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Second Helping brought Lynyrd Skynyrd mass success and for the follow-up they offered Nuthin' Fancy. It was a self-deprecating title for a record that may have offered more of the same, at least on the surface, but was still nearly peerless as a Southern rock record. The biggest difference with this record is that the band, through touring, has become heavier and harder, fitting right in with the heavy album rock bands of the mid-'70s. The second notable difference is that Ronnie Van Zant may have been pressed for material, since there are several songs here that are just good generic rockers. But he and Skynyrd prove that what makes a great band great is how they treat generic material, and Skynyrd makes the whole of Nuthin' Fancy feel every bit as convincing as their first two records.
For one, the record has a rawer edge than Second Helping, which helps make the slight preponderance of predictable (but not bad) material easy to accept, since it all sounds so good. Then there's the fact that many of these eight songs still showcase Van Zant at the top of his game, whether it's the storming opener "Saturday Night Special," "Railroad Song," "On the Hunt," or the rollicking "Whiskey Rock-a-Roller." Yes, this does pale in comparison with its predecessors, but most hard rock bands would give their left arm for a record that swaggers and hits as hard as Nuthin' Fancy.
01."Saturday Night Special" (E.King - R. Van Zant) – 5:08
02."Cheatin' Woman" (R. Van Zant - G.Rossington - A.Kooper) – 4:38
03."Railroad Song" (E.King - R. Van Zant) – 4:14
04."I'm a Country Boy" (A.Collins - R. Van Zant) – 4:24
05."On the Hunt" (A.Collins - R. Van Zant) – 5:25
06."Am I Losin'" (G.Rossington - R. Van Zant) – 4:32
07."Made in the Shade" (R. Van Zant) – 4:40
08."Whiskey Rock-A-Roller" (E.King - R. Van Zant - B.Powell) – 4:33
Bonus tracks
09."Railroad Song (Live)" (E.King - R. Van Zant) - 5.27
10."On the Hunt (Live)" (A.Collins - R. Van Zant) - 6.101.
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One of the truly classic blues albums of the 1960s, and one of the first to fully document the smoky ambience of a night at a West side nightspot in the superior acoustics of a recording studio. Wells just set up with his usual cohorts — guitarist Buddy Guy (billed as "Friendly Chap" on first vinyl pressings), bassist Jack Myers, and drummer Billy Warren — and proceeded to blow up a storm, bringing an immediacy to "Snatch It Back and Hold It," "You Don't Love Me," "Chitlin Con Carne," and the rest that is absolutely mesmerizing.
He was one bad dude, strutting across the stage like a harp-toting gangster, mesmerizing the crowd with his tough-guy antics and rib-sticking Chicago blues attack. Amazingly, Junior Wells kept at precisely this sort of thing for over 40 years — he was an active performer from the dawn of the 1950s to his death in the late '90s.
Born in Memphis, Wells learned his earliest harp licks from another future legend, Little Junior Parker, before he came to Chicago at age 12. In 1950, the teenager passed an impromptu audition for guitarists Louis and David Myers at a house party on the South side, and the Deuces were born. When drummer Fred Below came aboard, they changed their name to the Aces.
Little Walter left Muddy Waters in 1952 (in the wake of his hit instrumental, "Juke"), and Wells jumped ship to take his place with Waters. That didn't stop the Aces (who joined forces with Little Walter) from backing Wells on his initial sessions for States Records, though — his debut date produced some seminal Chicago blues efforts, including his first reading of "Hoodoo Man," a rollicking "Cut That Out," and the blazing instrumentals "Eagle Rock" and "Junior's Wail."
More fireworks ensued the next year when he encored for States with a mournful "So All Alone" and the jumping "Lawdy! Lawdy!" (Muddy Waters moonlighted on guitar for the session). Already Wells was exhibiting his tempestuous side — he was allegedly AWOL from the Army at the time.
In 1957, Wells hooked up with producer Mel London, who owned the Chief and Profile logos. The association resulted in many of Wells's most enduring sides, including "I Could Cry" and the rock & rolling "Lovey Dovey Lovely One" in 1957; the grinding national R&B hit "Little by Little" (with Willie Dixon providing vocal harmony) in 1959, and the R&B-laced classic "Messin' with the Kid" in 1960 (sporting Earl Hooker's immaculate guitar work). Wells's harp was de-emphasized during this period on record in favor of his animated vocals.
With Bob Koester producing, the harpist cut an all-time classic LP for Delmark in 1965. Hoodoo Man Blues vividly captured the feel of a typical Wells set at Theresa's Lounge, even though it was cut in a studio. With Buddy Guy (initially billed as "Friendly Chap" due to his contract with Chess) providing concise lead guitar, Wells laid down definitive versions of "Snatch It Back and Hold It," "You Don't Love Me," and "Chittlin' Con Carne."
The harpist made his second appearance on the national R&B lists in 1968 with a funky James Brown-tinged piece, "You're Tuff Enough," for Mercury's feisty Blue Rock logo. Wells had been working in this bag for some time, 
alarming the purists but delighting R&B fans; his brass-powered 1966 single for Bright Star, "Up in Heah," had previously made a lot of local noise.
After a fine mid-'70s set for Delmark (On Tap), little was heard from Wells on vinyl for an extended spell, though he continued to enjoy massive appeal at home (Theresa's was his principal haunt for many a moon) and abroad (whether on his own or in partnership with Guy; they opened for the Rolling Stones on one memorable tour and cut an inconsistent but interesting album for Atco in the early '70s).
Toward the end of his career, Wells just didn't seem to be into recording anymore; a pair of sets for Telarc in the early '90s were major disappointments, but his last studio session, 1997's Come on in This House, found him on the rebound and the critics noticed — the album won the W.C. Handy Blues Award for Traditional Blues Album in 1997. Even when he came up short in the studio, Wells remained a potent live attraction, cutting a familiar swaggering figure, commanding the attention of everyone in the room with one menacing yelp or a punctuating blast from his amplified harmonica. He continued performing until he was diagnosed with lymphatic cancer in the summer of 1997. That fall, he suffered a heart attack while undergoing treatment, sending him into a coma. Wells stayed in the coma until he passed away on January 15, 1998. A handful of compilations were released shortly after his death, as was the film Blues Brothers 2000, which featured a cameo by Wells.
01. Snatch It Back and Hold It Wells 2:53
02. Ships on the Ocean Wells 4:07
03. Good Morning Little Schoolgirl Williamson 3:50
04. Hound Dog Leiber, Stoller 2:12
05. In the Wee Small Hours of the Morning Hilliard, Mann 3:42
06. Hey Lawdy Mama 3:10
07. Hoodoo Man Blues Wells, Williamson 2:49
08. Early in the Morning Traditional 4:44
09. We're Ready Guy, Wells 3:33
10. You Don't Love Me, Baby Cobbs 2:58
11. Chitlin Con Carne Burrell 2:12
12. Yonders Wall James 4:101.
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On this mysterious psych/hard rock CD of Latin origin one will find 6 original tunes and 8 cover versions, all influenced by Question Mark &The Mysterians, Grand Funk and Jimi Hendrix. Gerardo's vocals here are the strongest of his career, with the electric guitars doubletracked to produce the stereo effect.
Coco Pomar plays like Grand Funk's bassist and Puro Fuentes' drumming is powerful to say the least. After Peruvian garage band Los Shains broke up, "Pico" formed Los Nuevos Shains. Gerardo and the rest of the crew formed a band called (St. Thomas) Pepper Smelter.
After both those bands split, Gerardo formed a band called Gerardo Manuel & El Humo: on this, their first album, all the electric guitars are played by "Pico". Official release includes 4 page insert with photos and lyrics, taken from the original mastertapes. First ever appearance in CD format with 4 bonus non LP-tracks. The artwork is a replica of the original album with the fold out cover.
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Singer, guitarist, and drummer Gordon Jackson released a rare album for the Marmalade label in 1969, Thinking Back, that bore much similarity to records of the era by Traffic and (more distantly) Family. The resemblance wasn't casual, as several members of Traffic and Family helped out on the record, alongside other notables like Julie Driscoll and Luther Grosvenor of Spooky Tooth; Traffic's Dave Mason, in fact, was the producer. Thinking Back had the same sort of loose mixture of psychedelic rock with jazz, folk, and bits of soul and world music that characterized some of Traffic's work. The material wasn't as strong or focused as Traffic's or Family's, but it had a nice introspective groove with haunting, minor-keyed melodies.
Prior to the album, Jackson had been intimately connected with musicians in bands that evolved into Traffic, Family, and Spooky Tooth, although he never attained anything near the same recognition as those groups in his brief solo career. He'd been in the Hellions, the Birmingham group also including Mason, Grosvenor, and future Traffic percussionist Jim Capaldi, who made some flop singles for Piccadilly in the mid-1960s. After the Hellions broke up, Jackson played in Deep Feeling with Capaldi, Grosvenor, and future Family multi-instrumentalist Poli Palmer. Deep Feeling, unfortunately, never released anything, although an excellent early psychedelic track they recorded, "Pretty Colours," did eventually get released on Grosvenor's Floodgates Anthology. Jackson was an odd man out, though, when Mason and Capaldi helped form Traffic, and little was heard from him after the 1960s despite the promise of Thinking Back.
Gordon Jackson's only album sounds a little like a Traffic LP with a singer who isn't in the band. The similarity is really no surprise, since Traffic men Steve Winwood, Dave Mason, Jim Capaldi, and Chris Wood all played on the record, and Mason produced. Other notables with connections to the Traffic family tree or Marmalade label also appeared, including Luther Grosvenor; Rick Grech, Jim King, and Poli Palmer of Family; and Julie Driscoll. There's a languid, minor keyed jazz-folk-psychedelic vibe to the songs, which have a meditative, spontaneously pensive air, appealingly sung by Jackson. Touches of Indian and African music are added by occasional tabla and sitar. What keeps this from being as memorable as Traffic or some of the other better late-'60s British psychedelic acts is a certain meandering looseness to the songs that, while quite pleasant, lacks concision and focus. That was a quality also heard in the album from the same era by fellow Marmalade artist Gary Farr, Take Something With You, and while Thinking Back is better and more original than Farr's effort, the songs are more interesting mood pieces with a yearning, mystic tone than they are outstanding compositions. At times this is like hearing psychedelic sea shanties (as on "My Ship, My Star"), such is the lilt of the tunes, though hints of blues and more playful pop-psych whimsy are heard in cuts like "Me and My Dog." [The 2005 CD reissue on Sunbeam adds lengthy historical liner notes and five bonus tracks, including the non-LP B-side "A Day at the Cottage"; a haunting, sparse home demo of "My Ship, My Star"; single mixes of "Song for Freedom" and "Sing to Me Woman"; and a long version of "Me and My Dog."]
Poli Palmer - Keyboards, Vocals
Jim King - Saxophone
Chris Wood - Wind
Julie Driscoll - Vocals
Rick Grech - Bass
Luther Grosvenor - Vocals
Gordon Jackson - Guitar, Sitar, Main Performer, Vocals
Reg King - Vocals
Robbie Blunt - Sitar
Rocky Dzidzornu - Percussion
Patrick Gammon - Keyboards, Vocals
Remi Kabaka - Percussion
Jim Capaldi - Vocals
Dave Mason - Bass
Steve Winwood - Bass, Keyboards
The Blossom Toes
Meic Stevens
01. The Journey
02. My Ship, My Star
03. Me And My Dog
04. Song For Freedom
05. Sing To Me Woman
06. When You Are Small
07. Snakes And Ladders
08. A Day At The Cottage (non-album B side)
09. My Ship, My Star (demo version)
10. Song For Freedom (single mix)
11. Sing To Me Woman (single mix)
12. Me And My Dog (long version)
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Universally hailed as the reigning king of the blues, the legendary B.B. King is without a doubt the single most important electric guitarist of the last half century. A contemporary blues guitar solo without at least a couple of recognizable King-inspired bent notes is all but unimaginable, and he remains a supremely confident singer capable of wringing every nuance from any lyric (and he's tried his hand at many an unlikely song, anybody recall his version of "Love Me Tender?").
Yet B.B. King remains an intrinsically humble superstar, an utterly accessible icon who welcomes visitors into his dressing room with self-effacing graciousness. Between 1951 and 1985, King notched an amazing 74 entries on Billboard's R&B charts, and he was one of the few full-fledged blues artists to score a major pop hit when his 1970 smash "The Thrill Is Gone" crossed over to mainstream success (engendering memorable appearances on The Ed Sullivan Show and American Bandstand).
The seeds of King's enduring talent were sown deep in the blues-rich Mississippi Delta. That's where Riley B. King was sired, in Itta Bena, to be exact. By no means was his childhood easy. Young King was shuttled between his mother's home and his grandmother's residence. The youth put in long days working as a sharecropper and devoutly sang the Lord's praises at church before moving to Indianola — another town located in the very heart of the Delta — in 1943.
Country and gospel music left an indelible impression on King's musical mindset as he matured, along with the styles of blues greats T-Bone Walker and Lonnie Johnson and jazz geniuses Charlie Christian and Django Reinhardt. In 1946, B.B. King set off for Memphis to look up his cousin, rough-edged country blues guitarist Bukka White. For ten invaluable months, White taught his eager young relative the finer points of playing blues guitar. After returning briefly to Indianola and the sharecropper's eternal struggle with his wife Martha, King arrived in Memphis once again in late 1948. This time, he stuck around for a while.
King was soon broadcasting his music live via Memphis radio station WDIA, a frequency that had only recently switched to a pioneering all-black format. Local club owners preferred that their attractions also held down radio gigs so they could plug their nightly appearances on the air. When WDIA DJ Maurice "Hot Rod" Hulbert exited his air shift, King took over his record-spinning duties. At first tagged "The Peptikon Boy" (an alcohol-loaded elixir that rivaled Hadacol) when WDIA put him on the air, King's on-air handle became the "Beale Street Blues Boy," later shortened to Blues Boy and then a far snappier B.B.
1949 was a four-star breakthrough year for King. He cut his first four tracks for Jim Bulleit's Bullet Records (including a number entitled "Miss Martha King" after his 
wife), then signed a contract with the Bihari Brothers' Los Angeles-based RPM Records. King cut a plethora of sides in Memphis over the next couple of years for RPM, many of them produced by a relative newcomer named Sam Phillips (whose Sun Records was still a distant dream at that point in time). Phillips was independently producing sides for both the Biharis and Chess; his stable also included Howlin' Wolf, Rosco Gordon, and fellow WDIA personality Rufus Thomas.
The Biharis also recorded some of King's early output themselves, erecting portable recording equipment wherever they could locate a suitable facility. King's first national R&B chart-topper in 1951, "Three O'Clock Blues" (previously waxed by Lowell Fulson), was cut at a Memphis YMCA. King's Memphis running partners included vocalist Bobby Bland, drummer Earl Forest, and ballad-singing pianist Johnny Ace. When King hit the road to promote "Three O'Clock Blues," he handed the group, known as the Beale Streeters, over to Ace.
It was during this era that King first named his beloved guitar "Lucille." Seems that while he was playing a joint in a little Arkansas town called Twist, fisticuffs broke out between two jealous suitors over a lady. The brawlers knocked over a kerosene-filled garbage pail that was heating the place, setting the room ablaze. In the frantic scramble to escape the flames, King left his guitar inside. He foolishly ran back in to retrieve it, dodging the flames and almost losing his life. When the smoke had cleared, King learned that the lady who had inspired such violent passion was named Lucille. Plenty of Lucilles have passed through his hands since; Gibson has even marketed a B.B.-approved guitar model under the name.
The 1950s saw King establish himself as a perennially formidable hitmaking force in the R&B field. Recording mostly in L.A. (the WDIA air shift became impossible to maintain by 1953 due to King's endless touring) for RPM and its successor Kent, King scored 20 chart items during that musically tumultuous decade, including such memorable efforts as "You Know I Love You" (1952); "Woke Up This Morning" and "Please Love Me" (1953); "When My Heart Beats like a Hammer," "Whole Lotta' Love," and "You Upset Me Baby" (1954); "Every Day I Have the Blues" (another Fulson remake), the dreamy blues ballad "Sneakin' Around," and "Ten Long Years" (1955); "Bad Luck," "Sweet Little Angel," and a Platters-like "On My Word of Honor" (1956); and "Please Accept My Love" (first cut by Jimmy Wilson) in 1958. King's guitar attack grew more aggressive and pointed as the decade progressed, influencing a legion of up-and-coming axemen across the nation.
In 1960, King's impassioned two-sided revival of Joe Turner's "Sweet Sixteen" became another mammoth seller, and his "Got a Right to Love My Baby" and "Partin' Time" weren't far behind. But Kent couldn't hang onto a star like King forever (and he may have been tired of watching his new LPs consigned directly into the 99-cent bins on the Biharis' cheapo Crown logo). King moved over to ABC-Paramount Records in 1962, following the lead of Lloyd Price, Ray Charles, and before long, Fats Domino.
In November of 1964, the guitarist cut his seminal Live at the Regal album at the fabled Chicago theater and excitement virtually leaped out of the grooves. That same year, he enjoyed a minor hit with "How Blue Can You Get," one of his many signature tunes. 1966's "Don't Answer the Door" and "Paying the Cost to Be the Boss" two years later were Top Ten R&B entries, and the socially charged and funk-tinged "Why I Sing the Blues" just missed achieving the same status in 1969.
Across-the-board stardom finally arrived in 1969 for the deserving guitarist, when he crashed the mainstream consciousness in a big way with a stately, violin-drenched minor-key treatment of Roy Hawkins' "The Thrill Is Gone" that was quite a departure from the concise horn-powered backing King had customarily employed. At last, pop audiences were convinced that they should get to know King better: not only was the track a number-three R&B smash, it vaulted to the upper reaches of the pop lists as well.
King was one of a precious few bluesmen to score hits consistently during the 1970s, and for good reason: he wasn't afraid to experiment with the idiom. In 1973, he ventured to Philadelphia to record a pair of huge sellers, "To Know You Is to Love You" and "I Like to Live the Love," with the same silky rhythm section that powered the hits of the Spinners and the O'Jays. In 1976, he teamed up with his old cohort Bland to wax some well-received duets. And in 1978, he joined forces with the jazzy Crusaders to make the gloriously funky "Never Make Your Move Too Soon" and an inspiring "When It All Comes Down." Occasionally, the daring deviations veered off-course; Love Me Tender, an album that attempted to harness the Nashville country sound, was an artistic disaster.
Although his concerts were consistently as satisfying as anyone in the field (and he remains a road warrior of remarkable resiliency who used to gig an average of 300 nights a year), King tempered his studio activities somewhat. Still, his 1993 MCA disc Blues Summit was a return to form, as King duetted with his peers (John Lee Hooker, Etta James, Fulson, Koko Taylor) on a program of standards. Other notable releases include 1999's Let the Good Times Roll: The Music of Louis Jordan and 2000's Riding With the King, a collaboration with Eric Clapton. King celebrated his 80th birthday in 2005 with the star-studded album 80. Live was issued in 2008.
King's immediately recognizable guitar style, utilizing a trademark trill that approximates the bottleneck sound shown him by cousin Bukka White all those decades ago, has long set him apart from his contemporaries. Add his patented pleading vocal style and you have the most influential and innovative bluesman of the postwar period. There can be little doubt that B.B. King will reign as the genre's undisputed king (and goodwill ambassador) for as long as he lives. [AMG]
01 - Bad Breaks [1955]
02 - You Don´t Know [1956]
03 - Worry Worry Worry [1958]
04 - The Blues Has Got Me [1956]
05 - Please Accept My Love [1958]
06 - I Had A Woman (Ten Long Years) [1955]
07 - You Know I Go For You [1958]
08 - That´s How Much You Mean To Me [1959]
09 - Days Of Old [1958]
10 - Why Do Everything Happen To Me [1958] 1.
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Dawn Records was a subsidiary of Pye Records. Active from 1970 to 1975, it was set up largely as Pye's 'underground and progressive' label, a rival of the EMI and Phonogram equivalents, Harvest and Vertigo.
The most successful act on the label was Mungo Jerry, whose first two singles reached No. 1 on the UK Singles Chart. The label was also notable for releasing the 1970 and 1971 Donovan albums, Open Road and HMS Donovan. It also released records by Paul Brett's Sage, Titus Groan, Mike Cooper, Heron, John Kongos (before he found greater success on the Fly label), Comus, Atlantic Bridge, Pluto, and the Mungo Jerry offshoot, the King Earl Boogie Band.
In October 1970, the UK music magazine NME reported that Dawn label acts Demon Fuzz, Titus Groan, Heron and Comus were due to take part in a series of UK concerts in November 1970. At all venues the price of admission was one penny.
Two other notable acts were Brotherhood Of Man in their Eurovision-winning line-up, who released their first album, Good Things Happening, in 1974; and Prelude, whose a cappella version of the Neil Young song "After The Gold Rush" (No. 21, 1974) was the label's only other UK hit single.
From making televisions and the unexciting beginnings of Petula Clark and Lonnie Doneghan to the freaked out acid folk of Paul Brett’s Sage, the story of Pye Records and its Dawn Records offshoot is a peculiar one.
Pye was a television and radio manufacturer in the Fifties but diversified into record label ownership with the acquisition of Nixa Records in 1953, and then Polygon Records in 1955. Polygon was the label set up by Petula Clark’s dad to control her material and out of the merger grew Pye Nixa Records, whose name was changed to Pye Records in 1959.
Throughout the Sixties Pye distributed early David Bowie, Donovan and The Kinks, and did very well out of British Invasion acts in 1964, putting out Pye artists on US labels. However, by the end of the decade, they felt that their competitors were stealing a march on them when Decca, EMI and Phonogram set up the progressive offshoots Deram, Harvest and Vertigo respectively.
In late 1969, Pye set up Dawn Records, their own label for blues, folk and heavy music. Somewhat ironically, the label’s biggest success over its six-year life-span was with the likeable but hardly radical Mungo Jerry.
At a time when the likes of Cream and Led Zeppelin were redefining rock with their heavy, technically sophisticated blues, Mungo Jerry had a sweet, uncomplicated jug sound. Their debut single, of course, was the good-time anthem ‘In The Summertime’. Unusually for the time, it was a double A side – with ‘Mighty Man’ also on side one – and was played at 33rpm. The whole of the B-side was one song, ‘Dust Pneumonia Blues’.
It sold an absolute stack, and the band – who went down a storm at the Hollywood Festival in Newcastle-under-Lyme the same week their single came out – were hot. The label, wanting to make hay while the sun shone, rushed through an eponymous debut LP for the Jerry, the first of half a dozen on Dawn in the next six years, almost of all of which enjoyed some decent sales.
The label also put out Donovan’s Open Road album in 1970, his first with the band of that same name. It had a rougher feel than the Mickie Most produced, silvery hits of the Sixties; the man himself called the sound “Celtic rock”. It did pretty well, but the Maryhill troubadour’s follow-up, HMS 
Donovan – a series of famous children’s poems (‘Jabberwocky’, ‘The Owl And The Pussycat’) to folk music – kind of bombed.
Other successful releases for Dawn records were the Brotherhood Of Man’s first album, Good Things Happening. An a cappella cover of Neil Young’s‘After The Goldrush’ by Prelude, a charming little version that took the Gateshead trio to the number 22 on the Billboard charts and gave them a nine-week stay in the top 50 here.
Commercial success remained largely elusive for the label, but it gave several little gems to the world.
Mike Cooper, a key figure in the British acoustic blues scene of the late Sixties, released four albums on the label that show an interesting meld of blues with Southern African jazz. Check out the last of these, The Machine Gun Company With Mike Cooper, for a strange and heady mix of free jazz and folk.
Atomic Rooster, the prog group and Crazy World Of Arthur Brown offshoot, joined Dawn in 1972 and released two albums, Made In England and Nice n Greasy on the label. By this time, Vincent Crane and the boys were rocking a slightly startling funk / soul groove that didn’t always totally hit the spot, but when it worked – ‘Little Bit Of Inner Air’ and ‘Stand By Me’ on Made In England, for instance, this was right good gear.
Talking of the Crazy World of AB, the brilliant Paul Sage put out two records on the Dawn label: Jubilation Foundry and Schizophrenia. The first, released in 1971, is like a sort of potted history of Paul’s influence –Southern blues tracks, an Everly Brothers trib, some Southern rock, even some Beatles-ish sounds – and is all cracking stuff. The 1972 follow-up was even better, equal parts psychedelic rock, chugging blues and folk. Well worth a dibble.
Mungo Jerry’s albums always sold pretty well – well enough for the label to also release records by Paul King-lead side-project King-Earl Boogie Band and also Paul’s solo LP Been in the Pen Too Long, which is an absolute little belter, sounding like very early, acoustic Bowie and showing that there was a lot more to this feller than washboards. Apart from the Jerry, though, there was not a massive amount of commercial or sales success for the label, and in 1975, Dawn Records ceased to be.
01. Atlantic Bridge - I Can't Lie to You - 3.24
02. Atlantic Bridge - Hilary Dickson - 2.40
03. Atlantic Bridge - Childhood Room - 6.50
04. Comus - Diana - Diana - 4.24
05. Comus - Diana - In The Lost Queen's Eyes - 2.50
06. Comus - Diana - Winter Is A Coloured Bird - 8.02
07. Demon Fuzz - Single - I Put a Spell on You - 3.59
08. Demon Fuzz - Single - Message to Mankind - 3.56
09. Demon Fuzz - Single - Fuzz Oriental Blues - 6.47
10. Heron - Bye & Bye - 2.25
11. Heron - Through Time - 3.28
12. Heron - Only Hobo - 3.49
13. Heron - I'm Ready To Leave - 4.40
14. Jackie McAluley - Rocking Shoes - 3.23
15. Jackie McAluley - One Fine Day - 2.05
16. Trader Horne - Here Comes The Rain - 2.44
17. Trader Horne - 02 - Goodbye Mercy Kelly - 3.14
18. Trifle - Old Fashioned Prayer Meeting - 4.44
19. Trifle - Dirty Old Town - 3.531.
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Spirogyra were a British folk/prog band that recorded three albums between 1971 and 1973.
Martin Cockerham (vocals/guitar) and Mark Francis originally formed Spirogyra as a duo in Bolton, Lancashire in the summer of 1967, not to be confused with a similarly-named 1980s American jazz group.
When Martin went to the University of Kent at Canterbury[citation needed] in 1969 he expanded the band to include fellow students Barbara Gaskin (vocals), Steve Borrill (bass guitar), and Julian Cusack (violin). They were soon spotted by student union entertainments officer Max Hole, who offered to manage them and got them a recording contract with B&C Records. Their debut album, St. Radigunds, was named after the street that their student house was on. It established them as a cult act on the underground club circuit, and sold respectably. Its follow-up, 1972's Old Boot Wine, appeared on Peg Records and showcased a harder-edged sound than their predominantly acoustic debut. After the release of Old Boot Wine, the band was pared back to the duo of Cockerham and Gaskin, who were by now romantically involved. Their final album, Bells, Boots and Shambles, appeared on Polydor in April 1973 and sold very poorly. The album was a highly stylized mix of psychedelic, flowery-folk/contrasted with some harsh socio-political overtones- and many dubbed post-production sound effects, most tracks blending into the next one.
Widely regarded today as one of the classics of British 'acid folk', it featured guest appearances from the band's former members, as well as contributions from Henry Lowther on trumpet. Copies of all three albums are rare and expensive today. All three also appeared on Brain Records in Germany, with gatefold sleeves (unlike their UK counterparts).
Dave Mattacks of Fairport Convention played drums on all three albums as a guest.
In March 1974 Spirogyra had their very last tour, with Martin Cockerham (vocals and guitar), Barbara Gaskin (vocals and electric piano), Rick Biddulph (bass and guitars) and Jon Gifford (woodwinds). The new, rather experimental material was very promising, but never made it on a fourth studio album. New titles were The River (7:24), Waves (10:43) and Sea Song (23:48).
01. Dangerous Dave (1972) - 2.20
02. Captain's Log (1972) - 2.12
03. I Hear You're Going Somewhere (1973) - 2.31
04. Old Boot Wine (1973) - 4.191.
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Japan 24-Bit Remaster
Aladdin Sane is an album by David Bowie, released by RCA Records in 1973 (see 1973 in music). The follow-up to his breakthrough The Rise and Fall of Ziggy Stardust and the Spiders from Mars, it was the first album Bowie wrote and released as a bona fide pop star. While many critics agree that it contains some of his best material, opinion as to its overall quality has often been divided. NME editors Roy Carr and Charles Shaar Murray called the album "oddly unsatisfying, considerably less than the sum of the parts", while Bowie encyclopedist Nicholas Pegg describes it as "one of the most urgent, compelling and essential" of his releases. The Rolling Stone review by Ben Gerson pronounced it "less manic than The Man Who Sold The World, and less intimate than Hunky Dory, with none of its attacks of self-doubt."[6] It was one of six Bowie entries in Rolling Stone's list of the 500 greatest albums of all time (at #277) and ranked #77 on Pitchfork Media's Top 100 Albums of the 1970s.
The name of the album is a pun on "A Lad Insane". An early variation was "Love Aladdin Vein", which Bowie dropped partly because of its drug connotations. Although technically a new Bowie 'character', Aladdin Sane was essentially a development of Ziggy Stardust in his appearance and persona, as evidenced on the cover by Brian Duffy and in Bowie’s live performances throughout 1973 that culminated in Ziggy’s ‘retirement’ at the Hammersmith Odeon in July of that year. Moreover there was not the thematic flow on this album that was present on its predecessor.
Bowie himself described Aladdin Sane as simply "Ziggy goes to America", most of the tracks being observations he composed on the road during his 1972 U.S. tour – the reason for the place names following each song title on the original record sleeve. Biographer Christopher Sandford believed the album showed that Bowie "was simultaneously appalled and fixated by 
America".
The bulk of Aladdin Sane was recorded at Trident Studios in London from December 1972 to January 1973, between legs of Bowie's U.S. Ziggy Stardust tour. A desire to rush release the record was blamed for mixes on the Rolling Stones influenced "Watch That Man" and "Cracked Actor" that buried vocals and harmonica, respectively. Bowie and producer Ken Scott have since refuted this suggestion regarding "Watch That Man", claiming that a remix they produced which brought the vocals forward was considered by Mainman management and RCA Records to be inferior to the original that was eventually released.
Aladdin Sane featured a tougher rock sound than its predecessor, particularly on tracks like "Panic in Detroit" (built around a Bo Diddley beat) and Bowie’s breakneck version of the Stones' "Let's Spend the Night Together". The album was also notable for its exploration of unusual styles such as avant-garde jazz in the title track and Brechtian cabaret in "Time", the latter being famous for the line "Time ... falls wanking to the floor". Both numbers were dominated by Mike Garson’s acclaimed piano work, which also featured heavily in the James Bond flavoured ballad "Lady Grinning Soul", inspired by singer Claudia Linnear.
Two hit singles that would be included on the album preceded its release, "The Jean Genie" and "Drive-In Saturday". The former (recorded at RCA's New York studios during the first leg of Bowie's American tour in late 1972) was a heavy R&B chug with lyrics loosely based on Iggy Pop, the latter a futuristic doo-wop number describing a time when the population has to relearn sex by watching old porn movies. "Time" was later issued as a single in the U.S. and Japan, and "Let's Spend the Night Together" in the U.S. and Europe. In 1974, Lulu released a version of "Watch That Man" as the B-side to her single "The Man Who Sold the World", produced by Bowie and Mick Ronson.
01."Watch That Man" – 4:25
02."Aladdin Sane (1913-1938-197?)" – 5:06
03."Drive-In Saturday" – 4:29
04."Panic in Detroit" – 4:25
05."Cracked Actor" – 2:56
06."Time" – 5:09
07."The Prettiest Star" – 3:26
08."Let's Spend the Night Together" (Mick Jagger, Keith Richards) – 3:03
09."The Jean Genie" – 4:02
10."Lady Grinning Soul" – 3:461.
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In the beginning of 1967, Greg and Duane Allman, then with the Allman Joys, gigged at a Pensacola club. The other resident band was the Five Minutes whose members included Sandlin, McKinney and Hornsby. These five musicians shared a love for hard-rocking English acts (mainly 'Stones and Yardbirds) and for R&B. They relocated to Decatur, Alabama and, after trying out different names, settled on the Allman-Act.
Their break came when Bill McEuen, manager of the Nitty Gritty Dirt Band, caught their show in St. Louis and persuaded them to move to Los Angeles. Producer Dallas Smith signed them to Liberty Records, the label who had also taken two of McEuen's other clients: Nitty Gritty Dirt Band and the Sunshine Company. Since they were already several groups with almost similar names, the Allman-Act became the Hourglass.
The five men then realized that the fledgling Liberty label wanted to use session musicians and songwriters songs instead of the relying on the bands talent alone. They tried to fight the process but won only a few concessions. The resulting album is, unsurprisingly, not really convincing and contains mainly pleasant pop/rock, the exceptions being the more electric tracks: Got To Get Away (the only Gregg original, already recorded with the Allman Joys), Jackson Browne's Cast Off All My Fears and Ed Cobb's Heartbeat. Duane Allman's guitar can be heard from time to time only. The album and the singles were a total commercial failure and McKinley left to be replaced by another former Five Minutes, Jesse Williard (Pete) Carr.
The group then demanded artistic freedom from Liberty and Hourglass were allowed to choose its own material, and Dallas Smith remained as their producer. Released in March 1968, Power Of Love, their second album, was a vast improvement on its predecessor, being much bluesier, with seven Gregg Allman songs, a Solomon Burke song, two Eddie Hinton/Marlin Greene tracks (Down in Texas and Home For The Summer), one Penn/Oldham cover (the title track) and a really weird instrumental version of Beatles' Norwegian Wood, beginning with Duane's electric sitar before degenerating into a kind of raga rock. The sales were low once again.
Hourglass were then playing live a lot, being booked every month at the Whisky A Go-Go and sometimes at the Fillmore West, including three nights with Buffalo Springfield, indeed Neil Young and Steve Stills wrote the enthusiastic liner notes for Power Of Love. They developed a strong reputation as a solid driving blues rock outfit but they were really unhappy with their records. With $500 from a gig, they finally rented Rick Hall's Studio in Muscle Shoals and cut some tracks on their own in April 1968 (one of these tunes BB King Medley is included on Duane Allman Anthology). The group returned to California with their tapes but Al Bennett at Liberty vetoed their release. They played some Southern gigs and eventually just drifted apart.
Gregg was then forced to finish out the contract with Liberty and had to record, using session musicians, a pop oriented solo album which was shelved (the recorded tracks are the bonus on the CD reissues).
After this unsuccessful Los Angeles period, all the musicians would return to their Alabama / Georgia / Florida area and would took a central part in the creation of the Southern Rock in the early '70s. Duane would first go to the Fame, Muscle Shoals and Criteria Studios to do sessions with soul and rock acts before forming the Allman Brothers Band with Gregg in 1969. He also was in Derek and the Dominos with Eric Clapton. One of the best slide guitar players ever, he sadly died in 1971 in a motorcycle accident. His brother is still touring with a new version of the Allman Brothers Band.
Johnny Sandlin, Paul Hornsby and Pete Carr are credited as producers, session players or group members with countless bands (Charlie Daniels, Wet Willie, Marshall Tucker, Sailcat, Cowboy etc.).
01 - Southbound
02 - February 3rd
03 - God Rest His Soul
04 - Apollo 8
05 - It´s Not My Cross To Bear
06 - Down In Texas
07 - Three Time Loser
08 - Bad Dream
09 - She Is My Woman
10 - D-I-V-O-R-C-E
11 - Kind Of A Man
12 - I´ve Been Trying (Version 1)
13 - In A Time1.
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A hard rocking Christian band, which included drummer McCracken who had earlier played with The Evergreen Blueshoes and who later ended up with The Doobie Brothers. The band were from California.
Second Coming is an album for heavy rock fans. The outstanding track is Do You Understand The Words? for its superb psychedelic guitar work and McCracken's heavy rock drumming. The remainder of the album, which contains all original compositions, is not up to that standard but contains some quite good heavy rock numbers, particularly, All Day, Good Time Music and Hold On Child on Side One. Surprisingly, they did not attain much commercial success, and both their albums are now minor collectors' items.
01 - Do You Understand The Words (2nd) - 3.37
02 - All Day (2nd) - 2.46
03 - Good Time Music (2nd) - 3.30
04 - Hold On Child (2nd) - 4.00
05 - T.C.A. (2nd) - 6.22
06 - Dear Lord (2nd) - 9.16
07 - Oh My (2nd) - 4.38
08 - Power (2nd) - 6.06
09 - For Sale (1st) - 4.34
10 - Open Up A Door (1st) - 2.31
11 - I Tried Too Hard (1st) - 1.44
12 - Easy To Be Free (1st) - 3.08
13 - Run Away (1st) - 6.50
14 - Keep In Touch (1st) - 3.59
15 - Take A Look At Yourself (1st) - 4.42
16 - Commit Yourself (1st) - 2.58
17 - Help Me, Help You, Help Me (1st) - 4.05
18 - Tenesee Waltz (1st) - 4.011.
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