rep>>> Doug Sahm - Doug Sahm And Band / Texas Tornado / Groovers Paradise (1973-74 us, spectacular melt of country folk blues and classic rock, 2016 double disc set)

Doug Sahm began his solo career in 1972, after the Sir Douglas Quintet finished its contract with Smash/Mercury and after Atlantic Records co-owner/producer Jerry Wexler convinced him to sign to his label. Wexler gave the Texas maverick the chance to cut a star-studded, big-budget album, shuffling him off to New York where Wexler and Arif Mardin helmed a series of sessions with an ever-revolving cast of musicians featuring Bob Dylan, Dr. John, David "Fathead" Newman, David Bromberg, and Flaco Jimenez, in addition to such Sir Doug stalwarts as Augie Meyers and the rhythm section of bassist Jack Barber and drummer George Rains (all but the latter were in the last incarnation of the Quintet, raising the question of whether the group was indeed finished or not, but such is the nature of Sahm's discography). This group cut a lot of material, which was whittled down to the 12-track album Doug Sahm and Band, released in early 1973.

 At the time, the record received a push from the label and was generally disparaged because of those very all-stars on whose back it was sold, but the years have been kind indeed to the album, and it stands among Sahm's best. Indeed, the heart of the album is not at all far removed from those latter-day Sir Douglas Quintet albums on Mercury, which isn't much of a stretch since Sahm never really strayed from his signature blend of rock & roll, blues, country, and Tejano, but the bigger band and bigger production give the music a different feel -- one that's as loose as the best Quintet material, but off-handedly accomplished and slyly freewheeling. Original reviews noted that there was an overtly country direction on And Band, but that's not really true on an album that has Western swing and rambling country-rock like "Blues Stay Away from Me" and the anthemic "(Is Anybody Going To) San Antone" jutting up against pure blues in "Your Friends" and "Papa Ain't Salty," let alone loose-limbed rockers like "Dealer's Blues" and "I Get Off" or the skipping Tejano "Poison Love," fueled by Jimenez's addictive accordion. 

These are all convincing arguments that the larger band allowed Sahm to indulge in all of his passions, to the extent of devoting full tracks to each of his favorite sounds -- something that was a bit different than the Quintet records, which usually mixed it all up so it was impossible to tell where one influence ended and another began. That's still true on And Band -- for instance, witness the brilliant cover of Willie Nelson's "Me and Paul," a country song goosed by soulful horns and delivered in a delirious drawl from Sir Doug -- but much of the album finds that signature Sahm sprawl being punctuated by style-specific detours where Sahm seizes the opportunity to stretch out as much as his guests seize the opportunity to jam with this American musical visionary. 

These are all characteristics of a jam session, which these sessions essentially were -- after all, on this album he only penned three out of the 12 songs -- but relying on covers also points out how Doug Sahm sounds so much like himself, he makes other people's tunes sound as if he wrote them himself. Again, that's something that was true throughout his career, but here it is in sharper relief than most of his records due to the nature of the sessions. And while it's arguable whether this is better than latter-day Sir Douglas Quintet albums -- or such mid-'70s records as Groover's Paradise or Texas Rock for Country Rollers for that matter -- there's no question that this is music that is vividly, excitedly alive and captures Sahm at a peak. It's pretty much irresistible. 

Doug Sahm recorded much of his second Atlantic album, Texas Tornado, around the release of his first, Doug Sahm and Band, and even used outtakes from those sessions to fill out this 11-track record, so it would seem that the two records would be nearly identical. But, as they say, appearances can be deceiving, and the two albums have fairly distinct characters, at least within the frame of Sahm's music, where all his music is instantly identifiable. The biggest difference between the two records is that a good eight of the 11 songs are Doug Sahm originals -- an inversion of And Band, which relied on covers -- and most of those are produced by Sahm himself, not Jerry Wexler and Arif Mardin, who helmed its predecessor, and he gives the record a feel that's considerably more streamlined than the cheerfully rambling And Band, while giving it a little grit by more or less concentrating on rock 'n' roll.

That the exceptions arrive early and are as disarming as the "Summer Wind"-styled, Sinatra-esque crooner "Someday" and lite bossa nova groover "Blue Horizon" -- two detours that make more sense in the broader context of the complete Atlantic recordings showcased on Rhino Handmade's double-disc set The Genuine Texas Groover but are bewildering here -- gives the record an off-kilter feel that may cause some listeners to underrate what is not just a typically excellent Sahm set, but one of his strongest selections of songs. Apart from the barnstorming opener, "San Francisco FM Blues," perhaps the best attempt at shoehorning Sahm's untamed Texan feel to AOR, these all come on the dynamite second side that houses the anthemic title track, as perfect an encapsulation of his Tex-Mex fusion as they come, the rampaging roadhouse rocker "Juan Mendoza," one of his best salutes to Latin culture in the 2-step "Chicano," an excellent Sir Douglas-styled groover in "Hard Way," and the gloriously breezy "Nitty Gritty," one of his very best songs (not to mention one of his best performances, highlighted by his call to right-hand man Augie Meyers before his organ solo). 

Unlike Doug Sahm and Band, Texas Tornado is billed to the Sir Doug Band, which is not quite the Sir Douglas Quintet, but with all of his usual gang in place -- not just Meyers but bassist Jack Barber, drummer George Rains, and saxophonist Rocky Morales, among others -- it essentially is no different than a Sir Douglas Quintet album, but really that's splitting hairs since the album is simply first-rate Doug Sahm. It may be recorded toward the end of his peak period -- after this, he turned out two other arguable classics before settling into a comfortably enjoyable groove that he rode out for the rest of his life -- but it still captures him at an undeniable peak and it's undeniably irresistible.

by Stephen Thomas Erlewine

Anyone who finds hippies irritating might want to throw this record across the room -- and that's a good review right there, since it has been long established via intense scientific study that music which somehow motivates people to throw records across the room is usually quite good. No exception to this rule here, as fans of Doug Sahm often choose this as a personal favorite, while it is also one of the better side projects of the Creedence Clearwater Revival rhythm section. If Sahm was writing the review himself in 1974, he would have no doubt described the whole thing as some kind of "trip"; after all, this expression is used three times alone on the back cover of this album, actually less than one might expect considering the stoned-out nature of the accompanying comics. These black-and-white illustrations by Kelly Fitzgerald are a great part of the record's enduring charm, but the music itself is deeper than the coolie hippie vibe.

This is simply a great roots rock album, and like much of Sahm's work it is loaded with complex details as well as loving interplay between the musicians. These tracks indicate a mastery of many basic forms such as blues, rhythm & blues, norteño, country, and Cajun and the players always seem to be probing beyond this to find something new. Creedence Clearwater Revival drummer Doug Clifford produced as well as played, and did a superior job, irrigating the proceedings with a range of available Sahm streams like some kind of master gardener. The use of horns is excellent, not only providing plenty of punch in the arrangements but memorable effects such as the spooky baritone sax solo on "Just Groove Me." A large section of the sonic spread is always reserved for Sahm's lush guitar playing, including lots of rock, country, and blues licks, while bassist Stu Cook sometimes adds additional guitar, expertly mocking the patented hypnotic John Fogerty sound for an effect that is not unlike Sahm sitting in on a Creedence album. Of course, the range of that classic '60s and '70s rock group seems quite limited compared to Sahm, who whips off an expert version of the Tex-Mex instrumental "La Cacahueta," the only track here which he did not compose himself. 

The well-crafted yet daringly personal and unembarrassed songs include haunting country-influenced ballads such as "Her Dream Man Never Came," as well as really top-notch examples of good old rock & roll, the hilarious "For the Sake of Rock 'N' Roll" and the bewitchingly cooking "Devil Heart." The second side of the original vinyl is one of this artist's most perfect set of songs. The final track, "Catch Me in the Morning," is one of several on this album that benefits from a long, satisfying arrangement -- hardly the kind of simple dirt that is often tossed off the shovel in the quest for roots rock. The band tends to move through these pieces with confidence, as if already expecting to have lost the attention of the simpletons in the crowd. At the same time, there are those listeners who will find it hard to believe a simple song, let alone such a magnum opus, could be created from the almost nonexistent message of this song. "Call me in the morning, I am too tired to talk right now," is just about all this song says, and it is one of the marvels of Sahm that he is able to parlay a near-operatic sense of importance into such a typical part of daily life. Giving him an instrumental credit for being a "dreamer" -- nicely enough, it comes right after the credit for bajo sexto -- is one of the most appropriate details, or "trips," on Groover's Paradise. 

by Eugene Chadbourne

Tracks
Disc 1 Doug Sahm And Band 1973
1. (Is anybody Going to) San Antone (Dave Kirby, Glen Martin) - 3:10
2. It's Gonna Be Easy (Atwood Allen) - 3:31
3. Your Friends (Deadric Malone) - 5:23
4. Poison Love (Elmer Laird) - 4:21
5. Wallflower (Bob Dylan) - 2:40
6. Dealer's Blues (Doug Sahm) - 2:59
7. Faded Love (Bob Wills, John Wills) - 3:55
8. Blues Stay Away From Me (A. Delmore, H. Glover, R. Delmore, W. Raney) - 4:48
9. Papa Ain't Salty (Grover McDaniel, T-Bone Walker) - 4:30
10.Me And Paul (Willie Nelson) - 3:34
11.Don't Turn Around (Doug Sahm) - 3:28
12.I Get Off (Doug Sahm) - 2:39

Disc 2  Texas Tornado / Groovers Paradise 1973-74
1. San Francisco FM Blues - 3:31
2. Someday - 3:21
3. Blue Horizon - 4:25
4. Tennessee Blues (Bobby Charles) - 5:34
5. Ain't That Loving You (Deadric Malone) - 4:58
6. Texas Tornado - 2:58
7. Juan Mendoza - 2:57
8. Chicano - 2:18
9. I'll Be There (Dave Burgess) - 2:38
10.Hard Way - 2:13
11.Nitty Gritty - 3:08
12.Groover's Paradise - 3:25
13.Devil Heart - 4:26
14.Houston Chicks - 3:52
15.For The Sake Of Rock 'N Roll - 3:21
16.Beautiful Texas Sunshine - 3:17
17.Just Groove Me - 3:27
18.Girls Today - Don't Like To Sleep Alone - 2:31
19.La Cacahuata (Peanut) (Luis Guerrero) - 1:48
20.Her Dream Man Never Came - 3:13
21.Catch Me In The Morning - 5:09
All songs by Doug Sahm except where noted
Tracks 1-11 as The Sir Douglas Band

Musicians

1969-73  Sir Douglas Quintet - Mendocino (bonus material reissue)
1973  Doug Sahm - Doug Sahm And Band  

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rep>>> Reason - The Age Of Reason (1969 us, fine rough soulful psych rock, 2016 edition)

Pressed in minute quantities by Arlington-based Georgetowne label, 1969's "The Age of Reason" lay largely forgotten until it appeared in one of Austrian vinyl collector Hans Pokora's books - 1001 Record Collectors Dreams.  Like anything listed in one of Pokora's books, the album's subsequently become a high priced, in-demand release. 

This late-1960s release is also a pretty good example of hype and rarity taking precedence over quality. That's not to imply the album's bad, rather for the big bucks it commands, you could certainly find a couple of more enjoyable releases. 

The band apparently came together in 1967, featuring the talents of keyboardist Tommy Didly, former The Telstars bassist Terry Gorka, drummer Bill Manning, and lead guitarist Billy Windsor.  

Two years later they were apparently back in the Washington, D.C. area, releasing what may have been a vanity project on the small Arlington, Virginia-based Georgetowne label.  Produced by drummer Manning, "The Age of Reason" offered up a mixture of late-1960s FM covers (Dylan, Savoy Brown Blues Band, Ike Turner) and band originals.  The players were all pretty good with keyboardist Didly featured on most of the songs.

Best of the lot was their opening Dylan cover.  Showcasing a couple of band originals, side two was marginally better with Manning's 'The View From Tom Thompson's Cell' standing as one of the best performance.   Elsewhere the biggest surprise was their cover of  'Temptations Bout To Get Me'.  The result was a totally unexpected knockout slice of blue-eyed soul.  Shame they didn't record more in this vein.

by Scott Blackerby

Tracks
1. This Wheel's On Fire (Bob Dylan, Rick Danko) - 4:14
2. Stay With Me Baby (Chris Youlden, Kim Simmonds, Dave Peverett) - 4:31
3. I'm Blue (Ike Turner) - 4:05
4. Don't Try To See Through Me (N.R. Colbertson) - 4:51
5. The View From Tim Thompson's Cell (Bill Manning) - 4:22
6. Letter To Home (Tommy Dildy, Bill Manning) - 4:57
7. Bang Bang (Sonny Bono) - 5:09
8. Temptations Bout To Get Me (Jimmy Diggs) - 4:07

Reason
*Tommy Dildy - Keyboards, Vocals
*Terry Gorka - Bass
*Bill Manning - Drums, Vocals
*Billy Windsor - Guitar, Vocals
With
*Danny Gatton - Guitar

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rep>>> Fresh Air - A Breath Of Fresh Air (1969 us, delicate hard psych)

Copies of Fresh Air's only album, 1970's A Breath of Fresh Air - one of the very first albums released on the Amaret label, who issued recordings by the Minneapolis blues-rock quintet Crow -- are highly sought-after and treasured by collectors. 

Featuring dramatic organ flourishes and flamboyant guitar leads throughout, A Breath of Fresh Air is similar to other organ-driven hard pop groups of the era, including Sugarloaf, Blues Image, and Three Dog Night. 

The highlight here is the leadoff track, a fast-paced, histrionic discotheque take on Buffalo Springfield's "For What It's Worth" -- by then already a few years old -- which features heavy distorted guitar and Marc Piscitelli's intense lead vocals. Six of the remaining tracks were written by the group's "sixth member," Louie Caridi, including "Somewhere a Mountain Is Moving" (taking its title from a line in the Left Banke's "Pretty Ballerina"). 

This was a different Fresh Air from the group of the same name that featured keyboardist Don Randi (they recorded a self-titled Fresh Air album around the same time, but for Columbia Records). Piscitelli later became an engineer and backing vocalist, working with a varied group of artists during his career, including Glen Campbell, Juice Newton, Spirit, and John Travolta.

by Bryan Thomas

Tracks

1. For What It's Worth (Stephen Stills) - 2:40

2. Faces In The Fire - 3:50

3. December (Marc Piscitelli) - 4:50

4. Somewhere A Mountain Is Moving - 2:30

5. Get Away Car Car - 2:39

6. I've Lost My Faith - 3:10

7. Baby Lady (R. Kutner) - 3:20

8. Sleeping In Sunshine - 3:20

9. Sailor Man (Marc Piscitelli, Louie Caridi) - 2:30

10.I Finally Found A Friend - 2:45

All songs by Louie Caridi except where noted

Fresh Air

*Allen Carey - Guitar

*Mick Jones - Guitar

*Marc Piscitelli - Lead Vocals

*Peter Plumeri - Drums

*Tim Whitcanack - Bass, Keyboards

*Louie Caridi - Lyrics

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rep>>> The Moon - Without Earth And The Moon (1968-69 us, outstanding orchestrated psychedelia)

The music recorded was an effort to contribute an augmented level of warm, meaningful, and enjoyable listening fare for all of the creatures that hear. The beginnings were mainly generated by the songs being written by Matthew Moore. Matthew's brother, 'Daniel Moore', was an independent record producer in Los Angeles and had produced several singles with Matthew as the artist.

Daniel had arranged a meeting with  'Mike Curb' at Sidewalk Productions, in an effort to find a recording contract, and Mike was very helpful in providing the producer, and engineer, and drummer, and keyboardist: (Larry Brown), and in encouraging Matthew to seek out musicians that would form a group to record his compositions. Larry Brown introduced "Drew" Bennett to the proposed gathering, and Matthew had been running into David Marks around town, so he approached David with the idea of recording a few trial tracks. Within a few weeks the project was under way.

The Studio was to be, "Continental Studio", in Hollywood, and the four young adventurers set up camp and locked the doors. These young men were still not yet 21 years of age. The tremendous technical and organizational task had began. All were single, all were very accomplished musicians, all were ridiculously fearless as to the huge undertaking they had embarked upon. It was agreed upon from the beginning that the fewest possible distractions and interruptions during the recording process must be the rule.

The doors were locked and only food deliveries and an occasional visit from Mike Curb was allowed during the basic track recording phase. Sleeping, eating and playing music....that was all. The quest for perfection was the standard, many re-takes, many 'start all overs', and many heated discussions concerning choices of parts to be played or parts, not to be played. Matthew: " I remember waking up ..having slept on the floor near the piano. A dim light was on in the booth, so I tried to walk to the door out of the studio.

 I kept stepping on boxes and kicking over cans and bottles but I made my way to the light panel to bring up the light in the room. I couldn't believe the amount of clutter and trash we had accumulated. We had to take a day off to allow the janitors to come in and clean. I still can recall the 'Warnings' we invoked,  to "be careful and not move any wires or mikes or touch any set up instruments". We had to go out into the world for a day and entertain ourselves. Dave and I went to a $.50 triple feature western movie downtown and watched the winos sleep. A few days later we resumed our quest.

No one knows for sure, how many hours or days or weeks or months it took to finish the first album, (Without Earth)  but we do remember the final moment when we all looked at each other and nodded in agreement that it was finished. The second Album (The Moon), was actually time logged by Larry Brown. He said It took 470 hours, from start to finish. The first one took much more time.

The Moon-albums

Tracks
1. Mothers and Fathers - 2:06
2. Pleasure - 3:19
3. I Should Be Dreaming - 2:33
4. Brother Lou's Love Colony (Dalton, Montgomery) - 3:57
5. Got to Be on My Way - 2:00
6. Someday Girl - 2:42
7. Papers - 0:59
8. Faces - 2:06
9. Never Mind - 1:51
10.Give Me More - 2:48
11.She's on My Mind (Dalton, Montgomery) - 2:21
12.Walking Around - 1:56
13.Pirate - 2:55
14.Lebanon (Moore, Moris) - 1:45
15.Transporting Machine - 1:40
16.Mary Jane (Klimes, Whitcraft) - 2:16
17.Softly - 3:01
18.Not to Know - 2:42
19.The Good Side - 2:59
20.Life Is a Season - 2:22
21.John Automation - 2:17
22.Come Out Tonight - 2:47
23.Mr. Duffy (Brown, Moore) - 2:56
24.Pirate (Mono 45 Mix) - 2:38
25.Not to Know (Mono 45 Mix) - 2:41
26.Face in the Crowd - 2:05
27.White Silk Glove (Clifford) - 2:15
28.Come On - 2:58
All compositions by Matthew Moore unless else stated.

Musicians
*Matthew Moore - Piano, Vocals, Guitars
*David Marks - Guitars, Background Vocals
*Larry Brown - Drums
*Dave Jackson  - Bass
*Joe Foster - Synthesizer
*Nick Robbins - Synthesizer
*Bob Klimes - String Arrangements
*Dave Roberts - Horn Arrangements

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rep>>> Estus - Estus (1973 us, raw hard rock, with Marc Bell from Dust and Ramones, 2010 Flawed Gems issue)

This excellent album by American hard rock band was released in 1973 by Columbia label, but unfortunately went completely unnoticed! The band name was associated only with a drummer Mark Bell (of US heavy rock legend Dust & then a future member of Ramones - as Marky Ramone) - which was a huge injustice! 

Estus music combined early 70's classic heavy, bluesy rock sound with storming, heavy guitar rifts, but also with nice and catchy melodies.

It often sounded very similar to Dust (understandably), but also to Led Zeppelin, Wishbone Ash and even early Lynyrd Skynyrd. This perfectly produced and beautifully sounded album will surely appeal to the most fans of ambitious heavy rock!

Tracks
1.  90 M.P.H. (Tom Nicholas) - 4:27
2.  On The Wings (John Nicholas, Tom Nicholas) - 7:12
3.  McCloud (Tom Nicholas) - 2:28
4.  Goodbye (J. Nicholas, T. Nicholas) - 5:05
5.  Inside Out You Look The same (John Nicholas) - 5:29
6.  Sweet Children (J. Nicholas) - 6:14
7.  Truckin’ Man (J. Nicholas, T. Nicholas) - 4:06
8.  In The Morning (Harry Rumpf) - 4:35
9.  B.M.D. (J. Nicholas, T. Nicholas) - 5:09

Estus
*Tom Nicholas - Vocals, Guitars, Keyboards
*John Nicholas - Bass, Vocals, Harp, Percussion
*Harry Rumpf - Vocals, Guitar, Keyboards, Percussion
*Marc Bell - Drums

Related Act
1971-72  Dust - Hard Attack / Dust (2013 edition)

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Vanilla Fudge - Vanilla Fudge (1967 us, excellent psych rock, 2013 japan remaster)

Vanilla Fudge was one of the few American links between psychedelia and what soon became heavy metal. While the band did record original material, they were best-known for their loud, heavy, slowed-down arrangements of contemporary pop songs, blowing them up to epic proportions and bathing them in a trippy, distorted haze. Originally, Vanilla Fudge was a blue-eyed soul cover band called the Electric Pigeons, who formed in Long Island, New York, in 1965. Organist Mark Stein, bassist Tim Bogert, and drummer Joey Brennan soon shortened their name to the Pigeons and added guitarist Vince Martell. They built a following by gigging extensively up and down the East Coast, and earned extra money by providing freelance in-concert backing for girl groups. In early 1966, the group recorded a set of eight demos that were released several years later as While the Whole World Was Eating Vanilla Fudge, credited to Mark Stein & the Pigeons. 

Inspired by the Vagrants, another band on the club circuit led by future Mountain guitarist Leslie West, the Pigeons began to put more effort into reimagining the arrangements of their cover songs. They got so elaborate that by the end of the year, drummer Brennan was replaced by the more technically skilled Carmine Appice. In early 1967, their manager convinced producer George "Shadow" Morton (who'd handled the girl group the Shangri-Las and had since moved into protest folk) to catch their live act. Impressed by their heavy, hard-rocking recasting of the Supremes' "You Keep Me Hangin' On," Morton offered to record the song as a single; the results landed the group a deal with the Atlantic subsidiary Atco, which requested a name change. 

The band settled on Vanilla Fudge, after a favorite ice cream flavor. "You Keep Me Hangin' On" didn't perform as well as hoped, but the band toured extensively behind its covers-heavy, jam-oriented debut album Vanilla Fudge, which gradually expanded their fan base. Things started to pick up for the band in 1968: early in the year, they headlined the Fillmore West with the Steve Miller Band, performed "You Keep Me Hangin' On" on The Ed Sullivan Show, and released their second album, The Beat Goes On. Despite its somewhat arty, indulgent qualities, the LP was a hit, climbing into the Top 20. That summer, Atco reissued "You Keep Me Hangin' On," and the second time around it climbed into the Top Ten. It was followed by Renaissance, one of Vanilla Fudge's best albums, which also hit the Top 20. The band supported it by touring with Jimi Hendrix, opening several dates on Cream's farewell tour, and late in the year touring again with the fledgling Led Zeppelin as their opening act. 

by Steve Huey

In a debut consisting of covers, nobody could accuse Vanilla Fudge of bad taste in their repertoire; with stoned-out, slowed-down versions of such then-recent classics as "Ticket to Ride," "Eleanor Rigby," and "People Get Ready," they were setting the bar rather high for themselves. Even the one suspect choice -- Sonny Bono's "Bang Bang" -- turns out to be rivaled only by Mott the Hoople's version of "Laugh at Me" in putting Bono's songwriting in the kindest possible light. Most of the tracks here share a common structure of a disjointed warm-up jam, a Hammond-heavy dirge of harmonized vocals at the center, and a final flat-out jam. Still, some succeed better than others: "You Keep Me Hanging On" has a wonderfully hammered-out drum part, and "She's Not There" boasts some truly groovy organ jams. While the pattern can sound repetitive today, each song still works as a time capsule of American psychedelia. 

by Paul Collins

Tracks
1. Ticket To Ride (John Lennon, Paul McCartney) - 6:06
2. People Get Ready (Curtis Mayfield) - 6:34
3. She's Not There (Rod Argent) - 4:55
4. Bang Bang (Sonny Bono) - 5:00
5. Illusions Of My Childhood, Pt. 1 - 0:29
6. You Keep Me Hangin' On (Brian Holland, Lamont Dozier, Eddie Holland) - 6:42
7. Illusions Of My Childhood, Pt. 2 - 0:15
8. Take Me For A Little While (Trade Martin) - 3:21
9. Illusions Of My Childhood, Pt. 3 - 0:22
10.Eleanor Rigby (John Lennon, Paul McCartney) - 8:26

Vanilla Fudge
*Carmine Appice - Drums, Vocals
*Tim Bogert - Bass, Vocals
*Vince Martell - Guitar, Vocals
*Mark Stein - Lead Vocals, Keyboards

1968  Vanilla Fudge - Renaissance 
1969  Vanilla Fudge - Rock 'n' Roll (2013 remaster & expanded)
Related Acts

1970  Cactus (Japan SHM remaster)
1971  One Way...Or Another (Japan SHM remaster)
1971  Ultra Sonic Boogie (2010 issue)
1970-72  Fully Unleashed / The Live Gigs, Vol. 1
1971  Cactus - Fully Unleashed / The Live Gigs, Vol.2 (2007 limited two disc edition)
1976  KGB - KGB (2005 remaster)

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rep>>> Bear Mountain Band - One More Day (1971 us, outstanding hard psych blues rock, 2015 remaster)

A loud hardrock /heavy psych U.S. group from Arizona with lots of fuzz guitar and gritty vocals. Local mountain air rocker with psychy west coast flashes on the excellent titles track ‘One More Day’ and else where, more melodic numbers rural rock vibe, with a couple of extended jams showing good playing and a nice atmosphere all around. ‘Crotch Crickets, has a really catchy heavy riff, other song that really stands out is ‘Crossroader’, which has some really memorable up-tempo and wah-heavy guitar playing. It’s a real rock burner. Mount is also a great instrumental track. The rest of the album is also a high standard bluesy hard psychedelic rock. 

Tracks
1. One More Day - 2:47
2. Crotch Crickets - 4:08
3. Somethin' to Say - 5:28
4. Aspen Jam (Cam Empens, Bill Richardson, Frank Ford) - 5:24
5. Bagdad Boogie (Bill Richardson, Bill Keisler) - 2:26
6. Crossroader (Bill Richardson, Cam Empens) - 3:53
7. Mount (Bill Richardson, Frank Ford, Cam Empens) - 4:48
8. Fallin' (Bill Richardson, Cam Empens) - 3:50
9. Tihsllub (aka Irondoors) - 2:24
All songs by Bill Richardson except where indicated

Bear Mountain Band
*Bill Richardson - Guitar
*Bill Keisler - Bass
*Cam Empens - Organ
*Frank Ford - Drums

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rep>>> Canned Heat - Livin The Blues (1968 us, blues rock masterpiece, 2003 remaster)

The mammoth Double-LP featuring the first release of “Going Up The Country”, The experimental “Parthenogenesis”, and the 42-minute “Refried Boogie”. Arguably this record was the most influential release of Canned Heat’s career on the pop charts.

Bob switches between about a dozen different vocal Blues style during the course of this double-record. It is experimental and volatile in nature; taking Charley Patton and Floyd Jones tunes and transmogrifying them with LSD; updating the sound for a hipper, younger audience. “Sandy’s Blues” is probably the most relevant and concisely recorded shuffle of The Summer Of Love generation, and “One Kind Favor” will show you who helped pioneer the headbang. (Thank you for your buzzing, Mr. Vestine)

A 10-point masterpiece from start to finish

Tracks
Disc-1
1. Pony Blues (Charley Patton) – 3:48
2. My Mistake (Alan Wilson) – 3:22
3. Sandy's Blues (Bob Hite) – 6:46
4. Going Up the Country (Alan Wilson) – 2:50

5. Walking by Myself (Jimmy Rogers) – 2:29
6. Boogie Music (Lawrence Taylor Tatman III) – 3:19
7. One Kind Favor (Lawrence Taylor Tatman III) – 4:43
8. Parthenogenesis (Medley) (Bob Hite, Alan Wilson, Henry Vestine, Larry Taylor, Fito de la Parra) – 19:57

I) Nebulosity

II) Rollin' and Tumblin

III) Five Owls

IV) Bear Wires

V) Snooky Flowers

VI) Sunflower Power

VII) Raga Kafi

VIII) Icebag

IX) Childhood's End

Disc-2
1. Refried Boogie (Parts 1, 2) (Bob Hite, Alan Wilson, Henry Vestine, Larry Taylor, Fito de la Parra) – 40:51

Canned Heat
*Bob Hite - Vocals
*Alan Wilson - Slide Guitar, Vocals, Harmonica
*Henry Vestine - Lead Guitar
*Larry Taylor - Electric Bass
*Fito de la Parra - Drums
With

*John Fahey - Guitar (Disc 1, Track 8, Part I)

*Dr. John Creaux - Horn Arrangements, Piano (Disc 1, Track 6)

*Miles Grayson - Horn Arrangements (Disc 1, Track 3)

*Joe Sample - Piano (Disc 1, Track 3)

*Charlie Patton - Guitar (Disc 1, Track 6)

*John Mayall - Piano (Disc 1, Tracks 5, 8, Part 4)

1967-73  Canned Heat - The Very Best Of

1968  Canned Heat - Boogie With Canned Heat (2017 Japan SHM)

1969  Canned Heat - Hallelujah (remaster and expanded)
1970 Canned Heat - Future Blues (Remaster and Expanded)
1970-73  Memphis Slim Canned Heat Memphis Horns - Memphis Heat
1971  John Lee Hooker And Canned Heat - Hooker 'N' Heat
1971-72  Canned Heat - Historical Figures And Ancient Heads
1973  Canned Heat - One More River To Cross

Related Act

1966-70  Alan Wilson - The Blind Owl (2013 double Disc)

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rep>>> Dust - Hard Attack • Dust (1971-72 us, superb hard rock, 2013 edition)

Bassist Kenny Aaronson was one of the finest in the entire world of rock. He went on to perform with the likes of Hall and Gates, Bob Dylan, Billy Idol, Rick Derringer and Joan Jett. Aaronson wrote the driving instrumental, "Loose Goose" and co-wrote "Learning To Die" with mes His bass weighed about as much as he did, but when it came time to plug in, he stood head and shoulders above all other performers.

Guitarist Richie Wise was my co-producer and songwriting partner. To be honest, he was quite mad. There was just no telling what he would do. Kiss bassist Gene Simmons remembers Richie for always contorting his face when he played and so, Simmons borrowed some facial expressions from the Master. When Richie was on his game, audiences would do well to stand back from the stages Often, he would launch his guitar like a rocket through his Marshall speaker cabinets just for the fuck of it. He was wild and intense. And unpredictable.

When I first met him, he was Mare Bell and I couldn't believe that anyone could beat a drum so damn hard or fast. It was as if he were fighting for his life. There was no limit to how fast and how hard Bell could play. I always loved watching him solo because I never knew what he would come up with nexts He was explosive. Marc Bell was a group all by himself! Y'all know him as Marky Ramone nowbut to me, he's that same kid from Brooklyn-only he's been inducted into the Rock and Roll Hall of Fame!

The band went on to headline in all of the major rock cities like St. Louis, Cleveland, Detroit and even opened for the legendary Alice Cooper and King Crimson. Their album blew every other rock album out of the water! Their second LP, Hard Attack with Frank Frazetta's Snow Giants for a cover, charted on Cash Box and Billboard. But the band was not on a rock label so they never became the Supergroup they were destined to become. 

As for myself, I'm really the lucky one. I got to manage Dust, co-write and co-produce their records, discover Kiss, co-produce about a dozen gold and platinum CDs and still be active in the music business 45 years later. Looking back over my incredible career, I can say with all honesty, that Kenny Aaronson, Marc Bell and Richie Wise were three of the most talented and original rock musicians I ever worked with. And now you get to hear what they were all about.

Fast. Furious. Driving. Pulsating. Like "Love Me Hard" or "Suicide" or "Stone Woman." Wild. Intense. Hammering. Violent. Like "From A Dry Camel" or "Loose Goose." That's what Dust was/is all about. So fasten your seatbelts and play this fuckin' thing loud. Or don't play it at all!

by Kenny Kerner 2013

Tracks
1. Pull Away/So Many Times - 5:02
2. Walk In The Soft Rain - 4:25
3. Thusly Spoken - 4:27
4. Learning To Die (K. Kerner, K. Aaronson) - 6:27
5. All In All - 4:06
6. I Been Thinkin' - 2:12
7. Ivory - 2:42
8. How Many Horses - 4:18
9. Suicide - 4:53
10.Entrance - 0:19
11.Stone Woman - 4:03
12.Chasin' Ladies - 3:39
13.Goin' Easy - 4:30
14.Love Me Hard - 5:30
15.From A Dry Camel - 9:52
16.Often Shadows Felt - 5:12
17.Loose Goose (Kenny Aaronson) - 3:49
All songs by Richie Wise and Kenny Kerner except where noted.

Dust
*Richie Wise - Electric, Acoustic Guitars, Vocals
*Marc Bell - Drums
*Kenny Aaronson - Bass, Pedal, Steel, Dobro, Bottleneck Guitars

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rep>>> Clearing - Clearing (1973 us, beautiful acoustic folk with traditional touches, 2009 korean remaster)

It's amazing, really, how often in life we do things with never a thought that someday we will be asked to explain ourselves. Case in point - "Clearing". In the 1970s, our little trio - Joan, Sarah and Jeff - performed throughout New England at a large variety of venues - often in Unitarian churches for Sunday services and other gatherings. 

We had a sense that the terrible inequities and cruelties of the world could somehow be reduced, explained and addressed at the most basic level of person-to-person relationships - how we related as individuals to the environment and world at large. That was our message, and our medium was poetry and song. It all seems rather naive and childlike in our brave new post-trauma world, and of course anything that bears the taint of "hippyness" is fair game for derision and ridicule. Recognizing ourselves in the marvelous satire "A Mighty Wind" gave even us a sense of smug satisfaction. But there is much from the 60's and 70'sthat is worth remembering and perhaps even relearning. 

For one thing, we could live very differently. In the early 70's, Joan and I were living in a large somewhat decrepit mansion outside of Boston with our large extended family of 16 who had gathered from across the country. The mortgage and expenses were tiny, and we bought food collectively, ate together and shared the household work . Our population ebbed and swelled as friends and relatives came to stay for days, weeks, or months at a time. Living was incredibly cheap. Sometimes we would have jobs, and often not. People thought we were a commune, but we knew that we were just a big messy family. 

The crusty old neighbors were particularly suspicious, since the house had previously been occupied by Timothy Leary. They expected more acid tripping and hanging out naked on the front lawn. We never did that, but we did do plenty else, particularly music. It seemed like it was music all the time. Fiddle, banjo, guitar, mandolin, piano, drums, harmonica, jews harp, pots and pans - whatever. We were mostly musicians, and those that weren't sang harmony. Some of us played in outside groups - bluegrass, country, rock - and sometimes we just formed groups amongst ourselves. And we always just played and sang together. In the midst of all this musical activity was Clearing. 

Clearing began with a request from the Unitarian Universalist Association in 1971. Their 1964 hymnal - "Songs for the Celebration of Life" - was designed to be less solemn than usual, with quite a few beautiful poems set to less traditional music. With interest in promoting this new approach to church music, they were seeking musicians who could present the songs in an informal "folk" style. Joan and I had performed at UUA functions, so we came to mind, and they introduced us to Sara Benson who also had UUA connections. Sara was a remarkable person with a deep spiritual core and a centered focus that made her an island of calm in the midst of any turmoil. We loved her immediately. 

After years of rigid musical training on the flute, she had spent agonizing additional years freeing herself until she was a totally natural improviser with a remarkable talent. Sara brought poetry and beauty and light to everything she did. She was the soul of Clearing. The album "Who Is In My Temple" was our first collaboration. This collection of songs from the hymnal was recorded at Ace Recording Studios in Boston, a cavernous old establishment with a cold and professional atmosphere. The record was well received in UUA circles, and we immediately had offers to sing at Unitarian services and events. 

By 1973 we had expanded our interests and repertoire to the point where we wanted to make another record - of our own material - to be called simply "Clearing". We hadn't really enjoyed the "Ace Recording" experience, and besides we were low on cash, so we decided to record this one on our own. We managed to find some war-surplus recording equipment, and by this time Joan and I were living in the big house with its giant library room - perfect as an ad-hoc studio. Most of the recording took place there, with our friend Tom Rothschild at the rudimentary controls. It was an unlikely setting - with people coming and going and pauses as airplanes flew overhead - but we had the advantages of ignorance, enthusiasm and naivete. Some cuts were done at other locations - notably at a church we found in Waltham that had fantastic acoustics. 

For a very reasonable fee, we got to use it for a couple of evenings, late enough to avoid serious traffic noises. In the spirit of the times, we invited several friends and family members to participate on this record, as noted on the track list. The album had a pressing of 2000, most of which were sold at performances and through the UUA. Clearing continued on until about 1976. 

After Clearing, we pursued various interests. Joan Faber had a long career as a singer-pianist performing standards in various nightclubs in the Boston-Cambridge area. She is currently the head of the sheet music Department of Johnson String Instrument in Newton. Jeff Brewer developed an interest in rock climbing in the 1980s, and invented a treadmill-like machine for climbing called the Treadwall. He is currently partners in the company that manufacturers this device. Joan and Jeff still live on the big-house property with members of their extended family. Sara Benson moved from the Boston area to Charlemont, a western-Massachusetts town with an active alternative life-style population. She became an important and much-loved member of that community. In 2008 Sara passed away. Her loss is sorely felt by her friends and family.

by Jeff Brewer, February, 2009

Tracks
1. Morning Has Broken (Leon Maleson) - 2:28
2. Morning Light (Vici Frazer) - 4:02
3. Sunshine Man (Sara Benson) - 2:39
4. She's Leavin (Sara Benson) - 2:52
5. Greyhound Bus Song (Joan Minkoff) - 3:50
6. The First Time (Joan Minkoff) - 3:29
7. The Church Where We Got Married (Jeff Brewer) - 2:45
8. Eve (Jeff Brewer) - 2:46
9. Seth (Jeff Brewer) - 2:03
10. When I Was A Young Boy (Leeds Brewer) - 4:10
11. My Father (Sara Benson) - 3:45
12. Clearing (Joan Minkoff) - 4:43

Clearing
*Sara Benson - Vocals, Flute
*Jeff Brewer - Cocals, Guitar, Banjo, Mandolin
*Joan Minkoff - Vocals, Piano, Harpsichord, Guitar, Dulcimer
Guest Musicians
*Leeds Brewer - Vocals, Guitar
*Vici Frazer - Vocals, Guitar
*David Levine - Guitar, Vocals
*Leo Maleson - Cello

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rep>>> Canned Heat - Boogie With Canned Heat (1968 us, classic psych blues rock, 2017 SHM remaster and expanded)

In 1967 Canned Heat signed to Liberty Records after appearing at the Monterey Pop Festival. In July 1967, they released a self-titled album that made No.76 on the album chart, following it with Boogie With Canned Heat on 21 January 1968, which spent over a year on the Billboard chart, peaking at No.16.

Whereas their debut album was largely made up of covers, including the almost obligatory, for a blues band, take on Dust My Broom’, their second album was largely self-written and remains a firm favourite with just about everyone who loves the blues. A significant reason for its success is because it included the magnificent, ‘On the Road Again’ which made No.16 on the Hot 100 in the late summer of 1968.

Chicago bluesman Floyd Jones recorded a song entitled ‘On the Road Again’ in 1953, itself a remake of another of his songs from two years earlier called, Dark Road’. Both these songs are based on Tommy Johnson’s 1928 ‘Big Road Blues’. ‘On the Road Again’ was recorded as a demo by Canned Heat in April 1967 at the RCA Studios in Chicago with original drummer Frank Cook. This version was over 7 minutes long, with added harp and guitar solos.

During the recording of Boogie With Canned Heat they recorded it again, this time with new drummer Adolfo “Fito” de la Parra at the Liberty Records studio in Los Angeles In September 1967. Blind Owl Wilson used verses from Floyd Jones’ ‘On the Road Again’ and ‘Dark Road’, as well as adding some of his own lyrics; ‘On the Road Again’ went to No.8 in the UK.

‘On the Road Again’ uses a one-chord boogie riff inspired by John Lee Hooker’s 1949 hit ‘Boogie Chillen’ that is made so distinctive by Wilson’s best Skip James-inspired falsetto vocal”, and his fabulous harp playing.

Other stand out cuts include ‘World in a Jug’, the B-side of ‘On the Road Again’, ‘Amphetamine Annie’ and the 11 minute plus, ‘Fried Hockey Boogie’ that the band reworked as ‘Woodstock Boogie’ when they played the festival in August 1969.

Besides five man band the album also features a cameo from pianist, Sunnyland Slim on ‘Turpentine Moan’. Dr John also plays piano on the album and did the horn arrangements; his own debut album, Gris Gris was released the same day in 1968, 21 January.

by Richard Havers, January 21, 2019

Tracks
1. Evil Woman (Larry Weiss) - 3:00
2. My Crime (Bob Hite, Alan Wilson, Henry Vestine, Larry Taylor, Adolfo de la Parra) - 4:01
3. On The Road Again (Floyd Jones, Alan Wilson) - 4:58
4. World In A Jug (Bob Hite, Alan Wilson, Henry Vestine, Larry Taylor, Adolfo de la Parra) - 3:27
5. Turpentine Woman (Bob Hite, Alan Wilson, Henry Vestine, Larry Taylor, Adolfo de la Parra) - 2:58
6. Whiskey Headed Woman No. 2 (Bob Hite) - 2:56
7. Amphetamine Annie (Bob Hite, Alan Wilson, Henry Vestine, Larry Taylor, Adolfo de la Parra) - 3:37
8. An Owl Song (Alan Wilson) - 2:47
9. Marie Laveau (Henry Vestine) - 5:15
10.Fried Hockey Boogie (Larry Taylor) - 11:11
11.The Hunter (Carl Wells, Steve Cropper, Al Jackson, Jr., Booker T. Jones, Donald Dunn) - 3:39
12.Whiskey And Wommen' (John Lee Hooker) - 4:01
13.Shake, Rattle And Roll (Charles E. Calhoun) - 2:44
14.Mean Old World (Marion "Little Walter" Jacobs) - 3:27
15.Fannie Mae (Buster Brown, Clarence Lewis, Bobby Robinson) - 3:07
16.Gotta Boogie (The World Boogie) (John Lee Hooker) - 9:57

Canned Heat
*Bob Hite - Vocals
*Alan Wilson - Slide Guitar, Vocals, Harmonica
*Henry Vestine - Lead Guitar
*Larry Taylor - Bass
*Adolfo De La Parra - Drums
Additional Personnel
*Dr. John - Horn Arrangements, Piano
*Sunnyland Slim - Piano On

1967-73  Canned Heat - The Very Best Of
1969  Canned Heat - Hallelujah (remaster and expanded)
1970 Canned Heat - Future Blues (Remaster and Expanded)
1970-73  Memphis Slim Canned Heat Memphis Horns - Memphis Heat
1971  John Lee Hooker And Canned Heat - Hooker 'N' Heat
1971-72  Canned Heat - Historical Figures And Ancient Heads
1973  Canned Heat - One More River To Cross

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rep>>> The Siegel • Schwall Band - The Complete Vanguard Recordings And More (1966-70 us, astonishing blues rock, 2001 three disc box set)

Corky Siegel was born in Chicago in 1943 and musically influenced by Elvis, Chuck Berry, little Richard, Fats Domino, and everything eke on '50s and '60s radio. He had played tenor sax in a high school band that also featured Russ Chadwick, Siegel-Schwall's first drummer. Jim Schwall was also born in Chicago, a year earlier than Corky. He had started playing guitar in high school, influenced by the Weavers and other mainstays of the late '50s folk revival. He played in bluegrass bands, but also took on the influences of folk blues players including Big Bill Broonzy, Lightnin' Hopkins, Robert Pete Williams, lonnie Johnson, and Brownie McGhee. Siegel was barely 21 in 1964 when he met his fellow Roosevelt University music student in an elevator. Schwall was studying composition, Siegel was majoring in classical saxophone. That year, however, Siegel was introduced to the blues by a couple friends who played Dylan-style harmonica (one was Bob Buchanan, of the hit folk group the New Christy Minstrels).

While both played in the school's jazz band, Siegel hadn't noticed Schwall until he saw the guitar slung around his future partner's neck in the elevator. Siegel played a Wurlitzer electric piano with a makeshift bass drum and high hat cymbals underneath. Schwall had the same '50s era blond Gibson B-25 acoustic guitar—with an electric pickup literally bandaged over the sound hole—which he still uses to this day (though it's been rebuilt a couple times since he first acquired it in 1959). As The Two Man Blues Band, Siegel and Schwall auditioned for Johnny Pepper at Chicago's famed South Side blues club Pepper's Show Lounge.

They were then, and still are, unique instrumentalists. An extraordinarily inventive harmonica player with a broad vocabulary of inimitable riffs and tones, he would alternate chunky folk-blues chords with Chicago blues single notes and throw in vocal groans and yips (listen to "Angel Food Cake," from final Vanguard album Siegel Schwall 70). His piano playing was likewise unorthodox: "Down In The Bottom," the Howlin' Wolf classic which opened the band's 1966 self-titled debut album, prompted a puzzled Wolf, who used to sit in with the band frequently and was Siegel's favorite blues Founding Father, to point out that he was playing the key piano part "backwards."

Schwall, who stayed with his sturdy acoustic Gibson because its "boxy" neck could withstand his punishing hard play, was similarly incomparable. His guitar lines attacked from all directions: up, down, sideways, diagonally predictably and from out of nowhere. His slide work, as on the heretofore unreleased "Easy Rider" or the slow blues buzz of Slim Harpo's "I'm A King Bee" from the band's second album Say Siegel- Schwall, was utterly dazzling; so was his mandolin play on that album's "Bring It With You When You Come." (His use of the mandolin as a blues instrument, incidentally, put him in the company of the late Yank Rachell and very few others in using the mandolin as a blues instrument.)

After a few months at Pepper's, the band moved to Big John's on the North Side, where they took the slot previously occupied by the Paul Butterfield Blues Band. Now called The Siegel-Schwall Band, it had solidified a lineup also including bassist Jos Davidson-another Roosevelt student and Mike Bloomfield's bassist-and drummer Chadwick. Within weeks of their first Big John's gig, The Siegel-Schwall Band was discovered by Sam Charters, talent scout (or Vanguard Records, the venerable folk music label.

The author of The Country Blues and producer of such blues greats as Lightnin' Hopkins, Charters was immediately struck by the group's commitment, excitement, and innovative take on the traditional blues genre. He produced the songs on The Siegel- Schwall Band-a mix of covers by major influences like Howlin' Wolf and jimmy Reed with originals in a similar stylistic vein—in one take at Universal Recording Studios in Chicago. he album was released in 1966, just as the San Francisco music explosion was getting underway. Siegel Schwall soon became a big draw in the Frisco scene, sharing stages with virtually every major act from that period including Jefferson Airplane, Quicksilver Messenger Service, and Big Brother and the Holding Company. hey also mode inroads on the East Coast, at clubs like the Bitter End, and Steve Paul's Scene, where Tiny Tim used to open their shows and where the over of Say Siegel Schwall was shot. That album, released in 1967, as recorded in Vanguard's New York studio, using the downstairs washroom for an echo chamber. Jack Dawson, who had played bass in a Detroit band, had replaced Davidson, who left to pursue a career in social work.

Once again, the contents came from the band's set list and continued its founders' use of traditional blues as a base for contemporary expression. One tune, the slow blues "My Baby Thinks I Don't Love Her," would soon be embellished by composer William Russo in "Three Pieces for Blues Band And Symphony Orchestra." (Siegel Schwall would later record it with prominent fan Seiji Ozawa and The San Francisco Symphony for release on the Deutsche Grammophon label in 1973. Ozawa had conducted The Chicago Symphony in the late '60s and, like Charters, fell in love with the band after stumbling upon them at Big John's. They first performed with Ozawa and The Chicago Symphony in 1968, and would later appear with other orchestras; they even joined Arthur Fiedler and The Boston Pops in a concert televised on PBS.)

Say Siegel Schwall is followed in this set with four previously unreleased tracks. "Easy Rider" and "I Like The Way You Rock" are demo versions of late '60s earty '70s concert favorites, while "Don't Want No Woman" and "Sneaky Pete" are outtakes from the first Vanguard sessions. The third Vanguard album, Shake!, was also cut in New York, mainly as a collection of song demos. After its 1968 release, the band, which had toured heavily for two and a-half years, took a year off, returning in 1969 with a new rhythm section in Rollo Radford, who had played with Dinah Washington and Martha and the Vandellas, and the great Chicago blues drummer Sam Lay, who had played in Siegel's interim band along with guitarist Jim McCarty of Mitch Ryder and The Detroit Wheels fame. Drummer Shelly Plotkin was in place when Siegel Schwall recorded its final Vanguard album, Siegel- Schwall 70, at Paragon Studios in Chicago.

Whereas the preceding studio albums could only hint at the exhilarating roller coaster ride of the Siegel- Schwall Band live, Siegel- Schwall 70 fully captured it in two concert performances: "Angel Food Cake" and Seawall's guitar masterpiece "A Sunshine Day In My Mind." They were recorded live at Chicago's premiere showcase dub The Quiet Knight, where the band now held court every Tuesday. To use a term evocative of the time, they had by now become a "boogie band" second to none, and almost every track on the album was a concert favorite.

Siegel, who currently fronts Corky Siegel's Chamber Blues, a Chicago-based blues-classical hybrid also featuring four string players and a tabla player. Schwall now lives in Madison, working as a high school teacher and part time social services worker when not planning a run for mayor. Radford, who went on to play bass with the likes of Professor Longhair, Fats Domino, and Sun Ra, is a special education teacher in Chicago, and also plays in jazz groups.  Plotkin, a master drummer, died of heart failure in 1990. 

Yet The Siegel Schwall Band remains "a bond in perpetuity," to use Siegel's designation. A reunion concert recorded in 1987 and released on Alligator Records returned Sam Lay to the fold, and found the group in lop form-and up-to-date, as the "Find yourself another hippie" line in "I Don't Want You To Be My Girl" was contemporized to "Find yourself another yuppie." They still get together occasionally, more than 35 years after their historic first Vanguard album.

And so the Siegel-Schwall magic lives on, and with it, that special Siegel Schwall induced smile. It's all there in Siegel- Schwall's The Complete Vanguard Recordings and More, a deserved commemoration of the timeless talents of two immensely influential musicians-and more. Much more.

by Jim Bessman

Tracks

Disc 1

The Siegel Schwall Band  1966

1. Howlin' For My Darlin' (Chester Burnett, Willie Dixon) - 2:41

2. I've Had All I Can Take (Instrumental) (Mark Siegel) - 3:20

3. Down In The Bottom (Chester Burnett) - 2:27

4. I've Had All I Can Take (Mark Siegel) - 3:16

5. Boot Hill (Jimmy Witherspoon) - 2:57

6. When I Get The Time (Jos Davidson) - 3:00

7. I've Got To Go Now (Mark Siegel) - 2:49

8. Mama/Papa (Jim Schwall) - 1:41

9. I'll Be The Man (Mark Siegel) - 2:41

10.Little Babe (Chester Burnett) - 2:49

11.Going To New York (Jimmy Reed) - 3:24

12.Mary (Mark Siegel) - 2:07

13.So Glad You're Mine (Arthur Crudup) - 3:46

14.Hoochie Coochie Man (Willie Dixon) - 6:50

15.Break Song (Jim Schwall, Mark Siegel, Russ Chadwick) - 2:20

Disc 2

Say Siegel Schwall  1967

1. I'm A King Bee (James Moore) - 5:32

2. Slow Blues In A (Jim Schwall) - 5:23

3. You Don't Love Me (Jim Schwall) - 2:48

4. I.S.P.I. Blues (Illinois State Psychiatric Institution) (Corky Siegel) - 8:58

5. Bring It With You When You Come (Traditional Arr. By Jim Schwall) - 4:19

6. My Baby Thinks I Don't Love Her (Corky Siegel) - 4:38

7. That's Why I Treat My Baby So Fine (Corky Siegel) - 11:52

8. I Like It Where We Walked (Corky Siegel) - 2:58

9. Easy Rider (Huddie Ledbetter) - 4:03

10.I Like The Way You Rock (Betty James) - 6:50

11.Don't Want No Woman (Don Robey) - 2:30

12.Sneaky Pete (Take Two) (Herb Hendler, Milton Rogers)) - 2:01

Disc 3
Shake!  1968
1. Shake For Me (Willie Dixon) - 4:50
2. My Starter Won't Start (Jim Schwall) - 4:49
3. Jim Jam (Jim Schwall) - 2:25
4. Louise, Louise Blues (J. Mayo Williams, Johnny Temple) - 2:48
5. Wouldn't Quit You (Mark Siegel) - 3:10
6. You Can't Run That Fast (Jim Schwall) - 3:03
7. Think (Mark Siegel) - 2:39
8. 334-3599 (Jim Schwall) - 2:34
9. Rain Falling Down (Jim Schwall) - 2:40
10.Get Away Man (Mark Siegel) - 3:12
11.Yes, I Love You (Mark Siegel) - 2:52
Siegel Schwall  1970
12.I Don't Want You To Be My Girl (Corky Siegel) - 6:23
13.Do You Remember (Corky Siegel, Jim Schwall) - 3:03
14.Geronimo (Charles De Meyer, Jim Schwall) - 3:07
15.Angel Food Cake (Corky Siegel) - 5:34
16.Walk In My Mind (Corky Siegel) - 2:35
17.Song (Corky Siegel) - 4:22
18.Tell Me (Chester Burnett, Howlin' Wolf) - 3:50
19.A Sunshine Day In My Mind (Jim Post, Jim Schwall) - 8:08

The Siegel Schwall Band

*Corky Siegel - Piano, Harmonica, Vocals

*Jim Schwall - Guitar, Vocals

*Jos Davidson - Bass, Vocals (1966)

*Russ Chadwick - Drums (1966-68)

*Jack Dawson - Bass (1967-68)

*Rollo Radford - Electric Bass, Upright Bass (1970)

*Shelly Plotkin - Drums (1970)

more from Siegel Schwall
1971  The Siegel-Schwall Band
1972  Sleepy Hollow
1973  953 West
1974  R.I.P. Siegel-Schwall (2018 edition)
1974  Live The Last Summer (2018 reissue)

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