Tuesday, February 13, 2018

Eric Clapton & The Yardbirds - Rarities (1994)

(U.K 1963-1968)
The Yardbirds formed in 1963 and were originally known as Be Metropolis Blues Quartet.
The primary members of the band included Anthony Topham, known as 'Top" who was replaced by Eric Clapton in October 1963. At that time the band comprised of the following musicians:-

Eric Clapton - Lead guitar
Keith Relf - Vocals and Harmonica
Chris Dreja - Rhythm guitar
Jim McCarty - Drums
Paul Samwell-Smith - Bass guitar

Eric Clapton joined the Yardbirds in late 1963 and left the band in early 1965 when he was dissatisfied with their new pop direction. In between was the calendar year 1964, when Clapton led the group to explore and advance the blues foundations which would be adopted by many groups over the coming decades, including several of Clapton’s own vast musical entities.

The Yardbirds 1964
Following the Rolling Stones in residency at the famous Crawdaddy Club in Richmond, they became cult figures of the time and attracted crowds of fans to the legendary Marquee Club in London.
A tour of Europe with American Blues artiste, Sonny Boy Williamson was enhanced by a joint album titled "Sonny Boy Williamson And The Yardbirds" which was released in 1965 and subsequently re-issued in 1975. This album became a rare collectors item.

Other albums included "Five Live Yardbirds" released in 1964 and a successful hit album "Yardbirds" which reached the number 20 spot and remained in the chart for 8 weeks in 1966. The band's American albums included "For Your Love" in August 1965 and "Having A Rave Up" in January 1966.

The band also experienced singles chart successes, topped by "Heart Full Of Soul" which was their highest chart record, reaching number 2 in June 1966. ft remained for 13 weeks. Their most remembered single, however, was "For Your Love" which achieved a number 3 position in the UK charts on the 18th March 1965 and sustained for 12 weeks. Other singles included, "Good Morning Little School" November 1964, "Evil Hearted You" in October 1965, "Shapes Of Things" in March 1966, "Over Under Sideways Down" in June 1966 and "Happenings Ten Years Time Ago" in October 1968.

Over the years the band has hosted musicians of outstanding merit who have moved on to become rock legends in their own time and artists of world acclaim including Jimmy Page, who went on to become a founder of Led Zeppelin and Jeff Beck whose successful single "Hi Ho Silver Lining", which appeared 3 times in the UK charts in March 67, November 72 and October 82, has long been overshadowed by his world success as a respected guitarist with such albums to his credit as, "There And Back", "Flash" and "Beck, Bogert & Appice". Eric Clapton's continued success, world acclaim and respect need no endorsement and are currently self evident.

This album comprises the original line-up including Eric Clapton and the tracks are original live radio recordings which must be considered rare in their own right.
The Yardbirds will be remembered as a great band and the springboard for a wealth of musical talent which has brought pleasure to millions of fans throughout the world.
[Sleeve notes compiled by Ian Taylor King]
There are only nine songs on the disc. The source of the tracks seems to be open for debate. The liner notes claims these are "radio recordings" by The Yardbirds. Allmusic.com claims these are recordings of a super group involving Clapton, Jimmy Page, Mick Jagger, Bill Wyman, Charlie Watts and Ian Stewart. After some digging I was able to identify the tracks.

Four tracks are clearly The Yardbirds, possibly BBC recordings. "They are I Wish You Would", "For Your Love", "A Certain Girl", and "Got To Hurry". All also appear on The Yardbirds' first US LP, proof that the tracks here are indeed The Yardbirds with Eric Clapton.

It is worth noting  that there is some contention as to whether Eric Clapton actually played on the Yardbirds first big hit "For Your Love".  In Ritchie Yorke's biography of Led Zeppelin, he looks at the evolution of Led Zeppelin from the Yardbirds (which later featured Jimmy Page) and discusses this very point.  On page 42-43, nightclub owner of the Cradaddy Club in Richmond and manager 'Giorgio Gomelsky' talks about the Yardies first hit single "For Your Love" and states:

"It was very difficult in those  days because we had the problem of trying to make a hit single that would work out for everybody. Eric Clapton didn't even play on "For Your Love" - there was simply no guitar part for him. We got Brian Auger in to play harpsichord. I can still remember Eric lying on his back at the IPC Studios while we were recording the song - he just wasn't interested in it at all, and I can't blame him. It was terrible that we had to go through all that hit single bullshit. Personally I just wanted the band to make live albums - I thought that albums were going to be the important thing abd they were, but not until three years later!.....Eric Clapton made no secret of his profound dislike of "For Your Love's" blatant commercialism, as he didn't want to pander the hit single genre, and this was one key reason for his decision to quit the Yardies in January, 1965. Another was Clapton's tenuous relationship with vocalist Keith Relf. Eric found it difficult to work with Keith musically.

The other five tracks are instrumentals that carry Clapton/Page songwriting credits. According to the exhaustive online database, Complete Works of the Rolling Stones, the tracks titled "Choker", "Draggin' My Tail", "Snake Drive", and "West Coast Idea" were indeed recorded in June 1965 by Clapton and Page, and in August 1965 the aforementioned members of The Rolling Stones (except Charlie Watts was not present - Chris Winters sat in the drummer's chair for the sessions) added backing instrumentation separately. I cannot find documentation for "Freight Loader". On the disc, the song is just two electric guitars, so it may be from that June '65 session without any other musicians involved.

In the end, this is an interesting collection of mid-60s British blues. Clapton's solos on the instrumentals are at times astonishing. For that alone you may feel it's worth it. Not sure how much I'll listen to this in the future. It's a nice little time capsule if nothing else.

Paul Samuel-Smith, Keith Relf, Chris Dreja, Eric Clapton and Jim McCarty
This album is essentially live recordings of material. There are only 3 vocal tracks on this album, "I Wish You Would", "For Your Love", and "A Certain Girl". The album is also composed of six instrumentals, the aforementioned "Choker, Snake Drive, Draggin' My Tail, Freight Loader, Got To Hurry and West Coast Idea". Out of the tracks, "For Your Love" is probably the most well-known track of the group. As stated in the liner notes above, it spent an astonishing 12 consecutive weeks at #3 on the British charts. The three actual songs are pop-influenced melodies that will get you singing, but the genius of the album are the instrumentals.

10" Vinyl Release
Here we get to see the influence of the blues on tracks like "Freight Loader", "West Coast Idea" and "Got To Hurry". These gems are a nice close to the album, with the upbeat tempo "Got To Hurry", is followed by the more bluesy sounding and slower playing "West Coast Idea". If you like blues guitarists, you won't be disappointed by sampling some of the tracks on this album. The opening track "Choker" is a nice hook that gets you interested enough to listen, while the singing tracks offer a nice change up to the blues-influenced instrumentals which dominate the theme of the album. This is a nice method to introduce someone to the Yardbirds. The total album is only around 21 minutes long in terms of listening time, but good things come in small packages!

A 10" vinyl reissue of the album was released in 1998 on the Get Back label in white Vinyl, with a different order in the track list.
This post consists of FLACs and MP3's (320kps) ripped from AMCOS CD release and includes artwork for both CD and 10" Vinyl formats. There have been other CD releases of this album and I've included artwork for these as well.
Track Listing
01. Choker 1:19
02. I Wish You Would 2:15
03. Snake Drive 2:26
04. For Your Love 2:24
05. Draggin' My Tail 3:02
06. A Certain Girl 2:14
07. Freight Loader 2:44
08. Got To Hurry 2:17
09. West Coast Idea 2:16 

Eric Clapton - Lead guitar
Keith Relf - Vocals and Harmonica
Chris Dreja - Rhythm guitar
Jim McCarty - Drums
Paul Samwell-Smith - Bass guitar
Eric Clapton & The Yardbirds FLACs  (137Mb)

Eric Clapton & The Yardbirds MP3 Link (43Mb)

Tuesday, February 6, 2018

Johnny Rocco Band - Rocco (1976)

(Australian 1974 - 1976)
Moving away from the progressive rock of his previous band Friends, the New Zealand-born Maori soul vocalist Leo De Castro started to play a mix of funk, soul, rock and blues. It was a style that  Leo would pursue for the rest of his career. The De Castro line-up was completed by Steve Webb, Rob Grey (keyboards), lan 'Willy' Winter (guitar; ex-Carson, Daddy Cool) and John Young (bass). Later in the year Leo moved to Sydney where he joined funk outfit the Johnny Rocco Band.

The band presumably named themselves after Edward G. Robinson's bad guy in the 1948 film "Key Largo". This Sydney-based group of jazz and funk musicians were joined on this, their only LP, by one of a few Maori singers who made their mark in Australian soul-funk and other music in the 1970s, De Castro played in many bands, but recorded with relatively few.

Like many urban indigenous musicians around the world who are surrounded by European culture, Maori musicians have often found a home in musics that stem from the African musical diaspora - soul-funk, reggae, and more recently hip hop - although besides this album, De Castro's other sparse outings are more in tune with the ubiquitous "boogie-rock" that held a grip over his adopted country at the time.

Leo De Castro
The original Johnny Rocco Band line-up, formed in February 1974, comprised Mark Punch (guitar, vocals; ex-Mother Earth), Tony Buchanan (sax; ex-Daly-Wilson Big Band), Tim Partridge (bass; ex-King Harvest, Mighty Kong) and Russell Dunlop (drums; ex-Levi Smith's Clefs, SCRA, Mother Earth). They were one of the first Australian bands to incorporate funk and soul into the pub rock forum. Leo and Mick Kenny (keyboards; ex-Levi Smith's Clefs) joined in late 1974. The band recorded the first version of 'Heading In The Right Direction', co-written by Mark Punch and Garry Paige. Singer Renee Geyer later made the song famous via her definitive reading.

I saw these guys play somewhere in 1975, and was particularly taken with De Castro's live voice, he killed it on tracks like "Baby's Gonna make it" - and in cataloguing these 70s funk albums, I'm realizing how much I got out when I was 13, and how comparatively little I get out now. At the time, they were building up a strong live following, and preparing to record this album.

Original guitarist Mark Punch had just run off to join Renée Geyer's band, but was seemingly here to record on at least two of the tracks he'd co-written : "Heading In the Right Direction", soon to be a hit single for Geyer on "Ready To Deal", and "Sweet Kisses", that she would later record on "Winner".
There are some tight instrumental funk workouts with jazz touches, the flute and talkbox stormer "Number 43", and great percussion throughout from Sunil De Silva - it's a pretty solid album and worth checking out.

While only independently released in Australia, the album was picked up internationally by 20th Century Records, with the band re-named simply 'Rocco', and a publishing deal seems to have been signed with the Reizner Music Corporation. This rip comes from this release.

The single 'Heading In The Right Direction' b/w 'Funky Max' came out in August 1975. Harris Campbell had replaced Punch who went on to join the Renee Geyer Band. Johnny Rocco Band issued the album Rocco (May 1976) which yielded a second single, 'Gonna Have A Good Time' b/w 'Who's This Guy' (April). Amazingly, this was Leo' first appearance on a full band album. Leo's gorgeous vocals lead the way on 'Heading In The Right Direction', 'Gonna Have A Good Time' and 'She's Knocking On My Door'. The band's playing throughout is incredibly tight, with Dunlop's fatback drum patterns driving the music onwards. The likes of 'Funky Max' and 'Rocco' are now highly rated examples of the funk rock genre (although Leo's vocals are but a minor part of these particular tracks).
The album got issued in the US on the 20th Century label and prospects looked good. Success failed to come the band's way and they eventually parted in late 1976.

Leo formed the all Kiwi band Cahoots with Tui Richards (by then ex-Powerhouse), Billy Rylands (guitar; ex-Freshwater, Stevie Wright Band), Phil Pritchard (guitar; ex-Highway, Miss Universe), George Limbidis (bass; ex-Highway, Miss Universe) and Doug McDonald (drums; ex-Powerhouse). In May 1977 the band was billed as Leo De Castro and Rocco with Mark Punch back in the line-up. By the end of the year it was the Leo De Castro Band. Then came Heavy Division in 1978 with Richards, Russell Smith (guitar; ex-Company Caine, Mighty Kong, Billy T), Tim Partridge (bass; by then ex-Kevin Borich Express) and John Watson (drums).
Original Vinyl Cover
This post consists of MP3's (320kps) ripped from vinyl and includes limited artwork for both CD and Vinyl. (Thanks to Micko at Midoztouch for the rip)
Le De Castro is one of the most influential and talented Aussie musicians, evolving from the roots of King Harvest and then forming some very short lived but legendary bands, like Friends, Healing Force, Le De Castro's Babylon and of course The Johnny Rocco band.  Oh, and just for the record (pun intended) The Rocco band didn't actually have anyone in the band called Johnny Rocco.

Track Listing
01 - Good Times (Olson / Riviera / Monette / Bridges / Guzman / Daird)
02  - Heading in the Right Direction (Punch / Paige)
03 - Who's the Guy (Campbell / Partridge / Rich / Dunlop)
04 - Sweet Kisses (Punch / Paige)
05 - Funky Max (Punch / Partridge / Dunlop / De Castro)
06 - Rocco (Buchanan / Punch / Partridge / Dunlop)
07 - Baby's Gonna Make It  (De Castro / Buchanan / Punch / Partridge)

08 - She's Knocking on My Door (Dunlop)
09 - What are you gonna do for the rest of your life? (Dunlop / Richards)
10 - Number Forty Three (Dunlop / Punch / Buchanan / Partridge) 

Band Members:
Leo De Castro - guitar,vocals (King Harvest, Friends)
Harris Campbell - guitar,vocals
'Spoona' Tony Buchanan - sax, flute (Daly Wilson),
Sunil De Silva - percussuion (Skylight)
Russell Dunlop - drums - 'Fibes' (Ayers Rock, SCRA, Levi Smiths Clefs)

Tim Partridge - bass (Company Caine, Mighty Kong, Kevin Borich Express)
Other Musicians:
Tony Ansell - keyboards
Mick Kenny - roland synthesiser
Mark Punch - guitar
Ralph White - horns
Tui Richards - guitar
Garry Paige - mentor


Johnny Rocco Band  (73Mb)

Wednesday, January 31, 2018

Don Grusin - Raven (1990)

(U.S  1975 - Present)
The younger brother of producer/composer Dave Grusin, Don Grusin is an excellent keyboardist who has had his own solo career. He originally avoided music (not wanting to be in his brother's shadow), becoming an economics professor and not becoming a full-time musician until 1975. At that time, he put together a band to tour Japan with Quincy Jones, freelanced in Los Angeles, and headed the group Friendship which recorded for Elektra in 1978. Grusin recorded a few albums for JVC in the early '80s; and in 1988, with Sticks and Stones (a collaboration with brother Dave), Don Grusin began recording regularly for the record company GRP, playing music that (although influenced by pop) is also somewhat adventurous within the crossover genre.

Don Grusin
During the '80s, Grusin performed with and/or produced albums for a wide array of artists including saxophonist Watts (on the 1985 Grammy-winning Musician), Brazilian singer/songwriter Milton Nascimento, pianist David Benoit, and Patti Austin, Sergio Mendes, Oscar Castro-Neves, Zoot Sims, Dori Caymmi, Sadao Watanabe, Frank Quintero, Brenda Russell, Gerald Albright, Nelson Rangell, Jim Hall, Gilberto Gil, Flora Purim, Airto, Larry Carlton, Lee Ritenour, Leon Ware, and many others. On his own, Grusin has recorded for several labels, most notably GRP, releasing such albums as 1990's Raven (featured here), 1991's Zephyr, 1992's No Borders, 1993's Native Land, and 1994's Banana Fish.

Grusin received a Grammy nomination for his 2004 live album The Hang, and played keyboards on Paul Winter's 2008 Grammy-winning album Crestone. Grusin continues to perform, record and produce music internationally and also teaches a multidisciplinary course at the ATLAS Institue at the University of Colorado. He released the solo album Piano in Venice on JVC in 2008.
Album Review
As he proved in his production of David Benoit's 1989 smash Urban Daydreams, Don Grusin is a master at texturing various synth textures with the acoustic piano. On his solo debut 'Raven', Grusin once again does a remarkable job of this, mixing up his styles along the way to include bits and pieces of funk, Brazilian and mainstream jazz, along with healthy doses of the obligatory pop jazz formulas. Though the ballads here, such as "Oracle," are likable, Grusin the player is most at home on funky and frisky numbers like the stealthy "Catwalk," which features some tasty acoustic improvisations layered sparingly amidst a contagious synth groove. The best cut is another funkfest, "Graffiti Bird," which features the very punchy solo chops of saxman Eric Marienthal. The horns of Gary Herbig, Gary Grant, and Jerry Hey brass up this cut, as well as the softer line of "Light in the Window," while Sal Marquez's trumpet (which added so much to The Fabulous Baker Boys) adds a mainstream touch to songs like the title cut. The Brazilian vocalizing by Djavan makes "Two Lives" a memorable experience as well. And let's not forget kudos for the solid back beat by bassist Flim Johnson and skinmaster Tommy Brechtlein. GRP was the smooth jazz mecca for many years, but once in a while the label released a project like this which added a lot of twists to the tried and true.

My favourite tracks are "Flight Of The Raven" and "Catwalk" and everything in between - this is a great album! I like Don's style of playing. He is a bit more percussive a player than his older brother Dave, but is still very melodic. Don also uses a battery of acoustic and electronics keys. This is a great introduction to Don Gusin as a stand alone artist.

In 1976, Grusin/Rosen Productions was formed by composer, arranger, producer, keyboardist Dave Grusin, and entrepreneur, musician, producer, recording engineer, Larry Rosen. The purpose of the Company was to produce recording artists for major record labels, and discover, sign, and produce new artists for Grusin/Rosen Productions, and release the resulting albums through major record distribution systems.

The partners began their long list of successes with albums for artists Jon Lucien, Patti Austin, Lee Ritenour, Noel Pointer, and Earl Klugh. In 1978, the Grusin/Rosen team signed a multi-year label deal with Arista Records president Clive Davis. Under the logo Arista/GRP, Grusin and Rosen discovered signed, produced, recorded, and launched the careers of Angela Bofill, Dave Valentin, Tom Browne, Bernard Wright, Jay Hoggard, Scott Jarrett, and produced and recorded the first totally non-classical digitally recorded album, Dave Grusin's "Mountain Dance."

Grusin and Rosen gained immediate success with music fans bringing sales of Tom Browne's hit "Funkin' for Jamaica" to over 1 million units, and Angela Bofill's sales to over 500,000 units, while playing a pioneering roll in the music industry by leading the way to the digital storage of audio products.

Don Grusin
In 1982, the duo launched GRP Records, known as the "Digital Master Company," as an independent label adopting an "all digital" recording philosophy being the first in America to record and release all titles on compact disc. GRP went on to become Billboard magazine's #1 contemporary jazz label worldwide for five consecutive years and its artists were nominated for over 80 Grammy Awards. GRP's artist roster included Chick Corea, Lee Ritenour, Diane Schuur, Patti Austin, Dr. John, Dave Grusin, Spyra Gyra, The Rippingtons, David Benoit, Tom Scott, Gary Burton, B.B. King, Ramsey Lewis, Sergio Salvatore, Dave Valentin, Arturo Sandoval, Diana Krall, Michael Brecker, Randy Brecker, Yellowjackets, Don Grusin, Kevin Eubanks, GRP All-Star Big Band, and many more.

In 1990, Grusin and Rosen sold GRP Records to the Universal Music Group. From 1990 to 1995 Grusin continued to record for the label and Rosen continued as president and CEO of GRP Records.[extract from the Larry Rosen's Website]

This post consists of MP3 (320kps) ripped from my CD copy and includes full album artwork for both CD / Vinyl. I'm a big fan of Jazz Rock / Fusion (ie. Mahivishna Orchestra, Al Di Meola, Jan Hammer, Weather Report, Lee Ritenour to list a few) and this album fits in nicely with these artists.
If you enjoy this album, then take a look at a release by his brother and others called GRP Live in Session, also posted on my blog

Track Listing
01. Flight Of The Raven (4:34)
02. Two Lives (4:30)
03. Hip Hop Be Bop ( 5:41)
04. Oracle (6:01)
05. Outback Oasis (5:27)
06. Light In The Window (4:32)
07. Zuma Noon (5:32)
08. Um Beijo (A Kiss) (5:10)
09. Graffiti-Bird (4:23)
10. Highline (4:14) *
11. Catwalk (5:28)

* CD release only

Don Grusin (vocals, piano, synthesizer) 
Djavan, Jim Gilstrap, Kate Markowitz, Marilyn Scott (vocals) 
Ricardo Silveira (guitar)
Gary Herbig (flute, saxophone) 
Gary Grant (alto flute, trumpet, flugelhorn) 
Eric Marienthal (soprano saxophone, alto saxophone) 
Jerry Hey (trumpet, flugelhorn) 
Sal Marquez (trumpet) 
Tom Brechtlein (drums)


Friday, January 26, 2018

W.O.C.K On Vinyl: Barry Crocker - Bazza McKenzie's Party Songs (1972)

On Australia Day we come together as a nation to celebrate what's great about Australia and being Australian. It's the day to reflect on what we have achieved and what we can be proud of in our great nation. It's the day for us to re-commit to making Australia an even better place for the future. Australia Day, 26 January, is the anniversary of the arrival of the First Fleet of 11 convict ships from Great Britain, and the raising of the Union Jack at Sydney Cove by its commander Captain Arthur Phillip, in 1788.

With respect to Australia's Music Industry, we can be very proud of the contributions that our Aussie Musos have made in entertaining people from every nation with music and song, with many of our artists achieving world wide acclaim. Therefore, I would like to celebrate Australia Day by posting this Party Classic by one of our country's well known and respected T.V / Radio celebrities from the 70 / 80's. I hope you enjoy it and have a great Australia Day !

Nothing can be more Aussie than grabbing a meat pie and a nice cold frothy and singing along to the cheeky and in some cases, very politically incorrect ditties sung by Bazza McKenzie (alias Barry Crocker). The character Bazza McKenzie was the brain child of Barry Humphries, back in the early 70's and resulted in the release of a Comic Strip and several rather riskee satirical movies entitled 'The Adventures of Barry McKenzie' (which basically focused on taking the piss out of the Poms).

Barry Humphries summarizes 'Bazza's' musical master piece in the album liner notes:

Barry McKenzie has a really beautiful singing voice! I first suspected this around 1965 when he warbled a ditty called The Old Pacific Sea in the 'Private Eye' comic strip, and he absolutely bewitched them with his native woodnotes wild — and with that raunchy no-holds-barred lyric about the simple joys of chundering whenever the spirit, or the beer, moved him. It was a notable first; a comic strip character with a really good voice. Mandrake might gesture hypnotically, Popeye consume his spinach, Snoopy could actually talk, but none of them could hold a tune.

Comic Strip
When it came to transposing Bazza to the silver screen we had long ago cast Barry Crocker in the star part; he looked like Bazza, given a script crammed with timeless archaisms he could talk like Bazza, he could even be persuaded to act like Bazza. The problem which vexed us sorely was: could he SING as well as Nick Garland's drawing? Now, if Mr. Crocker has not convinced you of his musical prowess up till now, either accept the judgement of one of the 200,000 connoisseurs who have purchased his albums over the past few years or hearken to this one.
If anyone wished to demonstrate that Bazza McKenzie doesn't need to be classy to have Class, then Mr. Crocker's nimble larynx has made the point, NO WORRIES.

There are still  a few pedantic old duffers in Australia who can't imagine Bazza opening the Opera House. Stiff cheese to them. He's lived in London long enough to top the bill in our newest Palace of Varieties, and he enshrines our happiest of knacks for social and cultural mobility. With less charm, he could step adroitly into the shoes of Archbishop, Prime Minister, General Manager of the A.B.C., or even those of the Commonwealth Film Censor.
His solitary vice (if you'll pardon the expression) is that he infuriates dull people, which is probably the only reason he isn't in the Public Service. He answers Samuel Butler's description of himself: 'as innocent as a new-laid egg', and yet Bazza seems capable of anything.

He is Joan Sutherland in a Bond's singlet, Candide  with  an  Akubra,  Childe Roland in Young and Jackson's Galahad in   Gomorrah, Gulliver in the Realm of Lillibet, Hamlet in Hammersmith, Alice in Chunderland. Right now, on this record, he's having a few quiet tubes with his mates in  Earl's Court and singing an artless ballad or two with some of the thirstiest choruses ever written. Melodies grave and gay, they'll set your thongs a'flapping and the sheilahs down the far end of the room are welcome to join in too, NO  RISK.
Barry Humphries (Tangier, Nov. 1972)

This post consists of FLACs ripped from my 'beer / meat pie' stained vinyl copy and includes full album artwork plus label scans. 
I really like the live pub atmosphere that the producer has created on this record and the intermittent sounds of Fosters cans being opened in the background and the yahooing by the thirsty crowd adds to the flavour of this record. 
Favourite tracks are "Washed Down The Gutter" and "One-Eyed Trouser Snake"
Sink one while they're still cold !
A1 Pub With No Beer
A2 Earl's Court Blues
A3 There's A Bridle Hanging On The Wall
A4 Where Have They Gone
A5 Washed Down The Gutter
A6 Swaggie Jock
B1 Bazza's Rock
B2 Bazza's Love Song
B3 One-Eyed Trouser Snake
B4 Old Shep
B5 Chunder In The Old Pacific

Wednesday, January 24, 2018

The Who - Odds & Sods (1974)

(U.K 1964–1982, 1989, 1996 – present)
The original ODDS & SODS album was released by Track Records (2406 116) in October 1974, and as a CD in the early 1980s (Polydor 517 946-2). It was later remixed and remastered by Polydor on CD (539 791-2) in 1998. 

The original ODDS & SODS album was compiled by John Entwistle and in what was seen as an innovative move at the time, the titles of the songs were written in Braille on the rear sleeve. Sadly, my Track Record print does not have these interesting feature. A poster and lyric sheet were included in the package, together with extensive liner notes by Pete Townshend which took the form of a track-by-track explanation (see below), and a longer form of which was published in New Musical Express, issue dated September 21, 1974. 

ODDS & SODS was The Who’s attempt at clearing the decks. Over the years they’d recorded many songs that were never released, though some of them  notably ‘Naked Eye’ and ‘Pure And Easy’ had been played live and were well known to fans. The original album included 11 tracks, some remixed or remastered versions of which appeared as bonus tracks on other CD upgrades.

The remixed and remastered CD consisted of a single disc but expanded by 12 bonus tracks. The intent was to make a number of compilations redundant while keeping with the original spirit of collecting together various Who curios. With the large number of bonus tracks possible on the CD format, the original sequence was changed to attempt to follow the chronological order of recording. The original recordings were produced by The Who, Pete Townshend, Kit Lambert, Jack Baverstock and Chris Parmenter (see individual tracks for details). The reissue was produced by Jon Astley with remixes by Andy Macpherson at Revolution Studios. ODDS & SODS reached #10 in the UK and #8 in the US. Original sleeve concept by Roger Daltrey. Design and photography by Graham Hughes.
While Roger Daltrey was groping round the Tommy film set playing (rather masterfully) the part of the deaf dumb and blind kid himself, while Keith Moon was dressed in a dirty raincoat drinking Guinness with a raw egg and flashing at passers by, while I was ensconced in its studio, John Entwistle, with a little help from his friends, was rooting about in the mountain of unmarked tape boxes at Track Records. He came up with this remarkable collection of unreleased oddities, impulsively labelled "ODDS & SODS" by Roger. I'm going to tell you all why they were never released in the first place.

John Entwistle
Postcard is a John Entwistle song about touring on the road. He describes in luscious detail the joys and delights of such romantic venues as Australia, America and Germany. Listen out for the field sound effects actually recorded in the countries we toured. Postcard was originally recorded in my house for a maxi single. They were EPs that only cost as much as a single. Ours unfortunately never got released!  I engineered this one with one hand on the controls and the other on the guitar. That's why I only play one chord throughout the whole song.

Produced by The Who at Petes own Eel Pie Sound sometime during the spring of 1970.

Now I'm A Farmer is from the same bale of hay, recorded at home for the EP. It's a song, all about the good life out in the fields growing those fantastic ornamental gourds that you can use to...... to...... to make gorgeous fruit bowl arrangements. See if you catch the immensely subtle reference to the "Air" in this song. This track is from the period when The Who went slightly mad, we put out several records called "DOGS", and at least one about finding 'ones' inner self. Gourds mate, that's the secret of life...... GOURDS.

Produced by Pete Townshend at Eel Pie Studios during spring 1970.

Put The Money Down is one of the tracks recorded by the illustrious Glyn Johns for us. Terrific sound, beautifully recorded. Wonder what group he used ?

Produced by The Who, associate producer Glyn Johns, at Olympic Studios, on 6 June 6 972. This track remained uncompleted until 1974 when Roger finally finished the vocal so it could be included on the original ODDS & SODS.

Little Billy.  Now if I might take a little liberty here, this is a masterpiece. Written and recorded for the American Cancer Society in exchange for world wide success and fame it ended up not saving lives, but mouldering unheard in some executive's office for six years. "Its too long" he said. I really hate him because he jilted me, the swine. But, as you can hear. Little Billy is doing fine, just fine.

Original recording produced by Kit Lambert at IBC Studios, London, on 11 February 1968, and mixed at Gold Star Studios, Hollywood, 26 February. LITTLE BILLY is a stern, anti-smoking song 

Too Much of Anything. A song about temperance in all things. The insidious horror of excess. This track was a song recorded in the "Who's Next" sessions by Glyn Johns for the LIFE HOUSE film which never happened. We felt this summed up just what too much of anything could do to a person.

Produced by The Who, associate producer Glyn Johns, at Olympic Studios, during May 1971. 

Glow Girl. I'm really glad, and amazed that John found this one and put it on. It's a Rock and Roll airplane crash song with a real Pop art plane crash and a happy reincarnation ending. I wrote another song with a similar title called "Glittering Girl". Both ended up on the cutting room floor. This track reveals a lot about the way I write. I rarely leave any good idea unused, Real themes crop up in Tommy, and so do the last lines of this. Only of course Tommy was a dear little boy.

Original recording produced by Kit Lambert at De Lane Lea Studios, January 1968 and completed on 11 February. Within GLOW GIRL lie the seeds of TOMMY: it closes with the opening lines from IT’S A BOY, albeit referring to a girl… Its a girl, Mrs Walker…

Pure And Easy. This you might know from my solo album. This is the group's version. Not all of the group's versions of my songs are as faithful to the original demo as this one, but as usual the '00' make their mark. Another track from the abortive LIFE HOUSE story. It's strange really that this never appeared on WHO's NEXT, because in the context of stuff like SONG IS OVER, GETTING IN TUNE and BABA O'RILEY it explains more about the general concept behind the LIFE HOUSE idea than any amount of rap. Not released because we wanted a single album out at the time.

Produced by The Who, and associate producer Glyn Johns, at Olympic Studios, in May 1971.

The Who live in France 1974
 Faith In Something Bigger.  God I don't know where to hide. Well I mean, the whole thing about HIM is that HE is everywhere isn't HE? Anyway, the whole idea is preposterous, something, something bigger than US?  US!  THE WHO! A quick listen to this fads will bring us quickly down to size I can assure you.

Original recording produced by Kit Lambert at CBS Studios, London, on 4 January 1968, and completed 14 January.

Pete & Roger 1974
I'm The Face. Quite simple, our first record release. Words by Pete Meaden mod miracle man with Desert Boots blue beating and randy female pop writer on every page of his address book. Superb jazz guitar solo from somebody I don't recognise, fast piano from some pilled up lunatic who probably made more in session fees that day than we did from the ensuing years work. Best of all on this for me is Jack the Barber's hand clapping and John's amazing 'ZOOPS' on the bass.

Original recording produced at Philips’ Studio, London, in June 1964 and produced by Jack Baverstock and Chris Parmeinter. The Whos first single, released on 3 July 1964 when they were known as The High Numbers. The lyrics were written by their then publicist Meaden and set to the melody of Slim Harpos GOT LOVE IF YOU WANT IT. It failed to make the charts and Fontana did not take up the option on a second single by The High Numbers. I’M THE FACE was part of the original ODDS & SODS in 1974 and was reissued as a single on Polydors Back Door label in 1980. The original single on the Fontana label, however, has since become a valuable collectors item, with mint condition copies selling for vast sums of money.

 Naked Eye. Another track from the EP. This number was written around a riff that we often played on stage at the end of our act around the time we were touring early TOMMY. It came to be one of our best stage numbers, this was never released because we always hoped we would get a good live version one day.

This is the version recorded at Eel Pie Studio and produced by Pete in spring 1970.

Long Live Rock. Well there are dozens of these self conscious hymns to the last fifteen years appearing now and here's another one. This was featured briefly in the film for which Keith made his acting debut, 'That'll Be The Day'. Billy Fury sang it. This is most definitely the definitive version. I had an idea once for a new album about the history of The Who called ROCK IS DEAD - LONG LIVE ROCK. That idea later blossomed into QUADROPHENIA.

Produced by The Who, associate producer Glyn Johns, at Olympic Studios, on June 5, 1972. It was released as a single on 1 April 1979, reaching #48, and as a US single in June 1979. 

All of these tracks have been part of bigger ideas, or at least grand dreams that didn't see the light of the day.  [Taken from album insert sleeve. Notes by Pete Townsend, with additional info in italics]

This post consists of FLACS and MP3's (320kps) ripped from my TRACK vinyl which I purchased from Reading Records back in the late 70's.  It is still in its shrink wrap and in A grade condition. One of my favourite Who albums, this compilation is a must for all music collectors.
Full album artwork for both vinyl and CD is included, along with label scans.
Track Listing 
01 Postcard                     3:27
02 Now I'm A Farmer            4:08
03 Put The Money Down            4:00
04 Little Billy                    2:15
05 Too Much Of Anything            4:26
06 Glow Girl                    2:10
07 Pure And Easy            5:23
08 Faith In Something Bigger    3:03
09 I'm The Face                 2:32
10 Naked Eye                    5:10
11 Long Live Rock            3:54

The Who:
Pete Townshend (guitars, vocal)

Roger Daltrey (vocal)
John Entwistle (bass, vocal)
Keith Moon (drums, vocal)  

Odds & Sods FLAC Link (257Mb)

Odds & Sods MP3 Link (95Mb)

Wednesday, January 17, 2018

The Doors - Unauthorised - The Lizard King Vol.4 (1993) Bootleg

(U.S 1965–1973)
The fact that this is one of the very few recorded shows the Doors haven’t released commercially tells you all you need to know really. Recorded by the Doors Road Manager Vince Treanor, the actual performance was an ill tempered affair with Morrison drunk and off target for most of the show. The 15,000 venue was just a third full with the crowd hostility seemingly throwing Morrison off track. Sound problems dogged the concert with long breaks between songs doing nothing to help the crowd tensions.

This post consists of 68 minutes of solid show that compares well with the many other live Doors performances available. There is some sound bleed-through or tape hiss in the quieter portions but there are not many of those and unless you are using headphones they should not be of concern. Overall this is a decent quality recording with very strong organ including the bass range and there are some notable lead guitar parts. Apart from the location (Seattle Centre Coliseum), list of tracks, source (KRAB-FM) and date (5th June 1970) there is no background information or booklet. The audience is active but not intrusive and expletives are minimal.

The Doors on stage at Seattle, 1970
Seattle Concert, 5th June 1970
Seattle, June 5th 1970 wasn't a very good night for the Doors. In fact it was a pretty bad show, disastrous even when compared to some of the outstanding concerts they had produced earlier on that year. Yet this doesn't stop bootleggers and publishers of semi legal albums from revisiting the concert - read: from making easy money on it - time and time again. Not surprisingly of course.
The legend and popularity of the Doors lives on, and with each new generation of fans comes the need for more than what Elektra and Rhino have been and are giving us.

The Doors on stage at Seattle, 1970
Sadly, the tracks 'Light My Fire' and encore 'The End', abruptly terminated before completion by the venue management cutting off power, haven't surfaced yet - I should add that they are assumed to have never been recorded by at the time road manager, Vince Treanor; but you never know...

Perhaps the biggest bonus with this release is the inclusion of the song that makes the concert an interesting one despite its flaws: 'Someday Soon'. A rare one in the Doors catalogue, never tried for in the studio, performed in concert a handful of times only. 

This is the Doors history, people! And more so than any other taped concert, Seattle 1970 reveals a hard working quartet of men - of humans, having an off day. [Extract from doors-quarterly-online.com]

Ripped from CD to MP3 (320kps), this bootleg recording is excellent quality and covers some of the best concerts played by the Doors over a three year period. Full album artwork (the usual fireman red covers) are included along with covers for alternative bootleg releases.
Sources: Seattle Center Coliseum, Seattle, WA on 5th June 1970.
Known as the 'Lizard King' because of the leather pants that he wore during his concert performances, this Vol.3 bootleg release highlights why Jim Morrison and the Doors were considered to be one of the biggest acts of the late 60's and 70's.

Note: One track missing on this release from the official set list is "Five To One", however it appears on Vol.2 of "The Lizard King" series instead. Unsure why Banana chose to do this, as there was plenty of room on the CD to accommodate both of these tracks.
01 Back Door Man / Love Hides 7:10  (Seattle, 5th June 1970)
02 Roadhouse Blues 5:30  (Seattle, 5th June 1970)
03 When The Music's Over  19:52  (Seattle, 5th June 1970)
04 People Get Ready 0:43  (Seattle, 5th June 1970)
05 Medley: Train I Ride (Part 1)  3:41  (Seattle, 5th June 1970)
06 Baby Please Don't Go 3:34  (Seattle, 5th June 1970)
07 Train I Ride (Part 2)  13:49  (Seattle, 5th June 1970)
08 Bullfrog Blues  3:12  (Seattle, 5th June 1970)
09 Break On Through  5:17  (Seattle, 5th June 1970)
10 Someday Soon / Hitler (Poem)  6:13  (Seattle, 5th June 1970)

Tuesday, January 16, 2018

The Doors - Unauthorised - The Lizard King Vol.3 (1993) Bootleg

(U.S 1965–1973)
This CD is part of the famous 'Vancouver concert' featuring the Doors playing alongside the great Albert King. This release is available with varying covers, in this case with a big red stamp across Jim's picture saying Unauthorised, and they call the series 'The Unauthorised Recordings'.
Further more, these Unauthorised Recordings are also available from another company called Joker Productions - with the same track listing but different photos (The Doors - Live Vol.3, Joker Productions JOK-004-C). If you have the Joker release then you don't need this one.
Live In Vancouver
On 6 June 1970, The Doors played the Vancouver PNE Arena in Vancouver, BC, and as two onstage microphones captured the performance on a reel-to-reel tape recorder, the band churned out a mostly blues-soaked set, during which they were joined by guitar legend Albert King on four songs.

The show, which featured 17-minute versions of both Light My Life and The End, has been released as a two-CD package called, appropriately enough, The Doors Live In Vancouver, 1970. For guitar fans and blues aficionados, the appearance of King on the songs Little Red Rooster, Who Do You Love (listen below), Rock Me and Money is reason enough to purchase the set. And they'd get little argument from keyboardist Ray Manzarek, who remembers the night as "one of the better gigs."

Recalling the performance during an interview with the Vancouver Sun, Manzarek said, "It was exciting. Albert King was going to be playing the blues with Robby Krieger, while Jim Morrison sings." Going into greater detail, the keyboardist remembered, "A large audience, lights shining in my eyes, can't see the audience... The Doors are excited because Albert King is coming onstage, so we played great. Then Albert comes on, and we played even better. We played dark and deep and funky. Morrison was just transfixed by Albert King's manual dexterity and adroitness on the guitar, so he was in blues-boy heaven.

Jim Morrison & Albert King At Vancouver 1970
"We were all blues boys. We had all gone to the south side of Chicago, which appeared magically in Vancouver, Canada. And we're playing the blues. We're a blues band on the south side of Chicago playing with Albert King. Great night, absolutely great, had a fine time."

When asked if the band rehearsed with Albert King, Manzarek laughed and said, "Hell no! Are you kidding. What are we playing? The blues...is no problem." [Extract from Musicradar.com]

Albert King opened for The Doors in Vancouver on June 6, 1970. The Doors asked him to jam with them on four blues standards, and they were only months away from starting the recording of “L.A. Woman” in the fall of that year. From the versions of the songs The Doors played “Live in Vancouver” it seems they already had the blues on their minds.

There was some experimenting going on in Vancouver. The Doors seemed to be pushing the limits of rock or at least stretching the limits between rock and the blues. At first it sounds like the Vancouver show is more sedate (not sedated) than the Felt Forum shows a few months prior.  Upon a closer listening you can see The Doors were going for more of a bluesy feeling than a hard rock sound, and this explains why Morrison, in introducing Albert King, gives a quick tutorial to the audience about the two main indigenous forms of American music — blues and country — coming together in rock ‘n’ roll. He‘s tipping the audience off as to what they’re doing.

Albert King & Jim Morrison Backstage
The instrumentals in most of the songs highlight the bluesy feeling, as in “Five to One” and “Light My Fire.” While they didn’t change the song substantially, during the instrumental of “Light My Fire” Morrison comes in using “St. James Infirmary” as a starting point and slips in some bucolic, blues-tinged imagery from “Porgy and Bess” to highlight the bluesier aspects of The Doors’ usual repertoire: “the fish were jumping, and the cotton is high.” What band today of the same caliber as The Doors would or could risk such onstage experimentation?

That’s not to say The Doors didn’t delve into their psychedelic roots, as they played “When The Music’s Over” and an interesting rendition of “The End.”  Early in their career The Doors were interested in dissonance for their experimental journeys, but in Vancouver they show that assonance had taken over their experimental interest. “The End” in Vancouver is a mature rendering of that song; it isn’t as frantic as earlier versions, The Doors let it play out like a noir film, with Morrison stacking the familiar images upon each other until the dramatic crashing climax, creating a movie for the mind of the audience.

Albert King played four songs with the band onstage, “Little Red Rooster,” “Money,” “Rock Me,” and “Who Do You Love.” King’s solos on these songs, like the rest of the CD, don’t display a lot of unnecessary pyrotechnics but are solid playing all the way through.

The Doors on stage at the Pacific National Exhibition Coliseum, Vancouver

I’ve been to a lot of rock concerts and listened to a lot of live albums, but none of those seem to have the context or coherence that The Doors were able to imbue into their best shows, and this is one of their best.

These Bright Midnight releases are great for fans like me who didn’t have the connections to get bootlegs but still longed to hear the shows they’ve long heard about. The Bright Midnight releases are like raiding The Doors’ archives without having to worry about the quality; the sound is crisp and clear. The liner notes give you some background, right from The Doors’ own pens that’s more reliable than second generation legend. This bootleg release of “The Doors Live in Vancouver” will make a nice addition to your collection. [Extract from The Doors Examiner. Originally published in 'The Doors Examined' by Jim Cherry. 2013]
Ripped from CD to MP3 (320kps), this bootleg recording is excellent quality and covers some of the best concerts played by the Doors over a three year period. Full album artwork (the usual fireman red covers) are included along with covers for alternative bootleg releases.
Sources: Pacific National Exhibition Coliseum, Vancouver, Canada, June 6th, 1970. Not the complete show.
Known as the 'Lizard King' because of the leather pants that he wore during his concert performances, this Vol.3 bootleg release highlights why Jim Morrison and the Doors were considered to be one of the biggest acts of the late 60's and 70's.
Track Listing
01. Roadhouse Blues  5:57 (Vancouver, 6th Jun 1970)
02. Back Door Man  2:31  (Vancouver, 6th Jun 1970)
03. Five To One  6:10  (Vancouver, 6th Jun 1970)
04. Money (That's What I Want)  2:59  (Vancouver, 6th Jun 1970)
05. Rock Me Baby  6:41  (Vancouver 6th Jun 1970)
06. Little Red Rooster 6:32  (Vancouver, 6th Jun 1970)
07. Who Do You Love?  8:09  (Vancouver, 6th Jun 1970)
08. (Medley)  17:52  (Vancouver, 6th Jun 1970)
    Light My Fire
    St. James Infirmary
09. The End  16:39  (Vancouver, 6th Jun 1970)