fredag 11 maj 2018

Savoy Brown Blues Band - Shake Down (1st Album UK Blues 1967)

270:- (24-Bit Limited Remaster Edition. Laminerat konvolut samt Decca originaletikett. Utgången Utgåva sedan länge.)

Most Savoy Brown aficionadoes are aware that Kim and Co released their first album in England only in 1967, that it was called Shake Down, and that most Americans have heard very little of this album, probably only the two cuts featured on the compilation Savoy Brown Chronicles. The true SB fan might have to search far and wide to find a copy, as with Jack the Toad, the later, pub-rocking Savoy Brown album now considered a classic. 

Well, friends, start searching again, because I have recently unearthed a copy of this excellent album, and believe me, it's worth searching for!! Kim assembled a multiracial band in 1965/66 and by 1967 had recorded Shake Down. It's a traditional blues album that is very reminiscent of Getting to the Point, SB's second album (first in America) that is much better known than this one.

Shake Down consists mostly of blues covers, save one excellent instrumental, "Doormouse Rides the Rails", featuring the band's first-rate second guitarist, Martin Stone. His interplay with SB guru Kim Simmonds on such tracks as "It's All My Fault," "Shake 'Em on Down," and especially on the traditional blues opus "Black Night" are among the high points of the album. 

Singer Bryce Portius (one of the first blacks to front a British blues band) has a somewhat limited vocal style, but it works very well for this material. His highlights include the Howlin' Wolf classic "I Ain't Superstitious," and the Willie Dixon-penned tune, "Little Girl". Kim is already showing maturity beyond his teenage years in terms of track selection and musical direction; as a guitarist, he shows his chops very nicely on "Shake 'Em On Down," already clearly grasping the less-is-more concept that makes for great blues.

His playing in these early years is still somewhat limited, otherwise we'd be looking at a timeless classic. Special thanks to Denis in St. Petersburg, Russia, for helping me to obtain this underappreciated gem. Now that Kim handles his own record distribution (through his new label, Panache Records), perhaps he would consider rereleasing Jack the Toad, Lion's Share, and of course this album in the United States to satisfy his legion of fans. Until then, please pursue this album diligently; it's a blues gem that will have you shaking it on down with the best of them!!!

Limited edition Japanese only reissue of the 1967 album has been fully remastered with the origianal tracks and comes in a miniature LP sleeve. Decca. 2005.

Released September 1967
Recorded Mid 1967 at Decca Studios, West Hampstead, North West London

Brice Portius – vocals
 Kim Simmonds – lead and rhythm guitar
 Martin Stone – lead and rhythm guitar
 Ray Chappell – bass
 Leo Mannings – drums, percussion
 Bob Hall – piano (on "I Ain't Superstitious", "Little Girl", "Shake 'Em On Down")

01. "I Ain't Superstitious" (Willie Dixon) – 3:25
02. "Let Me Love You Baby" (Dixon) – 3:00
03. "Black Night" (Jessie Mae Robinson) – 4:47
04. "High Rise" (Beverly Bridge, Sonny Thompson, Freddie King) – 2:44
05. "Rock Me Baby" (B.B. King, Joe Josea) – 2:56
06. "I Smell Trouble" (Deadric Malone) – 4:28
07. "Oh! Pretty Woman" (Albert King) – 2:28
08. "Little Girl" (Dixon) – 1:38
09. "The Doormouse Rides the Rails" (Martin Stone) – 3:32
10. "It's My Own Fault" (John Lee Hooker) – 4:55
11. "Shake 'Em On Down" (Traditional, arranged by Bob Hall & Savoy Brown) – 6:00

tisdag 1 maj 2018

Fire - The Magic Shoemaker (Rare Psychedelia UK 1970)

270:- (24-Bit Limited Remaster Edition. Eftertraktat album, psykedelik rock. Gavs ut av "Strange Days Records" år 2005 och är för länge sedan utgången utgåva. Det var många år sen jag hade detta album till salu.)

Best known for their sublime debut single “Father’s Name is Dad,” this psychedelic trio from Middlesex, England went on to record for Pye Records an interesting concept album which proved that “Father’s Name is Dad” certainly didn’t represent the limit of the band’s capabilities. 

The Magic Shoemaker, released in the late summer of 1970, tells the story of a cobbler named Mark who makes a pair of shoes that allow whoever puts them on to fly.  Meanwhile, the kingdom Mark lives in is on the brink of war with a neighboring nation, so Mark takes the shoes to his good King William, who uses them to travel to the nearby kingdom and stop the impending war.  Mark is then celebrated across the land as a hero. 

Although the story is a simple one, that is probably precisely what makes The Magic Shoemaker unique, at least by the standards of 1970.  The CD liner notes rightly point out that The Magic Shoemaker is much more akin to Nirvana’s The Story of Simon Simopath album than it is to, say, the Pretty Things’ S.F. Sorrow.  The story of The Magic Shoemaker is simply a fairytale, free of the depth, complexity, and pretensions which grew to typify concept albums as the art form gained popularity during the late 60s.  Indeed, The Magic Shoemaker is one of the relatively few concept albums to be released after the decade had closed.  Possibly, the Who’s Tommy was thought of as simply too difficult an act to follow. 

The reason, then, that The Magic Shoemaker seems such an artistic success is simply that its premise is neither complex nor imitative.  It’s not an epic and it’s not a rock opera; it is simply a collection of fine rock songs which tell a story.  Stylistically—as might be expected for 1970—the album finds itself in a period of transition from psychedelia to progressive rock.  It is clear, however, that the band itself is not particularly married to any genre, and thus, the resulting album is simply very artful, melodic, and utterly listenable. 

As such, it presents neither the clichés of psychedelia nor the pretension of prog rock.  Although all the songs on the album are good, there are some standouts, including the introductory “Tell You a Story,” the beautiful, melodic “Only a Dream,” and the energetic rocker “Flies Like a Bird.”  The recent CD reissue on the Sanctuary label is quite nice, and features the original LP notes as well as new liner notes and photos.  It’s part of a new series from Sanctuary called “Psychedelic Pstones,” which has released several other interesting CDs by other UK psych bands like Blonde on Blonde and Velvet Fogg. The Magic Shoemaker is a very good album. Definitely recommended.

01. Children Of Imagination  00:57  
02. Tell You A Story  05:46
03. Magic Shoes  04:01  
04. Reason For Everything  07:36  
05. Only A Dream  05:43  
06. Flies Like A Bird  04:37
07. Like To Help You If I Can  04:07    
08. I Can See The Sky  05:06  
09. Shoemaker  05:19  
10. Happy Man Am I   00:57 
11. Children Of Imagination  00:37 

lördag 21 april 2018

Ambrose Slade - Beginnings (Rare 1st Album UK 1970)

280:- (24-Bit Limited Remaster Edition. Utgången utgåva sedan många år och är nu nästan omöjlig att finna.)

Beginnings is the debut studio album by the British rock band Ambrose Slade, before they achieved fame as Slade. It was released on 9 May 1969, but failed to enter the charts. In the US, it was released under the title Ballzy. Later in 1975, the album was briefly re-released by Contour as Beginnings of Slade but was quickly withdrawn from sale due to copyright issues.

Beginnings is a mixture of self-penned songs and cover versions including two tracks by Steppenwolf. As to confirm the diversity of the group's influences, they also cut Ted Nugent & The Amboy Dukes' "Journey to the Centre of Your Mind", "Ain't Got No Heart" by Frank Zappa & The Mothers of Invention, The Moody Blues' "Fly Me High", Lennon and McCartney's "Martha My Dear" and "If This World Were Mine" by Marvin Gaye. The artwork for the album featured a photo of the band on Pouk Hill in Walsall. The band didn't enjoy the photo session due to the cold weather, which was later told in their 1970 song of the same name.

Today, an original vinyl copy in decent condition now fetches anything up to £500-1800 at online auction. The album has been featured as part of John Peel's Rarest Records documentary. 

Slade had originally formed as The 'N Betweens in 1966. Aside from recording the odd, unsuccessful single, the band mainly concentrated on building a reputation on the UK's live circuit. In February 1969, Jack Baverstock, the head of A&R at Philips Records, took an interest in signing the band after hearing two of their demos, recorded during 1968 sessions with producer Martin Irving. 

Baverstock soon offered to sign the band if they changed their name to Ambrose Slade and found London-based management. Despite their concerns of losing the reputation gained as the 'N Betweens, the band agreed. The name Ambrose Slade was inspired by Baverstock's secretary, who had named her handbag Ambrose and her shoes Slade. Baverstock soon found them an agent, John Gunnel.

The band spent a week in the Philips studio at Stanhope Place recording Beginnings with engineer Roger Wake. Having thought the band's demo of "Mad Dog Cole" was great, Baverstock insisted the band write more material of their own. The three other originals, "Roach Daddy", "Pity The Mother" and "Genesis", were then written within days. In a 1980 interview, bassist Jim Lea recalled: "This was our first major crack at making a record, so it was all important now to let it slip. So we did "Roach Daddy", "Mad Dog Cole" and "Genesis" out of total fear. "Pity The Mother" was another one of the songs that Bavistock "forced" us to write." 

At a time when the band were not yet fully writing their own material, the album contained eight covers of songs the band regularly played as part of their live-set. Of the covers, Lea said: "They were all numbers that we were doing live on stage at the time. We had started to move away from the Flower Power thing then, but we were still doing unusual numbers. You can see by all the writers of the songs, they are all big names now, but at the time they were unheard of. Frank Zappa - he was totally unknown, he had only recorded one album, but we recorded his "Ain't Got No Heart"."

During the recording of the album, Ambrose Slade would be introduced to Chas Chandler, who visited the band in the studio with his business partner Gunnel. Impressed by what he heard in the studio, Chandler decided to watch the band perform live at Rasputin's club the following night. By the end of the show, he decided that wanted to manage the group and soon became the band's manager.

In May 1969, Beginnings was released, along with the single "Genesis", however both failed to chart. This was despite a promotional video being shot at London's Euston Station to promote the album.[7] Following the lack of commercial success, the band and Chandler began considering their next career move. Having not been pleased with the debut album, Chandler thought the band would benefit from writing their own material and a change of image. The band would record two further singles for Fontana until Chandler moved the band to Polydor, where they would later achieve a commercial breakthrough in 1971.

Speaking of the album's release and lack of commercial success, Lea said: "It dropped drastically. But that wasn't the point, you see it got us the footing in London, so it was a case of mission accomplished for us. Chas Chandler took us over. We still had some time to run on our contract with Bavistock, so we released our next two singles on Fontana. There were some internal hassles between Chas and the new boss of Fontana, and the next thing that I knew was that we were out of the Fontana deal. Chas had connections with Polydor, due to when he managed Jimi Hendrix, so we signed a contract with them.

"Genesis" is an original instrumental, written by all four members of the band. The song would later be re-worked, with lyrics added into the track "Know Who You Are", which appeared on the band's 1970 album Play It Loud. "Everybody's Next One" is a cover of the 1968 song by Steppenwolf. "Knocking Nails into My House" is a cover of the 1968 song by The Idle Race. "Roach Daddy" was also written by all four members of the band. 

In addition to its inclusion on the album, the song also featured as the B-Side on the "Genesis" single. "Ain't Got No Heart" is a cover of the 1966 song by the Mothers of Invention. "Pity the Mother" was the first song to be written by Slade's future songwriting team Holder and Lea. The song features Lea on electric violin. In 1980, Lea recalled of the song: "We wrote it in Nod's parents' kitchen, the day before we went down to do some recording in the studio. Louise [Lea's wife] was there, and she helped me and Nod write the song."

Netherlands Single 1969
"Mad Dog Cole" is another original instrumental. The song had the working title of "My Cat's Got Fleas". "Fly Me High" is a cover of the 1967 song by The Moody Blues. "If This World Were Mine" is a cover of the 1967 duet by Marvin Gaye and Tammi Terrell. "Martha My Dear" is a cover of the 1968 song by The Beatles. The band would later perform the song on the BBC children's show Monster Music Mash in 1969 when promoting the single "Wild Winds Are Blowing". "Born to be Wild" is another song originally by Steppenwolf. "Born to be Wild" was later included on the 1972 live album Slade Alive!, which gave the band's version of the song greater recognition. "Journey to the Centre of Your Mind" is a cover of the 1968 song by The Amboy Dukes.

Upon release, reviewer Lester Bangs of Phonograph Record described the album as "a real dud". Record Mirror, in a review of the "Genesis" single, described the album as a "fine debut" from a band of "very substantial talent". Later in 1991, a retrospective of Beginnings by Q said: "It's an odd but pleasant album, which sees the quartet nervously relax in The Small Faces' shoes."

Dave Thompson of AllMusic felt that the album presented "little of what you'd expect from Slade", although "Noddy Holder's vocals are unmistakable". Thompson praised the "well-executed covers", which served to "demonstrate the band's musical versatility". He concluded: "While there are a handful of disappointments ("Martha My Dear" is almost heinous), Beginnings stands as a fine beginning. But things were going to get a lot better than this."

Noddy Holder - lead vocals, rhythm guitar, producer
 Dave Hill - lead guitar, producer
 Jim Lea - bass, violin, producer

 Don Powell - drums, producer

01. "Genesis" (Holder/Lea/Hill/Powell) Did Not Chart
02. "Everybody's Next One" (Kay/Mekler)
03. "Knocking Nails Into My House" (Lynne)
04. "Roach Daddy" (Holder/Lea/Hill/Powell)
05. "Ain't Got No Heart" (Zappa)
06. "Pity The Mother" (Holder/Lea)
07. "Mad Dog Cole" (Holder/Lea/Hill/Powell)
08. "Fly Me High" (Hayward)
09. "If This World Were Mine" (Gaye)
10. "Martha My Dear" (Lennon/McCartney)
11. "Born To Be Wild" (Steppenwolf)
12. "Journey To The Center Of Your Mind" (Nugent/Farmer)

Bonus Tracks
13. "Wild Winds Are Blowing" [Bonus Single 1969]
14. "C'Mon C'Mon" [Bonus Single 1970]


lördag 14 april 2018

Elvin Bishop - Juke Joint Jump (US 1975

240:- (SHM-CD Limited Remaster Edition) Tidigare medlem i Paul Butterfield Blues Band m.fl. Rekommenderas.)

Elvin Richard Bishop (born October 21, 1942) is an American blues and rock music singer, guitarist, bandleader, and songwriter. An original member of the Paul Butterfield Blues Band, he was inducted into the Rock and Roll Hall of Fame as a member of that group in 2015 and the Blues Hall of Fame in his own right in 2016.

Bishop was born in Glendale, California, the son of Mylda (Kleege) and Elvin Bishop, Sr. He grew up on a farm near Elliott, Iowa. His family moved to Tulsa, Oklahoma when he was 10. There he attended Will Rogers High School, winning a full scholarship to the University of Chicago as a National Merit Scholar. He moved to Chicago in 1960 to attend the university, where he majored in physics.

In 1963 Bishop met harmonica player Paul Butterfield in the neighborhood of Hyde Park and joined Butterfield's blues band, and remained with them for five years. Bishop was originally Butterfield's only guitarist, but was later joined by Mike Bloomfield, who largely took over the lead guitar role for the band's classic first two albums. After Bloomfield departed, the Butterfield Band's third album, The Resurrection of Pigboy Crabshaw, took its name from Bishop's nickname and his renewed role as lead guitarist. Bishop recorded a fourth album with Butterfield, his last with the band, in 1968.

During his time with the Butterfield Blues Band, Bishop met blues guitarist Louis Meyers at a show. Bishop persuaded Meyers to trade his Gibson ES-345 for Bishop's Telecaster. Bishop liked the Gibson so much he never gave it back and has used it throughout his career. Bishop has nicknamed his Gibson ES-345 "Red Dog," a name he got from a roadie for the Allman Brothers Band.

In 1968 he went solo and formed the Elvin Bishop Group, also performing with Bloomfield and Al Kooper on their album titled The Live Adventures of Mike Bloomfield and Al Kooper. The group signed with Fillmore Records, which was owned by Bill Graham, who also owned the Fillmore music venues.

Bishop sat in with the Grateful Dead on June 8, 1969, at the Fillmore West in San Francisco. He opened the second set with the lengthy blues jam "Turn on Your Lovelight" without Pigpen or Jerry. He played two more songs with the Dead, "The Things I Used to Do" and "Who's Lovin' You Tonight".

In March 1971, The Elvin Bishop Group and The Allman Brothers Band co-billed a series of concerts at the Fillmore East. Bishop joined The Allman Brothers Band onstage for a rendition of his own song, "Drunken-Hearted Boy." Over the years, Bishop has recorded with many other blues artists, such as John Lee Hooker, and with Zydeco artist Clifton Chenier. In late 1975, he played guitar for a couple of tracks on Bo Diddley's The 20th Anniversary of Rock 'n' Roll album and, in 1995, he toured with B.B. King.

Bishop made an impression on album-oriented rock FM radio stations with "Travelin' Shoes" in 1975 but, a year later, in 1976, Bishop released his most memorable single, "Fooled Around and Fell in Love," which peaked at #3 in the US Billboard Hot 100 chart (and #34 in the UK charts). The recording featured vocalist Mickey Thomas and drummer Donny Baldwin who both later joined Jefferson Starship.

Bishop feels that the limitations of his voice have helped his songwriting.

During the 1960s and 1970s he recorded for the Fillmore, Epic and Capricorn labels.

01. Juke Joint Jump 5:32
02. Calling All Cows 4:30
03. Rollin' Home 4:57
04. Wide River 5:54
05. Sure Feels Good 2:48
06. Arkansas Line 3:22
07. Hold On 3:42
08. Crawling King Snake 3:51
09. Do Nobody Wrong 4:50

Elvin Bishop Poster 1969

fredag 30 mars 2018

Nobody's Business - S/T (Superb Engelsk Hårdrock, Deras enda Album Från 1978)

270:- (24-Bit Limited Remaster Edition. Okänt album för de allra flesta, Troligen pga av att albumet endast släpptes i Japan. Albumet innehåller hårdrock av högsta klass. Utgången utgåva och är i det närmaste omöjlig att hitta.)

Nobody's Business was formed in the summer of 1977 and was a ‘SUPERGROUP’ with a pedigree that shone brightly. Tasteful guitar licks, masculine bass playing that will constantly keep you alert, and an eager vocal performance...are at the heart of this album – and it's truly as simple and as classic as that!

This package is a treat for fans of hard rock!

Spreading across a bonus-stacked reissue of their one and only album. Nobody's Business emerge from this package sounding like the best band you've never heard of. 

One more in the long line of solid funk-rock bands led by onetime Procol Harum man Bobby Harrison, Nobody's Business pick up precisely where Snafu left off, with pulsating bass, contagious keys, and irresistible rhythms -- and one can only speculate why America didn't enfold them to its musical heart, especially when one remembers that bassist Tony Stevens was still relatively fresh from Foghat. 

Well, the fact that Nobody's Business was only released in Japan probably didn't help them, so the 2007 reissue isn't simply the album's CD debut, it's the Western premiere as well, the full original album plus a three-song demo that they recorded later in the year, in the hope of interesting Atlantic Records. They failed, but that's no reflection on the strength of the songs.

Band Members:
 BOBBY HARRISON (Procol Harum, Freedom, Snafu) 
 TONY STEVENS (Savoy Brown. Foghat, Rock Follies, Midnight Flyer) 
 JOE JAMMER (Olympic Runners) 
 JERRY FRANK (Session drummer extraordinaire).

01. Bleed Me Dry
02. Tell Me You Love Me
03. Losing You
04. Cut In Two
05. Living Up To Love
06. Looks Like I’m In Love
07. Unsettled Dust
08. White Boy Blue
09. Doing The Best I Can
10. Nobody’s Business

11. Rainbow Bend
12. Crucifer
13. Highway

Lyssna på bitar av albumet här: Nobody's Business

torsdag 1 mars 2018

The Jimi Hendrix Experience - Smash Hits (UK 1968) Klassiker!!!

260:- (24-Bit Limited Remaster Edition, utgången utgåva, mycket svår att hitta nu.)

Smash Hits is the first compilation album by the Jimi Hendrix Experience. It was released in 1968 in the UK and the following year in the United States. Containing nothing but the band's biggest successes, both editions of the albums have proven to be long and popular sellers.

The UK version first appeared in April 1968, only four months after the band's second studio album, Axis: Bold as Love, and while they were working on their third. 

Containing their first four (hit) UK singles (and their respective B-sides) in addition to four standout tracks from their (hit) LP Are You Experienced, Smash Hits became exactly that - a #5 album in the UK and one that had a long chart life. It also marked the first appearance on album of "Burning of the Midnight Lamp", five months ahead of its placement on Electric Ladyland.

In the US, however, things were done a little differently. Jimi's then-record label, Reprise Records, felt that a greatest hits collection was far too premature (as he hadn't had any there yet) and waited until mid-1969 (and, coincidentally, the break-up of the original band once Noel Redding suddenly quit) to issue a different compilation with the same title. 

Now with Electric Ladyland in the mix, there was more to choose from (and also a "hit" single, his only one in US). There were also tracks that had been elbowed off the UK edition of Are You Experienced in 1967 to make way for "Hey Joe", "Purple Haze" and "The Wind Cries Mary". 

As a result, the US version of Smash Hits - which reached #6 in its territory - although only including one "smash hit", is more balanced and more representative of the band's career, yet still failed to include any tracks from Axis: Bold As Love, and only two from Electric Ladyland. However, the UK (612004) and Japanese mono editions include the mono mix of the rare 1967 B-Side "Stars That Play With Laughing Sam's Dice". It is also available on CD on The Singles Album.

A Japanese vesion was released in 1969, with a Fish eye photograph cover by Karl Ferris, Jimi's personal photographer/designer. In 1997, Experience Hendrix Inc. compiled and issued Experience Hendrix: The Best of Jimi Hendrix, which currently stands as the definitive Hendrix compilation. However, this compilation was reissued and remastered in 2001. Neither the UK or US version contained tracks from the acclaimed 1967 album Axis: Bold As Love.

01."Purple Haze" – 2:52
02."Fire" – 2:45
03."The Wind Cries Mary" – 3:20
04."Can You See Me" – 2:33
05."51st Anniversary" – 3:16
06."Hey Joe" (Roberts) – 3:30
07."Stone Free" – 3:36
08."The Stars That Play With Laughing Sam's Dice" – 4:21
09."Manic Depression" – 3:42
10."Highway Chile" – 3:32
11."Burning of the Midnight Lamp" – 3:39
12."Foxy Lady" – 3:18

onsdag 28 februari 2018

Judas Jump - Scorch (Progressive Rock UK 1970)

260:- (24-Bit Limited Remaster Edition. Korea utgåva, laminerat konvolut. Gavs ut 1970 på Parlophone och är mkt svår att hitta som original.)

Judas Jump was a British short-lived prog rock supergroup, formed in 1969. They released one album and three singles before disbanding in 1971. They are best known for their various members who had success before and after Judas Jump.

Judas Jump was established in 1969 as a heavy progressive rock band. They used mellotron, woodwind and brass in their sound, and secured a recording contract with Parlophone. Keyboard player Andy Bown, and drummer Henry Spinetti, had earlier worked with The Herd, along with Peter Frampton. After The Herd dissolved, Bown and Spinetti spent two years with Judas Jump.

Also in their line-up was the former Amen Corner saxophonist, Allan Jones, who switched to playing mainly woodwind. The band issued three singles in 1969 and 1970, followed by their only album, Scorch (1970). A United States release on the MGM-distributed Pride Records was oddly delayed until 1972, by which time the group had disbanded. On 14 February 1970, Judas Jump 
featured on the cover of the British music magazine, NME.

Judas Jump were the opening act on 26 August 1970 at the Isle of Wight Festival. On 24 October 1970, Judas Jump played a concert at Polesworth's Memorial Hall. Although they attracted considerable press coverage, their records sold poorly, and did not reach either the UK Singles Chart or UK Albums Chart. Although Adrian Williams was listed as lead vocalist, Andy Bown is the lead vocalist on almost all tracks. In a mid-1980s interview for a fanzine, (The Rock Marketplace), Bown admitted that as leader, primary song writer, and producer, he decided to replace most of the vocals with his own prior to the album's release.

Bown ultimately joined Status Quo. Fellow band member, Charlie Harrison, played with the American country rock band Poco, between 1978 and 1984. Spinetti went on to various session musician work, including playing on Gerry Rafferty's single, "Baker Street".

01. John Brown's Body 03:24
02. Rockin' Chair 03:06
03. Beer Drinking Woman 03:38
04. 49 Fingers 01.02 
05. Purple God 03:11
06. Bossa Jump 04:32
07. Cry-De-Cry 02:34
08. Run for Your Life 03:39
09. Cully 02:34
10. Mississippi Turnpike 02:56
11. Primrose Lady 03.01 
12. Scorch 04.32

onsdag 21 februari 2018

John Entwistle - Whistle Rymes + Bonus Tracks (UK 1972)

270:- (24-Bit Limited Remaster Edition. John Entwistle 2:a solo album (The Who's Bassist) Texturkonvolut, precis som originalutgåvan från -72. Utgången utgåva.)

Whistle Rymes is the second solo album by John Entwistle, bassist for The Who. The album, his most successful solo output, features work by a then lesser known Peter Frampton (who had recently split from Humble Pie) and Jimmy McCulloch. The album title itself is a play on how his last name is often misspelled. It was the first album to feature bass synthesizer.

The original 1972 UK release of this album was on Track Records and distributed by Polydor Records. The first US issue of this album was on the silver Track/Decca label. A year later it was re-issued in the US on MCA Records.

After making a surprisingly effective debut with Smash Your Head Against the Wall, Who bassist John Entwistle consolidated his solo success with Whistle Rymes. 

Like its predecessor, this album combines catchy, straightforward, pop-tinged rock with dark, often bitingly sarcastic lyrics; good examples include "Thinking It Over," a witty, waltz-styled tune about a potential suicide having second thoughts while preparing to jump off a building, and "Who Cares," a punchy, piano-driven rocker about a man who deals with the problems of life by refusing to take it seriously. However, Entwistle's finest achievement in this respect is "I Feel Better," a devastatingly sarcastic tune that features the singer putting down an ex-lover by listing all the things all the things he does to get back at her. 

Viciously witty yet full of emotion, this poison-pen gem ranks up there with Harry Nilsson's "You're Breaking My Heart" as one of rock's ultimate post-breakup songs. Whistle Rymes further benefits from a stylish production job by Entwistle that judiciously adds extra instrumental layers to the album's basic rock style to subtly broaden its sonic palette; for instance, "Thinking It Over" is anchored by a thick synthesizer bassline and "I Wonder" allows Entwistle to indulge his skill with brass instruments by overdubbing himself into a virtual big band brass section. It's also interesting to note that this album features a pre-solo fame Peter Frampton turning in some searing guitar riffs throughout the disc. 

All in all, Whistle Rymes is an entertaining and consistent rock album that balances energy with ambition. It may be a little too dark and eccentric for the general listener, but is well worth the time for any hardcore Who fan. 

01."Ten Little Friends"
02."Apron Strings"
03."I Feel Better"
04."Thinkin’ It Over"
05."Who Cares?"
06."I Wonder"
07."I Was Just Being Friendly"
08."The Window Shopper"
09."I Found Out"
10."Nightmare (Please Wake Me Up)"

Bonus tracks
11."I Wonder" (Demo)
12."All Dressed Up" (Demo)
13."Back on the Road" (Demo)
14."Countryside Boogie" (Demo)

The Electric Flag - "A Long Time Comin'" (Deras 1:a Album US 1968)

260:- (Blu-Spec CD2 BSCD2 Limited Remaster Edition. Gruppens 1:a album med bl.a. "Mike Bloomfield". Mini LPn släpptes 2014 i Japan.)

Writer Jeff Tamarkin says "ex Butterfield Band guitarist Mike Bloomfield, drummer Buddy Miles, and others put this soul-rock band together in 1967. This debut is a testament to their ability to catch fire and keep on burnin'." That The Electric Flag do so well -- they appeared at the Monterey International Pop Festival with the Blues Project, Paul Butterfield, and Janis Joplin, and all these groups had some musical connection to each other beyond that pivotal festival. 

A Long Time Comin' is the "new soul" described appropriately enough by the late critic Lillian Roxon, and tunes like "She Should Have Just" and "Over-Lovin' You" lean more towards the soul side than the pop so many radio listeners were attuned to back then. Nick Gravenites was too much of a purist to ride his blues on the Top 40 the way Felix Cavaliere gave us "Groovin'," so Janis Joplin's eventual replacement in Big Brother & the Holding Company, Gravenites, and this crew pour out "Groovin' Is Easy" on this disc. 

It's a classy production, intellectual ideas with lots of musical changes, a subdued version of what Joplin herself would give us on I Got Dem Ole Kozmic Blues Again, Mama two years later, with some of that album written by vocalist Gravenites. 

Though launched after Al Kooper's the Blues Project, A Long Time Comin' itself influenced bands who would go on to sell more records. In the traditional "Wine," it is proclaimed "you know Janis Joplin, she'll tell you all about that wine, baby." As good as the album is, though, the material is pretty much composed by Mike Bloomfield and Barry Goldberg, when they're not covering Howlin' Wolf's "Killing Floor" and adding spoken-word news broadcasts to the mix. 

More contributions by Buddy Miles and Gravenites in the songwriting department would have been welcome here. The extended CD version has four additional tracks, Bobby Hebb's "Sunny" and "Mystery," both which appear on the self-titled Electric Flag outing which followed this LP, as well as other material which shows up on Old Glory: The Best of Electric Flag, released in 2000. 

"Sittin' in Circles" opens like the Doors' "Riders on the Storm," the keyboards as well as the sound effects, and a hook of "hey little girl" which would resurface as the title of a Nick Gravenites tune on the aforementioned follow-up disc, where Gravenites and Miles did pick up the songwriting slack, Bloomfield having wandered off to Super Session with the Blues Project's Al Kooper. Amazing stuff all in all, which could eventually comprise a boxed set of experimental blues rock from the mid- to late sixties. Either version of this recording, original vinyl or extended CD, is fun listening and a revelation.

Mike Bloomfield – lead guitar, vocals
 Buddy Miles – drums, vocals
 Barry Goldberg – keyboards
 Harvey Brooks – bass
 Nick Gravenites – vocals, guitar
 Herb Rich – organ, vocals, baritone saxophone, guitar
 Michael Fonfara – keyboards
 Marcus Doubleday – trumpet
 Peter Strazza – tenor saxophone
 Stemsy Hunter – alto saxophone

01. "Killing Floor" (Chester Burnett a.k.a. Howlin' Wolf) – 4:11
02. "Groovin' Is Easy" (Nick Gravenites) – 3:06
03. "Over-Lovin' You" (Mike Bloomfield, Barry Goldberg) – 2:12
04. "She Should Have Just" (Ron Polte) – 5:03
05. "Wine" (Traditional arr. Bloomfield) – 3:15
06. "Texas" (Bloomfield, Buddy Miles) – 4:49
07. "Sittin' in Circles" (Goldberg) – 3:54
08. "You Don't Realize" (Bloomfield) – 4:56
09. "Another Country" (Polte) – 8:47
10. "Easy Rider" (Bloomfield) – 0:53

Bonus Tracks:
11. "Sunny" (Bobby Hebb) – 4:02
12. "Mystery" (Miles) – 2:56
13. "Look into My Eyes" (Harvey Brooks, Miles) – 3:07
14. "Going Down Slow" (James Oden a.k.a. St. Louis Jimmy Oden) – 4:43

söndag 18 februari 2018

Eagles - One of These Nights (Classic Album US 1975) (SHM-CD)

270:- (SHM-CD Limited Remaster Edition. Klssiker med kanske dears bäst kända hitlåt. Kraftigt reliefkonvolut. Utgången utgåva sedan länge.)

One of These Nights is the fourth studio album by the Eagles, released in 1975. The record's title song became the group's second #1 single on the Billboard Hot 100, in July of that year. The album released three Top 10 singles, "One Of These Nights", "Lyin' Eyes", and "Take It To The Limit". Those singles reached #1, #2, and #4 respectively. 

The album became the band's first album to top the charts. The album sold 4 million copies and won the band its first Grammy for "Lyin' Eyes". "Take It To The Limit" became the band's first gold single and the album was nominated for album of the year. The album also features the live concert staple and ballad "After The Thrill Is Gone". One of These Nights is the last Eagles album to feature Bernie Leadon. 

Leadon would leave the band after the One Of These Nights Tour. The seventh track, "Visions", is the only Eagles song on which Don Felder sang lead vocals. The album would become the band's breakthrough album, transforming them to international superstars and establishing them as America's number one band. The band would go on a worldwide tour to promote the album; Fleetwood Mac opened for the band during the tour.

The Eagles recorded their albums relatively quickly in their first years of existence, their LPs succeeding each other by less than a year. One of These Nights, their fourth album, was released in June 1975, more than 14 months after its predecessor. Anticipation had been heightened by the belated chart-topping success of the third album's "The Best of My Love"; taking a little more time, the band generated more original material, and that material was more polished. 

More than ever, the Eagles seemed to be a vehicle for Don Henley (six co-writing credits) and Glenn Frey (five), but at the same time, Randy Meisner was more audible than ever, his two lead vocals including one of the album's three hit singles, "Take It to the Limit," and Bernie Leadon had two showcases, among them the cosmic-cowboy instrumental "Journey of the Sorcerer" (later used as the theme music for the British television series The Hitchhiker's Guide to the Galaxy). 

Nevertheless, it was the team of Henley and Frey that stood out, starting with the title track, a number one single, which had more of an R&B -- even a disco -- sound than anything the band had attempted previously, and continuing through the ersatz Western swing of "Hollywood Waltz" to "Lyin' Eyes," one of Frey's patented folk-rock shuffles, which became another major hit. 

One of These Nights was the culmination of the blend of rock, country, and folk styles the Eagles had been making since their start; there wasn't much that was new, just the same sorts of things done better than they had been before. In particular, a lyrical stance -- knowing and disillusioned, but desperately hopeful -- had evolved, and the musical arrangements were tighter and more purposeful. The result was the Eagles' best-realized and most popular album so far. 

01."One of These Nights" (Henley, Frey) – 4:51 
Lead vocals by Don Henley and Randy Meisner, lead guitar by Don Felder
02."Too Many Hands" (Meisner, Felder) – 4:43 
Lead vocal by Randy Meisner, lead guitar by Don Felder, ending dual guitar solos by Don Felder and Glenn Frey
03."Hollywood Waltz" (B. Leadon, Tom Leadon, Henley, Frey) – 4:04 
Lead vocal by Don Henley
04."Journey of the Sorcerer" (B. Leadon) – 6:40 
05."Lyin' Eyes" (Henley, Frey) – 6:22 
Lead vocal by Glenn Frey, Lead Guitar by Bernie Leadon
06."Take It to the Limit" (Meisner, Henley, Frey) – 4:49 
Lead vocal by Randy Meisner
07."Visions" (Felder, Henley) – 4:00 
Lead vocal and Lead Guitar by Don Felder
08."After the Thrill Is Gone" (Henley, Frey) – 3:58 
Lead vocals by Glenn Frey and Don Henley, Lead Guitar by Don Felder
09."I Wish You Peace" (Patti Davis, Leadon) – 3:45 
Lead vocal and Lead Guitar by Bernie Leadon