"On The Boards" the Taste's second LP was issued in 1970 and was a much more satisfying affair than their debut. In fact this record was a favorite of mine as a stoned teenager in the 70's, I've recently revisited "On The Boards" and it still sounds pretty damn good. The record opens with the Taste show stopper "What's Going On" a powerful electric blues raveup with some stinging Gallagher guitar work. "Railway and Gun" is a folkish blues not too far removed from early Thin Lizzy. "It Happened Before, It'll Happen Again" is a remarkable number that really stretches out, Rory plays some really thoughtful runs on guitar and even plays some useful Alto Sax in the mid section.
"If The Day Was Any Longer" is a pretty laid back song that's almost folk-rock, Rory plays some nice Mel Lyman style harp on this one. "Morning Sun" is a full out rocker again recalling fellow Irishmen Thin Lizzy.
Side two opens with another blistering raver called "Eat My Words" the group is really clicking on this one Richard McCracken's plays lead bass right in your face ala Andy Fraser, Rory plays some razor sharp bottleneck lines while John Wilson plays the Ginger Baker part on drums. The title track "On The Boards" is a very interesting one that uses space to great effect, Rory's guitar sounds very San Francisco-ish like he just got done jamming with Barry Melton.
"If I Don't Sing I'll Cry" is a blues rock stomper in the Savoy Brown mold and may be seen as a throwaway but nothing too bad. "See Here" is a beautiful solo acoustic song by Rory, kinda like Danny Kirwan's contributions to Fleetwood Mac's classic "Then Play On" album.
"On The Boards" finishes with "I'll Remember" which is the best song on the album, the arrangement is great, the band are totally in sync and they rock like there is no tomorrow. "On The Boards" is a tight well played album that is filled with great songs with no frills just the way Rory liked it.
Taste split after this album but Rory put together another trio very much in the same mold as Taste. He made many worthwhile records in the 70's, "Deuce" being my favorite. Before punk happened his records were the only thing that got me through the wasteland of the mid 1970's. I had a chance to meet him after a concert in the 70's and he was a true gentleman. A great man who will be sorely missed.
by Dave Furgess
Tracks
1. What's Going On - 2:48
2. Railway and Gun - 3:38
3. It's Happened Before, It'll Happen Again - 6:33
4. If the Day Was Any Longer - 2:10
5. Morning Sun - 2:39
6. Eat My Words - 3:47
7. On the Boards - 6:02
8. If I Don't Sing I'll Cry - 2:40
9. See Here - 3:05
10. I'll Remember - 3:02
All compositions by Rory Gallagher
Taste
* Rory Gallagher - Guitars, Vocals, Saxophone, Harmonica
* Richard "Charlie" McCracken - Bass Guitar
* John Wilson - Drums
Rory Gallagher's rock’n’roll odyssey began at age six, when he saw Elvis Presley on TV. Inspired by other greats like Woody Guthrie, Lonnie Donegan and Leadbelly, Gallagher first picked up ukulele, then guitar, and by his teens was playing throughout Ireland in a number of the showbands that were popular at the time.
Out of one of those groups came the first line-up of Taste, a three-piece blues-rock band who were pioneers of the ‘60’s rock trio sound along with Cream and the Jimi Hendrix Experience. They were hailed in New Musical Express by John Lennon, who found Taste an especially bright spot in what he thought was a dismal musical year, and was impressed by Gallagher's playing and singing talents. Taste were also among the star attractions at Britain's Woodstock - The Isle of Wight Festival- where they shared the stage with Hendrix and the Doors.
Tracks
1. Blister On The Moon - 3:26
2. Leavin' Blues (Huddie Ledbetter) - 4:15
3. Sugar Mama (Chester Burnett)- 7:14
4. Hail - 2:35
5. Born On The Wrong Side Of Time - 4:00
6. Dual Carriageway Pain - 3:13
7. Same Old Story - 3:32
8. Catfish (Traditional) - 8:04
9. I'm Moving On (Hank Snow) - 2:29
All Tracks composed by Rory Gallagher except where stated.
Introducing an artist such as Clayton is an excuse for the lazy sleeve note writer to trot out such hackneyed adjectives as 'enigmatic', or 'obscure', but not 'million-selling'. In a recording career that spans over thirty years, his album output doesn't even run into double figures, so one epithet that cannot be used in conjunction with Clayton's name is 'prolific'.
However, I'll take qualify over quantity any day, and if Clayton needs to take his time over albums as consistently strong as the three contained here - Border Affair, Naked Chid and The Dream Goes On, well, so be it. So, here's the point at which I shade in a bit of the Clayton background detail for yet.
According to the few music encyclopaedia entries on him, he was born in Alabama on October 29th, 1942, and was raised in Oak Ridge, Tennessee from the age of four. He told the UK fanzine Omaha Rainbow that "I've always known that music was important - when my dad knew he'd got uptight, and the world got too much for him, he would break out his bourbon and play Red Foley and Jimmie Rodgers records, and tell war stories and drink whisky.
I can remember trying to figure out what was going on; why everybody would sit there and get drunk and cry. I figured anything that could evoke that kind of emotion had to be pretty strong." Clayton's father was keen for him to learn a musical instrument, and gave him the choice of accordion or Guitar. He choose the latter of course, but it appears that his father purchased a steel guitar (maybe even a dobro) and also arranged for young Lee to have lessons. After a couple of years, Clayton expressed the opinion tha he preferred learning the instrument by ear, as opposed the formal lessons, his father promptly sold the guitar.
He didn't return to music until his teens. Music remaind one of numbered interests that he maintained during his student days at the University of Tennessee, wherein he eventually earned a Bachelor of Science degree in Industrial Managment, after which he got a job. He was doing ok, but in the mid '60's he was married had a Porsche sports car, and yet feld strangely unfulfilled. As well as music, he yearned to fly aeroplanes and despite being married, had the ol "roving eye" when it comes to the ladies.
According to Clayton "one day something went click and i turned around and went back home, quit the job and started trying to get in to the Air Force. He was to spend three years in USAF getting the pilot to March 2nd McDonnell BF101 Voodoo Fighter, which was most known amongst fly boys as "The Widowmaker", owing to a design fault that led to it behave unpredictably during certain manoeuvres.
In fact that experience inspired the song "Old Number NIne" from his album Border Affair. Having crossed off the desire to fly from his "to do" , on quitting the force, Clayton decamped to Nashville with the aim of pursuing a career of singer-songwritter. During his period with the services, Clayton has honed his skills as singer-songwritter, working on his Guitar playing and lyrical skills. There was clearly more than a grain of talent there, but in Nashville he was one of the zillion aspirant singer-songwriters trying to shine up the greasy pole.
" I was living in Luisville Kentucky, and spend three or four days of week in Nashville... people would say to me -what are you doing? - I'd say I'm a poet and songwriter. With in six months my money started to go and they took my credit cards away from me and I was on the street. Sols my Porsche and I had and old beat-up VW. I went from then until I got some money from the record company when i signed the deal in early '73. Before that was out on the street , sleeping in the floor time".
The record company referred to hear is MCA, who signed Clayton in 1973, following the succes he had enjoyed when Wylon Jennings had covered his song "Ladies Love the Outlaws". Clayton's excellent self-titled debut album is also available and is well worth checking out. However, Clayton spoked with somewhat mixed feelings of the year 1973 and released his debut long player. "The start of '73 I had no money, got some money made a record, spend a lot of money, end of '73, broke off the label, back on the streets again, all in one year.
I lived in motel room in California most of '74 - out in the Mojave Desert and lived there with this woman. Didn't do a whole lot, the truth is, just sat around and looked at things. Watched a whole lot of sun downs and sunrises, thought a lot, climbed the mountain, and one day figured it was time for me to go at it again". A considerable factor in the re-energising of Clayton's muse was his meeting and befriending Philip Donnelly, a fine Irish guitar player who was then a part of Donovan's touring band. In Donnelly, Clayton found an incisive and inspired guitarist, who helped supply a razor-sharp cutting edge to Clayton's recordings, lifting the music out of the Nashville standard, into something slightly more rock-orientated and contemporary.
This was Outlaw country, I guess. Clayton landed a new record deal with EMI / Capitol, and cut the three albums that you're hopefully enjoying. Border Affair was released in 1978, and enjoyed positive critical notices, and Willie Nelson loved the track If You Can Touch Her At All enough to cover the track himself. Cashbox magazine nominated Clayton for New Male Vocalist of the year. It's follow-up, Naked Child had a more difficult gestation - Clayton had crises of confidence over the production sound and the way recordings were progressing - however, he hauled it together, and its release in May 1979 again saw it well-received, critically.
Although Clayton had made little impression sales-wise in his native USA, the album did sell well in continental Europe, and Clayton, with an impressive band, toured the continent supporting label mates Roger McGuinn, Gene Clark and Chris Hillman. His European fan base has proved loyal; Clayton still enjoys a reputation on the Continent, years after the release of his final Capitol album, The Dream Goes On.
Lee Clayton has only intermittently returned to the recording and gigging fray in the twenty odd years since the early 80's; Bono of U2 has claimed Clayton as an influence, bizarrely enough, but Clayton's story is ultimately one of potential largely unfulfilled. Mind you, if one book-ends his debut with the three albums contained here, you have a quartet of some fine Outlaw Country music that no self-respecting fan should be without
by Alan Robinson, November 2007
Tracks
Disc 1
1. Silver Stallion - 4:48
2. If You Can Touch Her At All - 4:35
3. Back Home In Tennessee - 4:33
4. Border Affair - 3:47
5. Old Number Nine - 3:07
6. Like A Diamond - 4:36
7. My Women My Love - 5:02
8. Tequila Is Addictive - 4:32
9. My True Love - 4:36
10.Rainbow In The Sky (Lee Calyton, Phillip Donnelly) - 3:33
11.Saturday Night Special - 3:11
12.I Ride Alone - 5:14
13.10,000 Light Years / Sexual Moon - 6:23
14.Wind And Rain - 2:40
All songs by Lee Clayton except where indicated
Tracks 1-10 from Border Affair 1978
Tracks 11-14 from Naked Child 1979
Disc 2
1. I Love You - 5:06
2. Jaded Virgin - 4:14
3. A Little Cocaine - 5:26
4. If I Can Do It (So Can You) - 4:44
5. What's A Mother Gonna Do - 2:54
6. Industry - 7:27
7. Wont You Give Me One More Chance - 3:22
8. Draggin' Them Chains - 3:31
9. Where Is The Justice - 4:48
10.Whatcha Gonna Do - 4:06
11.Oh How Lucky I Am - 3:41
12.The Dream Goes On - 4:47
All compositions by Lee Clayton
Tracks 1-4 from Naked Child 1979
Tracks 5-12 from The Dream Goes On 1981
Musicians 1978 - Border Affair
*Colin Cameron - Bass
*Lee Clayton - Guitar, Harp, Lead Vocals
*Jimmy Day - Pedal Steel Guitar
*Phillip Donnelly - Lead Guitar, Vocal Harmony
*Danny Lane - Drums
*Andy McMahon - Keyboards
*Wayne Jackson - Trumpet
*Andrew Love - Sax
1979 - Naked Child and 1981 - The Dream Goes On
*Clay Caire - Drums
*Lee Clayton - Guitar, Lead Vocals
*Phillip Donnelly - Guitar
*Tim Krekel - Lead Guitar
*Steve Marshall - Bass
*Tony Newman - Drums tracks 8,12
*Bobby Ogdin - Keyboards
*Rachel Peer - Bass track 12
*Glenn Rieuf - Pedal Steel
*Vickie Hampton, Donna McElroy, Deborah Allen - Backing Vocals
*Sweet Honey Bees (Children's Voices) - Backing Vocals
*Thomas Cain & The Corinthian Church Choir (Big Children's Voices) - Backing Vocals
The British band Cockney Rebel, founded by singer-songwriter Steve Harley, entered the rock scene in 1973 after signing with EMI. Their debut The Human Menagerie contained the single Sebastian with its classical keyboard arrangements. This single definitely generated interest in the band and it was a big international success. It paved the way for their second album The Psychomodo (1974), which was a great success either charting the top-ten in the UK along with the hit singles Judy Teen and Mr Soft. Recently these two albums were re-released in a 4CD anthology set. Beside these two albums this set includes all the singles and flip sides, recently discovered early alternative versions, mixes of tracks from both albums and various BBC concerts and sessions, including two tracks from The Old Grey Whistle Test. All these tracks were previously unreleased on CD.
On Cavaliers (An Anthology 1973-1974) Steve Harley & Cockney Rebel cover a range of musical genres from pop to progressive rock and even classical music. The first disc contains the entire debut album plus two singles and their flip sides. The Human Menagerie was recorded in June and July 1973 in the Air Studios in London and produced byNeil Harrison. All songs were written by Steve Harley. It was released by EMI Records in November 1973, but failed to chart in the UK and the USA. The line-up consisted of Steve Harley (vocals), Stuart Elliott (drums, percussion), Paul Jeffreys (bass), Milton Reame-James (keyboards) and Jean-Paul Crocker (electric violin, mandolin, acoustic guitar). Engineer was the well-known Geoff Emerickwho had worked with The Beatles, while Andrew Powell (The Alan Parsons Project, amongst others) did all the string arrangements.
The album features no electric guitars. Although the band originally had several guitar players, Harley felt that the Cockney Rebel sound didn't need an electric guitar. They settled on the combination of Crocker's electric violin and the Fender Rhodes piano of keyboardist Reame-James sharing the lead. Their first single Sebastian was an immediate success in Europe, although it failed to score in the UK singles charts. The band attracted a growing following in London with their debut album on which Sebastian undoubtedly is the ultimate highlight. This song is mostly performed on the acoustic piano, but has a lot of bombastic passages thanks to the use of a classical orchestra and a choir.
Two other musical highlights on The Human Menagerie are the short piece Chameleon, which is a kind of intro to Death Trip. The classical arrangements elevate this piece to a high level. It beautifully moves towards an excellent climax where the choirs sound absolutely stunning! The bonus tracks are a DJ edit of Sebastian and Rock And Roll Parade, the flip side of this single, which is a happy pop tune like many other songs on their debut. The next single that was recorded as Cockney Rebel has been added as well. The non-album track Judy Teen and its flip side Spaced Out end the first disc. This is a rather good single with fine playing on the violin. Judy Teen became their first hit in the UK; the flip side is a rather pop-like song.
The second disc contains the entire second album The Psychomodo complemented with two singles. This time the album was produced by Steve Harley and Alan Parsons, who produced the famous album Dark Side Of The Moon by Pink Floyd. He also worked with The Beatles. It was released by EMI Records on the 2nd of June 1974. The album failed to chart in the USA, but charted at number eight in the UK. The line-up was similar to their debut and once more Andrew Powell did all the string arrangements. You could say that The Human Menagerie was a journey into the decadence of mankind, while The Psychomodo is like a trip to the circus.
On the latter album different musical elements of the circus can be heard throughout. Maybe this album has even more to offer than the band's debut. In my opinion the highlights are Ritz, Cavaliers and Tumbling Down. These pieces contain more prog rock influences compared to the other compositions. They also used more keyboards beside the usual piano parts. Especially Tumbling Down sounds very good thanks to the fine string arrangements. This disc contains rather strong bonus material as well like Such A Dream, the flip side of Mr Soft. Big Big Deal was the first solo single by Steve Harley released in 1974. It never appeared on an album. In 1975 Cockney Rebel scored a big hit in the UK with Make Me Smile (Come Up And See Me). The song preceded the formation of a new line-up, because after a successful UK tour all musicians, with the exception of Stuart Elliott, quit.
The third disc features several early versions, stereo mixes and alternate mixes of songs that later appeared on the first two albums. It's nice to listen to different versions of a number of tracks, especially the more well-known numbers like Sebastian, Mr Soft and Judy Teen. This time no orchestral arrangements can be heard. These versions sound purer as if they were recorded in a rehearsal room. The final and fourth disc is actually the most interesting one, because it contains the live versions of the rather sterile songs. If you listen to Cockney Rebel during performances for a BBC concert, The Old Grey Whistle Test and a John Peel session you just feel the energy. The songs are more lively thanks to a strong playing band. Even the two songs with the classical arrangements sound perfect. You hardly miss the string sections on Sebastian and Death Trip.
After the first split, Cockney Rebel was in fact a Steve Harley solo project. In 1974, The Best Years Of Our Lives was released again produced by Alan Parsons. This album included the aforementioned track Make Me Smile (Come Up And See Me) which became a number one single in February 1975. It was the band's biggest hit that sold over one million copies globally. More albums followed, but they never got the success of this one. In 2010, Steve Harley & Cockney Rebel began to tour again in England, Ireland and Northern Ireland following the release of Stranger Comes To Town, a new studio album.
Cavaliers (An Anthology 1973-1974) is a fine 4CD compilation comprising the early days of Cockney Rebel. I think this set will be enjoyed by many lovers of progressive rock music since songs as Sebastian and Death Trip are real beauties.
by Henri Strik (edited by Peter Willemsen)
Sadly Steve Harley passed away, 17th March 2024, at the age of 73...
Tracks
Disc 1
The Human Menagerie
1. Hideaway - 3:48
2. What Ruthy Said - 2:19
3. Loretta's Tale - 4:10
4. Crazy Raver - 3:44
5. Sebastian - 6:59
6. Mirror Freak - 5:11
7. My Only Vice - 2:49
8. Muriel the Actor - 4:09
9. Chameleon - 0:51
10.Death Trip - 9:51
11.Sebastian (DJ Edit) - 3:52
12.Rock And Roll Parade - 2:55
13.Judy Teen - 3:43
14.Spaced Out - 2:59
Disc 2
The Psychomodo
1. Sweet Dreams - 2:08
2. Psychomodo - 4:04
3. Mr Soft - 3:17
4. Singular Band - 3:02
5. Ritz - 7:14
6. Cavaliers - 8:35
7. Bed In The Corner - 3:34
8. Sling It! - 2:44
9. Tumbling Down - 5:58
10. Such A Dream - 5:08
11. Big Big Deal - 4:30
Disc 3
Special Versions
1. Sebastian - 8:20
2. Hideaway - 4:03
3. Chameleon - 0:42
4. Death Trip - 8:52
5. Loretta's Tale - 4:48
6. Crazy Raver - 4:01
7. Mirror Freak - 5:40
8. My Only Vice - 2:54
9. Rock And Roll Parade - 3:30
10.Judy Teen - 4:10
11.Crazy Raver - 3:48
12.Rock And Roll Parade - 3:30
13.Mr Soft - 3:23
14.Big Big Deal - 5:34
Disc 4 Concerts And Sessions
1. Hideaway - 5:03
2. Crazy Raver - 3:51
3. Loretta's Tale - 4:40
4. Sebastian - 7:38
5. Death Trip - 11:24
6. Hideaway - 4:16
7. My Only Vice - 2:48
8. Bed In the Corner/Sling It! - 6:07
9. Mr Soft - 3:15
10.Sweet Dreams/Psychomodo - 5:44
All compositions by Steve Harley
Many of the articles that have recently appeared around this four CD compilation of Graham Bond’s BBC sessions tend to assume that the reader will be aware of who Bond was. Unfortunately this is not the case. While talking to an acquaintance of similar vintage as myself a few weeks ago, I mentioned this latest box set from Repertoire. “Graham Bond, I don’t recall him…” resulted in disappointment more than surprise from my side. So, for those who were there but find that almost daily our memories are fading, but more importantly for those who weren’t around in the sixties here’s a few facts.
Graham Bond was an important (and imposing) figure in British music in the sixties and seventies. Bond was an innovator, on a par as those more celebrated British musicians such as Alexis Korner and John Mayall, who also served as a training ground for many musicians who are still rightly regarded highly half a century after they first took to a stage. Bond was initially known for playing alto saxophone while trying to scrape a living as a jazz musician on his chosen instrument. After a stint with Alexis Korner’s Blues Inc., Bond teamed up with fellow Korner members, Jack Bruce and Ginger Baker, and with guitarist John McLaughlin formed the Graham Bond Quartet before morphing into the Graham Bond Organization, dropping McLaughlin in favour of Dick-Heckstall-Smith on tenor sax while Bond played keyboards, heavily featuring the Hammond organ.
It was during this time that Bond, while never forsaking his jazz leanings, introduced the rhythm and blues stylings that were so popular in the mid-sixties into his music and in doing so built up a sizable following. But, even with two albums released in 1965, ‘The Sound Of ‘65’ and ‘There’s a Bond Between Us’, and a dedicated fan base that attended his live shows, although he gained the respect, he never achieved the glory that many of his fellow band-mates did. It’s felt that Bond was under-appreciated then and even though his albums have been available through the digital age he’s still not recognized as the innovator he truly was. Bond was, and still is, one of the most important figures in British R'n'B.
For Bond’s full and fascinating story there’s a book, ‘Graham Bond: The Mighty Shadow’ which was published in 1992 and is still available from the author, Harry Shapiro, which details the rise and fall of Bond’s life and music, and is simply one of the most compelling books about a musician ever written. It’s a must-have for any music fan.
Of course, Bond’s life was complicated and there was a darker side to him, not helped by his drug addiction and his obsession with the occult, but one thing is certain; his death, which many to believe to be suicide, at the age of thirty-six robbed the music scene of an immense talent.
Bond went through a succession of bands, all of which are covered in Shapiro’s book, and while his time on this earth was short he influenced and introduced the world to many fine musicians. Although some of his more popular albums have hardly been put of print, during the last few years Repertoire Records have finally given part of Bond’s body of work the respect it’s due.
In 2012 the label released ‘Wade In The Water’, a four CD box set lovingly put together by poet/lyricist Pete Brown, who is possibly best known for his work with Cream and another underrated artist who also provided the foreword for Shapiro’s book as well as actually working with and releasing music with Bond. That lovingly compiled box set covered all that was really required from Bond’s early years, remastered with his usual skill by Jon Astley. Now Repertoire have gone the extra mile and issued another four CD box set covering Bond’s live work at the BBC and a little more.
While not as elaborately presented as ‘Wade In The Water’ - the book-sized box has been abandoned for a couple of double standard CD jewel cases - the fact that this music is now available at all is a blessing. Pete Brown again supplies liner notes and Astley once again has remastered the set. There have been many negative comments about the quality of some of these sessions and it’s true that some tracks do suffer from imperfections, but rather that than never having the opportunity to hear or relive them. With Astley in charge of the sound, you can be certain that they’ll never be improved upon anyway.
‘Live at the BBC’ covers more ground than it’s (mainly) studio counterpart. There is a handful of tracks from the Bond and Brown period. Bond’s Initiation era is featured and, of course, both Bond’s Quartet and Organization work is covered. The earliest recordings are from 1962 and the latest from 1972. There are sessions from BBC’s Jazz Club with Bobby Breen, the Quartet backing Duffy Power, Bond backing the Brian Dee Trio and so much more.
It’s not just fascinating for Bond devotees; anyone who has an interest in or is discovering British R&B for the first time will find plenty to enjoy here. While some of the tracks do show their age and sound a little dated, there are those such as the Bond and Brown ‘Sounds of the Seventies’ sessions that still sound as fresh as the day they were recorded. It’s also good to hear Diane (Bond’s wife) singing on a couple of those songs. While for the most part it’s fascinating to hear the various DJs introducing the songs, Pete Drummond sounds like he’s just woken when presenting these particular cuts, but hearing John Peel, Steve Race and George Melly is a joy.
While the quality of the four songs taken from a bootleg of the BBC ‘Pop Goes the Beatles’ recorded at Aeolian Hall, London in 1963 is one of the sections that has been singled out for criticism due to the audio imperfections, for some it will be a highlight. With Duffy Power on vocals, McLaughlin on guitar, Jack Bruce playing the double bass, Ginger Baker on drums and Bond’s Hammond driving the songs along, it’s not only a collector's dream come true but a piece of history many thought was lost forever.
All those connected with this set, especially Repertoire Records, should be commended for making this music available and at a reasonable price. The amount of love, care and passion that has gone into both of Repertoire’s Bond box sets is a lesson as to how it should be done to much bigger labels. Now all we need is some young, hip artist to check out Bond’s not inconsiderable body of work and maybe he’ll finally receive the acclaim he so rightly deserves.
by Malcolm Carter
Tracks
Disc 1
1. Bluesology (Milt Jackson) - 4:13
2. I'm Gonna Move To The Outskirts Of Town (Casey Bill Weldon, Roy Jacobs) - 3:56
3. Hello Little Girl (John Lennon, Paul McCartney) - 2:18
4. Spanish Blues (Graham Bond) - 4:13
5. Wade In The Water (Traditional Arr. Graham Bond) - 5:28
6. Hallelujah I Love Her So (Ray Charles) - 4:12
7. Every Day I Have The Blues (Pinetop Sparks, Milton Sparks) - 3:40
8. I Saw Her Standing There (John Lennon, Paul McCartney) - 2:26
9. I Got A Woman (Ray Charles, Renald Richard) - 4:32
10.Summertime (George Gershwin) - 3:59
11.Hallelujah I Love Her So (Ray Charles) - 2:06
12.Things Are Getting Better (Julian "Cannonball" Adderley) - 5:40
13.Elsie And Ena aka 'Bring Back The Burch' (Graham Bond) - 3:36
14.Richmond Festival (Don Rendell) - 6:15
15.Kelly Blue (Wynton Kelly) - 4:07
16.Troika (Burch) - 3:34
17.Kazeef (Burch) - 3:08
18.Persian Party (Don Rendell) - 4:05
Tracks 1-7 Graham Bond Quartet with Bobby Breen, BBC Jazz Club, at the Paris Cinema, 25th April, 1963
Tracks 8-11 Duffy Power with the Graham Bond Quartet, BBC 1963
Tracks 12-18 Don Rendell Quintet with guest Dick Heckstall-Smith, ‘Jazz Session’, at the Paris Cinema, 19th September, 1962
Musicians
Tracks 1-7
*Graham Bond - Vocals, Hammond Organ
*John Mclaughlin - Guitar
*Jack Bruce - Double Bass
*Ginger Baker - Drums
*Bobby Breen - Vocals
Tracks 8-11
*Graham Bond - Hammond Organ
*John Mclaughlin - Guitar
*Jack Bruce - Bass
*Ginger Baker - Drums
*Duffy Power - Vocals
Tracks 12-18
*Don Rendell - Tenor, Soprano Saxophones
*Graham Bond - Alto Saxophone
*Dick Heckstall-Smith - Tenor Saxophone
*Johnny Burch - Piano
*Tony Archer - Bass
*Ted Pope - Drums
Disc 2
1. Wade In The Water (Traditional Arr. Graham Bond) - 4:43
2. Only Sixteen (Graham Bond) - 4:05
3. When Johnny Comes Marching Home (Traditional Arr. Graham Bond) - 4:50
4. Macumbe (DeLisle Harper) - 5:17
5. Milk Is Turning Sour In My Shoes (Pete Brown, Phil Ryan, Taff Williams) - 7:15
6. Beak Suite (Graham Bond) - 9:58
7. Improvisation - 2:42
8. Moses In The Bullrushourses (Pete Brown, Dick Heckstall-Smith) - 4:02
9. What’d I Say? (Ray Charles) - 9:40
10.Wade In the Water (Traditional Arr. Graham Bond) - 5:23
11.I Got A Woman (Ray Charles, Renald Richard) - 2:42
12.Cabbage Greens (Champion Jack Dupree) - 2:33
13.I Saw Her Standing There (John Lennon, Paul McCartney) - 2:27
14.Spanish Blues (Graham Bond) - 2:59
Tracks 1- 3 Graham Bond Organization, ‘Jazz Beat’, 22nd January, 1966
Tracks 4-6 Bond and Brown, BBC Radio Birmingham, 23rd March, 1972
Track 7 Graham Bond and Dick Heckstall-Smith, home tape, 1962
Track 8 Dick Heckstall-Smith Band, demo recording, 1972
Track 9 Graham Bond Organization, live recording, 1966-67
Track 10 Graham Bond Initiation, live recording, 1969-70
Tracks 11-14 The Graham Bond Quartet From A Bootleg of BBC “Pop Goes The Beatles” Recorded At Aeolian Hall London Broadcast 16th July 1963
Musicians
Tracks 1-3
*Graham Bond - Hammond Organ, Vocals
*Dick Heckstall-Smith - Saxophones
*Mike Falana - Trumpet
*Ginger Baker - Drums
Tracks 4-6
*Graham Bond - Vocals, Hammond, Electric Piano
*Pete Brown - Vocals, Percussion
*Diane Stewart - Vocals, Percussion
*Delisle Harper - Bass
*Ed Spevock - Drums
Track 7
*Graham Bond - Alto Saxophone
*Dick Heckstall-Smith - Tenor Saxophone
Track 8
*Graham Bond - Hammond, Vocals
*Dick Heckstall-Smith - Saxophones
*Others Unknown
Track 9
*Graham Bond - Hammond, Vocals
*Dick Heckstall-Smith - Saxophones
*John Hiseman - Drums
Track 10
*Graham Bond - Hammond Organ, Alto Saxophone, Vocals
*Keith Bailey - Drums
Disc 3
1. Walkin’ In The Park-I Want You (Segue) (Graham Bond) - 7:17
2. Wade In The Water (Traditional Arr. Graham Bond) - 13:44
3. Love Is The Law (Graham Bond) - 8:16
4. Love Is The Law (Graham Bond) - 10:21
5. Magic Mojo (Graham Bond) - 9:52
6. The World Will Still Be Free (Graham Bond) - 8:23
7. Wade In The Water (Traditional Arr. Graham Bond) - 12:51
Tracks 1-3 Graham Bond Initiation BBC ‘Top Gear’, Maida Vale, 31st January, 1970
Tracks 4-7 Graham Bond Initiation, BBC John Peel Sunday show, Paris Theatre, London, 22nd March, 1970
Musicians
Tracks 1-3
*Graham Bond - Hammond Organ, Vocals
*Diane Stewart - Congas, Vocals
*Dave Usher - Flute, Tenor Saxophone, Guitar
*Nigel Taylor - Bass
*Keith Bailey - Drums
Tracks 4-7
*Graham Bond - Hammond, Vocals
*Dave Usher - Flute, Tenor Saxophone
*Nigel Taylor - Bass
*Keith Bailey - Drums
*Kevin Stacey - Guitar
Disc 4
1. Things Are Getting Better (Julian "Cannonball" Adderley) - 4:12
2. Blew Through (Philamore Lincoln) - 5:19
3. Sack O'Woe (Julian "Cannonball" Adderley) - 8:34
4. Mack The Knige (Kurt Weill, Bertolt Brecht) - 5:48
5. Work Song (Nat Adderley) - 13:30
6. Oleo (Sonny Rollins) - 15:14
7. Things Are Getting Better (Julian "Cannonball" Adderley) - 18:10
Track 1 Brian Dee Trio, From The EP “Jazz And Twist” Vaux VA 8, 1962
Track 2 Philamore Lincoln, From The Album “The North Wind Blew South” Epic BN26497 1970
Tracks 3-7 With Ken Wray and The Joe Palin Trio Rehearsal / Jam Session Manchester, Club 43, 1962
Musicians Track 1
*Graham Bond - Alto Saxophone
*Brian Dee - Piano
*Malcolm Cecil - Double Bass
*Tony Mann - Drums Track 2
*Graham Bond - Keyboards, Saxophone
*Hal Blaine - Drums Tracks 3-7
*Graham Bond - Alto Saxophone
*Ken Wray - Valve Trombone
*Joe Palin - Piano
*Bill Brown - Bass
*Dave Edwards - Drums
Quicksilver Messenger Service are considered to be one of the most important bands to come from the San Francisco music scene of the sixties along with their contemporaries The Grateful Dead and The Jefferson Airplane.The band initially came together in 1965 and proceeded to play a great many gigs across America.
The band became one of the most popular draws in the Bay area of San Francisco and built a solid reputation as a strong live act built around a mixture of good material and what would essentially become their calling card long extended jamming pieces.. The original line up was guitarists John Cippolina and Gary Duncan alongside drummer Greg Elmore, bassist David Frieberg and vocalist Jim Murray. Originally vocalist Dino Valenti was also in line to become a member however he was arrested and jailed on drugs charges whilst the band was still in its formative stages. He did however join the band at a later date. The original line up lasted from the bands inception in late 1965 until they signed with Capitol Records in late 1967. Just before the band signed to Capitol Jim Murray left the band and the band elected not to replace him.
The bands debut album the self title Quicksilver Messenger Service was released in May 1968 and was an eclectic affair including key songs that still stand up to scrutiny forty years later. The album includes Pride of Man, Dino's Song (Written by Valenti), Gold and Silver and the extended song The Fool.
The following year the band released what many consider to be their best album. Entitled Happy Trails the album broke into the top 30 and included a side long suite of songs based around the Bo Diddley song Who Do You Love. Happy Trails also included another Diddley song Mona and also the Gary Duncan composed Calvary. The album set the seal on the bands reputation as one of the key bands of the time and certainly one of the key bands to come from the San Francisco music scene. Shortly after the release of Happy Trails however Gary Duncan departed and he was replaced by English keyboard player Nicky Hopkins. With this line up the band recorded Shady Grove which was another top thirty success for the band.
By the time of the 1970 release Just For Love Gary Duncan had returned and Dino Valenti also joined up. Further albums including What About Me (1970), Quicksilver (1971) and Comin' Through (1972) were released although by the time of the Quicksilver album both Frieberg and Cippolina had gone.
The band folded in 1973 although there was a reunion in 1975 and an album entitled Solid Silver. The band reformed in 2006 led by Gary Duncan and David Frieberg and they have continued to perform regularly since then, sometimes alongside Jefferson Starship. John Cippolina, Dino Valenti and Nicky Hopkins have all subsequently died and the current whereabouts of Greg Elmore are unknown.
This double disc recording finds the band playing at the Carousel Ballroom in San Francisco. The Carousel was another of Bill Graham's venues which he renamed the Fillmore West and ran it until 1971. When this recording was made it was just a few weeks after the release of the self titled debut from Quicksilver Messenger Service. The set included The Fool and Light Your Windows from the debut alongside live favourites Who Do You Love, Babe I'm Gonna Leave You and Walkin' Blues. The second disc however is the real pull for Quicksilver fans as it contains just the one track of the band doing what they do best and what sealed their reputation as a live band. Disc 2 is taken up with The Jam an extended piece which never outstays its welcome but which underpins the bands' musical inventiveness and dexterity.
by Jon Kirkman
Tracks
Disc 1
1. Back Door Man (Willie Dixon) - 4:48
2. Light Your Windows (Gary Duncan, David Freiberg) - 5:34
3. Who Do You Love (Ellas McDaniel) - 12:57
4. Babe I'm Gonna Leave You (Anne Bredon) - 5:09
5. Walkin Blues (Son House) - 5:40
6. The Fool (Gary Duncan, David Freiberg) - 13:38
Disc 2
1. The Jam (Gary Duncan, David Freiberg, John Cippolina, Greg Elmore, Jim Murray) - 41:49
"One of the first studio sessions by Quicksilver’s then new line-up of Dino Valente (vocals), John Cipollina (guitar), David Freiberg (bass & vocals), Greg Elmore (drums), with the British session pianist Nicky Hopkins. Mainly acoustic, it took place in Corte Madera, California in late 1969/early 1970."
"Most of the songs, a couple of them running for nearly nine minutes each, were never to appear on album, although they featured in the group’s concerts. As well as working on new songs such as 'Subway' and the rarely-performed 'The Fool', the band run through several country, gospel and blues standards that they were familiar with, such as 'I Know You Rider', 'Walk In Jerusalem', Hank Williams' 'May You Never Be Alone' and Cindy Walker's 'Warm Red Wine'."
The booklet's sleeves notes cover the group's circumstances at the time of the recordings and the featured songs.
There's Enough Magic To Go Around. Please Remember That.
Tracks
1. Senor Blues (John Cipollina, Dino Valenti, Greg Elmore, David Freiberg, Nicky Hopkins) - 6:18
2. Subway (Gary Duncan, Dino Valenti) - 1:43
3. I Know You Rider #1 (Traditional) - 3:54
4. I Know You Rider #2 (Traditional) - 4:35
5. Walk In Jerusalem (Traditional) - 2:44
6. Castles In The Sand (Traditional) - 8:32
7. May You Never Be Alone (Hank Williams) - 2:19
8. Warm Red Wine (Cindy Walker) - 3:03
9. Look Over Yonder Wall / State Farm (James "Guitar Slim" Jones / Traditional) .- 3:51
10.Wake Up, Dead Man (Part 1) (Traditional) - 5:35
11.Wake Up, Dead Man (Part 2) (Traditional) - 3:31
The classic early 70s String Driven Thing line up of Chris Adams guitar and vocals, Pauline Adams vocals and percussion, Colin Wilson bass, and Grahame Smith violin (Hamill/Van der Graaf) recorded on the Foxtrot Tour with Genesis. String Driven Thing were signed to Charisma Records 40 years ago in 1972 already having issued one album.
In fact, their second Charisma album ( and third release in historic terms) The Machine That Cried - originally released 1973- has since been acclaimed not, merely, String Driven Thing’s masterpiece, but one of the finest progressive rock albums of the entire era – its reissue a couple of years back on the British Ozit label was widely heralded as among the most intelligent re-releases of recent years. They are back again with this new CD 40 years later on the anniversary of them signing to Charisma.
On Dec 12th 1972, as Pauline Adams of String Driven Thing passed through customs at JFK Airport, in her suitcase was a full length orange dress. Nothing unusual in that, you might think, but the dress in question actually belonged to Peter Gabriel, to be worn at the climax of Genesis’ Foxtrot set which they were about to debut in New York’s Philharmonic Hall. For both bands, this was a first visit to the States, but whilst Genesis were classic Charisma Prog Rock, String Driven Thing were far harder to pigeonhole. Drummerless, and with a virtuoso lead violinist, they had just released their eponymous album to enthusiastic reviews and their first single “Circus” was already a turntable hit, so there was a real buzz in the city about both bands. On the night, the auditorium was packed and, unusually for a support band, the Thing were brought back for a rapturous encore.
Listening to this free blowing high octane set forty years on, it’s easy to see why. Fast forward six weeks, and the UK leg of the Foxtrot tour is due to start at London’s Rainbow, only in the interim, frontman Chris Adams has suffered a spontaneous pneumothorax (collapsed lung) and is rushed to hospital, where Doctors recommend that he take four weeks rest to let his lung reflate. But unwilling to drop out of the impending tour, Chris elects for the alternative treatment which, in his words involved “watching a brace and bit being used to drill a hole through my chest”.
14 days later, and against doctors’ advice, the band took to the Rainbow stage and, although understandably not being quite at their best, in the following gigs, including Manchester Free Trade Hall where this recently unearthed recording was made, the band performed sets with such stunning energy that multiple encores became the norm. Just listen to the 16 minute version of Jack Diamond and Graham Smith’s incredible virtuosity as he swoops and weaves around the hypnotic groove of Chris’ guitar, Pauline’s percussion and Colin Wilson’s subtly syncopated bass, and I think you’ll agree with me that Ozit has rediscovered a lost masterpiece.
Tracks
1. Let Me Down - 6:04
2. Then I Met The Lady - 6:21
3. My Real Hero - 4:13
4. Regent St Incident - 4:27
5. Circus - 7:57
6. Hooked On The Road - 4:49
7. Jack Diamond - 14:13
Music and Lyrics by Chris Adams
Roger McGuinn's 1973 self-titled solo debut was in most respects a breath of fresh air after the final days of the Byrds, in which the group was floundering in directionless mediocrity. In a sense, it's a back-to-basics album that emphasizes much of what McGuinn does so well: his forceful reedy vocals, his guitar playing, and his skills at both writing earnest folk-rock material (usually with future Bob Dylan collaborator Jacques Levy here) and interpreting unusual traditional and contemporary songs. Never was it folkier than on the acoustic "I'm So Restless," which benefited from harmonica by Dylan himself (about whom the song was partially about).
All four of the other original Byrds play on "My New Woman," which is virtually a reunion of the original quintet, with the addition of saxophone by jazzman Charles Lloyd; David Crosby makes unobtrusive cameos on some other tracks. As likable as it is, however, the album isn't an unqualified triumph. Some of the songs aren't so hot, some of the Moog synthesizer (by McGuinn) is unnecessary, his vocals sometimes seem to have been recorded with too much brittleness, and none of this is as good as the best of the Byrds. Unexpected influences make themselves heard in the Beach Boys harmonies of "Draggin'" (with Bruce Johnston of the Beach Boys on piano and backup harmonies), the Vietnam blues of "Hanoi Hannah," and the gospel-rock of "Stone."
by Richie Unterberger
Tracks
1. I'm So Restless - 3:05
2. My New Woman - 3:10
3. Lost My Drivin' Wheel (David Wiffen) - 3:27
4. Draggin' - 3:36
5. Time Cube (McGuinn, R. J. Hippard) - 3:15
6. Bag Full Of Money - 3:19
7. Hanoi Hannah - 2:50
8. Stone (Spooner Oldham, Dan Penn) - 2:59
9. Heave Away (Trad., Arranged By McGuinn) - 3:03
10.M' Linda - 2:42
11.The Water Is Wide (Trad. Arranged by McGuinn) - 3:05
All compositions by Roger McGuinn and Jacques Levy except where noted.
Hookfoot were, very much a band of "musician's musicians". All of them were in great demand as session players, both individually and collectively. As well as backing Elton John on many of his early albums they also perform en masse on Mick Grabham's 'Mick The Lad' solo LP (possibly it was this which led to the misinformation that Grabham was himself a Hookfoot member) and on Steve Swindell's solo LP from 1974 (the astute amongst you may recognise Swindell's name as a former Hawkwind member). The band also backed Harry Pitch and Zack Laurence on the chart-topping one-hit wonder 'Groovin' With Mr Bloe'; and although his voice is perhaps an acquired taste, Long John Baldry's 'It Ain't Easy' LP from 1971 also featured bassist Dave Glover, drummer Roger Pope and guitarist Caleb Quaye throughout, some of the songs sounding distinctly Hoofoot-esque.
Great songwriters, great musicians, with their tastes strayed too far towards bluesy country funk for the heads to ever fully embrace them. A bit like Steve Stills, in some ways: you kinda dug the way he did it, but not always what he actually did. Thing is though, Caleb Quaye was undeniably one of THE finest guitar players the UK has ever produced - not for nothing did Eric Clapton surprise David Letterman a lttle while ago by informing him "I'm not the world's best guitar player. Caleb Quaye is." - and I can't help wondering, if Hookfoot had played hard rock and psychedelia, whether their albums might not today be held in the same kind of reverential, big-dollar high esteem by collectors as, say, Little Free Rock, Ashkan, Aunt Mary, Blonde on Blonde and especially I suppose Black Cat Bones (who likewise featured a stellar guitar player in the shape of a young Paul Kossoff). I still challenge any fan of the above not to go into a toe-curling trance of guitar-fuelled ecstasy on hearing Hookfoot blister through 'Nature Changes' on the 'Live in Memphis' album though, or to goggle in awe at the pyrotechnics on display on all twelve minutes of 'Shoe Shine Boy', one of the otherwise unreleased songs on the 'Headlines' compilation album.
Headlines', the double LP compilation put out by DJM 1975,a year or so after Hookfoot's demise. Interestingly, it includes 4 non-album cuts, but no live material and none of the band's singles!
by Phil McMullen, April 2010
Tracks
Disc 1
1. Don't Let It Bring You Down (Neil Young) - 3:07
2. Movies (Ian Duck) - 4:53
3. S.B.W. (Ian Duck, Caleb Quaye) - 2:36
4. Shoe Shine Boy (Caleb Quaye) - 12:05
5. Nature Changes (Caleb Quaye, Ian Duck) - 5:25
6. Bluebird Revisited (Stephen Stills) - 4:03
7. Coombe Gallows (Caleb Quaye) - 3:09
8. Gimme Shelter (Mick Jagger, Keith Richards) - 4:19
9. Fire And Rain (James Taylor) - 3:38
Disc 2
1. Sweet Sweet Funky Music (Caleb Quaye) - 3:18
2. Living in the City (Caleb Quaye) - 4:57
3. If I Had the Words (Ian Duck, Roger Pope, Caleb Quaye, David Glover) - 3:31
4. Good Times a Comin' (Ian Duck, Fred Gandy, Roger Pope, Caleb Quaye) - 6:18
5. Cruisin' (Ian Duck, Fred Gandy, Roger Pope, Caleb Quaye) - 5:32
6. Just a Little Communication (Caleb Quaye) - 5:38
7. Nothin' Changes (Caleb Quaye) - 4:44
8. Tradin' Riffs (Caleb Quaye) - 4:45
9. Rockin' on the Good (Ian Duck) - 5:09
10.So You Want to Be a Rock 'n' Roll Star (Chris Hillman, Roger McGuinn) - 3:18
