They were a Houston band. After the Vulcan gig, they got a deal with Mercury and cut a single (Ride Baby Ride/No Deposit, No Return), and another unreleased side (Oddly enough) who may be on one of the Acid Visions thing.The band broke up around 70.
Credits Vocals - Michale Claxton Drums - John Clary Rhythm guitar - David Franklin Lead guitar - Jim Frye bass - Kenny Blanchet
Set List: Disc One (Time 60:10m): First Set (10:26 PM) 01. Blues In The Bottle 02. Pride Of Man 03. Broke Down Blues (?) 04. Blues Back Off 05. Run Out Of West 06. Small Walk-In Box 07. Four Floors Or Forty 08. I'm A Dancing Fool 09. Right Hand World (?) 10. Break Song
Disc Two (Time 44:23m): Second Set (11:59 PM) 01. Walkin' Blues 02. Six Weeks In Reno 03. I Did It For The Band 04. You Can't Hurt Me No More 05. Who Do Your Love? 06. Bad Luck Baby
Disc Three (Time 46:04m): Second Set (cont.) 01. Fantasy World 02. Unknown Instrumental 03. I'll Pull The Trigger 04. Trouble In Mind 05. Mona 06. Momma Don't Allow Me (?)
John Cipollina - guitar & vocals Nick Gravenites - guitar & lead vocals Greg Elmore - drums Doug Kilmer - bass
The "Stanhope House" was a fabulous roadhouse in Northwest New Jersey, near Lake Hopatcong. They booked an eclectic bunch of rock, blues, country, and folk acts. The area was beautiful, very rural, and the atmosphere in the club was very relaxed. I saw quite a few acts there, covering many of those genres. Sound and sightlines were good, especially if you got there early, and snagged a good table. I heard that it closed not too long ago, which is a real shame. There were usually two sets, which often made for a very late evening. This was my first time to see John Cipollina, and my favorite of the three bands I saw him perform with. The added bonus was Nick Gravenites, who I also thought was super. I met John prior to the show, and had him autograph a few things for me. He was incredibly nice, and must have talked to me for half an hour about his career. He would often do some calligraphy on whatever he signed, as well as his autograph. A great, and very underappreciated player. The last time I was at the Rock N' Roll Hall Of Fame in Cleveland, they had his Gibson SG with his wild amplification system, with all the horns, on display.(Comment & original post by bpthree....Many Thanks)
Great concert with two Legends : Kim Simmonds & Mark Doyle (Jukin' Bone, Free Will, Doyle Whiting Band) .... . Great show as always by our hero and his traveling companions. Similar setlist to the excellent shows posted by analog4011 and fubb (thanks again guys), but hi, NO Hellbound Train OR Tell Mama and YES Louisiana Blues## and Jack The Toad@@!! Skipping Tell Mama, brave move, but nobody seemed to mind. Kim came out of the gates all over the stage and cranking out the power chords. He even clammed it up once or twice amidst his enthusiasm (and joked about it later). Kim caught fire during the solo in Looking In and stayed hot the rest of the night. She Got The Heat is normally a slide workout, but he couldn't find the slide (and didn't feel like looking for it) so he played it "Chuck Berry style." Joe Whiting's sax playing is a real good addition. He doesn't play much, but when he does it enhances rather than getting in the way. Check out the way he ups the ante on I'm Tired after Kim's amazing acoustic guitar solo. Anyway, yeah, great band line-up, the new album (Oct. 11 he says) is gonna be amazing - can't wait. All the new songs killed me. I was several tables back - hard to judge distance. There was a bit of chatter, but nothing close - this recording came out well, there is pleasure to be gained from listening to it (By Realomind). . Credits: Kim Simmonds - Guitar, Lead Vocals* Jumpin' Joe Whiting - Lead Vocals, Saxophone Pat DeSalvo - Bass Garnett Grimm - Drums
Tracks Listing: 01. Meet The Blues Head On 02. Looking In 03. Natural Man 04. Streetcorner Talkin'* 05. Little Red Rooster 06. She Got The Heat 07. Train To Nowhere* 08. Gypsy 09. I'm Tired 10. Jack The Toad 11. Wang Dang Doodle 12. Voodoo Moon 13. Louisiana Blues* 14. --Crowd-- 15. Leaving Again
Track Listing 1. "Wheel of Fortune" 7:50 2. "Fountain" 7:22 3. "Wind of Change" 7:15 4. "River" 6:50 5. "The Preacher" 3:59 6. "On the Way Home" 7:39 Credits Tony Kaye - keyboards, mellotron, Moog synthesiser Brian Parrish - guitar, Vocals Dave Foster - bass guitar, vocals Roy Dyke - drums
Badger were one of those seventies bands that are barely remembered outside the circle of hard-core Yes fans. Only in existence for a couple of years, they managed to produce two albums, White Lady, the 1974 studio album which was a fairly mellow, soul-influenced affair featuring ex-Apple Records artist Jackie Lomax, and the altogether more interesting progressive rock debut One Live Badger. Formed in mid 1972, the roots of the band stretch back a few years earlier when Tony Kaye linked up with David Foster who was getting material together for a prospective solo album. Foster, a former band mate of Jon Anderson in The Warriors, was first introduced to the Yes camp when he co-wrote Sweet Dreams and Time And A Word with the vocalist with for the band's second album. Although the solo album was eventually scrapped, Foster and Kaye kept in touch and following Kaye's departure from Yes and brief involvement with Flash, set about remixing and reworking the original material. .
Deciding to form a band to play and record the songs, drummer Roy Dyke was recruited from the recently disbanded Ashton, Gardener and Dyke who recommended that guitarist Brian Parrish, who had recorded a largely ignored album with Adrian Gurvitz, should complete the line-up. After intensive rehearsals, the band made their debut at "The Rainbow Theatre" in December 1972 supporting Yes at the infamous concerts that spawned the sprawling Yessongs live album. Atlantic Records, to whom both groups were signed, decided that as the equipment was in place they should make the most of their financial outlay and record the support group's set as well. In a bold move that seems rather extraordinary by today's standards, it was these recordings that formed the basis of One Live Badger.
And what a great album it is, the material is strong and the group sound as if they have been playing and writing together for years. The production, by the group, Jon Anderson and Geoffrey Haslam, is crisp although somewhat more raw and aggressive than the resulting Yes recordings from the same concerts. As expected, Kaye's signature Hammond organ sound is to the fore on most of the tracks (and in particular on the album closer On The Way Home), although he does use other keyboards to add different textures: the chorus of Wind of Change features the mellotron, The River utilises an electric piano to great effect and a Moog synthesiser is evident on other tracks. Guitarist Brian Parrish plays some great solos, although nothing too flash (excuse the pun!) or overburdened with technical virtuosity. The solid and efficient rhythm section are quite prominent in the mix, as one would expect from a live recording, Foster's bass in particular being particularly clear - the dynamic mix of driving bass, riffing guitar and wailing Hammond during On The Way Home is superb and probably something that could only be got away with on a live recording. The closest comparison would be akin to a rockier Traffic.
Overall, a wonderful live album and worthy of inclusion in the collection of any fan of 1970s rock music, not just those drawn by the Yes connections. My only complaints are with the quality of the packaging. Roger Dean's cover artwork is poorly reproduced (the band name and album title are hard to see in detail), the booklet (four sides with only the front and rear artwork in colour) contains no extra information aside from the original sleeve notes and just reproduces the four colour photographs from the tray inlay in black and white. There are probably no bonus live recordings that could have been added to the album, 40 minutes would no doubt have been the length of the support act's set, and the inclusion of any existing rehearsal or demo cuts would have been incongruous, but one does feel that the addition of a few extra photos, a potted history of the band and even some reminiscences from the group members themselves would have helped justified what is effectively a full-price release. Still, it is the music that matters and on that score you can't complain at all.(From ChrisGoesRock)
This is the least Yes-sounding album on this page, as Badger went full-tilt into soul. Parrish and Foster left the group, and were replaced by one-time Apple records artist Jackie Lomax (vocals, guitar), former Steeler's Wheel guitarist Paul Pilnick and bassist Kim Gardner. Lomax is White Lady's key figure; he not only writes all the songs, but has a fine smooth soul voice. Allen Toussaint recorded the album in New Orleans, and he gave the band the full contemporary R&B/soul sound - horns, backing singers, prominent rhythm section. Unlike One Live Badger or other English bands who explored American soul (Clapton or Traffic at times), Badger was far more interested in grooves than soloing (or even soloing over the grooves). Dyke and Gardner usually kickstart the tracks with a catchy rhythm ("Don't Pill the Trigger"), then Lomax swoons in, while everyone plays along. Pilnick sticks to rhythm , so they brought in Barry Bailey in on slide, with an appearance by Bryn Haworth as well. There are a few nods towards the Allman Brothers intertwined guitars (the ode-to-drugs title track with Jeff Beck playing lead, "Listen to Me"), but overall White Lady is really a group effort. Lomax is almost too low-key at points, and when he gets excited he has a tendency to get frog-voiced, but he is still the focal point. But this is about the grooves, and in conjunction with the excellent production they have plenty (the opening "A Dream of You" is great, "Be With You", "Lord Who Give Me Life"). Quite the guilty pleasure as such, but it failed to chart and the group broke up soon afterwards. Kaye subsequently joined Badfinger.
Tracks: 01. A Dream Of You - 4:13 02. Everybody - Nobody - 3:19 03. Listen To Me - 4:55 04. Don't Pull The Trigger - 4:01 05. Just The Way It Goes - 4:39 06. White Lady - 4:44 07. Be With You - 3:38 08. Lord Who Give Me Life - 3:03 09. One More Dream To Hold - 4:01 10. The Hole Thing - 6:07
Personnel: - Tony Kaye - keyboards, mellotron - Roy Dyke - drums - Kim Gardner - bass - Jackie Lomax - rhythm guitar, vocals - Paul Pilnick - lead guitar + - Barry Bailey - slide guitar (4-8) - Jeff Beck - guitar solo (6) - Carl Blouin - baritone saxophone, flute - Lester Caliste - trumpet - Mercedes Davis - backing vocals (1-3,5-8) - Joan Harmon - backing vocals (1-3,5-8) - Bryn Haworth - slide guitar (3) - Teresipa Henry - backing vocals (1-3,5-8) - John Lango - trombone - Bobby Montgomery - backing vocals (2-9) - Jessie Smith - backing vocals (2-9) - Alvin Thomas - tenor saxophone - Allen Toussaint - piano (3-4), organ (9), congas (1-3,10)
The first thing to say is that this is one of the greatest albums in the history of music. It should be required listening for everybody who likes rock. This album deserves to be much better known. It is a very psychedelic album, in fact it is one of the best psychedelic albums ever made. The combination of power, aggression and beauty is still quite stunning after more than thirty years. Before buying the album I had never heard anything by the Outsiders but was attracted by their legendary cult status and my growing interest in Dutch psychedelic and progressive music of the sixties and seventies. There are many great bands from the Netherlands who are far too little known internationally. The Outsiders had a short career and this 1968 album was their last. You can almost understand why this was the band's last album. There is a peaking of power and feeling here, which would be next to impossible to repeat. Every track is a masterpiece. I bought the album a few weeks ago at Fame in Amsterdam and have been listening to it continuously ever since. If you like psychedelia I would be very surprised if you did not like this album. This is not flower power psychedelia and nor is there anything whimsical about this music, that is very hard edged. It is difficult to compare to other bands but the Pretty Things would possibly be the most similar music or the era. The outsiders should have been huge internationally. The combination of energy and aggression foreshadows punk. It is not everyone's cup of tea. It's probably one of those love or hate albums. If you like psychedelia but you also love the power of the MC5 and Teenage Head era Flamin Groovies I think you will like this album very much. The musicians are superb. Ronnie splinter should be a world renowned name for the things he was doing with the guitar in 1968. Wally Tax, who wrote the lyrics, is one of the best singers I have heard. The drummer and bass player are both very powerful. This album should have the same legendary status as 'After Bathing at Baxters', 'Electric Ladyland' and other world renowned classics from 1968. Another comparison I would make is with Love's 'Forever Changes'. Both albums inhabit a unique and idiosyncratic world of genius. Indeed more than inhabiting, they shape their own particular worlds. To me the world of CQ is a much darker world then Arthur lee's. There isn't a weak song on the album. Particular highlights for me are 'Zsarrahh', 'Happyville', 'Man on a dune', 'the Bear' and 'Doctor'. The guitar of Ronnie Splinter on the latter track is awesomely powerful and innovative. The last song 'Prison song' is possibly the darkest end to an album I know and an amazing psychodrama in itself. As soon as I had heard this album for the first time I had to play it all again straight away. I have heard thousand of albums and this is one of the few that has compelled an immediate replay. The 2001 reissue is a piece of art in itself. Pseudonym have obviously put great effort into the packaging and sleeve notes and you will get great pleasure from this, if you choose to buy the disc. Pseudonym are my favourite reissue label, having done an equally beautiful job with the reissue of Group 1850s Agemo's Trip to mother earth a few years ago. Buy this album as soon as you can. You will not regret it. I hope I have made you want to hear this album. If as a result of reading this review you are tempted to buy it please e-mail me and let me know what you think. It would be nice to know I influenced somebody to listen to the Outsiders.(By James The Bin) Recorded in September 1968 at the G.T.B. Studio, The Hague, The Netherlands. Tracks Listing 01. Misfit 02. Zsarrahh 03. C.Q. 04. Daddy Died On Saturday 05. It Seems Like Nothing's Gonna Come My Way 06.. Doctor 07. The Man On The Dune 08. The Bear 09. Happyville 10. You're Everything On Earth 11. Wish You Were Here With Me Today 12. I Love You No. 2 13. Prisonsong 14. Do You Feel Alright 15. Daddy Died On Saturday 16. I Love You No. 2 17. Misfit 18. Happyville 19. Prisonsong Credits Frank Beek : Bass, Guitar, Organ, Piano, Vibraphone [Vibes], Cymbal, Vocals Ronald Splinter : Guitar, Bass, Vocals Leendert "Buzz" Busch : Drums, Congas, Tambourine, Maracas, Jew's Harp [Mouthharp], Vocals Wally Tax : Vocals, Guitar, Vibraphone [Vibes], Harmonica, Flute, Balalaika, Tambourine, Cymbal, Organ
While other bands in the Bay Area were into their spaced out, unfocused drivel, the Flamin' Groovies were honing their skills on straight ahead, power driven, rock and roll. Probably the best American band that should've, but didn't hit the big time. The Groovies made some fine records, but Teenage Head remains their crowning acheivement. This recording is as fresh today as it was when it was released in 1971. The songwriting duo of Cyril Jordan and Roy Loney were probably the best in the business at the time, and the only real challangers in the field were Keith Richards and Mick Jagger. In fact comparisons of Teenage Head to the Stones Sticky Fingers LP were often pointed out. After hearing Teenage Head Jagger stated that the Groovies did a better job than the Stones did on Sticky Fingers. So why is Teenage Head such a great album? First of all, the material on the record varies from the hard driving Proto Punk anthemic title cut, to taut acoustic blues numbers such as a revamped version of Robert Johnson's 32-20 and City Lights, then moves into areas such as the high energy rockabilly number Evil Hearted Ada, or the easy going cool of Doctor Boogie, while containing a couple of power ballads such as Yesterdays Numbers and Whiskey Woman, along with a couple of no nonsense rockers like Have You Seen My Baby? and the fantastic High Flyin' Baby. What really makes this recording something special is the consistent high caliber of musicianship througout the whole affair which makes Teenage Head a virtually seamless masterpiece of manic rockin' out. Rarely does a record meet with its inteded purpose as well as it does on Teenage Head. The seven added bonus tracks of raw, well played, unapologetic, rock and roll only leaves you wanting more. Teenage Head is not just a very good record, but it is a great record. It is still influencing the more serious, no nonsense bands and musicians of today. This is a seminal rock and roll record which still is the definitive album in this genre. I suppose the comparisons to some of the Stones albums of the early seventies are warranted, but the Stones never did make an album this good. No sloppy, over the top theatrics on Teenage Head; just some tight, nicely crafted songs, which are played extremely well. Does that sound like any Stones album released? You owe it to yourself to see how it really should be done. God knows it isn't being done today! (By M. S. Ulbricht "BomboMon")
Tracklist 01- High Flyin' Baby 02- City Lights 03- Have You Seen My Baby? 04- Yesterday's Numbers 05- Teenage Head 06- 32-20 07- Evil Hearted Ada 08- Doctor Boogie 09- Whisky Woman Bonus Tracks 10- Shakin' All Over 11- That'll Be The Day 12- Louie Louie 13- Walkin' The Dog 14- Scratch My Back 15- Carol 16- Going Out Theme (Version 2)
Credits Roy Loney - Lead Vocals, Guitar, Percussion Cyril Jordan - Guitar, Vocals George Alexander: Bass, Percussion Danny Mihm - Drums, Percussion, Piano, Organ Tim Lynch - Guitar, Vocals, Percussion Jim Dickinson - Piano (1-2-3)
Flamingo is The Flamin' Groovies' second studio album, released in 1970. Following their departure from the Epic record label, it was the first of their two albums for Kama Sutra. Flamingo is one of the greatest rock n roll records released ever! No question about it. Ranks at the top with Pet Sounds, Super Session (look it up, yuppie morons), Who's Next, Kind of Blue and Love it to Death as some of the best music released ever. The Flamin' Groovies are truly, along with The Dictators, unsung heroes of Rock and Roll. If you can appreciate great music, get it! (By R.Isherwood )
Track listing 01-"Gonna Rock Tonight" 02-"Comin' After Me" 03-"Headin' for the Texas Border" 04-"Sweet Roll Me on Down" 05-"Keep a Knockin'" 06-"Second Cousin" 07-"Childhood's End" 08-"Jailbait" 09-"She's Falling Apart" 10-"Road House" Bonus Tracks 11-"Walking the Dog" 12-"Somethin' Else" 13-"My Girl Josephine" 14-"Louie Louie" 15-"Rockin' Pneumonia and the Boogie Woogie Flu" 16-"Going Out Theme"
Credits Roy Loney : Lead Vocals, Guitar, Percussion Cyril Jordan - Guitar, Vocals George Alexander: Bass, Percussion Danny Mihm - Drums, Percussion, Piano, Organ Tim Lynch - Guitar, Vocals, Cello, Percussion Commander Cody : Piano (Tracks: 02, 05, 06)
While this album is listed as a Nick Gravenites album, Michael Bloomfield plays such an integral part, one is tempted to call it "Our Labors." Nick Gravenites is an underrated songwriter/singer and deserves accolades for his work on this and many other albums but the star that really shines,no,blazes, is Michael Bloomfield. His playing on the live cuts is some of the best blues guitar I've ever heard. That's no hyperbole,either. Mike Bloomfield had brains in his fingers and this CD proves it. This is Blues improvisation at its finest. By the way, "My Labors" was recorded in 1969. While some of the studio cuts sound a little dated, the live stuff sounds like it could have been recorded yesterday. Timeless. ( By John B. Ivey "Slothhand")
Mike Bloomfield- guitar, vocals Nick Gravenites- guitar, vocals Mark Naftalin- piano Ira Kamin- organ John Kahn- bass Cornelius "Snooky" Flowers- baritone sax Gerald Oshita- baritone sax John Wilmeth- trumpet Noel Jewkes- tenor sax Dino Andino- congas Bob Jones- drums, vocals
Canned Heat's second long-player, Boogie With Canned Heat (1968), pretty well sums up the bona fide blend of amplified late-'60s electric rhythm and blues, with an expressed emphasis on loose and limber boogie-woogie. The quintet -- consisting of Alan "Blind Owl" Wilson (guitar/vocals), Larry "The Mole" Taylor (bass), Henry "Sunflower" Vestine (guitar), Aldolfo "Fido" Dela Parra (drums), and Bob "The Bear" Hite (vocals) -- follow up their debut effort with another batch of authentic interpretations, augmented by their own exceptional instrumentation. One development is their incorporation of strong original compositions. "On the Road Again" -- which became the combo's first, and arguably, most significant hit -- as well as the Albert King inspired anti-speed anthem, "Amphetamine Annie," were not only programmed on the then-burgeoning underground FM radio waves, but also on the more adventuresome AM Top 40 stations. Their love of authentic R&B informs "World in a Jug," the dark "Turpentine Blues," and Hite's update of Tommy McClennan's "Whiskey Headed Woman." The Creole anthem "Marie Laveau" is nothing like the more familiar cut by Bobby Bare, although similarities in content are most likely derived from a common source. The side, as rendered here, is arguably most notable for the driving interaction between guitarists Wilson and Vestine as they wail and moan over Hite's imposing leads. Saving the best for last, the Heat are at the height of their prowess during the lengthy audio biography on "Fried Hockey Boogie." Each member is introduced by Hite and given a chance to solo before they kick out the jams, culminating in Hite's crescendo of " ... Don't forget to boogie!" In 1999 the French label, Magic Records, issued an expanded edition of Boogie With Canned Heat supplemented by half-a-dozen sides, such as the 45 RPM edits of "On the Road Again," "Boogie Music" and "Goin' Up the Country." Also included are the once difficult-to-locate 45-only "One Kind Favor," as well as the seasonal offering "Christmas Blues" and "The Chipmunk Song" -- with guest shots from none other than Alvin, Simon, Theodore, and David Seville of the one and only Chipmunks. For enthusiasts as well as listeners curious about the oft-overlooked combo, this is an essential, if not compulsory platter. ~ Lindsay Planer,(All Music Guide)
Tracks listing
01-"Evil Woman" (Larry Weiss) – 2:59
02-"My Crime" (Canned Heat) – 3:57
03-"On the Road Again" (Floyd Jones, Alan Wilson) – 5:01
The Planet Earth Rock and Roll Orchestra is a nickname given to artists who recorded together in the early 1970s. They were predominantly members of Jefferson Airplane, The Grateful Dead, Quicksilver Messenger Service, and Crosby, Stills and Nash. Their first album together was Blows Against the Empire, when they were known as Jefferson Starship. The name changed to Planet Earth Rock and Roll Orchestra for the next album, David Crosby's If I Could Only Remember My Name. During the sessions for Crosby's album at Wally Heider Studios, the musicians of each band were invited to the sessions and rehearsed hours of material, and everything was recorded. Material played during these recorded sessions in 1971 was used for Crosby's album (the "PERRO Chorus" is credited on the song, "What Are Their Names") and several other solo albums after Crosby's (see discography). The name Jefferson Starship was later used for Paul Kantner and Grace Slick's new band formed in 1974. Paul Kantner recorded a solo album in 1983 as a tribute to this time, Planet Earth Rock and Roll Orchestra.
Personnel David Crosby – guitar, vocals Graham Nash – guitar, vocals Paul Kantner – guitar, banjo, vocals Grace Slick – piano, vocals Jorma Kaukonen – lead guitar Jack Casady – bass Jerry Garcia – guitar, vocals Phil Lesh – bass Bill Kreutzmann – drums Mickey Hart – percussion David Freiberg – viola, vocals
The Planet Earth Rock and Roll Orchestra is a nickname given to artists who recorded together in the early 1970s. They were predominantly members of Jefferson Airplane, The Grateful Dead, Quicksilver Messenger Service, and Crosby, Stills and Nash. Their first album together was Blows Against the Empire, when they were known as Jefferson Starship. The name changed to Planet Earth Rock and Roll Orchestra for the next album, David Crosby's If I Could Only Remember My Name. During the sessions for Crosby's album at Wally Heider Studios, the musicians of each band were invited to the sessions and rehearsed hours of material, and everything was recorded. Material played during these recorded sessions in 1971 was used for Crosby's album (the "PERRO Chorus" is credited on the song, "What Are Their Names") and several other solo albums after Crosby's (see discography). The name Jefferson Starship was later used for Paul Kantner and Grace Slick's new band formed in 1974. Paul Kantner recorded a solo album in 1983 as a tribute to this time, Planet Earth Rock and Roll Orchestra.
Personnel David Crosby – guitar, vocals Graham Nash – guitar, vocals Paul Kantner – guitar, banjo, vocals Grace Slick – piano, vocals Jorma Kaukonen – lead guitar Jack Casady – bass Jerry Garcia – guitar, vocals Phil Lesh – bass Bill Kreutzmann – drums Mickey Hart – percussion David Freiberg – viola, vocals
PERRO Discography 1970Blows Against the Empire by Paul Kantner and Jefferson Starship 1971If I Could Only Remember My Name by David Crosby Songs for Beginners by Graham Nash Sunfighter by Paul Kantner and Grace Slick 1972Graham Nash David Crosby by Graham Nash and David Crosby Rolling Thunder by Mickey Hart— 1973Baron von Tollbooth & the Chrome Nun by Kantner, Slick, and Freiberg 1983Planet Earth Rock and Roll Orchestra by Paul Kantner
The last record by Rockets in 1983 . A great live album hard to find .... Vinyl rip & scans by myself ... Enjoy !!!
Jim McCarty - Guitar, Background Vocals John "Bee" Badanjek - Drums, Background Vocals David Gilbert - Lead Vocals Donnie Backus - Keyboards, Synthesizer, Background Vocals Bobby Neil Harrelson - Bass Chuck Perraut - Sax Shaun Murphy - Background Vocals Suzi Jennings - Background Vocals Mary Kay Lalla - Background Vocals
Recorded at the Royal Oak Music Theatre near Detroit
01- Rollin' By The Record Machine 02- Desire 03- Can't Sleep 04- Sally Can't Dance 05- Takin' It Back 06- Open The Door To Your Heart 07- Oh Well 08- Turn Up The Radio 09- Born In Detroit
After the resounding critical drubbing for 1971's lackluster Rock Love, Steve Miller's worst-received release at that time, he rebounded a year later with this eclectic and much stronger set. It's his seventh album and last as a cult artist before the commercial breakthrough of 1973's The Joker. The album, dedicated to Mahalia Jackson and Junior Parker, is split into two distinct sections. Side one (or the first six songs) dips into '50s doo wop with "Enter Maurice," acoustic folk-blues ("High on You Mama"), upbeat down-home pop ("The Sun Is Going Down"), and good-time R&B blues-rocking with horns ("Somebody Somewhere Help Me") that predates Southside Johnny & the Asbury Jukes' similar style by about five years. But side two -- the last four tracks -- is where Miller really hits his stride with beautiful, somewhat psychedelic folk-rockers that add his blues and rock roots to the string-enhanced acoustic ballad "Nothing Lasts," the haunting "Love's Riddle," and the shimmering closing title track, certainly one of his most endearing compositions and the only selection to make the cut from this collection for his first career recap released later that year, 1972's Anthology. Nick De Caro's string arrangements are beautifully and expertly integrated into these songs and previous Steve Miller Band member Ben Sidran's production is sympathetic and spacious, as is veteran Bruce Botnick's (the Doors) engineering.
Track listing 01 Welcome – 1:18 02 Enter Maurice – 3:53 03 High on You Mama – 3:42 04 Heal Your Heart – 3:22 05 The Sun Is Going Down – 1:37 06 Somebody Somewhere Help Me – 2:37 07 Love's Riddle – 3:25 08 Fandango – 3:57 09 Nothing Lasts – 4:08 10 Journey from Eden – 6:45
Personnel Steve Miller – guitar, vocals Gerald Johnson – bass guitar Ben Sidran – keyboards Dick Thompson – keyboards Jim Keltner – drums Roger Allen Clark – drums Gary Mallaber – drums Jack King – drums Jesse Ed Davis – guitar on "Heal Your Heart" Nick DeCaro – strings, horns
I'll admit up front, "The Joker" was the first song by the SMB I ever heard on the radio. Little did I know (it took a while to grow on me) that Steve Miller would become one of my favorites in the music biz. Stripping his repertoire down to R&B, this was Miller's most "pop"-style album at the time-- but it was only a foreshadowing of things to come. My faves include "Sugar Babe" (why wasn't THIS a big hit?), "Mary Lou" (some girls are just BAD news!), "Shu Ba Da Du Ma Ma Ma Ma" (Be-Bop reinvented for the 70's?), "Your Cash Ain't Nothin' But Trash" (a novelty tune that refers back to the previous "Gangster Of Love" and "Space Cowboy"--shades of Cab Calloway) and "The Joker" (which in a more musical way does the same while adding "Enter Maurice" and its twisted lyrics to the mix). FUN stuff! A great example of how persistence pays off-- it "only" took 8 albums before SMB really hit it BIG!
01. Sugar Babe 02. Mary Lou 03. Shu Ba Da Du Ma Ma Ma Ma 04. Your Cash Ain't Nothin' But Trash 05. The Joker 06. The Lovin' Cup 07. Come On In My Kitchen 08. Evil 09. Something To Believe In
Steve Miller - Vocals, Guitar, Harmonica Gerald Johnson - Bass John King - Drums Dickie Thompson - Organ, Clavinet Lonnie Turner - Bass on "Evil" Sneaky Pete Kleinow - Pedal Steel Guitar on "Something To Believe In"
Steve Miller, the first master of the old echo unit, the Echoplex, lets it shine here. With his producer, Glyn Johns, they set out to create a trippy, countrified psychedelia landscape. Listen to Matthew Sweet's album "Girlfriend" from 1992 and you'll see where he got all his ideas from. The sound quality and studio production is incredible; very hard to believe the album was put together in bits and pieces during a tour of the south. All of the songs are masterpieces and full of commentary about the times. Perhaps on this album, Miller makes his boldest political statements to date, especially on songs entitled "Jackson - Kent Blues" and "Industrial - Military Complex Hex." Both tracks are lyrically powerful and are Miller's take on the shooting of students by national guardsmen and the connection between the industry of war and the economy. Miller lets it open up a couple of times with fresh and upbeat perspectives on tracks like "Goin' to the Country", "Good Morning" and "Tokin's." Studio tape manipulation abound due to the genius of Glyn Johns who provides some incredible sounds that may have been inspired by Hendrix's "Electric Ladyland." As a whole, the album is solid. If you have headphones or really good speakers, you'll have fun listening to this album front to back.
Track listing 01 Good Morning (Bobby Winkelman) – 2:48 02 I Love You (Steve Miller) – 2:45 03 Going to the Country (Miller, Ben Sidran) – 3:47 03 Hot Chili (Tim Davis) – 3:30 04 Tokin's (Davis) – 4:23 05 Going to Mexico (Miller, Boz Scaggs) – 2:29 06 Steve Miller's Midnight Tango (Sidran) – 2:40 07 Industrial Military Complex Hex (Miller) – 3:54 08 Jackson-Kent Blues (Miller) – 7:18 09 Never Kill Another Man" (Miller) – 2:42
Credits Steve Miller – guitar, vocals Lonnie Turner – bass guitar Bobby Winkelman – bass guitar, vocals Ben Sidran – keyboards Nicky Hopkins – keyboards Tim Davis – drums, vocals Charlie McCoy – harmonica Lee Michaels - organ on "Going To Mexico" Buddy Spicher - fiddle on "Going to the Country" (unattributed)
Rock Love is the sixth album by American rock band The Steve Miller Band, released in 1971. It featured Ross Valory (a future member of Journey) on bass. The album consists of three blues-rock tracks recorded live, including lengthy jam-style Love Shock which lasts nearly 12 minutes and includes an extensive drum solo, and four studio tracks. The first song starts with the words I'm going to play you some blues 'cos I know you like that, but the critics didn't like it at all and criticising the album's songs as generic white-boy blueisms. Added to the recording's lack of production and poor overall sound quality, it is not surprising that, unlike Miller's previous five albums and the ones to follow, this album was a commercial failure.
The critics at the time panned this album, but I always loved it and was glad to get it on digital. I saw Stevie guitar Miller back in the days and thought this album to be a good example of his pre-bubble gum stuff. He can lay out out the licks ala Stevie Ray or Jimmie. Check this album out if you like the blues rock side of what Steve Miller was about.
Track listing 01"The Gangster Is Back" – 2:28 02"Blues Without Blame" – 5:41 03"Love Shock" – 11:43 04"Let Me Serve You" – 2:26 05"Rock Love" – 2:28 06"Harbor Lights" – 4:06 07"Deliverance" – 9:19 All tracks written by Steve Miller Track 2 was recorded live in Hollywood, Florida. Track 3 was recorded live in Pasadena, California.
Credits Steve Miller – guitar, vocals Ross Valory – bass guitar Jack King – drums
Brave New World, the third offering by the still-new Steve Miller Band, was released in 1969. Can't you tell? References to celebrations and tripping abound, making this one of the sunniest, trippiest album of the psychedelic era. (Even the album cover is sunny yellow!) The opening of the title track (and the album) is a blast - literally, a bomb blast which hearalds the start of both a fresh, enjoyable tune and a bright new beginning for the world at large. Then, great drumming by Tim Davis kickstarts "Celebration Song," another wonderful vision of a world at play. "Got Love 'Cause You Need It" sounds like it's sung by Miller's infamous Gangster of Love character, full of danger and seduction, while "Seasons" is a gorgeous acoustic ballad, as heartfelt a track as Stevie Guitar has ever recorded. Nice! "Space Cowboy," of course, is the albums BIG HIT, complete with Moog synthesizer space sounds, and a rare, excellent guitar solo from Steve M! (The primary focus of Brave New World is on the material, not solos.) Literally too, too far out! "LT's Midnight Dream" is a fantasy feast, with lyrics like "got a bulldog in my learjet, gonna teach him how to fly"! Too much! Paul McCartney of the Beatles contributes drums, bass, and vocals to the blues-rock "My Dark Hour," (he is billed as Paul Ramon; yes, that is where the band The Ramones got their name!), while "Can't You Hear Your Daddy's Heartbeat?" is a love song in double-quick time and "Kow Kow" (also known as "Kow Kow Calqulator" on the anthologies) combines more fantasy lyrics with quotes from Bobby Blue Bland's "Turn on your Love Light". Outasite!! So, if your looking for something of Steve Miller's beyond the usual, well-crafted 70's material, give Brave New World a listen or two. You may want to start your own celebration!!! (By chris meesey Food Czar)
Track listing 01 Brave New World (Steve Miller) – 3:27 02 Celebration Song (Miller, Ben Sidran) – 2:33 03 Can't You Hear Your Daddy's Heartbeat (Tim Davis) – 2:30 04 Got Love 'Cause You Need It (Miller, Sidran) – 2:28 05 Kow Kow (Miller) – 4:28 06 Seasons (Miller, Sidran) – 3:50 07 Space Cowboy (Miller, Sidran) – 4:55 08 LT's Midnight Dream (Lonnie Turner) – 2:33 09 My Dark Hour (Miller) – 3:07
Credits Steve Miller – guitar, harmonica, lead vocals Glyn Johns – guitar, percussion, backing vocals Lonnie Turner – bass guitar, guitar, backing vocals Ben Sidran – keyboards Tim Davis – drums, lead vocals on "Can You Hear Your Daddy's Heartbeat?" & "LT's Midnight Dream". Nicky Hopkins – piano on "Kow Kow" Paul McCartney (as "Paul Ramon") – drums, bass guitar, backing vocals, on "My Dark Hour"
Your Saving Grace is a much more earthy collection of tunes when compared to the band's previous three long-players. While there are distinct psychedelic remnants of the Boz Scaggs (guitar/vocals) and Jim Peterman (keyboards) era, the addition of keyboardists Ben Sidran and Nicky Hopkins -- which began on the Steve Miller Band's previous effort, Brave New World -- adds a jazzier facet to this second incarnation of the group. Harking back to the band's blues roots, Your Saving Grace includes a couple of distinct blues originals -- such as the up-tempo and gospel-doused "Don't Let Nobody Turn You Around" and a somewhat uninspired arrangement of "Motherless Children," which sounds more synchronous with the Sailor or Brave New World albums. The funky "Little Girl," the elegantly pensive "Baby's House," and the title track -- which is oddly programmed as the LP's final cut -- are among the highlights of this disc. Once again, the production is handled by Glyn Johns, whose contributions here are more subdued, yet no less noticeable. This is especially true of Miller's crystalline slide guitar licks on Lonnie Turner's cryptically titled "The Last Wombat in Mecca." The same upfront clean sound holds true on the laid-back and bluesy "Feel So Glad" -- which is punctuated by some inspired and unmistakable ivory tickling by studio wunderkind Nicky Hopkins. Although the album is not as thoroughly solid as earlier efforts, Your Saving Grace and the follow-up, Number 5, are definite bridges between the early trippy montages prevalent on Children of the Future and the direction that Miller would take on his much more successful mid-'70s discs.(By Lindsay Planer)
Tracklist 01. Little Girl (Steve Miller) - 3:20 02. Just A Passin' Fancy In A Midnite Dream (Miller/Ben Sidran) - 3:37 03. Don't Let Nobody Turn You Around (Miller) - 2:26 04. Baby's House (Miller/Nicky Hopkins) - 8:48 05. Motherless Children (Trad. arr. Miller) - 6:01 06. The Last Wombat In Mecca (Lonnie Turner) - 2:54 07. Feel So Glad (Miller) - 5:19 08. Your Saving Grace (Tim Davis) - 4:46
Personnel: Steve Miller - guitar, harmonica, synthesizer, vocals Lonnie Turner - bass, guitar, vocals Ben Sidran - organ Nicky Hopkins - piano, harpsichord, organ Tim Davis - drums, electronics, vocals + Glyn Johns - producer, tambourine, electronics, vocals Barnes Ensemble - vocals (horus) on 4 Minor Wilson - guitar on 7 Curley Cooke - guitar on 8
Great concert with two Legends : Kim Simmonds & Mark Doyle (Jukin' Bone, Free Will, Doyle Whiting Band) ....
The first thing to say is that this is one of the greatest albums in the history of music. It should be required listening for everybody who likes rock. This album deserves to be much better known. It is a very psychedelic album, in fact it is one of the best psychedelic albums ever made. The combination of power, aggression and beauty is still quite stunning after more than thirty years.
While this album is listed as a Nick Gravenites album, Michael Bloomfield plays such an integral part, one is tempted to call it "Our Labors." Nick Gravenites is an underrated songwriter/singer and deserves accolades for his work on this and many other albums but the star that really shines,no,blazes, is Michael Bloomfield. His playing on the live cuts is some of the best blues guitar I've ever heard. That's no hyperbole,either. Mike Bloomfield had brains in his fingers and this CD proves it. This is Blues improvisation at its finest. By the way, "My Labors" was recorded in 1969. While some of the studio cuts sound a little dated, the live stuff sounds like it could have been recorded yesterday. Timeless. ( By John B. Ivey "Slothhand")
Cd 01
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Cd 01
The last record by Rockets in 1983 . A great live album hard to find ....
