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Thursday, 16 March 2017

Randy Bachman (Guess Who) "Axe" 1970 Canada Classic Rock

Randy Bachman  "Axe" 1970 Canada Classic Country Rock

Biography from official website

Few artists can claim to have made a bigger impact on popular music than Randy Bachman, widely regarded as the “architect of Canadian rock ‘n’ roll.” His renowned songwriting acumen produced “You Ain’t Seen Nothing Yet,” “American Woman,” “Let it Ride, “Taking Care of Business,” “Looking Out for #1,” “No Sugar Tonight” and “These Eyes,” tracks that have become pop‐culture touchstones. 

One of the Great White North’s favourite musical sons, Bachman co-founded iconic bands The Guess Who and Bachman‐Turner Overdrive, earning over 120 gold and platinum albums/singles around the world as a performer and producer, and amassing more than 40 million in record sales. He’s also no stranger to garnering coveted #1 spots on radio playlists, having done so in over 20 countries. 

His accomplishments haven’t gone unrecognized, of course. In addition to his induction into the Musicians Hall of Fame in Nashville, Bachman has the distinction of being the only one of his countrymen to be inducted twice into the Canadian Music Hall of Fame, most recently alongside his fellow original Bachman‐Turner Overdrive members in 2014. A recipient of the Order of Canada, Bachman’s overwhelming international influence and popularity was acknowledged in 2011 by the American Society of Composers, Authors and Publishers (ASCAP), in the form of the Global Impact Award. 

Despite all of his success, Bachman was determined to move forward musically, and in order to do so, he had to look backward, and revisit the glorious days of the ‘60s British blues boom. Using the amplified blues‐rock of Cream, Led Zeppelin and The Who as his blueprints, Bachman and a newly formed power trio envisioned his new album, Heavy Blues, as an explosive, raw reinterpretation of that music with a distorted, modern edge. 

Heavy Blues came about after Bachman was offered a new record deal. Talking over the turn of events with old friend Neil Young, Bachman was advised: “Don’t make the same old music and call it new. Reinvent yourself, your writing, your sound and get out of the box. You’ll lose some fans, but you’ll gain some new ones – time to be fierce, ferocious and afraid.” 

Hungry for a new musical adventure, Bachman hit on the idea of doing a blues album, something he’d once started with longtime collaborator Fred Turner but had never finished. 

“I’ve done blues solos and ‘American Woman’ and things like that, different songs, but I’ve never really done a whole blues album,” said Bachman. “So, things just evolved.” 

Determined to step out of his comfort zone, Bachman made another difficult decision, going with an outside producer rather than handling those chores himself. He chose famed rock producer Kevin Shirley, who didn’t make things easy on Bachman. 

“Kevin pushed me past my stop sign and pulled me down a road I never would have gone before, because I’d produced myself for so long,” said Bachman. “I’d get to a point and say, ‘I’m great, I’m fabulous. That’s a good vocal track. That’s a good guitar solo. I’m moving on.’ And he’d say, ‘No, I think you can do better. I heard you do better just goofing around with your set‐up. Can you go back? What was that lick you were playing when you plugged in your amp and you were trying the amps? And I’d go: ‘This one?’ He’d go: ‘Yeah, that one. Play that one.’” 

At Shirley’s urging, Bachman learned to trim the fat from his songs. 

“I went back and I simplified so many songs,” said Bachman. “I had written so many songs, and Kevin Shirley would say to me, ‘This is really great, but it’s got 12 chords. Take out 10 of them and make it a two‐chord song.’ And I go, ‘Wow, yeah, but it’s going to change the whole song and the melody line,’ and he’d say, ‘Yeah, so be it. Go and change it.’ So I’d go and change it, and it’d become more of a Bo Diddley thing, like in ‘Confessin’ to the Devil.’” 

A slew of guitar greats such as Neil Young, Joe Bonamassa, Peter Frampton, Robert Randolph, Scott Holiday of Rival Sons, Luke Doucet and the late Jeff Healey all contribute their own unique guitar licks to various tracks, all written by Bachman. 

“They’ve all been heroes, and they’ve all been friends,” said Bachman. 

The album also features two additional musicians in bassist Anna Ruddick and drummer Dale Anne Brendon, who along with Bachman formed a new power trio dubbed BACHMAN. It was Shirley who referred to Ruddick and Brendon as Bachman’s “secret weapon”. 

“Every light went off in my brain saying, ‘This is it!’ You now have a late‐‘60s British blues power trio in the making,” said Bachman. 

How right he was. From the start, the chemistry was undeniable. They were up against a tight schedule, due to Shirley’s limited availability. Shirley, who’s worked with Journey, Iron Maiden, Rush and Led Zeppelin over his illustrious career, could only give Bachman two weeks, due to other commitments. That was just enough time. 

“What I liked about it was that it happened so immediately,” said Bachman. “It was a blur. We did 12 songs in a week, and then Kevin took it to ‘the cave’ (his studio.)” 

With remarkable speed and urgency, using material culled from the vast amount of unreleased songs in his catalogue Bachman unearthed over the summer of 2014, the threesome banged out the album at Metal Works in Toronto. “We got everything in two or three takes,” explained Bachman. 

“It is a total risk, but I had nothing to lose and everything to gain,” said Bachman. “We nailed it. We were like kids in a candy story, ‘cause we all wanted to eat the same candy and it tasted great. I think it’s a great album and can’t wait to play it live mixed in with my other hits, which I’ll always honor and perform.” 

There’s an immediacy and toughness to Heavy Blues that’s impossible to ignore. At the same time, Bachman’s songwriting craftsmanship shines through thick, fuzzy coats of distortion. 

It was Bonamassa who recommended Shirley, but he did more than simply advise Bachman on possible producers. He and the other legendary guitarists already mentioned added their own stylistic diversity and unique personalities to the songs of Heavy Blues with well‐executed, imaginative solos. In fact, it was Bonamassa’s participation that jump‐started the expansion of the record to include guest performances. 

“I first got a taste of what Joe could do back when I saw him in a band called The Bloodline, which also featured the offspring of Miles Davis, Robby Krieger of The Doors and Berry Oakley of the Allman Brothers Band. Joe was phenomenal, even then.” 

Their paths would cross again backstage during the High Voltage Festival in London four years ago, during which they discovered a shared connection in Shirley, whom Bachman has known since the mid‐90s. Upon finding themselves all in Toronto at the same time this past year, Shirley presented a couple of the Heavy Blues tracks to Bonamassa with the invitation to contribute a solo. The guitar ace delivered. 

“When Kevin got Joe Bonamassa to solo on a track, I thought to ask a few more players,” said Bachman. With the “next Clapton” on board, Bachman next turned his attention to the “next Jimmy Page”: “I’ve known Scott Holiday for several years, since I saw the Rival Sons’ promotional club gig in Toronto,” said Bachman. “When I asked if he’d solo on a Zeppelin‐sounding track, he jumped at it and played his face off. He was amazing. The track rocks beyond belief.” 

The other guest players fell into place with amazing synchronicity: “I’ve known Neil since we were teenagers. When I sent him an email and asked him to be a part of it, he agreed. That was a game‐changer. I was lucky enough to be asked to play ‘Frampton’s Guitar Circus’ and I got Peter Frampton and Robert Randolph from that gig at the Hollywood Bowl.” 

There was also a posthumous appearance from Healey. 

“I had recorded live with Jeff Healey several years before he passed away. I remember what a dear friend he was and missed him and thought how he’d like to be on this album. I asked his widow Crystie and she said she’d be proud, and so would Jeff, to be part of this. So I found a song we did years ago in the same key and tempo as one of mine, and Jeff’s solo fit perfectly into ‘Confessin’ to the Devil.’” 

Lyrically, Heavy Blues also reveals a different side of Bachman. Listening to old blues songs inspired him to write about subjects often addressed in the genre. 

“They’re all personal, because I wrote them about my life experiences in the last five or six years,” said Bachman. “I changed my marriage. I’ve changed my band. I’ve changed where I live. I got a record deal and changed my music, so the whole thing is about change and karmic circles.” 

Karma plays a big role in the gritty title track, which Bachman said was written for an ex‐friend of his “who kind of did me wrong for many, many, many years, and I wanted him to make it right and gave him many opportunities and he didn’t.” 

Dealing with life’s trials and tribulations is addressed on “Oh My Lord,” where Bachman urges listeners to “let the bad times roll,” explaining “this is what life is – a series of good and bad events” that cannot be avoided. “The Edge,” an explosive track reminiscent of The Who, is one that Bachman considers emblematic of the whole record in that “it’s very obvious that every song you can hear us live pushing each other. There’s never a rest in these songs. It’s just kicking you in the face and then kicking you in the face and then kicking you in the face. So the playing gets more intense.” 

“A lot of my stuff has been what you’d call ‘pop music’ – ‘These eyes cry every night for you/these arms long to hold you,’” said Bachman. “With these I went to the essence of blues. There are songs about drinking. There are songs about dancing with the devil on ‘Confessin’ to the Devil.’” 

Of all the tracks on Heavy Blues, though, “We Need to Talk” stands out as unique, as it’s more of a poignant country‐blues piece. “It’s so nice at the end of the album, after being kicked in the face 10 times by every single song in different grooves and different tempos of kicking you in the face, up comes this really nice thing that ends with me alone saying, ‘We need to talk.’ It’s kind of an intimate, here I am, here are all the blues songs, but here’s the most important blues song of all, ‘We Need to Talk.’” 

Mixing of the album took place in the summer of 2014. Shirley and Bachman had formed such a bond over the years that the producer, also known as “The Caveman,” did something out of character. 

“He’s never allowed anyone into his ‘cave’,” said Bachman. “He’s always mixed the albums alone. I was the first guy he let into ‘The Cave,’ which is what he calls his place in Malibu. So I went down there, gave him a few suggestions, we mixed the album in four or five days, and he went to do Iron Maiden … five days recording, five days of mixing, which is very little time basically. It’s pretty much live off the floor.” 

There is a lot for fans of guitar rock to enjoy about Heavy Blues, especially considering all the big‐name guests tied to the project. “I think my fans will embrace it, and if you’re a guitar player … yahoo! Get on board. The promotion we have planned where anyone can download a song without the guest soloist and play their own solo is unique. Then, they send in their version with them soloing to the host radio station and the winner gets to come on stage with me and the band and play their solo, get a free Les Paul guitar and play the encore as well.” 

As for the album’s overall allure, Bachman sees Heavy Blues appealing to devotees of ‘60s British blues rock, as well as contemporary indie artists like The Black Keys and The White Stripes. 

“This project took on a life of its own and is still growing,” said Bachman. “It is amazing to me when something synergistic like this happens basically on its own once the elements are gathered together. I was barely in control once it started. I started the engine and then went along for the ride. It was the most instant project I’ve ever worked on.”...... 

Randy Bachman's first solo album after leaving the Guess Who. Engineered by longtime Guess Who engineer Brian Christian recorded in the RCA Studios, Chicago. Axe features some amazing tracks that will go on to influence later recordings with Brave Belt and BTO.................

Interesting solo release by the former member of the Guess Who and future member of BTO. Bachman was a solid guitar player, but this album features none of the hard rock he would create in the future. Completely instrumental and featuring Domenic Troiano, who replaced Bachman in the Guess Who and was also in the later James

Randy Bachman before departure from "The Guess Who" in May 1970, recorded a solo album for RCA Records "Axe" over three days in March 1970.
The album is a brilliant instrumental work, highlighting the importance of Bachman to the band he was in the process of leaving. A Don Troiano is listed twice here, and it's unclear if this is actually the future replacement for Bachman in the "Guess Who", Domenic Troiano.
Don Troiano performs guitar solos on "Pookie's Skuffle," "Take the Long Way Home," "Tin Lizzie," and "Noah" with his guitar in the right speaker side. On "Tally's Tune," Troiano is the middle solo.
Among others, featured on the album was "Tally's Tune", a song written for Randy's son Tal, who would go on to score big on his own in 2000 with "She's So High".
But saying "Axe" didn't light the critics' typewriters on fire is an understatement. Regardless, the album would go on to become a true collectible among his legions of fans, showing his jazz and blues roots.
He officially announced his departure from "The Guess Who" that same year when the band was ready to start recording "Share The Land"................

On March 16, 17, and 18th, the Guess Who's Garry Peterson played drums on the solo album Axe by Randy Bachman. This is significant because the Guess Who with Randy Bachman recorded their final studio album that same month in the same facility, RCA Studios, Chicago. This album was also co-engineered by longtime Guess Who engineer Brian Christian. It is a brilliant instrumental work, highlighting the importance of Bachman to the band he was in the process of leaving. A Don Troiano is listed twice here, and it's unclear if this is actually the future replacement for Bachman in the Guess Who, Domenic Troiano. Don Troiano performs guitar solos on "Pookie's Skuffle," "Take the Long Way Home," "Tin Lizzie," and "Noah" with his guitar in the right speaker side. On "Tally's Tune," Troiano is the middle solo. If you want to hear a "writer's voice," this is about the purest example. This album really should be combined with Jack Richardson's production of The Way They Were, the lost Guess Who album released in 1976, six years after the recording. Richardson would produce the Reunion album recorded in June of 1983, featuring Bachman on most of the Guess Who hits, notably the ones he never played on before. Since the band closed the Fillmore East in May of 1970, it would be almost 13 years before they would find themselves in each other's presence. Axe is the remnants of the Guess Who from 1970 as Bachman was getting ready to reunite with Guess Who founding member Chad Allen for Brave Belt, which included Rob Bachman and eventually C.F. Turner, culminating in Bachman-Turner Overdrive. The brilliance of Axe is that it gives a very clear look into the mind of this creative force, Randy Bachman. Had he stayed with the Guess Who, Burton Cummings' voice would probably be singing over some of the melodies and riffs on this outing. "La Jolla" sounds like a precursor to the elegant "Looking Out for #1," a song from BTO's Head On album which should've been a number one hit, but failed to hit the Top 40. Pieces like "Tin Lizzie" have acoustic guitar up front over pretty leads and subtle backing by the rhythm section. It is Bachman honing his production skills which would benefit Bachman-Turner Overdrive on their reign of seven Top 40 hits -- ironically, matching the number of hits the Guess Who had without his driving force. "Tally's Tune" also contains elements of BTO's "Looking Out for #1," precision guitar playing and good background music which Tai Bachman should put some words and melodies to. A good way to bring some attention to this important work. "Take the Long Way Home" is majestic, a potential hit had Burton Cummings' voice and lyrics had the opportunity to add their flavors. Axe is a hit songwriter in a different setting; there is no "Love Is Blue" or "Frankenstein" monster instrumental hit here, just fine playing by an inventive musician. The jazzy "Suite Theam" on side two has the only hint of vocals, and it gives way to the nine-minute 43-second "Noah," which is a complete turnaround, baring the future sound that would become a big part of Joe Viglione....................

Randy's Axe CD is all instrumentals but gives you a good indication of what would come just a few years later with Bachman Turner Overdrive. Most of the songs here have some of the basic flavor of the first BTO album but not so heavy as that first album. Randy combines so many styles into his guitar work which helped BTO's diversity on their albums. Songs range from jazz to bluegrass country to lite rock roots and beyond. This was originally released in 1970 three years before the first BTO album in 1973. If you are a BTO completest you'll want to include this one in your collection. If you like the BTO albums but not so much jazzy lighter type music you may not like Axe. I was lucky I managed to get this cheaper than anywhere else I've seen it offered. It seems to command a high price when it can be found. I've always liked BTO from the very first time I heard 'Not Fragile'. Years later I started to find their earlier and later albums. Its always refreshing to hear Randy's riffs & licks on the BTO albums, I was always amazed by his diversity in playing styles. To me it gave the albums some different flavors than just straight up Rock/Blues albums. If your a BTO fan and have all their albums and can swing the price get this!....ByMark A. Dillard..................

Randy Bachman is a guitar genius. He is not a household name but he is one of the best and one of my favorite guitarists. This album proves he is a genius and shows how important he was to The Guess Who and as a guitarist/writer. Randy Bachman is able to blend Country, Jazz, Blues and Rock and make some great instramentals here. 'Zarahemla' sounds like an obscure version of 1971 Pink Floyd. 'Not to Return' is a combination of Jazz and Country. 'Pookie's Skuffle' is a combination of Rock and Jazz. 'Tally's Tune' is great slow Jazz. 'Take The Long Way Home' sounds like Country/Folk with a hint of Jazz. 'La Jolla' is a song that Quentin Tarantino could have used in Pulp Fiction. 'Tin Lizzie' is pure Blues. 'Suite Theme' is pure Jazz. 'Noah' starts out as hard rock and then changes to a sort of Jazz jam. Noah is an early example of the future Bachman-Turner Overdrive (BTO) ........

Guitarist Randy Bachman was born and raised in Winnipeg and in the 1950's with Chad Allan And The Silvertones in the late 1950's. They played Top-40 material by American rock and roll acts and also featured Garry Peterson and Jim Kale.

In 1962 they changed their name to Chad Allan And The Reflections and later as Chad Allan And The Expressions. It was this incarnation that landed a recording contract with Quality Records.

However, getting Canadian music played on the bulging American influenced Canadian radio stations was tough so Quality issued the single with a white label and the words Guess Who? written on it.

The record was released in 1965 and went on to sell 2 million copies. Eventually Bob Ashley and Chad Allan left the group and by 1966 a new hot-shot keyboardist joined by the name of Burton Cummings. The Guess Who began experimenting with psychedelic and garage sounds filtered north from Minneapolis. They soon began recording there. Eventually, one of the their Minneapolis songs "His Girl" reached England which resulted in interest from Tony Hiller at Mills Music who negotiated a contract with King Records in the U.K.

The song, a minor hit in Canada, was remixed and made the Top 20 in England. The band immediately canceled 6 months worth of gigs and went to England for a tour. King had their course set out for them including where the money went, royalties and retainers and as a result were broke before they began. After one album the Guess Who walked out on King Records.

Not coincidentally, Canadian radio stations had by then discovered that the Guess Who were not English; their ardor for the Winnipeg group's records paled considerably. After four poor selling albums for Quality Records, they sold the Guess Who's contract to Jack Richardson's newly formed Nimbus 9 label for $1,000!

In early 1968, after recording 2 singles and half of a special Coca-Cola promotional LP (with The Staccatos on the flipside) called 'A Wild Pair', Nimbus 9 decided to release a full length album containing 8 Bachman/Cummings originals called 'Wheatfield Soul'.

Nimbus signed a deal with RCA records for $3,000 and this association has been heralded by RCA as the beginning of the Canadian Invasion. "These Eyes" would be the first single, but radio stations were already indicating that they would not support any inferior Canadian music, especially the new Guess Who record, so Richardson hired promotional people in 4 key American cities to launch the single.

This tenacity by both Nimbus and RCA paid off as the song broke new ground in the US eventually reaching No.3 on the charts and selling 1,000,000 copies. Embarrassed Canadian broadcasters, who had followed American music trends to the letter, were soon forced to playlist the song. The doors were now open for a string of hits including the double-A sided "Laughing/Undun" and their biggest selling record of all time - "American Woman".

Bachman had been slugging it out for 10 years by the time the band struck gold with #1 hits like "These Eyes", "Laughing" and "American Woman" and decided to leave the group while they were on top.

Upon leaving the band, he released a solo album called 'Axe' for RCA in 1970. The album did little and Bachman found himself yearning for the creativity of a collaborative atmosphere. He called his old Guess Who cohort Chad Allen and they decided to put a new band together. Allen would supply vocals, keyboard and rhythm guitar while Bachman's younger brother, Robin, would handle drums.

The trio became Brave Belt and headed into the studio to record their debut album with Bachman doing double duty on bass guitar. As fate would have it, they landed Fred Turner as bassist just as 'Brave Belt' was completed (Turner doesn't appear on the album despite his picture appearing on the jacket). The album was released Brave Belt in 1971 on Reprise Records.

By 1972's 'Brave Belt II', the band was starting to show its heavier side particularly with the new addition of C.F. Turner's songwriting and gritty truck driver vocals which appeared to conflict with Chad Allen's vision of the band. Allen contributions to the record were minimal and he quit before the record was released. ('Brave Belt II' would eventually be re-issued following the success of B.T.O under the auspicious handle of 'Bachman-Turner-Bachman As Brave Belt')

With the limited success of the first two albums Randy Bachman began hunting for a better record deal which he found with Mercury/Polydor. By then, Chad Allen had been replaced by another Bachman brother, Tim, on guitar and the direction of the band slid into an even heavier mode. By this time, 'Brave Belt III', was the intended next record but with a new label and band direction the group changed gears, literally, and became 'Bachman Turner Overdrive' or B.T.O. for short.

'Bachman Turner Overdrive' was released in 1973 on Mercury Records and stayed in the charts for 68 weeks. After four tries, the only successful single from the record was "Blue Collar" which managed a reasonable position of #68 on Billboard's Hot 100..

By year end they managed to pull out another album from their creative rebirth with 'Bachman Tuner Overdrive II. The album was pushed all the way to Top-10 by the driving force of the bubbling under "Let It Ride" and the monster hit "Takin' Care of Business".

With the departure of Tim Bachman and addition of Blair Thornton on guitar, BTO's 1974 album 'Not Fragile' gave the band the type of success that Randy Bachman had not scene since the Guess Who's' 'American Woman' in 1969. The album rode the charts at #1 from the success of the worldwide number one single "You Ain't Seen Nothing Yet" and its seminal follow-up "Roll On Down The Highway". Subsequently, the world took a backward glance at BTO and their first two albums became certified gold in 1974.

By the fourth album, 'Four Wheel Drive' BTO were international superstars and this album too proved to be a monster, peaking at #5 on Billboard, becoming certified platinum, and providing another catchy radio anthem in "Hey You".

Tired of the same old chugging rhythms, BTO diversified for their 5th album and revisited their jazzy blues roots a la "Blue Collar" on 'Head On' in December 1975. The album produced the mellow and intricate "Looking Out For #1" and other tunes on the record flexed BTO's stylistic muscle like the Little Richard assisted piano rocker "Take It Like A Man".

It became apparent that now the band was in the spotlight a power struggle over song representation was bubbling to the surface. While nagging personal conflicts plagued the ranks, Mercury rush released 'The Best Of BTO (So Far)' during the summer of 1976 in anticipation of a new studio album.

When the smoke cleared, Randy Bachman had wrestled controlling interest in the song writing duties from C.F. Turner on 1977's 'Freeways'. The internal conflicts showed as the first single, "My Wheels Won't Turn", died at radio.

Mercury panicked while the album sank and rebounded with 1977's 'BTO Japan Tour - Live' but the bloom was off the rose -- Randy Bachman left BTO due to the typical 'musical differences' ploy and recorded his second solo album, 'Survivor' (1978)

Internal upheavals at the record label caused Bachman to beg out of his deal and he instead approached friends of his, the Scotti Brothers, who had just formed their own label. They were interested more in rock bands than solo performers and Bachman made one to order.

He brought in guitarist/vocalist/songwriter Tom Sparks from Washington state and added Chris Leighton on drums. They released two singles from their debut album ,including "Sweet Lui Louise", before the band saw the departure of Sparks and the addition of former Trooper keyboardist, vocalist Frank Ludwig.

With the change in direction and failure of the 1980 follow-up album 'Everything Is Grey', the band parted ways with Scotti Brothers. Bachman would call on his old buddy from B.T.O. Fred Turner and the band carried on as Union.

After two albums on Scotti Brothers as Ironhorse, Randy Bachman called up his old BTO and Bravebelt buddy Fred Turner to augment the existing three piece of Bachman, Leighton and Ludwig.

The band release an album, 'On Strike', that spawned two singles for he US-based Portrait label (Heart, Burton Cummings). The album sank like a stone and the band dissolved.

By 1983 the original line up of BTO met to discuss a reunion. Randy Bachman wanted to include Tim Bachman as part of the reformation, while other brother Robbie had pushed for Thornton who was considered a better musician. Randy Bachman made the final choice of brother Tim and Robbie bowed out of the reunion citing irreconcilable differences. Instead Gary Peterson from the Guess Who joined BTO as their new drummer.

In between these antics the Guess Who also reunited for a live outing and album.

But, BTO would never rest as the classic version of the band reunited yet again as CF Turner, Randy Bachman, Blair Thornton and Robbie Bachman made a comeback in 1988. They were able to hold the band together to tour for three years before Randy Bachman decided he'd finally had enough and bailed out in 1991.

Bachman returned to running his own label (where he has released material by the original GUESS WHO, Lenny Breau and other guitarists in the Guitarchives series) and enjoying his family with wife Denise McCann and has managed two solo discs and some touring since then. ...Canoe jam...Canadian Pop Engyclopedia...........

Zarahemla 3:19
Not To Return 2:26
Pookie's Skuffle 2:32
Tally's Tune 3:21
Take The Long Way Home 5:10
La Jolla 2:41
Tin Lizzie 2:43
Suite Theam 2:51
Noah 9:43



1962 Tribute To Buddy Holly/Back And Forth (Canadian-American) CA-802
1963 I Just Didn't Have The Heart/Back And Forth (Canadian-American) CA-802
1963 Shy Guy/Baby's Got A Brand New Beau (Quality) 1559
1964 Stop Teasing Me/A Shot of Rhythm 'N' Blues (Quality) 1644

1965 Shakin All Over/'Till We Kissed (Quality) 1691
1965 Tossin' and Turnin'/I Want You To Love Me (Quality) 1724
1965 Hey Ho, What You Do To Me/Goodnight, Goodnight (Quality) 1752
1965 Hurtin' Each Other/Baby's Birthday (Quality) 1778
1966 Believe Me/Baby Feeling (Quality) 1797
1966 Clock On The Wall/One Day (Quality) 1815
1966 And She's Mine/All Right (Quality) 1832

1967 His Girl/It's My Pride (Quality)
1967 Pretty Blue Eyes/Pretty Blue Eyes (Quality)
1967 This Time Long Ago/There's No Getting Away (Quality)
1967 Flying On The Ground/If You Don't Want Me (Quality)
1967 This Time Long Ago/Flying On The Ground (Quality)
1967 Miss Felicity Grey/Flying On The Ground (Fontana - UK)
1968 Hurting Each Other/I'll Keep Coming Back (Quality)
1968 When Friends Fall Out/Guess Who Blues (Nimbus 9)
1968 Of A Dropping Pin/Mr Nothin' (Nimbus 9)
1969 These Eyes/Lightfoot (Nimbus 9)
1969 Maple Fudge/Of A Dropping Pin (Nimbus 9)
1969 Laughing/Undun (RCA)
1969 No Time/Proper Stranger (RCA)
1970 American Woman/No Sugar Tonight (RCA)
1970 Hand Me Down World/Runnin Down The Street (RCA)
1970 Share The Land/Bus Rider (RCA)

1971 Rock And Roll Band/Anyday Means Tomorrow (Reprise) REP-1023
1971 Crazy Arms, Crazy Eyes/ (Reprise) REP-1039
1972 Never Comin' Home/Can You Feel It (Reprise) REP-1061
1972 Dunrobin's Gone/Another Way Out (Reprise) REP-1083
1972 Another Way Out/Can You Feel It (Reprise - US) 3659
2001 Shakin' All Over [CD single] (Bullseye) BEP-012

with BTO
1973 Gimme Your Money Please (Mercury)
1973 Little Candy Dancer (Mercury)
1973 Hold Back The Water (Mercury)
1973 Blue Collar (Mercury)
1974 Let It Ride (Mercury)
1974 Takin' Care Of Business (Mercury)
1975 Roll On Down The Highway/Quick Change Artist (Mercury)
1975 Hey You (Mercury)
1976 Down The Line (Mercury)
1976 Gimme Your Money Please (Mercury)
1976 Lookin' Out For #1 (Mercury)
1977 My Wheels Won't Turn (Mercury)
1977 Life Goes On (I'm Lonely) (Mercury)
1977 Shotgun Rider (Mercury)
1984 For The Weekend (Curb)
1986 Mississippi Queen (Curb)

1979 Sweet Lui-Louise (Scotti Bros.)
1979 He's A Joker (Scotti Bros.)
1980 What's The Hurry Darlin'? (Scotti Bros.)
1980 Symphony (Scotti Bros.)

with UNION
1981 Mainstream USA (Portrait/CBS)
1981 Next Stop London (Portrait/CBS)


1970 Axe (RCA)
1978 Survivor (Mercury/Polygram)
1994 Any Road (BMG)
1996 Bachman (BMG)

1965 Shakin' All Over (Quality) 1756
1965 Hey Ho (What You Do To Me) (Quality) 1764
1966 It's Time (Quality) 1788

1968 The Guess Who (Quality)
1968 A Wild Pair (Capitol)
[split album w/The Staccatos]
1968 Canned Wheat (Nimbus 9)
1968 Wheatfield Soul (Nimbus 9)
1969 Born In Canada (Nimbus 9)
1969 The Guess Who? Super Golden Goodies
1970 Share the Land (Nimbus 9)
1970 American Woman (Nimbus 9)
1971 The Best Of The Guess Who (RCA)
1973 The Best Of The Guess Who [re-issue] (RCA)
1973 The Best Of The Guess Who Vol. II (RCA)
1984 Together Again
1985 K-Tel Presents the Guess Who - 20 Original Hits
1986 The Best Of The Guess Who Live
1988 Track Record: The Guess Who Collection (BMG)
1997 The Guess Who: The Ultimate Collection (BMG)

1971 Brave Belt (Reprise) RS-6447
1972 Brave Belt II (Reprise/Kinney/Warner) MS-2057
2001 Brave Belt I & II [CD re-issue] (Bullseye) BLR-CD-4054

with BTO
1973 Bachman Turner Overdrive (Mercury)
1973 Bachman Turner Overdrive II (Mercury)
1974 Not Fragile (Mercury)
1975 Four Wheel Drive (Mercury)
1976 Head On (Mercury)
1977 Freeways (Mercury)
1977 BTO Japan Tour Live (Mercury)
1984 BTO (CEC)
1986 Live - Live - Live!!! (Curb)
1990 Live - Live - Live!!! [CD re-issue] (Curb)
1994 Best of Bachman Turner Overdrive Live (Curb)

1979 Ironhorse (Scotti Bros.)

1980 Everything Is Grey (Scotti Bros.)

with UNION
1981 On Strike (Portrait/CBS) 

johnkatsmc5, welcome music..







Cassette Deck

Cassette Deck









Hi`s Master`s Voice

Hi`s Master`s Voice



music forever

music forever

“A Revolutionary New Triumph in Tape” 1958

“A Revolutionary New Triumph in Tape” 1958