Rockasteria

Tuesday, May 26, 2026

Floating Bridge - Floating Bridge (1969 us, awesome heavy blues psych, 2005 bonus tracks remaster)

Guitarist Rich Dangel had been a member of The Wailers, as well as the lesser known The Rooks and a late incarnation of The Time Machine. Following The Time Machine's collapse in 1967 Dangel and bass player Joe Johnson decided to form their own band. Recruiting guitarist Joe Johansen and drummer Michael Marinelli the result was The Unknown Factor. Serving as a for-hire backing band, the quartet worked with local acts such as Patti Allen and Ron Holden.

In 1968 they added former Punch singer Pat Gossan to the lineup. They quickly scored a deal becoming the house band at Seattle's Eagle Auditorium and attracted considerable attention as one of the acts performing at the 1968 Sky River Rock Festival. The resulting publicity saw them sign a contract with the L.A. based Vault Records. The group subsequently debuted with a dandy 1968 single 'Brought Up Wrong' b/w 'Watch Your Step' (Vault catalog number V-947).

While the single did little commercially, it attracted enough attention for Vault to finance a follow-on album. Released in 1969 the cleverly titled "Floating Bridge" teamed the band with producer Jackie Mills. Musically the set offered up a standard mix of originals and popular covers, but the results were killer throughout. With Dangel, Johnson and Gossan responsible for most of the original material, tracks like 'Brought Up Wrong', the earlier single 'Watch Your Step', and 'Three Minute & Ten Second Blues' sported a distinctively heavy, Hendrix-inspired sound.

Propelled by Gossan's likeable voice and Dangel and Johansen's twin leads extended guitar rave-ups like 'Crackpot' and their Byrds/Stones instrumental medley should strike a chord with the two hard rock fans out there reading this. Elsewhere another 'Hey Jude' cover wouldn't have sounded like the year's most imaginative move, but these guys managed to pull it off.

Envision the song redone as an instrumental with a heavy edge that would have sounded good on an early Allman Brothers album ... one of the most impressive Beatles covers I've ever heard. In fact the only real disappointment is the routine bluesy closer 'Gonna' Lay Down 'n Die'. Much better than the standard references would have you think (and surprisingly hard to find in decent shape).

by Scott Blackerby

Tracks
1. Crackshot (Rich Dangel, Joe Johnson, Pat Gossan) - 7:00
2. Hey Jude (Instrumental) (John Lennon, Paul McCartney) - 6:12
3. Watch Your Step (Rich Dangel, Joe Johnson , Pat Gossan) - 4:00
4. Three Minute & Ten Second Blues (Pat Gossan) - 3:10
5. Brought Up Wrong (Rich Dangel, Pat Gossan) - 3:47
6. Medley: - 5:35
....a. Eight Miles High (Instrumental) (Gene Clark, Roger McGuinn)
....b. Paint It Black (Instrumental) (Mick Jagger, Keith Richards)
7. You've Got the Power (Rich Dangel, Pat Gossan) - 3:40
8. Gonna' Lay Down 'n Die (Rich Dangel, Joe Johnson, Pat Gossan, Joe Johansen, Michael Marinelli) - 7:26

9. Don't Mean A Thing (Pat Gossan) - 2:11

10.Mr. Jaybird (Joe Johnson, Pat Gossan) - 2:34

Bonus Tracks 9,10

Floating Bridge
*Rich Dangel - Lead Guitar
*Pat Gossan - Vocals
*Joe Johansen - Lead Guitar
*Joe Johnson - Bass
*Michael Marinelli -- Drums, Percussion

Monday, May 25, 2026

rep>>> Mary Butterworth - Mary Butterworth (1969 us, marvellous west coast psych rock, 2010 rerelease)

In the Spring of 1968, the Mary Butterworth band was formed. They enjoyed playing a variety of engagements around the Southern California area and in 1969, they recorded their one and only album entitled Mary Butterworth. This original, vinyl album was pre-sold to fans and friends only - it was never available to the general public.

Shortly thereafter, the group split up and never performed together again. Years passed and rumors spread that Mary Butterworth had made it big. Of course, that was not the case. What did happen was that one of those original vinyl albums made it into the hands of "bootleggers" in another country. They thought enough of the music to reissue the album, and they began a sales campaign of their own. It didn't stop there. The Butterworth album has been bootlegged at least three other times in two different countries.

This bootlegging has created a Mary Butterworth following and pushed the price of the original vinyl album to over $300.00 per used record. The Psychedelic Rock Music of the '60's is still regarded, even today as some of the greatest live music ever created - and Mary Butterworth will now be a lasting part of that history. This has prompted the re-release of this album, which is mastered from the original studio recording onto Compact Disc.

This CD contains photos of the group, as well as the signature of the original lead singer and bass player Michael Ayling.

Tracks
1. Phase II - 6:10
2. Optional Blues - 4:03
3. It's A Hard Road - 5:51
4. Make You Want Me - 2:40
5. Feeling I Get - 3:58
6. Week In Eight Days - 8:50
All Music and Lyrics by Michael Ayling Brewer, Jim Giordano, Michael Eachus, Michael Hunt

Mary Butterworth
*Michael Hunt - Drums, Vocals
*Michael Eachus - Hammond
*Michael Ayling - Bass, Vocals, Flute
*Jim Giordano - Guitar

1970-72 The Mob - The Mob

rep>>> The Mob - The Mob (1975 us, fascinating soul funk brass rock, 2024 japan remaster and expanded)

Chicago-based group called the MOB, a seven-piece “show band” that had been playing around the Windy City for years. Jimmy Jimmy Holvay and Gary Beisbier, go all the way back to 1964 with the Chicago chart instrumental “Beatle Time” as the Livers on Constellation. The MOB was formed in the mid-1960s and was one of the early rock bands that featured brass in the lineup. They were still charting records in the mid-1970s, and were quite influencial on the Chicago scene. For Colossus, they charted “I Dig Everything About You” [Colossus 130, #83] and “Give It to Me” [Colossus 134, #71] in early 1971, the last chart hits for Colossus. Their album charted at #204. Jimmy Holvay and Beisbier were accomplished songwriters, having penned most of the hits of fellow-Chicago band the Buckinghams. Other members of the Mob were Al Herrera (lead vocals), Tony Nedza, Bobby Ruffino, James Franz, and Michael Sistak.

Tracks

1. All The Dudes Are Dancing (Jimmy Holvay, David Balteaux) - 4:35

2. Get It Up For Love (Ned Dohney) - 3:46

3. S.Y.A. (Jimmy Holvay, Gary Beisbier) - 3:55

4. Hot Music (Michael Randall, Jimmy Holvay) - 3:38

5. Rock And Roller (Chris Bond) - 3:17

6. Can't Stop This Love Song (Michael Randall) - 3:36

7. When You Get Right Down To It (Barry Mann) - 3:35

8. Magical Lady (Jimmy Holvay, Gary Beisbier) - 3:48

9. Just One Good Woman (Don Dunn, Tony McCashen) - 3:15

10.Who's Foolin' Who? (Steve Barri, Michael Omartian, Michael Price, Dan Walsh) - 4:58

11.Don't Let It Get You Down (Lee Garrett, Robert Taylor) - 3:03

12.Skysurf (Theme For The Hanggliders) (Gary Beisbier) - 3:47

13.Love Connection (James Holvay) - 3:18

14.Gemini Lady (Michael Sistak) - 4:02

Tracks 1-10 for "The Mob" 1975

Tracks 11-12 single 45' 1976

Tracks 13-14 single 45' 1977

The Mob

*Al Herrera - Lead Vocals, Tenor Saxophone

*Gary Baisbier - Alto, Baritone Saxophones

*Jimmy Holvay - Rhythm Guitar

*Mike Sistak - Rhythm Guitar, Steel Guitar, Trombone

*Tony Nedza - Electric Piano, Organ, Synthesizer

*Jimmy Ford - Flugelhorn, Trumpet, Baritone Horn

*Bobby Ruffino - Percussion

With

*Hal Blaine - Drums, Congas

*Dennis Budimir - Electric Guitar

*Mike Melvoin - Electric Piano

*Tom Scott - Tenor Solo Saxophone

1975-79 The Count Bishops - The Best Of

Sunday, May 24, 2026

rep>>> The Count Bishops - Speedball Plus 11 (1975 multinational, powerful boogie pub rock)

The Count Bishops had formed in June of 1975 from the remnants of a group called Chrome. Rhythm guitarist Zenon de Fleur (aka Hierowski) and New York emigrant and vocalist Mike Spenser, via an advert in Melody Maker, brought in Australian drummer Paul Balbi, and, all the way from Hatfield on bass, Steve Lewins. Paul had not long arrived from the Antipodes, where he had been playing in several bands, and Steve had come directly from the acoustic Spaniel Mountain - now there's a name to conjure with.

Before leaving his native New York, Mike had been in a band called the Kingbees with Johnny Guitar (guitar). In July he had been persuaded to come to London on the promise of a record deal, with an, as yet, non-existent label, and a full date book in the pubs of London: faith is a wonderful thing. The band were named after a New York street gang by Mike.

Up until now the "Speedball" EP has been the only material available from these sessions, and indeed the only Count Bishops record with Mike Spenser as vocalist. In early 1976 Mike departed after a contretemps with a plate glass window, the last in a series of confrontations with inanimate objects that led to the band requesting his departure. He went on to form London's premier garage band, The Cannibals.

The band continued through one album and single for a Dutch label, Dynamite Records, without replacing Mike, before cutting their first Chiswick album with Australian chanter Dave Tice. Shortly after this Steve Lewins moved on to the Wilko Johnson band. With the addition of Pat McMullen on bass the band went on to release a further two albums for Chiswick. They finally disbanded after the tragic death of Zenon in 1979 from injuries received in a car wreck.

This CD consists of the original EP, released on 28th November 1975, exactly 20 years ago, plus the rest of the material recorded at the Pathway sessions, and two cuts from a previous session at [future Stiff Records' bossman] Dave Robinson's studio above the Hope & Anchor pub, with a slightly different line up.

As mentioned in the sleeve note to the Chiswick Story, 'Walking The Dog' and 'I'm A Man' were cut at these sessions, with the former's bass line registering it unuseable (note that Steve Lewins was not on this session). Since then the multi-track tape has surfaced, confirming my fragile remembrance of the 'Walking The Dog' story, and featuring two cuts of Tm A Man', as well as two cuts of 'I Want Candy' and several attempts at Otis Redding's 'I've Got Dreams To Remember', with seriously fractured lead vocal.

Original mix downs of Tm A Man' and 'I Want Candy' have also surfaced, and close this CD. The version of 'I Want Candy' is interesting since it pre-dates by 3 years the Bishops single (NS 37/CHIS 101). The version of Tm A Man' is via Bo Diddley, Muddy Waters' 'Mannish Boy' and incongruously David Bowie's The Jean Genie'. In hindsight The Count Bishops "Speedball" EP is a link between the pub rock of the early 70s and the punk rock that arrived snarling and kicking a year later.

Though based on the early Rolling Stones recordings, the Count Bishops revved up their punky R&B approach and whizzed through the songs at breakneck speed. In fact at a Count Bishops gig Upstairs At Ronnie's, Malcolm McLaren once bent my ear for a good deal of the evening as to whether Mike Spenser was the man he had been looking for to front the new group he was putting together. Cheeky bugger - trying to nick the lead singer of our only act.

by Roger Armstrong, 1995

Tracks
1. Route 66 (Bobby Troup) - 2:57
2. I Ain't Got You (Calvin Carter) - 1:50
3. Beautiful Delilah (Chuck Berry) - 2:08
4. Teenage Letter (Big Joe Turner, Renald Richard) - 2:25
5. Cry to Me (Bert Russell) - 3:40
6. Buzz Me Babe (James Moore, Jerry West) - 2:55
7. Sweet Little Sixteen (Chuck Berry) - 2:47
8. Honey I Need (Dick Taylor, Peter Leslie Smith, John Warburton) - 2:11
9. Carol (Chuck Berry) - 2:37
10.Don't Start Crying Now (James Moore, Jerry West) - 2:02
11.Mercy Mercy (Don Covay, Ronald Miller) - 3:00
12.Reelin' and Rockin' (Chuck Berry) - 3:14
13.Down The Road A Piece (Don Raye) - 2:49
14.I'm a Man (Bo Diddley) - 3:42
15.I Want Candy (Bert Berns, Bob Feldman, Jerry Goldstein, Richard Gottehrer) - 3:13

The Count Bishops
*Johnny Guitar - Guitar, Vocals
*Paul Balbi - Drums
*Steve Lewins - Bass
*Zenon De Fleur - Guitar Vocals

1977 The Count Bishops - The Count Bishops (2005 remaster)

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Saturday, May 23, 2026

rep>>> P.F. Sloan ‎- Measure Of Pleasure (1968 us, tremendous folk rock, 2006 issue)

With the exception of "Secret Agent Man", nearly all of P.F. Sloan's best-known songs appear on his mid-'60s Dunhill records. While Songs Of Our Times and Twelve More Times endure as classic folk-rock albums, and "Take Me For What I'm Worth" as first-rate songwriting, Measure Of Pleasure sounds far more modern as a piece of recording than the Dunhill LPs. Produced in 1968 by Tom Dowd and recorded in Muscle Shoals with a band that included Steve Cropper, Measure was overlooked upon its release. Still, Sloan's rich tenor and controlled falsetto mark him as a completely credible pop-soul singer. "New Design" stands with his best work, and on "Country Woman" he sings, "Everything I could hope for/Is waiting for me down in Tennessee," and sounds convincing. The idiomatic backing tracks are superb, and Sloan sings as though he needs nothing more than a hot meal and a warm Tennessee woman.

by Edd Hurt

The brilliant first Atlantic album by PF Sloan blend of New York folk and rougher roots, all recorded at the Sun Studios in Memphis, with some great help from a backing group that includes Steve Cropper on guitar! Sloan's folkie tendencies are nicely undercut by the harder Memphis groove here – one that's got some slightly soulful undercurrents, and which works beautifully with the poetry of his original compositions. The blend is one that helps keep the record from sounding too much like any of Sloan's contemporaries – although at one level, it's also a conduit for so a huge amount of different musical ideas and options that were opening up to American singers at the end of the big folk boom of the 60s. Elements of Tim Hardin, Tim Buckley, and Fred Neill certainly surface here – but there's a sense of self that's all Sloan's own, and which makes us wish he'd followed up with work as strong as this!

P.F. Sloan, the songwriting great behind classic singles like Barry McGuire's "Eve of Destruction" and Johnny Rivers' "Secret Agent Man," passed away Monday night (Nov. 15/2015) after a short bout with pancreatic cancer, the musician's representative confirmed to Rolling Stone. Sloan, who was born Philip Schlein, was 70.

Rolling Stone

Tracks
1. One Of A Kind - 3:02
2. New Design - 3:58
3. (What Did She Mean When She Said) Good Luck - 2:59
4. How Can I Be Sure - 4:45
5. Star Gazin' - 3:10
6. Miss Charlotte - 3:53
7. Champagne - 3:36
8. And The Boundaries Inbetween - 3:15
9. Above And Beyond The Call Of Duty - 3:40
10.Country Woman (Can You Dig It All Night) - 4:15
Words and Music by P.F. Sloan

*P.F. Sloan - Guitar, Vocals

1965-66 PF Sloan - Precious Time / The Best Of (vinyl edition)
1972 P.F. Sloan - Raised On Records

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rep>>> The Fort Mudge Memorial Dump - The Fort Mudge Memorial Dump (1969 us, bostown psychedelic rock, 2005 akarma digi pak issue)

Fort Mudge Memorial Dump was a band from Walpole, Massachusetts, that started playing by 1969, gathering a good number of fans. They got filed into the “Boston Sound”, among the Ultimate Spinach, the Beacon Street Union, Orpheus, Tangerine Zoo, ecc.

With good technique and better ideas, they recorded a very sought-after LP in which the powerful voice of Caroline Stratton stands out to some Jefferson Airplane affinity. Guitarist Dan Keady, with his jazzy effects, leads the band.

Tracks
1. Mr. Man (Caroline Stratton, Dan Keady) - 2:39
2. Crystal Forms (Caroline Stratton, Dan Keady, James Deptula, Dave Amaral) - 5:45
3. Actions Of A Man (Richard Clerici) - 3:21
4. Blue's Tune (Dan Keady) - 3:15
5. The Seventh Is Death (Richard Clerici) - 5:29
6. What Good Is Spring (Caroline Stratton) - 4:02
7. Tomorrow (Richard Clerici) - 3:07
8. Know Today (Caroline Stratton, Dan Keady) - 2:08
9. Questionable Answer (Caroline Stratton) - 3:23
10. The Singer (Richard Clerici, Dan Keady) - 7:41

The Fort Mudge Memorial Dump
*Caroline Stratton - Vocals
*Dan Keady - Guitar
*James Deptula - Drums
*Dave Amaral - Bass
*Richard Clerici - Vocals, Rhythm Guitar

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Friday, May 22, 2026

rep>>> Neil Diamond - The Bang Years (1966-68 us, superb pearly folk sunny psych, his best masterwork, 2011 remastered)

Neil Diamond transitioned from professional songwriter to performer when he signed with Bang Records in 1966. There, he cut two albums -- his 1966 debut The Feel of Neil Diamond and its 1967 sequel Just for You -- that contained his greatest songs: “Solitary Man,” “Cherry, Cherry,” “Girl, You’ll Be a Woman Soon,” “Kentucky Woman,” “Thank the Lord for the Night Time,” “I’m a Believer,” “Red, Red Wine,” “The Boat That I Row,” “You Got to Me,” and “Shilo.”

All these, along with the rest of the two Bang albums all presented out of LP order, are on Columbia/Legacy’s 2011 The Bang Years: 1966-1968, by far the best overview ever assembled of this crucial era for Diamond. It’s not just that these are Diamond’s best songs but these are his best records: crisp, lively, colorful pop tunes balanced by luxurious moody brooding ballads.

Once he turned into a superstar Diamond tended to rely on his innate showmanship, but here at the beginning of his career he sounded hungry and knew how to have fun, giving these records a snap that still stings decades later. And Diamond knows just how good these recordings are, as indicated by the terrific autobiographical liner notes he’s penned for this collection, notes that give this music context, but they’re not necessary to appreciate The Bang Years: this is pop music that’s so pure it needs no explanation.

by Stephen Thomas Erlewine

Tracks
1. Solitary Man - 2:34
2. Cherry, Cherry - 2:47
3. Girl, You’ll Be a Woman Soon - 3:00
4. Kentucky Woman - 2:26
5. Thank the Lord For the Night Time - 3:03
6. You Got to Me - 2:52
7. I’m a Believer - 2:44
8. Red, Red Wine - 2:41
9. Boat That I Row - 2:39
10.Do It - 1:55
11.New Orleans (Frank Guida, Joseph Royster) - 2:26
12.Monday, Monday (John Phillips) - 3:01
13.Red Rubber Ball (Paul Simon) - 2:23
14.I’ll Come Running - 3:02
15.La Bamba (Ritchie Valens) - 2:09
16.Long Way Home - 2:31
17.I’ve Got the Feeling (Oh No No) - 2:20
18.You’ll Forget - 2:49
19.Love To Love - 2:22
20.Someday Baby - 2:18
21.Hanky Panky (Jeff Barry, Ellie Greenwich) - 2:49
22.Time Is Now - 3:06
23.Shilo - 3:25
All songs by Neil Diamond except where noted.

Musicians
*Neil Diamond - Acoustic Guitar, Vocals
*Hugh McCrackin - Guitar, Harmonica
*Al Gorgoni, Sal DiTroia, Charlie Macy, Bill Suyker - Guitar
*Eric Gayle - Electric Guitar
*Artie Kaplan - Saxophone
*Eddie Bert, Nicky Gravine, Benny Powell - Trombone
*Artie Butler - Piano, Organ
*Herb Lavelle, Gary Chester , Buddy Saltzman - Drums
*Ellie Greenwich, Jeff Barry - Tambourine, Hand Claps, Background Vocals
*George Devens - Percussion

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1972 Tony Kelly - Bring Me Back (2014 korean remaster)

Thursday, May 21, 2026

rep>>> Tony Kelly - I Never Got (1973 uk, elegant folk soft rock with funk and jazz elements, 2014 korean remaster)

Released in 1975 as the second work of British singer-songwriter Tony Kelly, who released a total of three albums. What is similar to his debut work is that it shows high-quality musicality with the participation of many guest musicians other than the main character, and all songs are filled with his own compositions, clearly showing his high songwriting skills.

On the other hand, the difference between his two albums is that the American swamp atmosphere is stronger than the previous release, and a sophisticated AOR atmosphere is felt, depending on the song. It is a work that is not well-known compared to his debut, but it is an effort that can appeal to both British and American singer-songwriter music lovers.

Tracks

1. Can't Help Thinking (About The Good Times) - 3:59

2. Mr Medicine Man - 3:36

3. See What I Can Find - 3:30

4. Misunderstanding - 6:06

5. Count Me On Your Side - 3:42

6. Changing Your Style - 3:30

7. Coming Near Your Time - 3:42

8. I Never Got - 4:40

9. Find Your Own Way - 3:53

10.I Tried - Yes I Did - 3:00

Lyrics and Music by Tony Kelly

Personnel

*Tony Kelly - Lead Vocals, 6 and 12 string Acoustic, Electric Guitars

*Mick Cox - Electric Guitar

*Micky Moody - Electric Guitar

*Neil Hubbard - Electric Guitar

*Mick Weaver - Keyboards

*Nick Judd - Keyboards

*Bruce Rowland - Drums

*Terry Stannard - Drums

*Chrissie Stewart - Bass

*Marty Lewis - Bass

*Dave Brooks - Tenor Saxophone

*Jo Ann Kelly, Viola Wills, Frank Collins, Dyan Birch - Vocals

*Paddie McHugh and The Ever Present Chorus - Vocals

*Frankie Blackwell, Millie, Marty, Tony and the Two Nicks - Vocals

Wednesday, May 20, 2026

rep>>> Cream - Live Cream (1967-68 uk, superb heavy blues psych rock, 2010 japan SHM remaster)

Cream was a band born to the stage, a fact that the band and their record label realized the public fully understood by the number one U.S. chart placement for Wheels of Fire, with its entire live disc, and the number two chart peak for Goodbye, the posthumous release that was dominated by concert recordings. And in response to those success, we got Live Cream, Vol. 1 (originally known simply as Live Cream) in the spring of 1970, nearly 18 months after the trio's breakup. This could well be their most consistently brilliant album for sheer musicianship, though it is also a peculiar one on a couple of counts, some of which probably prevented it from reaching quite as wide an audience as it might have otherwise.

Released in April 1970 and derived from tapes made at three May 1968 California shows, all of the live tracks here consist of songs originally featured on the group's least ambitious and most rudimentary album, Fresh Cream, dating from 1966 -- and as it happens, there's not a hit represented among the five songs, a fact that probably made this release seem more appealing to hardcore fans than to casual and curious listeners (who didn't know what they were missing).

The performances here show how far the group had come in the nearly two years since laying down the studio originals -- take side one of the original LP, where they stretch out their playing, as well as boost it to new levels of intensity, on "N.S.U." and "Sleepy Time Time," so that the renditions here are the definitive ones, and by themselves should have made this album an essential acquisition back in 1970. But that brings us to the original side two and the 15-minute rendition of "Sweet Wine," an excursion by all three players that is worth the quarter-hour time commitment of the listener.

The live portion of the album ends with their searing, rollicking high energy rendition of Muddy Waters' "Rollin' and Tumblin'." And then, for reasons not clear -- except perhaps simply that it was there, in the vaults, and seemed like a valuable piece of property, which it was (and what else were they going to do with it?) -- the producers close Live Cream with a studio cut, "Lawdy Mama," an Eric Clapton-inspired take on a traditional tune that subsequently evolved into the hit "Strange Brew" during what became the Disraeli Gears sessions. It's not a match for everything we've heard, but in the spring of 1970 no one was exactly complaining over being handed a previously unissued studio track by the Cream, as a bonus to the concert performances here.

As it turned out, there were more live tracks from some of these same shows to draw on in future releases and reissues, which would include a couple of the group's hits; but Live Cream offers the overall highest quality, both in terms of clarity and fidelity, and the performances, which, in addition to the essential great playing (better in some ways than what was heard on some of the much-vaunted live tracks from Wheels of Fire), include excellent vocalizing by Clapton and Jack Bruce.

Not that vocalizing looms that large here -- the live tracks are all given extended jazz-based treatment, and the dialog among the three musicians as the jams develop is fascinating. Foreground and background seem to dissolve as all three musicians take charge, using the full range of their instruments. And where Bruce goes with his bass, especially on "Sweet Wine," is every bit as rewarding as the places that Clapton's guitar takes us; and Ginger Baker's playing is a trip all its own. Performances like this single-handedly raised the stakes of musicianship in rock.

by Bruce Eder

Tracks
1. N.S.U. (Jack Bruce) - 10:15

2. Sleepy Time Time (Jack Bruce, Janet Godfrey) - 6:49
3. Sweet Wine (Ginger Baker, Janet Godfrey) - 15:16
4. Rollin' And Tumblin' (Muddy Waters) - 6:42
5. Hey Lawdy Mama (Traditional) - 2:48
Recorded May 1967 at Atlantic Studios, New York City, 7 March 1968 at The Fillmore, San Francisco, 9 and 10 March 1968, Winterland, San Francisco

Cream
*Jack Bruce - Bass, Harmonica, Vocals
*Eric Clapton - Guitar, Vocals
*Ginger Baker - Drums

1972 Cream - Live II (2010 Japan SHM-CD)

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Tuesday, May 19, 2026

rep>>> Cream - Live Cream II (1972 uk, classic heavy blues psych rock, 2010 japan SHM remaster)

An oft-overlooked curio, Live Cream, Vol. 2 appeared at a very odd time, with very little warning, almost two years after its predecessor -- and at virtually the same time as the related (though not overlapping) History of Eric Clapton. And both showed up, not coincidentally, at a point when Clapton, unbeknownst to most of the public, was sidelined with a crippling heroin addiction -- this album helped keep him in the public eye, as a singer as well as a guitarist.

On its face, Live Cream, Vol. 2 is a more ambitious album that its predecessor, offering more songs and including concert versions of two of the group's AM radio hits (as opposed to the album tracks that comprised the repertory on Live Cream, Vol. 1). And it is just about essential listening for anyone who wants to understand what Cream was about, which was live performance. Utilizing -- for the time -- state of the art mobile recording equipment, it was a significant achievement at the time in capturing the genuine sound of a high-wattage power trio on-stage, playing away at full volume; and the overall sonic excellence here must surely be credited to engineers Tom Dowd and Bill Halverson.

The feeling that you are in the front row is very much in evidence, and this is largely due to their ability to capture the band's live fury with clarity and intimacy, down to every nuance of Ginger Baker's playing. As for the performances, this record does capture the band at their peak, though perhaps not at the very best moments of that peak -- the group made their reputation as a live act with epic, lengthy jams that verged on jazz, but the repertory represented here (as opposed to that on Live Cream, Vol. 1) is more focused on their pop/rock efforts, such as "White Room," "Sunshine of Your Love," "Tales of Brave Ulysses," etc., which don't lend themselves as easily (or at all) to opening out in extended jams, in the manner of, say, "N.S.U." or "Sweet Wine," or the legendary "Spoonful"; additionally, numbers such as "Sunshine of Your Love" and, in particular, "White Room," require more vocal dexterity than Clapton and bassist/singer Jack Bruce could muster in this kind of concert setting -- their singing, especially on "White Room" comes close to breaking down ("Sunshine of Your Love" fares better), whereas their playing holds together, almost better than perfect at times.

"Deserted Cities of the Heart" -- which opens the album -- comes off exceptionally well as a concert piece, the bass and guitar actually combining to overcome the absences of swooping cellos, acoustic guitars, and other accompanying instruments from the studio rendition. And there is one priceless example of Cream in a full-tilt jam, on the 13-plus-minute closing cut, "Steppin' Out" -- the band's sheer energy overcomes what minor deficiencies there are in the overall sound quality. And coupled with the compact, four- to five-minute versions of "Deserted Cities of the Heart" and "Tales of Brave Ulysses," among others, the album is a vital, intense, and enjoyable listen that is ultimately rewarding. The original LP had its sonic limitations, but this remastered version offers the best sound ever heard for this album.

by Bruce Eder

Tracks
1. Deserted Cities Of The Heart (Jack Bruce, Pete Brown) - 4:32
2. White Room (Jack Bruce, Pete Brown) - 5:38
3. Politician (Jack Bruce, Pete Brown) - 5:06
4. Tales Of Brave Ulysses (Eric Clapton, Martin Sharp) - 4:45
5. Sunshine Of Your Love (Eric Clapton, Jack Bruce, Pete Brown) - 7:20
6. Steppin' Out (James Bracken) - 13:38 (Mistitled As Hideaway)
Track 5 recorded 9 March 1968 at the Winterland, San Francisco
Tracks 4, 6 recorded 10 March 1968 at the Winterland, San Francisco
Tracks 1 - 3 recorded 4 October 1968 at the Oakland Coliseum Arena, Oakland

Cream
*Eric Clapton - Vocals, Guitar
*Jack Bruce - Vocals, Bass, Harmonica
*Ginger Baker - Drums

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Monday, May 18, 2026

rep>>> Climax Blues Band - FM Live (1973 uk, superb hard blues rock, 2013 remaster)

If you were looking for a band with substantial blues roots, technically excellent playing both individually and collectively, and a live excitement that grabs and never lets go, you couldn't do much better than the Climax Blues Band. This English quartet has been around in roughly the same form ever since Rod Stewart and Long John Baldry were obscure blues singers; and FM Live is a fine sampler of their live act, using uptempo blues-rockers to establish a primal intensity sustained throughout a spirited set.

Colin Cooper's booming baritone vocals and inventive sax blowing (he plays lines like pre-Thirties Chicago blues guitarists) are spectacularly well-blended with Pete Haycock's tastefully flashy guitar, all of which is intertwined around the urgent poundings of a highly sympathetic rhythm section. The result is a lengthy but not excessive show that's highly enjoyable -- the product of a tight, talented professional unit.

by Gordon Fletcher, Rolling Stone, 4/11/74

Tracks
1. All The Time In The World - 5:48
2. I Am Constant - 3:35
3. Flight - 11:14
4. Seventh Son (Willie Dixon) - 4:44
5. Standing By A River - 5:20
6. So Many Roads (Paul Marshall) - 11:06
7. Mesopopmania - 7:04
8. Country Hat - 6:22
9. You Make Me Sick - 3:35
10. Shake Your Love (Richard Gottehrer, Climax Blues Band) - 3:00
11. Goin' To New York (Full Version) (Jimmy Reed) - 10:25
12. Let's Work Together (Wilbert Harrison) - 6:54
All songs by Climax Blues Band except where indicated.

Climax Blues Band
*Colin Cooper - Vocals, Alto, Tenor Saxes, Guitar
*Pete Haycock - Vocals, Lead Guitar
*Derek Holt - Vocals, Bass Guitar, Electric Piano
*John Cuffley - Drums, Percussion

The Climax Long Hard Road
1969 The Climax Chicago Blues Band (2013 remaster and expanded)

rep>>> Bob Lind ‎- You Might Have Heard My Footsteps • The Best Of (1965-72 us, glorious baroque folk psych)

This 25-song compilation includes the entire contents of his two 1966 LPs, as well as a 1967 single and two previously unreleased tracks. This period piece is highlighted by "Elusive Butterfly," the original versions of "Counting" and "Cheryl's Goin' Home," "Mr. Zero" (covered by Yardbird lead singer Keith Relf on a flop single), and the previously unreleased, gorgeous baroque rock song "English Afternoon."

by Richie Unterberger

Tracks
1. Elusive Butterfly - 2:46
2. Mister Zero - 3:43
3. You Should Have Seen It - 2:55
4. Counting - 2:54
5. Drifter's Sunrise - 3:26
6. Unlock The Door - 4:06
7. Truly Julie's Blues (I'll Be There) - 2:51
8. Dale Anne - 3:01
9. The World Is Just A “B” Movie - 3:57
10.Cheryl's Goin' Home - 2:06
11.It Wasn't Just The Morning - 2:50 -
12.I Can't Walk Roads Of Anger (Unedited Version) - 4:28
13.San Francisco Woman - 2:54
14.A Nameless Request - 2:15
15.West Virginia Summer Child - 2:12
16.Go Ask Your Man - 2:30
17.Remember The Rain - 2:47
18.I Just Let It Take Me - 2:35
19.The World Is Just A “B” Movie Meets Reno, Funtown, U.S.A. - 2:48
20.We've Never Spoken - 2:09
21.Oh Babe Take Me Home - 3:34
22.Eleanor - 3:33
23.It's Just My Love - 2:44
24.I Fall To You - 2:02
25.English Afternoon - 2:37
All songs by Bob Lind

*Bob Lind - Vocals, Guitar

1966 Bob Lind - The Elusive Bob Lind (Vinyl)
1971 Bob Lind - Since There Were Circles

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