada, incredible garage beat roots 'n' roll)

Aside from the magical garage rock classic Shakin' All Over by The Guess Who, the other thirty one gems that make up this wonderful new collection are probably being heard for the very first time by many of their fans.In 1965, when the first rudiments of this superstar act were just beginning to soar into the American and Canadian charts with the smash single Shakin' All Over, three Canadian only released albums would follow over the next few years.Friday Music is proud to be issuing these fantastic three albums on one new compact disc for the first time anywhere for your listening pleasure.

Their debut album Shakin' All Over includes some of the finest musicianship to ever be recorded in their homeland of Canada.Other tracks like I've Been Away and Like I Love You make this first effort a memorable one.A very pleasing half hour of Canadian Rock 60s style that has stood the test of time.Even to this day, The Guess Who still perform the title track in concert.

Hey Ho (What You Do To Me) continues The Guess Who's sojourn with an almost English Invasion approach, which works extremely well on songs like the harmonica laden I Should Have Realized and Randy Bachman's stellar instrumental Made In England.A nicely balanced album with a surprising rendition of Bruce Johnston's five star ballad Don't Be Scared.Rescued from vinyl oblivion, Bachman's remastering job really shines on this second effort.

A real find in this collection is the Canadian garage band classic It's Time.This amazing third chapter from this superstar band also introduced the world to the great voice of Burton Cummings.Along with founders Randy Bachman on guitar, the ever talented Jim Kale on bass and jazz rock drum style of Gary Peterson, these four gentlemen delivered some of the finest tunes ever with tracks like One Day, the bluesy Clock On The Wall and the chain gang rock of Seven Long Days.Never released on vinyl in the States, this newly remastered version should make a lot of Guess Who fans rejoice.

Shakin' All Over/Hey Ho (What You Do To Me)/It's Time were three definitive rocking chapters in the legendary career of The Guess Who.These recordings reveal a snapshot in Canadian musical history, never to be repeated again by anyone, but to be emulated by many.Their music is played on every classic rock and oldies station in the world, and fortunately for all of us, they continue to thrill crowds with their shopping list of number ones from multi-platinum albums recorded over the years.Now, you have your own eighty minute concert to enjoy courtesy of The Guess Who.

CD Liner-notes

Tracks
Shakin' All Over
1. Shakin' All Over - 2:43
2. Like I love You - 1:59
3. Till We Kissed (Where Have You Been) - 2:37
4. Shy Guy - 2:27
5. Shot Of Rhytmn' Blues - 2:07
6. I Want You To Love Me - 2:20
7. I'd Rather Be Alone - 2:10
8. I've Been Away - 2:09
9. Tuff E Nuff - 2:34
10.Turn Around And Walk Away - 2:30
Hey Ho (What You Do To Me)
11.Hey Ho - 2:09
12.Should Have realized - 2:05
13.Hurting Each Other - 2:16
14.Made in England - 3:01
15.I'll Keep Comin' Back - 1:53
16.Stop Teasing Me - 2:35
17.Could This Be Love - 2:08
18.Theme From A Musicbox - 2:13
19.Don't Be Scared - 2:12
20.Goodnight Goodnight - 2:31
It's Time
21.Alright - 2:21
22.And She's Mine - 2:40
23.As - 2:23
24.You Know He Did - 2:03
25.Baby Feelin' - 2:00
26.Clock On The Wall - 3:01
27.Don't Act So Bad - 3:09
28.Believe Me - 2:53
29.Seven Long Years - 2:46
30.One Day - 2:01
31.Gonna Search - 2:27
32.Guess I'll Find A Place - 2:24

The Guess Who
*Randy Bachman - Guitar
*Burton Cummings - Vocals,
*Jim Kale - Guitar Bass,
*Garry Peterson - Drums

Guess Who for more
1966-68  The Guess Who - This Time Long Ago

1967-68  Let's Go
1972  The Guess Who - Live At The Paramount

Related Act
1970/72  Brave Belt - Brave Belt I / II

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Huckle - Wild Blue Yonder (1976 canada, exceptional psych folk harmonies with southern rock airstream, 2012 korean remaster)

The singer-songwriter known as Huckle was born in 1954 and grew up in Montreal and Toronto Huckle moved west to Gabriola Island in 1973 and helped organize two western tours by Perth County Conspiracy (dne), performing the warmup act for some of the shows. 

In spring 1974  on the first of the tours a live recording was made of eleven original Huckle songs with Gary McKeehan engineering. Nine songs were recorded live after soundcheck for Perth County's Vancouver concert at Pender Auditorium March 1974 The band included: Huckle (vocals, guitar, mandolin) with Richard Keelan (guitar) Michael Butler (bass) George Koumantaros (congas) from Perth County, as well as Paul Gellman (vocals, fiddle, guitar) and Wende Sinclair (vocals, bamboo flute).

Two more songs performed by Huckle and Paul were recorded live on stage at Gabriola Hall the next night. These tracks became Huckle's first album release "Upon a Once Time" 500 copies were pressed and mostly sold off the stage at concerts. One of the very first "indie"  records, it has now become rare vinyl and sells for a lot more than it did when it was new ($3) if you can find one.

In summer 1974 Huckle moved to Salt Spring Island and joined the wildly popular local band Sodbusters. They threw boogies at community halls on Vancouver Island, the Gulf Islands and the mainland. They also had a grant to tour and perform in BC prisons and work camps. That fall they recorded an album with Si Garber in Vancouver, now also rare vinyl

After wintering in Central America, a summer 1975 tour in eastern Canada included performances by Huckle at many folk festivals (Home County, Northern Lights) and folk coffeehouses (Black Swan, Yellow Door). Paul Gellman and Huckle did a caravan cross Canada tour that fall, with Laura, Cathy, Sam and Jeremy, and Sally Sunshine along, and landed back on Gabriola Island. Huckle and Paul formed a band, Wild Blue Yonder, with Wende Sinclair, Tom Agostino, and Straw. They did a western Canada tour in spring 1976 including a live radio show at the Hovel in Edmonton with Holger Petersen.

A third tour in fall of 1976 as a duo with Tom Agostino introduced the second Huckle album "Wild Blue Yonder", now, you guessed it, rare vinyl. Recorded live and in the studio,   300 copies were pressed Also that year Huckle performed on the national CBC radio show Touch the Earth with Sylvia Tyson and Bill Garrett. In 1977 Huckle moved back to Salt Spring Island and began performing solo again, mostly in Victoria. This led to the formation of Real Fantasy Band. He teamed up with some jazz fusion players (including Hugh Fraser), and played festivals and shows with them for three years.

His third album "Real Fantasy" had band recordings on side one and acoustic solo tracks recorded at Michael Grieve's Keye Studio in Victoria on side two, released on cassette only.

Huckle

Tracks
1. Wild Blue Yonder - 4:14
2. Rolling River - 4:41
3. I Surrender - 3:33
4. Flower To The Sun - 6:18
5. She's Coming Home - 3:28
6. Beautiful You Are - 4:27
7. High For Sky - 1:16
8. Gather The Children - 3:42
9. Wild Night - 4:08
All songs written by Huckle

Band
*Huckle - Vocals, Acoustic, Electric Guitars, Flute, Piano
*Paul Gellman - Vocals, Fiddle, Guitar, Piano
*Wende Sinclair - Vocals
*Tom Agostino - Vocals, Bass
*Straw - Wooden Drums
*Bob Walshaw - Drums

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The Lovin' Spoonful - Hums Of The Lovin' Spoonful (1966 us, delightful psych folk, blues country rock, japan extra tracks issue)

Writing about The Lovin' Spoonful can drive a guy nuts. As you dig into the group's music, the lingering questions become increasingly perplexing:  Why have they never received their due as musicians? Why was their role as the earliest innovators of "country-rock" music swept under the rug? 

Why don't their terrific albums top the lists of the best records of the 1960s? Maybe it was because they appeared to be having way too much fun.  Their "Good Time Music" branding, teenybopper appeal and singles band image gave the group its share of identity problems.  And until recently, their catalog was largely unavailable. But still...

The Spoonful was one of the best bands in the land in a golden age of pop music. Bassist Steve Boone and drummer Joe Butler formed a rocking,  lilting rhythm section. John Sebastian, ranked highly among the era's best songwriters, sang lead, played rhythm guitar, harmonica and autoharp, underscoring the folk leanings of the group. Zal Yanovsky, an uncommonly original guitarist, was their secret weapon. 

On his electric Thunderbird he conjured Floyd Cramer piano slip notes, pedal steel licks, French horn sounds and unbridled rock'n'roll mayhem. Instead of wearing their musicianship on their sleeves, The Lovin' Spoonful were unshakably unpretentious and exuded an air of impossible coolness.

The record that could and should have earned the Spoonful their rightful place on the short list of exalted rock royalty is Hums Of The Lovin' Spoonful, considered by many to be their best album.  Like their first two long-players, it glistens with chart-toppers and vital tracks. 

Amazingly, it was crafted in catch-as-catch-can sessions, in the throes of constant touring, at a time when the fabric of the band began to unravel in the aftermath of a demoralizing drug bust. While the high standard established on their earliest recordings left scant room for quantum artistic leaps between releases, Hums marks a refinement of the band's immediately identifiable groove. Their folk, blues, country and jug band roots meet an intensified focus on production value and experimentation to yield a fabulous sounding record. 

It's also their first LP comprised fully of original compositions. Along with Revolver, Pet Sounds, Face To Face and dozens others, Hums Of The Levin' Spoonful is one of the great mindblasts of the pre-flower era. With a dearth of feedback, deep introspection or acid-tinged twinges, The Spoonful staked a turf wholly their own in the pop landscape. Notwithstanding a few cuts that pack the wallop of the clobber of an old comfortable shoe, the acoustic-driven Hums virtually kills the listener with kindness. Hums Of The Lovin' Spoonful, titled as a reference to Winnie The Pooh, was released on the MGM subsidiary Kama Sutra in late 1966, in time for the year's Christmas market. 

The band had been on a mind-numbing roll, commercially and creatively, since the release of their first single "Do You Believe In Magic" in the summer of 1965.  The promise evidenced on their debut album (bearing the same title as their first 45} blossomed on the Top Ten Daydream, their second LP, in the spring of '66, and a potential career-crushing sophomore slump was avoided. 

Later that year they were tapped to score Woody Allen's spy-spoof flick What's Up, Tiger Lily?  By January of '67, their streak of consecutive Top Ten singles would number seven.  Three of them, including the Number One smash "Summer In the City," formed the core of Hums. The control room team for Hums was Erik Jacobsen, the band's producer beginning with "Magic," and Daydream engineer Roy Halee,  noted for his work with Simon & Garfunkel and Bob Dylan. While many of the sessions were held at Columbia's 7tn Avenue facility and Bell Sound in midtown NYC, some recording was done on the West Coast. Hums kicks off with a tune conceived and committed to tape in L.A. 

"Lovin' You" stemmed from John and Zally's riffing on a Mississippi John Hurt feel.  The old-timey shuffle steps into the '60s pop realm with an electric 12-string guitar and the Hohner tubon (or "Phabulous Phallon," as Zal dubbed it),  an inexpensive, cylindrical keyboard instrument.  Bobby Darin covered the song during his folk-rock period and enjoyed a Top 40 hit in early '67.

Musically, the blueprint for "Best Friends" is Ma Rainey and the bedrock of the track sports John's antique harmonium. The '20s authenticity is rendered by a vintage trap kit with a 30 inch bass drum and sock cymbal, banjo, and Steve's upright bass.

More than a year after Hums hit the streets, tongues were wagging about Dylan's John Wesley Harding leading the pack "back to the roots. " These guys had already been there, done that, and then some. After all is said and done, the "whys" and "firsts" are interesting and all,  but who really gives a darn? The music is all that matters. The Spoonful had the goods. They played "clean as country water" and "wild as mountain dew." The great news is that Hums Of The Lovin' Spoonful is back off the shelf. Strike the harp and join the chorus!

by Dennis Diken January 2003 

Tracks
1. Lovin' You - 2:29
2. Bes' Friends - 1:54
3. Voodoo In My Basement - 2:29
4. Darlin' Companion - 2:22
5. Henry Thomas - 1:43
6. Full Measure" (Steve Boone, John Sebastian) - 2:42
7. Rain On The Roof - 2:13
8. Coconut Grove (Sebastian, Zal Yanovsky) - 2:43
9. Nashville Cats - 2:35
10.4 Eyes - 2:53
11.Summer in the City (Steve Boone, John Sebastian, Mark Sebastian) - 2:45
12.Darlin' Companion (John Sebastian Solo Demo) - 2:23
13.Rain On The Roof (Instrumental Version) - 2:17
14.4 Eyes (Alternate Vocal, Extended Version) - 3:41
15.Full Measure (Instrumental Version) - 2:43
16.Voodoo In My Basement (Instrumental) - 2:40
17.Darlin' Companion (Alternate Vocal, Alternate Mix) - 2:25
All songs by John Sebastian unless otherwise noted.

The Lovin' Spoonful
*John Sebastian - Lead Vocals, Guitar, 12-string Guitar, Autoharp, Piano, Organ, Ocarina, Pedal Steel Guitar, Irish Harp
*Steve Boone - Electric & Double Bass, Piano, Organ, Percussion
*Joe Butler - Drums, Percussion, Vocals
*Zal Yanovsky - Electric, Acoustic Guitar, Banjo, Vocals, Slide Whistle
Guest Musicians
*Henry Diltz - Clarinet
*Artie Schroeck - Electric Piano
*Larry Hankin - "Jews" Harp

 The Lovin' Spoonful
1965  Do You Believe In Magic (2016 Blu Spec Bonus Tracks Edition)
1966  Daydream  (2016 Blu Spec Bonus Tracks Edition)
1966 The Lovin' Spoonful - What's Up, Tiger Lily (2008 japan remaster) 
1967-68  You're A Big Boy Now / Everything Playing (2011 edition and 2016 Blu Spec Bonus Tracks Edition)
1969  Revelation: Revolution '69
Related Acts
1969-76  John Sebastian - Faithful Virtue, The Reprise Recordings 
1969  Judy Henske And Jerry Yester - Farewell Aldebaran 

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Chicken Shack - 100 Ton Chicken (1969 uk, awesome blues rock, 2013 remastered and expanded edition)

The amusingly titled "100 Ton Chicken' represents Chicken Shacks third album on the Blue Horizon label. Released in late Spring '69 it heralded a shift in the band's recorded output brought about mainly as a result of the departure of Christine Perfect, who had handled not only the keyboard chores bust also a substantial part of the vocal work with the hand (it was her vocal on the reworking of Etta .lames' "I'd Rather Go Blind" that gave the Shack their top ten single success) left to persue a solo career. 

Organist Paul Raymond was recruited immediately and thrown as it were, into the deep end. The decision had been taken to get to work on a new studio album as quickley as possible. Stan in particular was keen to get away from the sound associated with the first two albums. We thought it a good idea to look for a new venue and come April of 1969 we found ourselves at Barry Morgan's Studios in North London. 

Apart from recordings that had been made on location abroad , this was to be the first time any Blue Horizon act had recorded anywhere other than CBS Studios. Bond Street. The results sounded quite different and gave The Shack what they were looking for - a "heavier" sound. Now you know how the title "100 Ton Chicken" was coined !

Far more care was taken will the choice of material for this project. Stan took to writing new material with a s ightly more commercial appeal to it. We ' rere all acutely aware of the need to ;ome up with a follow-up to "I'd Rather Go Blind" and we knew to a man it wouldn‘t be easy. In fact "Tears In The Wind" prc 'ved to be something of a success when one considers that many media people expected the follow-up to feature the dulcet tones of Christine. 

Stan also penned a couple of fine instrumentals of his own (in the Freddie King mould of course) and got another opportunity to make ise of some Cockney rhyming slang ("Horse & Cart"). We covered a Clarence Carte  tune ("Weekend Love"): took a nood once again in the direction of the great Freddie King by covering "Look Ma, I'm Cryin' " and cut versions of Lowell Fulson's "Reconsider Baby" and Gatemouth Brown's "Midnight Hour". 

Stan even expertly handled a rendition i if Davy Grahams erstwhile instrumental "Anji". More time was also spent pulling this set together than had been taken by their predecessors. Whereas in the past we had tended to rush in. book two days and complete the job we made several visits spanning almost four weeks. This gave everyone the chance to regroup and analyse what had gone before and then re-record it : if we felt it necessary. 

We also recorded a I number of other titles that in fact have never been released. Now this may be because they were never finshed or just ; weren't good enough. No attempt has been made to discover whether these multitracks (16 tracks as I recall) still exist or not, so who's to say.

Further potential points of interest in relation to this release? Well, Morgan Sound still exists today except that the name has changed. It's still in the same place - although its expanded to both sides of the street. Look for Power Plant and Battery Studios. Our engineer on those dates was Roy Baker - nowadays better known as Producer Roy Thomas Baker (Queen. etc...) 

The album artwork was as bizarre as always - Terence Ibbott in charge. For those of you who may still have the original vinyl release (with gatefold sleeve) particular note should be taken of the exceptional photographic work. The basic theme for these sessions was jointly planned by Stan and Terence. Quite where they got the idea from heaven knows ! You can however have fun with sticky pieces of paper and your own "bubble" quotes .

Personally. I think we were all mad. But at least its made people stop and look and hopefully, listen. But - despite all our efforts. "100 Ton Chicken" was not. regretfully, the success we had all hoped for. It did not make the album charts as the two earlier efforts had done - but then you win some and lose some. The Chicken Shack continued to work the college and club circuit, here and throughout Europe increasing their already substantial fan base. One thing that Stan and his band members have never been are quitters. More power to the Parson's Nose I say.

by Mike Vernon , 1994

Tracks

1. The Road Of Love (Clarence Carter) - 3:31

2. Look Ma, I'm Crying' (Rudolph Toombs, Jerry Harris) - 3:25 

3. Evelyn - 4:17

4. Reconsider Baby (Lowell Fulson) - 3:25

5. Weekend Love (Clarence Carter) - 2:14

6. Midnight Hour (Clarence  Brown) - 2:55

7. Tears In The Wind - 2:45

8. Horse And Cart - 3:38

9. The Way It Is - 4:29

10.Still Worried About My Woman - 3:12 

11.Anji (Davy Graham) - 1:38

12.The Things You Put Me Through - 3:56

13.Night Life (Paul Buskirk, Walter Breeland, Willie Nelson) - 5:23

Tracks 3,7,8,9,10,12 written by Stan Webb

Chicken Shack
*Stan Webb – Guitar, Vocals
*Paul Raymond – Keyboards, Vocals
*Andy Sylvester – Bass Guitar
*Dave Bidwell – Drums, Congas, Cowbell
With
*Mike Vernon – Finger Cymbals

Chicken Shack
1968  40 Blue Fingers, Freshly Packed And Ready To Serve (2013 reissue)
1970  Accept (japan remaster and expanded)
1973  Unlucky Boy (2013 reissue)
1974  Go Live "Goodbye Chicken Shack" 

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The Siegel-Schwall Band - Sleepy Hollow (1972 us, solid chicago blues rock)

The Siegel-Schwall Band's 1972 album "Sleepy Hollow" was the progressive Chicago blues hand's second of five early '70s albums for the RCA-distributed Wooden Nickel label also the early home of Styx following four discs for Vanguard. 

It followed the quartet's 1971 self-titled album, which mixed studio and live tracks in essentially the same blues rock format of the preceding final Vanguard entry, "Siegel-Schwall "70."

But "Sleepy Hollow " was all studio and showed the increasing experimentation within the blues format that would mark the band's final few years though it should be notted that Siegel-Schwall continues to reunite periodically for concert appearances, with the great Sam Lay replacing the late Shelly Plotkin on drums.

The title track, then, seems to bear little resemblance to the Chicago blues form that the Vanguard Siegel-Selm all releases typified. Written and sung by Siegel, a piano and harmonica virtuoso of  remarkable invention and wit. The mellow tune was an appropriately lazy take on a relaxed rustic homestead  the complete opposite of the band's urban reality.

Other Siegel tunes included the fast-back "Somethin's Wrong," characterized by Siegel as a "blues polka": "Always Thinkin’ Of You Darlin'." Which offered a poppy slant on a standard blues shuffle; and "Hey. Billy Jean," written with Chicago Folkie Jim Post (formerly of Friend And Lover and "Reach Out Of The Darkness" fame) and demonstrating Siegel's "hoe-down blues" harmonica mastery.

Schwall. who met up with Siegel in 1964 when both were music students at Roosevelt t'niversity in Chicago, was also a unique blues stylist, with an electrified (Gibson B-25) acoustic guitar. Here he's represented by some of his most memorable songwriting. Especially the immortal "Sick To My Stomach." which delightfully documented the nausea the singer experienced when jealously imagining his girl being with someone else.

"Blues For A Lady" showcased his guitar prowess in the slow Blues format, while the shuffle of "You Don't Love Me Like That" juxtaposed Sehwall’s guitar work and Siegel's blues-harp play. Bassist Hollow Radford. who went on to play with Sun Ra, was ever the band's crowd-pleaser, thanks to his unrestrained soul on numbers like his lead track "I Wanna Love Ya."

But the most telling track of the set was Siegel's "His (Good Time Band." The tribute to an exemplary musician who just didn't care to compete commercially, but was content enough to sit back and play his music solely for the love of it. surely spoke for Siegel-Sehwall—which in the late ‘60s and early '70s virtually owned the Midwest, yet disbanded at the height of its popularity to pursue other interests.

Five of the nine tracks on "Sleepy Hollow" resurfaced last year on Varese Vintage's "The Very Best Of The Siegel-Schwall Band The Wooden Nickel Years (1971-74)." Subsequently, the entire Wooden Nickel Siegel-Schwall catalog was reissued by Wounded Bird Records. 

There are also two Vanguard label compilations of previous Siegel-Schwall recordings, including the comprehensive “ . . . Where We Walked 1966-70”

by Jim Bessman

Tracks
1. I Wanna Love Ya (Rollo Radford) – 04:01
2. Somethin's Wrong (Corky Siegel) – 04:12
3. Sleepy Hollow (Siegel) – 3:33
4. Blues For A Lady (Jim Schwall) – 8:35
5. His Good Time Band (Siegel) – 3:59
6. You Don't Love Me Like That (Schwall) – 3:31
7. Sick To My Stomach (Schwall) – 2:23
8. Always Thinkin' Of You, Darlin' (Siegel) – 3:30
9. Hey, Billie Jean (Jim Post, Siegel) – 6:06

The Band
*Corky Siegel – Piano, Harmonica, Vocals
*Jim Schwall – Guitar, Vocals
*Rollo Radford – Bass, Vocals
*Shelly Plotkin – Drums

1971  The Siegel-Schwall Band

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Chris Farlowe - Out of Time The Immediate Anthology (1965-69 uk, fabulous mod r'n'b, two disc set)

In his own time on Immediate Records, British soul shouter Chris Farlowe's output was sliced and diced and re-compiled so many times that no one even remembers the names of his original albums for the label (not that those were any better or more coherent -- Immediate founder Andrew Oldham was always so busy trying to exploit Farlowe any way he could, as one of the two or three best-selling talents on his label). 

Out of Time, subtitled "The Immediate Anthology," is the solution, its 49 songs drawn equally from Farlowe's singles, B-sides, EPs, and LP tracks, with the quality of the performances the only real deciding factor. The first half-dozen songs here could sell even the skeptics on Farlowe's talent, his renditions of "In the Midnight Hour," "Mr. Pitiful" and "Treat Her Right" are among the most convincing white soul you're ever likely to hear from either side of the Atlantic, and they also explain precisely how Farlowe was able to share a stage with Otis Redding (the equivalent of visiting royalty) on Ready, Steady Go (when Farlowe covered his first Stones' song, "Satisfaction," he used an arrangement that made it sound more like Otis than like the Stones). 

The only disadvantage is that the hits are, of necessity, spread out to two platters, but if it were solely the hits one were concerned with, then one would be getting one of those compilations, instead of this jewel, the next-best thing to a Chris Farlowe box set. The sound is never less than excellent -- and good and loud -- and the annotation is very thorough. 

by Bruce Eder

Tracks

Disc 1

1. The Fool (Naomi Ford, Lee Hazlewood) - 3:02

2. Treat Her Good (Deighton) - 1:58

3. In the Midnight Hour (Steve Cropper, Wilson Pickett) - 2:19

4. Mr. Pitiful (Steve Cropper, Otis Redding) - 2:33

5. (I Can't Get No) Satisfaction (Mick Jagger, Keith Richards) - 2:28

6. Who Can I Turn To? (Leslie Bricusse, Anthony Newley) - 2:31

7. Think (Mick Jagger, Keith Richards) - 3:37

8. Don't Just Look at Me (Andrew Loog Oldham) - 2:44

9. My Colouring Book (Fred Ebb, John Kander) - 3:01

10.Lipstick Traces (Naomi Neville) - 3:18

11.Summertime (G. Gershwin, I. Gershwin, DuBose Heyward) - 4:37

12.That's No Big Thing (Dixon, Emerson) - 3:29

13.Don't Play That Song (Ahmet Ertegun, Betty Nelson) - 3:30

14.Looking for You (Doctor Ragavoy, Jerry Ragovoy) - 2:24

15.It's All over Now, Baby Blue (Bob Dylan) - 3:39

16.I Just Don't Know What to Do with Myself (B. Bacharach, H. David) - 2:32

17.Rockin' Pneumonia and the Boogie Woogie Flu (H. "Piano" Smith, J. Vincent) - 2:30 

18.Why Don't You Change Your Ways (Lutcher) - 3:28

19.My Girl Josephine (Fats Domino) - 2:13

20.Yesterday (John Lennon, Paul McCartney) - 2:30

21.Out of Time (Mick Jagger, Keith Richards) - 3:14

22.Baby Make It Soon (Andrew Loog Oldham, Eric Woolfson) - 2:17

23.Ride on Baby (Mick Jagger, Keith Richards) - 2:55

24.Headlines (Greenslade, Andrew Loog Oldham) - 3:25

25.What Becomes of the Broken Hearted (James Dean, Paul Riser, William Weatherspoon) - 2:40

Disc 2
1. We're Doing Fine (Horace Ott) - 2:38
2. Life Is But Nothing (A. Rose, Donald Ross Skinner) - 4:06
3. Paint It Black (Mick Jagger, Keith Richards) - 3:00
4. Cuttin' In (Johnny "Guitar" Watson) - 2:59
5. Open the Door to Your Heart (Darrell Banks) - 2:34
6. North South East West (Farlowe, Lee) - 3:55
7. You're So Good for Me (W. Bell, A. Loog Oldham, A. Rose) - 2:15
8. It Was Easier to Hurt Her (J. Ragovoy, C. Richard, B. Russell) - 3:08
9. I'm Free (Mick Jagger, Keith Richards) - 2:23
10.I've Been Loving You Too Long (Jerry Butler, Otis Redding) - 2:57
11.Reach Out (I'll Be There) (Lamont Dozier, Brian Holland) - 3:15
12.My Way of Giving (Ronnie Lane, Steve Marriott) - 2:34
13.Yesterday's Papers (Mick Jagger, Keith Richards) - 2:38
14.Moanin' (Jon Hendricks, Bobby Timmons) - 2:33
15.What Have I Been Doing (Vincent Crane) - 3:53
16.Handbags and Gladrags (Michael d'Abo) - 3:58
17.Everyone Makes a Mistake (Vincent Crane) - 2:03
18.The Last Goodbye (Michael d'Abo) - 2:52
19.Paperman Fly in the Sky (Vincent Crane) - 2:47
20.I Just Need Your Lovin' (Vincent Crane) - 3:13
21.Dawn (Hammond, Waddell) - 3:49
22.April Was the Month (Vincent Crane) - 3:54
23.Moanin' (Jon Hendricks, Bobby Timmons) - 2:30
24.Paint It Black (Mick Jagger, Keith Richards) - 3:35

*Chris Farlowe - Vocals

1970  Chris Farlowe With The Hill - From Here To Mama Rosa

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Various Artists - Raw Blues (1967 uk / us, superb electric blues)

From this modest beginning Mike Vernon was eventually able to lure several 'name' Stateside blues men to 'The Supreme Record Company's' then head offices on London's Albert Embankment, for the purpose of inking a recording contract, and thereafter driving them to West Hampstead — Decca's studio complex. Simultaneously, his was the influence which convinced some of Britain's finest home-grown exponents of the genre to follow a similar course.

This package, aptly titled Raw Blues, was assembled by Mike and issued on Decca's subsidiary 'Ace Of Clubs' label in January 1967 (ACL (Mono)/SCL (Stereo) 1220). An intriguing collection of artifacts, its wetter of big name participants may now be appreciated through the sophisticated medium of sound which is a compact disc. The technology may be smoother these days, but the blues remain as raw as ever...

A few details about the contents and its protagonists wouldn't go amiss: Bom Jackson, Mississippi, on 21 st March 1930, Otis Spann shared his parents affections with two brothers and two sisters. Product of a musically inclined family, his father Frank Euston Spann played piano and mother Josephine was formerly a guitarist with Memphis Minnie, a top vocalist who knew a good picker when she heard one, having married another Jackson six-string resident, Joe McCoy (Kansas Joe). Mot surprisingly, Otis took to music like a duck to water, adopting piano as his chosen Instrument Largely self-taught, in later life he always acknowledged the influence Big Maceo Merriweather had upon his style. Gaining confidence as a result of forming a small band with some other local juveniles, when he heard about a neighbourhood talent competition happening at the Alamo Theatre he entered and won — as a singer — performing Coot Davis' Four O'clock Blues. 

With the passing years he pursued medical studies at Jackson's Campbell College in the hope of becoming a doctor. When not buried in textbooks, he displayed a sporting prowess at boxing and football, briefly even turning professional at the latter. Between 1946 and '51 the U.S. Army called upon his time, but after discharge he relinquished all thoughts of any other occupation than music and moved to Chicago. The rest of the family had domiciled themselves there two years earlier, when mother died. Swiftly contacted by Muddy Waters, Otis joined the great guitarist/vocalist and stayed with his outfit for many years thereafter, although between 1952 and the time of this recording he'd also supplied studio accompaniment for such legends as Chuck Berry, Howlin' Wolf, Bo Diddley and Lowell Fulson. 

Visiting Britain in May 1964 for a tour, our subject recorded an acclaimed Decca LP: The Blues Of Otis Spann (LK 4615). Included here are the four additional cuts from that London session of May 4th: Pretty Girls Everywhere (a), My Home In The Desert and the McKinley Morganfield (alias Muddy Waters) duo Country Boy and You're Gonna Need My Help. Personnel: Otis Spann (Vocal, Piano); 'Brother' (Guitar); Ransom K nowli ng (Bass); Little Willie Smith (Drums); add Eric Clapton (Gtr.) on (a) only. Further south in New Orleans, seaport metropolis of Louisiana, on Independence Day 1910, was bom William Thomas 'Champion Jack' Dupree. His father was French, while mother was a descendant of the Cherokee Indian tribe. 

Tragically, both were killed when the family home burnt down during his seventh year. After spending the next seven cooped up in an institution he ran away, but not before he'd mastered the basics of singing and playing piano. Thereafter he maintained his existence by thumping the untuned pianos of seedy dubs and houses of ill-repute, acquiring the technique known as' Barrelhouse' playing thanks to prominent exponent of the art Willie Hall, otherwise billed as Drive 'em Down. 

The Depression found our subject attempting to make ends meet by taking up boxing—whence 'Champion Jack' — but by the mid-Thirties he'd joined forces with Cotton Club keyboarder Leroy Carr. Upon the tatter's early death Jack was offered the unfortunate vacancy, which he accepted. In 1940 the Okeh label added him to their roster; it was the first of a multitude of labels great and small to do so over the next thirty years, including King — where he notched a big hit on the R ' n' B charts, Walkingthe Blues, in 1955-and Atlantic. 

As blues music gained European popularity through the Fifties, many big names were lured from America to tour and occasionally record as a bonus. Big Bill Broonzy was instrumental in persuading Dupree to take the plunge, and he liked it so much that by 1960 he'd married an English giri half his age and settled in Zurich, Switzerland.  From here he was able to commute around Europe, finding appreciative audiences for his set which at that time still included some dance routines — early in his career he'd worked in vaudeville performing the tap variety.

By 1965 he was living in and working out of Denmark's capital, and the following February Mike Vernon signed him to a three album deal for Decca. The first of these, From New Orleans To Chicago (LK 4747), hit the shops in April, and included here are the two tracks from those sessions which were omitted through lack of space: Calcutta Blues (a) and the Eddie Boyd penned 24 Hours. Backed by an all-star British group, Now deservedly billed as 'The Father Of British Blues', John Mayall is rightly predominant on this collection. As one of the handful of pioneers responsible for popularizing the style in the U.K., his contribution cannot be overstated. 

The Bluesbreakers became a veritable 'nursery' for so many future stars in their formative years, and amongst the home grown contingent on display here are some of the finest. Of his two solo billings, the impassioned Burn Out Your Blind Eyes and Milkman Strut, this second title prevailed, according to Vernon's original album sleeve note, when the daily delivery to the studios saw the dairy employee wander in midway through a 'take', deposit his crate, and nonchalantly walk out slamming the door behind him...

Of John's pairing with organist Steve Anglo, it may now be revealed that for Anglo read Winwood. Owing to contractual obligations elsewhere he could not appear under his true identity when the album was published. Rhythm section duties on Long Night belonged to then Bluesbreakers' members John McVie (Bass) and drummer Aynsley Dunbar.

The Mayall and Clapton liaisons here, John's Lonely Years and Eric's instrumental Bernard Jenkins, were cut at Mike's instigation and originally issued as a back-to-back limited edition 45 on his own Purdah label. Dating from the period between the players' joint collaborations under contract to firstly Andrew Oldhams Immediate company and then Decca, (Bluesbreakers era), both were committed through a single microphone in the middle of the capital's Wessex Studios in Soho, hence the unusual sound.

At the time of its taping, Peter Green had recently been recruited to the Mayall ranks as Eric's axe wielding replacement. On his own composition, Evil Woman Blues, he displayed a mature prowess at both playing and singing despite his relative lack of experience. In time, of course, he formed Fleetwood Mac, but that's another story... Legendary purveyors of the blues from both sides of the Atlantic are gathered together in this one historical little collocation. We all owe grateful thanks to Mike Vernon for making it possible. Why wait? Just play on...

by John Tracy, London, 1987

Tracks
1. Otis Spann - Pretty Girls Everywhere (Church, Williams) - 2:57
2. John Mayall - Burn Out Your Blind Eyes (Mayall) - 3:00
3. Champion Jack Dupree - Calcutta Blues (Unknown) - 4:00
4. John Mayall And Steve Anglo - Long Night (Mayall, Anglo) - 2:04
5. Otis Spann - Country Boy (Morganfiled) - 3:34
6. Curtis Jones - You Got Good Business (Jones) - 3:23
7. John Mayall And Eric Clapton - Lonely Years (Mayall) - 3:21
8. Peter Green And John Mayall - Evil Woman Blues (Green) - 4:04
9. Otis Spann - My Home In The Desert (Unknown) - 4:20
10.John Mayall - Milkman Strut (Mayall) - 2:26
11.Champion Jack Dupree - 24 Hours (Boyd) - 4:07
12.Curtis Jones - Roll Me Over (Jones) - 2:38
13.John Mayall And Eric Clapton - Bernard Jenkins (Clapton) - 3:50
14.Otis Spann - You Gonna Need My Help (Morganfield) - 3:25

Musicians
*Champion Jack Dupree - Piano, Vocals
*Alexis Korner - Guitar
*Aynsley Dunbar - Drums
*John Mayall - Guitar, Harmonica, Piano, Vocals
*Peter Green - Guitar, Vocals
*Eric Clapton - Guitar, Vocals
*Curtis Jones - Piano, Vocals
*Eddie Taylor - Drums
*Otis Spann - Piano, Vocals
*Steve Anglo - Organ
*Tony Mcphee - Guitar
*Jack Fallon - Bass
*Keef Hartley - Drums
*Malcolm Pool - Bass
*Ransom Knowling - Bass
*John Mcvie - Bass
*Little Willie Smith - Drums

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