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20 Jul 2017

Totty ‎ “Totty” 1977 + "Too" 1981 + The Totty Brothers “Rock n` Okie Roll” 1994 US Private Psych Hard Rock

Totty ‎ “Totty” 1977 Oklahoma  Private Psych Hard Rock debut Album

Totty ‎ “Totty” 1977 first album 

The first edition of the Totty album. Only 50 copies made. Released with no cover art. This pressing was intended to be part of a ‘promo package’ that also included lyric sheets, black and white mimeographed photos, and TOTTY stickers. All this was enclosed in a heavy plastic liner that was sealed with a white circular adhesive tab. This package was primarily put together to send to booking agents and record labels. Original sealed copies of this vinyl promo package have been listed for sale as high as $350………… 

Το συγκρότημα των Totty δημιουργήθηκε το 1975, στην Tulsa, Oklahoma, USA από τα αδέλφια Dennis και Byron Totty. 
Είναι ένα αγαπημένο Christian Hard Rock τρίο, με ένα σφιχτό rhythm section, σκληρό γερό, δυναμικό ήχο και εξαιρετικά τραγούδια όπως το 8-λέπτο “Somebody Help Me” ή το πρώιμο Prog Rock “Crack In The Cosmic Egg”, αν σας αρέσει το λεγόμενο underground 70’s Hard Rock, τότε οι Totty είναι για τα γούστα σας. 
Αν σας αρέσει ο βαρύς ήχο της κιθάρας από τη δεκαετία του '70 τότε είναι για σας, ή αν σας αρέσουν μπάντες όπως οι Montrose, οι Granicus ή οι Nitzinger τότε θα τους λατρέψετε. 
Το εκρηκτικό αυτό το album ηχογραφήθηκε αρχικά το 1976 σε promo μορφή (λευκό εξώφυλλο) και σε 50 κόπιες μόνο, για προωθητικούς-διαφημιστικούς σκοπούς και μόνο. Το 1977 κυκλοφορεί κανονικά στα δισκάδικα, με αλλαγμένο εξώφυλλο από ανεξάρτητη δισκογραφική εταιρία, φυσικά δεν σημείωσε και καμία τεράστια εμπορική επιτυχία, όπως γίνετε συνήθως δηλαδή με τις ανεξάρτητες αυτοχρηματοδοτούμενες παραγωγές. Μετά από χρόνια το βρήκαν οι συλλέκτες ξεχασμένων βινυλίων και επανήλθε μερικώς, η original κόπια βινυλίου κοστίζει περίπου τα 250-300 ευρώ, ενώ η επανέκδοση τα 20. 
Οι επιρροές των Totty είναι σε αφθονία, τις περισσότερες φορές θυμίζουν συγκροτήματα όπως οι Led Zeppelin, οι Lynyrd Skynyrd και οι ZZ Top, αλλά και σχήματα όπως οι Outlaws, οι Cain, οι Truth & Janey ή οι Missouri. 
Είναι λοιπόν ένα ισχυρό δυναμικό power-trio που παίζει καυτό σκληρό 70’s Hard Rock με κάποια Boogie, Psych Rock και Prog Rock, αλλά και Southern Rock μουσικά περάσματα. Η κιθάρα είναι αδιάκοπη και συνεχείς τα riffs και τα solos πέφτουν ασταμάτητα το ένα μετά το άλλο, ενώ εξαιρετικό είναι και το μπάσο. Το μόνο αδύνατο σημείο θα έλεγα ότι είναι τα φωνητικά τα οποία σχεδόν πνίγονται από τη δυνατή μουσική, δηλαδή η μουσική είναι πιο μπροστά από τα φωνητικά. 
Αυτό είναι ένα πραγματικά πολύ καλό αλλά σχεδόν ξεχασμένο Hard Rock album, μερικές φορές είναι πολύ βαριά και με σκληρή προσέγγιση ο ήχος του, τα φωνητικά ακούγονται λίγο παράξενα, βραχνά και τραχιά όπως αυτά του Ted Nugent. 
Οι Totty από την έρημο της Oklahoma, μας έδωσαν ένα έντονα καυτό Hard Rock δίσκο με τραγούδια όπως τα “T-Town Teasers”, "Crack In The Cosmic Egg”, “Somebody Help Me” και “Wicked Truth”, που ηχούν λες σαν να έχουν βγει κατ’ ευθείαν μέσα από τους δίσκους των μεγαλυτέρων και αξιολογότερων σχημάτων της εποχής εκείνης. Επενδύστε άφοβα σε ένα δίσκο που κρατάει μέσα του αναμμένη τη φλόγα των καυτών 70’s. 
Αξιόπιστο cult obscure Hard Rock album λοιπόν, που είμαι σίγουρος πως θα σας αρέσει, είναι ένα ωραίο, βαρύ album και περιέχει πολύ και καλό σκληρό Hard Rock, που απλά είναι του γούστου μου. 
Μετά από ένα ακόμα album το “Too” που είναι όμως λιγότερο σκληρό από τον προκάτοχο του, οι Totty διαλύθηκαν τελικά το 1981. 
Το 1994 τα αδέλφια Dennis και Byron Totty επανήλθαν στο μουσικό προσκήνιο με το EP “Rock-n-Okie Roll”, αλλά κάτω από την επωνυμία Totty Brothers…..Ηλίας Κωστόπουλος ………. 

GEORGE COOPER - drums; side one 1,2,3,5 side two 2,3 
ROGER RODEN - drums; side one 4 
DAVID BLUE - drums; side two 1,4 
DENNIS TOTTY - vocals and all guitars 
BYRON TOTTY - bass guitar, backing vocals, synth on T-Town Teasers, Somebody Help me 
JOHNNY FRENCH - wolf whistle 

Thus Saith The Lord 1:30 
T-Town Teasers 2:41 
Crack In The Cosmic Egg 5:04 
Love Down By One Share (Love Song To A Whore) 4:57 
I´ve Done Made Up My Mind 5:40 
Wicked Truth 4:09 
Tryin´ To Forget You 3:47 
Take Me Away Jesus 4:48 
Somebody Help Me 8:27 

Totty ‎"Too" 1981 US Private Psych  Hard Rock second album 

Totty ‎"Too” 1981 second album 

DAVID BLUE - drums 
DENNIS TOTTY - vocals and guitars 
BYRON TOTTY - vocals and bass guitar 
MIKE BRUCE - steel guitar, side one 4 
BOB BAKER - piano, side one 4 

A1 Take My Love 
A2 Avalanche Of Love 
A3 Bass Mint 
A4 Standin´ In Heartaches 
A5 It´s Up To You 
B1 Scratched Records 
B2 Livin´In The Streets 
B3 I´ve Seen Miracles 
B4 In Memory Of Jimi Hendrix 
B5 Parable Of The Lost Astronaut 

The Totty Brothers “Rock n` Okie Roll” US 1994 rare EP Private Hard Rock 3 track "demo"tape

1. You Got Me Floatin` 
2.Babe You Now I Do 
3.Cool Fool 

David Blue drums 
Dennis Totty quitars vocals 
Byron Totty bass vocals

Their Story

Byron and Dennis Totty grew up in a north Tulsa area called Dawson. At that time, the Dawson area was a busy, aviation-related industrial area, with American Airlines, Douglas Aircraft, and Spartan Trailers being major employers in the area. The brothers attended McKinley and Bryant Elementary schools,
 Hamilton Junior High, and Will Rogers High School. Neighborhoods were being built and new stores were popping up. The area had Tulsa’s first 15 cent hamburger joint, called Kellys, Tulsa’s first escalator at nearby Sheridan Village, and vice-president Nixon even rode down Sheridan Road, waving and sitting at nearby Sheridan Village, and vice-president Nixon even rode down Sheridan Road, waving and sitting on the back of his convertible when he was campaigning against Kennedy. They began their musical life at a very young age, singing along with their dad’s guitar playing as early as age 4, singing ‘You Get A Line and I’ll Get a Pole, and other songs. Real Andy Griffith type stuff. They also started taking piano lessons when they were young and continued the lessons for several years. This included piano recitals. By the time Dennis was 8, he was starting to play around on his dad’s guitar. His dad soon bought himhis own electric guitar from a pawn shop, and before long, he was playing along with some of his favorite songs. Their dad, Adrian, was also a musician and singer. He even played in a band when he was in college back in the 30’s, and later sang in gospel quartets throughout his adult life. The brothers remember, as they were growing up, their dad always had some type of musical instrument in the house. Not just guitars, but accordions, mandolins, trumpets, violins, xylophones and all types of different stuff. The guitars always stayed, but all the others slowly cycled in and out the door. Their dad also had a reel-to-reel tape recorder that the brothers would play with, mostly recording sound effects and small radio dramas.
When they were in their middle teens they were soon forming their first band with some neighbor friends, and began practicing in one of the neighbors’ garage. A real ‘garage band’. One night they were playing some songs in the garage and decided to open the big door to cool off. When they opened the door, there were some people standing around in the street, and kids in the driveway on bikes, all just listening. The brothers say this was the first concert they ever played. They were playing all the rock standards at the time; Louie, Louie, Gloria, Money, As they got older, their playing began to get more serious, and soon they were playing local ‘teen town’ clubs and private parties. When they played their very first club job, Dennis was still only 15, so the club had a special table set up by the stage that DT had to stay by. No roaming around the club. By the late 60’s, the brothers and drummer Roger Roden were forming their first power rock band, a 3 piece band named Cedric. They now stepped up to playing out of town gigs at colleges, small town armories, and even night clubs. They also started developing a heavier sound for their music, now being influenced by the heavier sounds of other 3 piece bands like Cream, Jimi Hendrix Experience, and early Grand Funk Railroad . It was about this time they started writing their own tunes, and performing some of their originals scattered in among the club 'cover’ songs. They soon decided to start recording some of their tunes, and for the next few years, were in and out of several studios recording their original songs. Whenever they could get enough extra money saved up in their pockets, they were ready to go record some more songs. While some local bands were playing gigs and building up and impressive array of amps and P.A.s, they would be spending their money on studio time and gaining recording session experience. They recorded in a lot of local area studios back in the day. Even did a session in KVOO radio station’s studio. One of the problems they had in their early recording career was finding local studios that knew how to record their brand of louder, hard rocking music. The Tulsa music scene was big into the Tulsa Sound and country music at that time, and their heavier style of music was a new challenge for some local studios. After playing for several years in the area, Cedric broke up in 1973. Roger moved to Chicago and The Totty Brothers moved to San Diego for a short while. After jamming with local California musicians and writing some new songs, they returned to Tulsa and formed a new 3 piece band, Starstream Bodine, with local Tulsa drummer George Cooper. Bodine played colleges, clubs, concerts, and even an Oklahoma barn dance. With the drummer’s brother, Jody Cooper (an ex-bull rider), and Rick Carnagey, a new friend fresh out of the Navy, for roadies and sound techs, everyone knew it when all these hard-rocking Tulsa northsiders came to town. Musically, they had developed into a hard driving and spacey sounding rock band, but with their Oklahoma roots still coming through in their sound. In 1976, shortly after recording a 6 song demo, George moved out of state (…link to story of first album). Instead of forming a new band at that time, the TBs decided to record some more songs and made a full length album of original songs. They asked the drummer from their old band Cedric, Roger Roden, to come in and play a session with them, and also asked and received session help from David Blue, who was the drummer for the TBs favorite area band, Bliss, from Bartlesville, Oklahoma. After the album was released, the TBs then spent most of their time driving and promoting their new album, stocking record stores, and visiting radio stations, while always writing new material for that ‘next’ recording session, whenever that would be.After being gone for a length of time, George moved back to Oklahoma, and almost immediately began playing with Dennis and Byron again. Since the album had been completed and was already receiving airplay, they should keep playing as the band ‘Totty’, performing live shows in support of the album. 
During the next couple of years they even experimented with adding a keyboard player or a second guitar player. While this did add a certain dimension to some of their original songs, most of the tunes they were writing were more 3 piece rock oriented, so they always drifted back to their original sound. 
By this time they were pretty much performing all original material in concert type settings.It was also during this time period they performed 2 live concerts for Oklahoma City radio station KATT, which were recorded and later broadcast on air. n 1978 they went back into the studio and recorded 4 new original songs, and soon after, they were off to New York City with their new tapes to visit record companies and management agencies. After a couple of years of playing together again, George moved to Stillwater, Oklahoma to get married and perform in a music group with his new wife. During the lull time between George leaving and starting a new band, around 1980, the TBs were contacted by an old friend from college days who offered to financially help them get a second album recorded. Since David Blue’s band Bliss had broken up, the TBs asked David to play drums on all the songs on the album, and to continue on as their drummer playing live concerts to support the album. They decided to record the album at Charity Recording Studios in Tulsa, as they did the first album, but this time go to Criteria Recording Studios in Miami, Florida to mix the album. This album was to be called Totty Too. They recall that during their week stay in Miami, the famous Dade County riots broke out. One night 
they took a break from the mixing session and went to the 2nd story outside deck for some fresh air. In the distance, they could see the glow of burning fires all across the horizon. They even saw tracer bullets being fired from the ground at a police helicopter. After the album mix was completed, the band returned to Tulsa and started making plans to go to Los Angeles to finish the album packaging. They intended to move there for a short time, perform some gigs, and like in New York, take the album to record companies and management companies. They moved there in 1981 and within a very short time were playing prestigious places like The Troubadour, Gazzari’s On Sunset Strip, and Madame Wong’s Rock Emporium. They played special concert night performances for L.A. rock stations KWEST(at The Troubadour) and KMET(at Gazzari’s On Sunset Strip). Within 2 months they were already playing places that some local bands had been trying for years to get into. California’s largest rock publication, BAM Magazine, distributed all along the western coast, reviewed them and said they liked the band Totty better than Van Halen. Upon returning to Tulsa, they were voted Oklahoma’s Best Rock Band in a poll conducted by JAM Magazine, a rock publication based in Norman, Oklahoma, and distributed through Oklahoma and southwestern states. Dennis was also voted Best Rock Guitarist and Byron voted Best Rock Bass Player in the same poll.In 1986 they recorded their first music video, a self-produced video for an original song titled ‘What About Me?’. It was the first music video produced in Oklahoma to use digital video editing technology. On the night they recorded, Tulsa had one of their largest floods ever. Being locked up in the studio all night, they never knew it happened until they started coming out of the studio the next morning. (This was back before the days of cell phones and texts. You got into the studio and isolated yourself from the world.) They also appeared on the local Tulsa music television show Tulsa Backstage. They had arrived at the Tulsa Backstage studios with the intention of performing 3 songs live for the television cameras, then, they were told, each song would air some time during the next few weeks of the tv show. Tulsa Backstage played all three songs the first night. The band drifted in and out over the next few years, playing in different projects here and there. The brothers played in a blues/rock band for a little while with ‘Rusty and the Blades’. They backed up core members vocalist Mike Taylor and drummer John Mabry. While they were members of the band, Rusty and the Blades performed a live concert on The John Henry Smokehouse Blues Show on Tulsa radio station KMOD. In 1993, they got back together with David Blue to record a 3 song EP titled Rock-N-Okie Roll. This EP was released on CD only. This EP also marked the first time they had ever recorded a non-original song for one of their product releases. They wanted to record the Jimi Hendrix song ‘You Got Me Floatin’ because it was such a popular tune when they performed it live in concert. This EP was recorded at The Church Studio in Tulsa, and then mixed at Ardent Studios in Memphis, Tennessee. It was during this trip to Memphis the brothers got to make a 'guest appearance’ and sit in with B.B. King’s band at B.B.King’s Blues Club, in Memphis. Eventually the band slowly drifted apart, but each would stay involved in different musical projects over time. Dennis recorded a solo CD album of his bluesy type songs titled ‘Under The Influence’, using different local blues artists to help on the sessions. The brothers even individually backed gospel singers in concert and played in a large church Christmas production. …

Totty In Concert At The Troubadour In Los Angeles, with Drummer David Blue



Totty [1977] 
Too [1981] 
Rock-n-Okie Roll [1994]

The Electronic Hole “The Electronic Hole“ 1970 US Private Acid Psych Rock

The Electronic Hole “The Electronic Hole“ 1970 US Private Acid Psych Rock


In 1969, Phil Pearlman made a demo album for his band, A Beat Of The Earth. Only 150 copies were pressed. This album, entitled "The Electronic Hole" included a coverversion of Frank Zappa's 'Trouble Every Day'. 
The album has been (re)released on CD. 

It's unclear if the band was still called "Beat Of The Earth", or if the entire project was entitled "The Electronic Hole".......

One of the most extraordinary early recordings you’ll ever hear. Maybe the best aural document we have of the free wheeling Southern Californian culture of 1966 and 1967. This is one continuous track, broken up by the sides of the record. Non stop percussion, acoustic and electric guitar (a fuzzy surf sound), sitars, an ancient organ, and droning vocals. One of the most drugged out albums I’ve ever heard, except the bandleader (Phil Pearlman) was apparently anti-drugs! Maybe if the Velvet Underground had more of that Californian sunshine, they’d sound like this. 
A legit LP was reissued by the band itself at the same time they unearthed the archival “Our Standard Three Minute Tune”, which is very similar in sound and structure to the album proper. Neither of these have been issued legit on CD. Watch for bootlegs...............

The Electronic Hole exists in a strange netherworld between Cosmic Michael-style endearing ineptitude and strangely effective, stuttering, trance-inducing folk-rock sounds. The main problem, or charm if you want to see it that way, is that the Electronic Hole's ambition tends to outstrip their playing abilities. Drums stumble, vocals waver off key, and the rhythm guitar tends to get a little distracted. On the more conventional songs, this doesn't work out very well. Fortunately, there are some longer, droning tracks which make for a far groovier listen. 
My view on this album is that the songs under five minutes are pretty disposable, but the ones longer than that are worth a listen. "The Golden Hour Part IV" is like a distilled, sloppier "Venus in Furs" with a garage-band plunking bassline driving it along, while "Love Will Find A Way Part II" has a fuzzed-out minimalism that strikes me as a predecessor to the signature Spacemen 3 sound. "Love Will Find A Way Part III" is one of those raga rockers that tend to shoot straight for the sweet spot in my ear. Meanwhile, tracks like the opening "The Golden Hour Part I" test my patience a bit as we hear the band attempt a sunburst West Coast rock sound, yet the band can't play their instruments very well and their ability to stay in time with each other is even worse. 

Although harbouring some serious flaws, the Electronic Hole's long player has at least half of a pretty hep album for you psychedelic junkies. Hey, that's all Love's "Da Capo" can lay claim to as well. Anyway, you can start the dirty jokes about the band's name... now. ...................

Beat Of The Earth was assembled by Phil Pearlman, who had earlier released a surf/hot rod 45 Chrome Reversed Rails (shown as by Phil and The Flakes, on the Fink label). One of the earliest known electric experimental bands, The Beat Of The Earth sound very similar to their East-coast counterparts The Velvet Underground on albums (1) and (3) listed above. These two records were recorded live in the studio during the Summer of 1967 and consist of long, unstructured jams using a myriad of acoustic and electric instruments. This early incarnation of the band is the one most familiar to collectors and copies of the first album have been changing hands for hundred of dollars since the mid-eighties. The music the band produced during this period is not for everybody (compare to the long tracks on the first two Velvet Underground albums), but their debut remains an unusual and rare item of significance from the California rock scene. 
During 1968-9 the line-up of the band was in constant flux and Beat Of The Earth made no known "proper" recordings, but Pearlman continued to add to his own collection of demos using local studios in off-hours via his friendship with the engineer Joe Sidore. At the end of 1969, Pearlman assembled The Electronic Hole strictly for personal use - specifically, to draft musicians for his new band. Several names are listed on the sleeve but I believe this is actually very close to being a Phil Pearlman solo project. The album is entirely different stylistically from the earlier one in that it abandons the freeform improvisational approach in favour of 'compositions' including a wild cover of Zappa's Trouble Comin' Every Day. None of the tracks are given titles on the album which complicates singling any out for commentary, but there are real highlights and the raw, unpolished feel only serves to make it utterly magical. Pearlman plays sitar on one track to great effect, and another has the thickest wall of fuzz guitars imaginable - an effect he created by running his Fender amplifier into the amp circuit of a child's chord organ ("sounded great for about two weeks, then it blew up!"). There are few albums I known of that have such an eclectic yet appealing sound. Had the story ended here it would have been a real tragedy, as Pearlman's finest hour was yet to come. Six years later (with who knows what in between), recording commenced on the majestic Relatively Clean Rivers album with an entirely new band and musical vision. ..... D.Glazer...............

Extremely obscure 2nd Radish label album, 150 copies originally issued in 1970. "Raw, noisy, droning and completely mesmerizing album recorded by Phil Pearlman between the first Beat of the Earth album and Relatively Clean Rivers. Pearlman assembled The Electronic Hole in 1969 strictly for personal use -- to audition musicians for his new band. To do this, and to add to his own collection of demos, he used local studios in off-hours thanks to his friendship with album engineer Joe Sidore. The result is entirely different from Beat of the Earth, as it abandons a freeform improvisational approach in favor of 'compositions', including a wild cover of Frank Zappa's 'Trouble Every Day'. Pearlman plays sitar to great effect on the album, and another tracks have the thickest wall of fuzz guitars imaginable. ...............Amazing album! ......

Phil Pearlman led three short-lived groups, the Beat of the Earth (1967), The Electronic Hole (~1969-70), and the Relatively Clean Rivers (1976). The Beat of the Earth album is by far the most amazing of the three, but the lone release of The Electronic Hole is also of interest. 

While the first band's side long epics organically evolved and shifted, The Electronic Hole LP is two side long suites comprised of 7 `songs' total. 

Droning sitar, fuzzed out guitars, murky dark corners... More raw and song-oriented than the improvisations of Beat of the Earth. Some of it works better than other bits. Reference points might be the Velvet Underground, early-Zappa (covered here), and the more psychedelic moments of Jefferson Airplane & The Byrds. To their credit they defy easy categorization. Worth seeking out, this is a cut above the usual obscurities touted as lost masterworks. But don't miss Beat of the 410..........

Philip Gadahn, born Philip Pearlman, is an American musician from western Riverside County, California. He is best known as the artist behind several psych-folk happenings in the 60s & early 70s. He has attracted more mainstream attention in recent years because of his son, Adam Yahiye Gadahn, a convert to radical Islam & a suspected al Qaeda operative. Pearlman attended the University of California at Irvine. Phil is the son of a Jewish father & Protestant mother. Pearlman himself was raised agnostic. He converted to Christianity in the early 70s, just prior to recording the underground classic Relatively Clean Rivers. After conversion he changed his last name to ‘Gadahn’ as a tribute to the Bible’s Gideon.

The earliest known release from Phil is a surf/hot rod 45 with some unusual touches from the less-than-legendary Phil & the Flakes. Listed as #23 on the Top 40 Surf Music Vocals by Montjurich Surfboards.
After the Flakes flaked, Phil hooked up with other like-minded SoCal BoHo musicians & recorded a free spirited project called The Beat of the Earth.
Outtakes from the 1967 The Beat of the Earth recording session.
The Electronic Hole is a band put together after BOTE. Pearlman assembled The Electronic Hole in 1969 strictly for personal use, to serve as auditions for musicians for a new band. To help accomplish this & also to add to his own collection of demos, he used local studios in off-hours thanks to his friendship with album engineer Joe Sidore. The fact that Phil did a lot of his own recording helped create the rather unique sound tone of The Electronic Hole. One of the first things is the strange fuzz & noisy power combined with psychedelic riffing complexity. The next thing may be that it only has two song titles…"The Golden Hill" & "Love Will Find A Way" which are then divided into numerous parts. The whole noise usage & street-wise vocals may remind of The Velvet Underground. Pearlman's voice has a sound similar to John Cale's & The Electronic Hole has been called “a West Coast Velvets.
This album contains extremely rare songs from an extremely rare band. Original heavy psych sound that drones you into mind wandering. 
Phil assembled his band in the early 70s & eventually recorded this magnificent rural rock album in 1975. The Relatively Clean Rivers album stands with the very best albums of the era, possessing a purely American sound. Amazingly well produced compared to previous Pearlman releases, it is the very antithesis of his earlier material which was for the most part garage (although they in truth project a certain tangible level of sophistication). No measurable degree of time or expense was spared in the creation of the Relatively Clean Rivers album, which took over a year to assemble. It is one of the most flawless snapshots of the California seventies underground scene you will ever hear.

Some feel this album is the second coming, with strong apocalyptic acid visions & wonderful musicianship. Others feel that it’s a solid rural rock record with strands of late period psychedelia.Whichever, it is worth a good listen.........

 Reissue of the extremely obscure 2nd Radish label album, originally issued in 1970. Raw, noisy, droning and completely mesmerizing album recorded by Phil Pearlman between the first Beat of the Earth album and Relatively Clean Rivers. Pearlman assembled The Electronic Hole in 1969 strictly for personal use -- to audition musicians for his new band. To do this, and to add to his own collection of demos, he used local studios in off-hours thanks to his friendship with album engineer Joe Sidore. The result is entirely different from Beat of the Earth, as it abandons a freeform improvisational appr.............................
As the story goes, Phil Pearlman, who had previously released the self-titled Beat of the Earth in 1967, was looking to recruit musicians for his next project, so he recorded a full album of demos for private use to give future potential participants an idea of the direction he was going in, because that's what everyone does, right? There is debate whether this is officially a Beat of the Earth album, or whether it's just called The Electronic Hole. What isn't up for debate however, is this is one fantastic album. Yes, the songs have a raw, somewhat unfinished demo quality to them, but if these are raw demos, I can only imagine how amazing the final result would have been, as the songs are high quality as they are. The individual songs are untitled, making it difficult to talk about specific tracks. Side one contains five tracks and is known only as "The Golden Hour" (though some online sources call it "The Golden Hill"). Every song is killer, containing highly consistent, extremely trippy and mesmerizing psychedelic garage rock with Pearlman's distinctive acoustic and electric guitar, sitar, harmonica and appealing vocals. The lyrics are spiritual and surreal, such as this on track two:

"Land of Odin, land of God,
everybody feels the prod,
of the will and the way,
and you slowly reach on through the day.

Gates of Eden, gates of time,
gates of never-ending rhyme.
Yes I will, yes I will,
yes I will find the golden hill."

Side two, called "Love Will Find a Way," is just two tracks. The first one is a 7-minute hypnotic fuzzy cover of "Trouble Every Day" by The Mothers of Invention. Track two is a long, rough track that could have been improved upon with a better mix, as the excellent fuzzy electric guitar is a bit buried, but it's still great, sounding like a decent quality audience recording of a late 60's Velvet Underground concert................................


A The Golden Hill
B Love Will Find A Way


the beat of the earth: the beat of the earth
(1967, lp, usa, radish as 001) - 500 copies

the beat of the earth: the electronic hole
(1969, lp-demo, usa, radish as 002) - demo use only, 150 copies - incl. 'trouble every day' (frank zappa)

the beat of the earth: our standard three minute tune
(19??, lp, usa, radish as 0001½) - 500 copies


The Beat of the Earth "The Beat Of The Earth" 1967 US Private Psych Rock

Diamond Reo "Diamond Reo" 1975 US Glam Rock debut Lp

Diamond Reo "Diamond Reo" 1975 US Glam Rock debut Lp


Continuing on from my prior Diamond Reo post, this is the band's debut issued by Big Tree Records in 1975. While their sophomore album was on the verge of being proto-metal, this release is considerably more subdued and fluid. Contrary to popular opinion, the album is NOT even remotely close to sounding glam. In fact, there's more of a Clempson-era Humble Pie or Bandit [US] vibe happening here. Though the album is universally panned by classic rock aficionados, I actually prefer this to "Dirty Diamonds" simply because the hooks are more evident throughout. Though it's quite easy to find a clean copy of the album at just about any online merchant, it has been virtually ignored by bloggers...until now. Sink your teeth into this fine contrubtion from Brian and hear Pittsburgh's legendary hard rockers at their earliest stage...............

In the mid-1960s, the group The Igniters existed in the city of Penn Hills. Their repertoire ranged from British Invasion to R & B. The frontman of the band was Frankie Czuri (the legendary American tenor), who joined them in 1965. The Igniters recorded and released the single High Flying Wine, which became a big regional hit. Atlantic Records signed a contract with them simultaneously with Felix Cavaliere & The Rascals. Here they were forced to change their name several times - from Jimmy Mack and The Music Factory to Mack's Factory. After the release of several singles, they failed to achieve tangible results. Then they again changed the name to Friends and terminated the contract. Frank Zuri did not drop his hands and joined Jaggerz. After staying here a little he was accepted into the trio of Diamond Reo from Pittsburgh, Pennsylvania, thus becoming a quartet. In 1975, they released a cover for Marvin Gaye's song "Is not That Peculiar", which hit the Top 40. They performed at Dick Clark's "American Bandstand" and toured with Kiss, Aerosmith, Ted Nugent, Frank Zappa, Kansas, Ian Hunter, Blue Oyster Cult and Canned Heat. On the wave of success they were offered a contract with Big Tree Label and three albums were recorded. Then in the group there were some personnel changes - in 1980, instead of the left Norman Nardini (in The Tigers), Frank Zuri and Warren King, drummer Ron "Byrd" Foster from Roy Buchanan's Band, bass guitarist Mike Pela and keyboard player Dennis Tacos were accepted. Actually the history of Diamond Reo ends here because the new musicians renamed The Silencers and after going to CBS Records there they continued their journey. Warren King made his career in Pittsburgh as an excellent blues guitarist. Frank Zuri became a member of the vocal group Pure Gold, where he is still performing classic R & B covers. Here is played an aggressive and hard hard rock on a blues base somewhere in the direction of Judas Prista and even the JPT Scare Band. Zeppelinov's influence is also evident, and there are dramatic and glorious guitar solos, although the musicians are already openly looking toward the hard-n-heavy of the 80s. Nevertheless, while on this album enjoy the sound of the mid-70's without any synthesizers and speed-metal cuts. Normal is a very group, the music of which is quite in the border zone with heavy-prog.......

The Diamond Reo band was founded in 1974 by Frank Zuri, Bob McKeag, Norman Nardini and Robbie Johns. McKeag and Zuri played together earlier in the group Igniters, which managed to release only one single in 1968 at Atlantic Records.

With the contribution of this company and the production of Tom Cossie, the Diamond Reo members release their first eponymous LP for less than a year after their creation.

With the cover version of Marvin Gaye's song "Is Not That Peculiar," the band had some nationwide success and toured in the States along with Kiss, Kansas, Aerosmith, Ted Nugent, Frank Zappa, Ian Hunter, Blue Oyster Cultem and Canned Heat.............

The Diamond Reo
*Norman Nardini - Vocals, Bass
*Bob McKeag - Guitars, Vocals, Bag
*Frank Zuri - Voclas, Keyboards
*Rob Jones - Drums, Percussion, Vocals
*Warren King - Guitars
*Al Mossburg - Acoustic Guitar
*Ed Jonnet - Tenor, Alto, Soprano Saxophones
*Chris Patarini - Tenor Saxophone
*Van Crozier - Baritone, Alto Saxophones

1. Rock 'N' Roll Till I Die (Bob McKeag) - 3:27
2. I Want You (J. MacDonald) - 3:43
3. Work Hard Labor (J. MacDonald) - 3:03
4. Thing For You (Bob McKeag) - 3:19
5. Nowhere To Run (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 3:15
6. Ain't That Peculiar (Marvin Tarplin, Robert Rogers, Smokey Robinson, Warren Moore) - 2:45
7. Lover In The Sky (Bob McKeag) - 3:17
8. It's Gonna Be Alright (J. MacDonald) - 3:54
9. Sittin' On Top Of The Blues (Bob McKeag) - 3:21
10.I'm Movin' On (J. MacDonald) - 4:20

Larry Coryell "Introducing The Eleventh House" 1974 US Jazz Rock Fusion

Larry Coryell  "Introducing The Eleventh House" 1974 US Jazz Rock Fusion  highly recommended…!!!

The Elevent House with Larry Coryell.“The Funky Waltz”.1971 {HQ}

The Elevent House with Larry Coryell.“Right On Y`all”.1974 {HQ}


The Eleventh House during 1972-1975 was one of the stronger working groups in fusion, led by one of the unsung heroes of the idiom, guitarist Larry Coryell. This CD reissue brings back the Eleventh House's first recording and, in addition to Coryell's guitar, most heavily featured are trumpeter Randy Brecker (who would later be replaced by Mike Lawrence) and keyboardist Mike Mandel; bassist Danny Trifan and drummer Alphonse Mouzon are strong in backup roles. The influence of Miles Davis, Weather Report, and Herbie Hancock is apparent, but the Eleventh House also offered a sound of their own. Brecker's solos are often both fiery and lyrical (although his use of an occasional electric wah-wah device is less interesting). Coryell and Mandel blend together quite well, and the original grooves on this set often have distinctive personalities. Pity that the reissue does not have any liner notes, otherwise it is easily recommended to fans of early Scott Yanow.............

YEARS FOLLOWING THE RELEASE OF MILES DAVIS’ 1969 landmark, Bitches Brew, jazz-rock fusion ruled, with Davis, Tony Williams’ Lifetime, the Mahavishnu Orchestra, Weather Report, and Return to Forever helming the movement. But while most members of these groups came from primarily jazz backgrounds, there was one rogue guitarist who had dipped equally into both the jazz and rock pools, lending him the advantage of having experienced the best of both worlds. In fact, by 1973, Larry Coryell had already played and/or recorded with jazz drum legend Chico Hamilton, vibraphone virtuoso Gary Burton, Miles Davis, John McLaughlin, Chick Corea, Tony Williams, Jack Bruce, Noel Redding, Mitch Mitchell, and yes, Jimi Hendrix. He had also released a string of seminal genre-bending solo albums, been a member of the Free Spirits, and co-starred alongside McLaughlin and Corea on the now-legendary Spaces album, thus cementing his status as one of the true forefathers of jazz-rock fusion guitar.
Ironically the same year that Mahavishnu imploded, 1973 also marked the debut of the Eleventh House, Coryell’s first group effort as a leader. In a move almost reminiscent of how Led Zeppelin filled the void left after Cream disbanded, Coryell assembled the best musicians he could find and set out to take the fusion world by storm. The Eleventh House was originally comprised of Coryell (who at the time endorsed the Hagstrom Swede and Mutron effects by Musitronics), Randy Brecker on trumpet (later replaced by Mike Lawrence), keyboard wizard Mike Mandel, bassist Danny Trifan (later replaced by John Lee), and drummer extraordinaire Alphonse Mouzon. The band’s lineup, particularly the inclusion of Brecker as Coryell’s main instrumental foil, set them apart from their contemporaries.
Of course, Coryell’s solo chops are to die for, but we’re here today to explore the harmonic designs, melodic ensemble interplay, and monstrous grooves found throughout the band’s small-but-mighty back catalog, which is why I’ve placed Larry Coryell, the Eleventh House, and their first two albums, Introducing the Eleventh House (1974) and Level One (1975), under investigation.


Introducing the Eleventh House takes flight with the aptly-named “Bird-fingers,” a soaring 11/8 workout that features Alphonse Mouzon’s furious eight-bar drum intro prefacing the song’s head, or melody. The 11/8 meter is subdivided into 3+3+3+2, or 6/8+5/8 (check out how the first half of the bass line creates a two-against-three polyrhythm), and the head features Coryell echoing the blazing, one-bar pentatonic lines played in unison by Randy Brecker and Mike Mandel. Ex. 1 illustrates Coryell’s response to the identical opening trumpet and keyboard phrase, so we’re actually starting at bar 2 of the melody. The line utilizes the third mode of G pentatonic minor (or the second mode of Bb pentatonic major) played over a C bass to imply a C Mixolydian/G Dorian tonality. When the line first appears, the trumpet and keys hold the last note (C) for nearly a full measure as Coryell answers with Ex. 1. As soon as he finishes, Coryell cuts his last note short to accommodate the pending key change, and Brecker and Mandel play the same line a half-step higher (G# pentatonic minor over a C# bass). Coryell immediately mirrors the lick in the following measure and the transposed tradeoffs continue down a whole step from our starting point (F pentatonic minor over a Bb bass) where L.C. changes his response. You get a lesson in cool compositional form, an intense 11/8 workout, a chops-building single-note melodic line, and a groovy rule of substitution, all in the space of eleven beats at 294 b.p.m.! Yow!!


This funkifized waltz became a fusion standard by virtue of its ease of playability, infectious melody, and ultra-funky 3/4 groove. Heck, you could even dance to it! The song was recorded in the key of Ab minor, which I’ve lowered a half-step to reduce the number of accidentals in the key signature. Composer Mouzon kicks it off and is joined eight bars later by bassist Trifan playing the simple, “why-didn’t- I-think-of-that?” bass figure shown in Ex. 2a. The four-bar phrase contains only one deviation, much like Miles’ work from the same era, and Mandel adds Fender Rhodes stabs (depicted in the upstemmed part), as well as well as atmospheric whoops and shrieks courtesy of his ARP Odyssey. Once the mood is set, a Mutron-III-effected Coryell enters the sonic picture with the phrase shown in Ex. 2b, this time playing in octaves with Brecker’s trumpet. After a two-bar rest, both follow up with Ex. 2c. Combine both examples to form the full four-bar melody. The only missing pieces are the Bbsus2, Csus2, Dsus2, and Csus2-to-Asus2 hits that follow four rounds of the melody, but these identical voicings are easy to suss—just figure out the first one (Hint: It’s barred at the first fret), and then move it around. Check out L.C.’s solo for some of the gnarliest Mutron-III tones ever!


Coryell himself profiled his composition in one of the numerous instructional columns he authored for GP throughout the ’70s and ’80s (November 1977, to be exact), but it’s cool enough to deserve revisiting. Though the song’s ethereal chord progression eventually serves as a solo backdrop for both Brecker and Coryell, its arpeggiated nature and alternating measures of 8/4 and 6/4 make for a very spooky and satisfying solo piece. Ex. 3a, which represents half of the progression, begins with two 8/4 bars of the “tonic” F#7add4(b9) chord, followed by a bar of 6/4 that features an even spookier (and un-nameable!) arpeggio, plus another 8/4 bar of F#7add4(b9), minus the rhythmic anticipation on the first note. (Fact: Coryell used two phase shifters to further enhance the vibe.) Once you grasp these chord grips and picking patterns, the next four will easily fall into place. To complete the song’s 16-bar progression, play the strange and beautiful arpeggios in Examples 3b,3c,3d, and 3e in sequence, but append each one of these 6/4 beauties with the 8/4 F#7add4(b9) figure from bar 4 of Ex. 3a. Brecker’s lead trumpet melody consists of the first two notes in each 8/4 measure (including anticipations), plus the first and last four notes of every 6/4 bar, all played two octaves higher. It’s creepy, but in a really good way!


The Eleventh House flavored their unique brand of jazz-rock with more lowdown, greasy funk than perhaps any other post- Miles fusion outfit. Case in point: Another dance-worthy Mouzon number, “Right On Y’all” gets off and running with Coryell’s bubbling Mutron-effected F7 hits punctuated by Brecker’s electric wah-trumpet replies, as depicted in Ex. 4a. Preceded by four bars of IV-chord (Bb7) funk, the ensuing ensemble theme takes shape in Ex. 4b, where the guitar part can be fattened up with the optional notes shown in parentheses. Ex. 4c sets into motion a unison guitar-and-trumpet IV-chord figure that culminates with the harmonized V-chord (C7) lick (arranged here for a single, adventurous guitarist) that appears in the second ending. Complete the song form by transposing up a whole-step (to D), and then another whole-step higher (to E) before y’all come back to the Ex. 4a-based solo section. Right on!


This up-tempo shuffle is my favorite cut from Level One, the second Eleventh House album Ex. 5a shows how Coryell sets the pace, first by playing a boogie-fied, single-note riff (Gtr. 1), and then by layering a descending chord figure over it (Gtr.2). Ex. 5b’s A-Mixolydian-based guitar and trumpet melody remains deceptively simple until bar 4, where all hell breaks loose with a barrage of sixteenth-notes that rub deliciously against the triplet-based shuffle groove. I used to love getting a disco crowd to dance to this tune, and then hitting them with this sheet of sound. (It went by so fast that they never knew what hit them!) Finish off the eight-bar form by reprising bars 3 and 4 sans the last four notes. For a real mind-bender, have a go at figuring out the harmonized guitar and trumpet bridge after Coryell’s solo, as well as their harmonization of the recapitulated melody that follows. Big fun, monster grooves, and virtuosic soloing await, so track down these two amazing albums and collect your reward!
by......Jesse Gress...................

You know this thing means business, from the stellar lineup including trumpeter Randy Brecker to the appropriately titled burning opening track Birdfingers (and those fingers was a flyin' here!). Here, Larry and Company carved out a unique sound for themselves in a genre' that Larry helped pioneer. The interaction between Larry C and Randy Brecker is pure magic, as keyboardist Mike Mandell lets forth funky Herbie Hancock-eque interjections and the rhythm section of bassist Danny Trifan and drummer Alphonse Mouzon pushes things along at a harrowing pace.
The Highlights: Birdfingers with Larry and Randy exchanging lively phrases and challenges, Funky Waltz, Low-Le-Tah, and the screamingly funky Adam Smasher amongst many. The introspective Theme For A Dream is a great change of pace. Even more wonderfully psychotronic is the inclusion of extra tracks like the ominous Cover Girl (which was even more so played live), Randy Brecker's Rocks (which later wound up redone on the first Brecker Bros. album) and Eyes of Love. Gratitude-A-So-Low is a mysterious and edgy electric guitar solo piece by Larry that will have you on the edge of your seat as well.

The Only Gripe: Alphonse Mouzon's drumming, sometimes grooving and then maddeningly sloppy and over-technical in the blink of an eye. Having the sheer chops that Alphonse did was both a wonderful blessing AND a horrible curse at the same time. Depending on the song, Alphonse could either carry it along very strongly, or let his technique and ego get so out of control and try to cram as many notes into a bar as fast as possible like a caffeine-crazed octopus, leaving little to no breathing room for the other musicians at times. However, the sheer quality of the tunes and the players enables me to look past this more than I would otherwise.

Gripes aside, I am just sooooo glad this made it to CD, a wonderful slice of classic fusion and Larry Coryell reaching for a higher level!..... by The Owl .......

As the title indicates, this LC's new fusion group, as he thought it was also pertinent to build a JR/F group as McL had (MO), or Zawinul and Shorter (WR), or Corea (RTF). So in came The Eleventh House, with a solid line-up, with powerhouse drummer Alphonse Mouzon, Randy Brecker on trumpet, Mike Mandel on keys and little-known Tritan on bass. Again produced by Vanguard label in-house Danny Weiss (it seems LC only wanted him), this album comes again with a major psychey and spacey artwork from Jacques Wyrs. But as LC was one of the last great jazzman to get his group together (or jump on the bandwagon if you wish), he wouldn't really be as successful either commercially or artistically. This EH project will not be a vehicle for its leader, the way MO would be for McL, as LC will regularly leave space for Alphonse Mouzon and Mike Mandel writing songs (two each on this album). The grouop has its roots in the previous LC solo album Offering.

While this debut album smokes in places, and rocks your wimpy arse to the ground, it also has its share of flaws and fails to really convince completely as did Inner Mounting Flame or Weather Report's debut did. Starting on the ultra fast asc/desc-ending riff of Birdfingers, which resembles a bit MO's first album, Brecker gets the solos for himself. The following Mouzon-penned Funky Waltz is more reminiscent of WR's Mysterious Traveller (same ideal: find a groove and stick to it, soloing away), released the same year, with Brecker's trumpet replacing Shorter's sax. Low-Lee-Tah (I suppose Lolita) is a slow torrid fusion, seemingly crossing early MO and early WR, and it comes out as a pure scorcher. The Mandel-written Adam Smasher should be the pianist's bravery piece, but Brecker again seems to steal the show, with Coryell's wah-wah guitar solo equally impressive. Mandell can't catch his moment in his other track, Joy Ride, and his choice of synth is astonishing for the year (he must've been one of the first to own it), but I was never fond of that sound, which will pollute the later 70's fusion albums.

On the flipside, Yin kicks in open doors, but it's so sweet to get this type of 100 mph track right between MO and WR, RTF being not far away, either. 100% molten lava pouring out of the crater of your speakers, with again the same synth. The Dream theme is a slow and rather uninteresting tune, lacking the energy of its sister tracks. Gratitude is a guitar solo piece that would've been best left out, and saved for solo album. Ism-Ejercico is much reminiscent of Yin and Birdfinger, again finding its influences on the MO/WR axis. The closing Right On (Mouzon-penned) repeats the formula of Funky Waltz with better luck and finesse.

Soooo, aside a weaker passage on the flipside, Eleventh House's debut is a very impressive start and maybe the group's finer moments, even if there will be more. Maybe LC's most...... by Sean Trane ................

As one of the pioneers of jazz-rock -- perhaps the pioneer in the ears of some -- Larry Coryell deserves a special place in the history books. He brought what amounted to a nearly alien sensibility to jazz electric guitar playing in the 1960s, a hard-edged, cutting tone, and phrasing and note-bending that owed as much to blues, rock, and even country as it did to earlier, smoother bop influences. Yet as a true eclectic, armed with a brilliant technique, he remained comfortable in almost every style, covering almost every base from the most decibel-heavy, distortion-laden electric work to the most delicate, soothing, intricate lines on acoustic guitar. Unfortunately, a lot of his most crucial electric work from the '60s and '70s went missing in the digital age, tied up by the erratic reissue schemes of Vanguard, RCA, and other labels, and by jazz-rock's myopically low level of status in certain quarters.

According to Coryell, his interest in jazz took hold at the age of four, and after his family moved from Galveston to the state of Washington three years later, he began to learn the guitar, studying records by Tal Farlow, Barney Kessel, and Johnny Smith. As a teenager, he played in a band led by pianist Mike Mandel, and by 1965 he gave up his journalism studies at the University of Washington in order to try his luck in New York as a musician. Before the year was out, he attracted much attention jamming in Greenwich Village and replaced Gabor Szabo in Chico Hamilton's band. In 1966, he made a startling recorded debut on Hamilton's The Dealer album, where his blues and rock ideas came to the fore, and that year he also played with a proto-jazz-rock band, the Free Spirits. Coryell's name spread even further in 1967-1968 when he played with Gary Burton's combo, and he was one of the most prominent solo voices on Herbie Mann's popular Memphis Underground album (recorded in 1968). He, Mandel, and Steve Marcus formed a group called Foreplay in 1969 (no relation to the later Fourplay), and by 1973 this became the core of the jazz-rock band Eleventh House, which after a promising start ran aground with a string of albums of variable quality.

In 1975, Coryell pulled the plug, concentrating on acoustic guitar and turning in a prolific series of duo and trio sessions with the likes of Philip Catherine, Emily Remler, John Scofield, Joe Beck, Steve Khan, and John McLaughlin. In the mid-'80s, Coryell toured with McLaughlin and Paco de Lucía, and in 1986 participated in a five-way guitar session with his old idol Farlow, Scofield, Larry Carlton, and John Abercrombie for the Jazzvisions series. Coryell also recorded with Stéphane Grappelli, Charles Mingus, Sonny Rollins, and Kenny Barron, and taped Brazilian music with Dori Caymmi for CTI, mainstream jazz for Muse, solo guitar for Shanachie and Acoustic Music, and (for Nippon Phonogram in Japan) an album of classical transcriptions of music by Stravinsky and Rimsky-Korsakov.

Coryell's career in the early 21st century was just as active. The year 2004 saw the release of Tricycles, an excellent trio date with drummer Paul Wertico and bassist Mark Egan. Electric from 2005 found Coryell playing jazz standards and rock anthems with Lenny White on drums and Victor Bailey on electric bass. In 2006 he released the performance album Laid Back & Blues: Live at the Sky Church in Seattle, followed two years later by Impressions: The New York Sessions on Chesky. In 2011 the guitarist joined a group of musicians closely associated with the Bay Area's Wide Hive label for Larry Coryell with the Wide Hive Players. He then returned in 2013 with The Lift, featuring organist Chester Thompson. Two years later, he delivered his third album for Wide Hive, Heavy Feel. In January 2017, Coryell announced he had reunited members of his '70s fusion group Eleventh House, including trumpeter Randy Brecker, for the album Seven Secrets. The album was slated to arrive in early June of that year, with a number of U.S. summer tour dates confirmed in support of the release. However, following a pair of weekend shows at New York City's Iridium club, Coryell died of heart failure in his hotel room on February 19, 2017. He was 73 years old. ~ Richard S. Ginell.....................

Randy Brecker – horn, trumpet
Larry Coryell – guitar
Mike Mandel – piano, synthesizer
Alphonse Mouzon – drums, percussion
Danny Trifan – bass
Dave Baker – engineer, mixing
Tom Paine – direction
Danny Weiss – producer

A1 Birdfingers
A2 The Funky Waltz
A3 Low-Lee-Tah
A4 Adam Smasher
A5 Joy Rider
B1 Yin
B2 Theme For A Dream
B3 Gratitude "A So Low"
B4 Ism - Ejercicio
B5 Right On Y'all

Larry Corryel With The Eleventh House Discography

Introducing The Eleventh House with Larry Coryell (Vanguard VSD-79342, 1974)
Larry Coryell & The Eleventh House At Montreux (Vanguard VSD-79410, 1974 [rel. 1978])
Level One (Arista AL-4052, 1975)
Aspects (Arista AL-4077, 1976)
Larry Coryell & The Eleventh House January 1975 (Promising Music 441202, 1975 [rel. 2014])
Live at the Jazz Workshop (July 1975) (Hi Hat HHCD-014, 1975 [rel. 2015])
The Funky Waltz (Jazz Workshop, Boston 1973) (Golden Rain GRNCD-013, 1973 [rel. 2016])
Larry Coryell's 11th House: Seven Secrets (429/Savoy Jazz 16137, 2017) Coryell's final recordings


johnkatsmc5, welcome music..