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20 May 2017

Bert Weedon ‎ “Bert Weedon’s 22 Golden Guitar Greats"1976 UK Rock n’ Roll,Instrumental Surf







Bert Weedon ‎ “Bert Weedon’s 22 Golden Guitar Greats"1976 UK Rock n’ Roll,Instrumental Surf
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https://www.youtube.com/watch?v=OUfTdwFGITo

In the late 50’s and early 60’s a musical bombshell hit the record scene. The Guitar, for so long the backing instrument of rock singers, suddenly burst into the Hit Parade as a solo instrument. The artiste responsible for the first hit was Duane Eddy in the American charts, whilst here in Britain another Guitar hit was made by Bert Weedon. These two opened up the charts with various hits and they were joined in the Hit Parade by the Shadows; the Ventures; the Surfaris; Jet Harris and Tony Meehan; the String-a-longs; Fleetwood Mac; Santo and Johnny; Chet Atkins and Los Indios Tabajaras. All these artistes kept the Hit Parade buzzing with hit after hit. 
WARWICK have got together TWENTY TWO of the World’s greatest Guitar hits, and asked Bert Weedon to record all of them for us. There will never be another period like the years of the great Guitar hits - tunes such as APACHE; GUITAR BOOGIE SHUFFLE; SHAZAM; MARIE ELENA; ALBATROSS; DANCE ON; WIPE OUT; WHEELS; DIAMONDS - hit after hit excited the nation with the pulsating sounds of the Guitar. 
We could go on and on, but instead we invite you to listen as Bert Weedon recreates again the excitement of the World’s GREATEST GUITAR HITS all on one L.P……………

Credits 
Bass Guitar – Ronnie Seabrook 
Drums – Andy White 
Engineer – Roger Wake 
Guitar – Bert Weedon, Les Thatcher 
Mastered By – DB* 
Piano, Electric Piano – Bill McGuffie, Don Innes 
Producer – Brian Matthew, Chris Harding 
Saxophone – Rex Morris 
Sleeve, Design – Malcolm Poynter

Tracklist 
A1 Dance On 
Written-By – Adams*, Murtach* 
A2 Wipe Out 
Written-By – Berryhill*, Fuller*, Connelly*, Wilson* 
A3 Wheels 
Written-By – Petty* 
A4 Diamonds 
Written-By – Lordan* 
A5 40 Miles Of Bad Road 
Written-By – Casey*, Eddy* 
A6 Yakety Axe 
Written-By – Randolph*, Rich* 
A7 Kon Tiki 
Written-By – Carr* 
A8 Ginchy 
Written-By – Weedon* 
A9 Pepe 
Written-By – Wittstatt*, Langdon* 
A10 Sleepwalk 
Written-By – Farina* 
A11 Guitar Boogie Shuffle 
Written-By – Smith* 
B1 Walk Don’t Run 
Written-By – Smith* 
B2 Scarlet O'Hara 
Written-By – Lordan* 
B3 F.B.I. 
Written-By – Gormley* 
B4 Sorry Robbie 
Written-By – Weedon* 
B5 Marie Elena 
Written-By – Barcelata* 
B6 Shazam 
Written-By – Eddy*, Hazlewood* 
B7 Perfidia 
Written-By – Dominguez* 
B8 Man Of Mystery 
Written-By – Carr* 
B9 Hava Nagila 
Arranged By – Weedon* 
Written-By – Trad.* 
B10 Albatross 
Written-By – Green* 
B11 Apache 
Written-By – Lordan* 

The Solid British Hat Band “Mister Monday & Other Songs For The Teaching Of English” 1971 UK Folk,Folk Rock







The Solid British Hat Band “Mister Monday & Other Songs For The Teaching Of English” 1971 UK Folk,Folk Rock
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Credits 
Drums – Terry Cox 
Engineer – Andy Curtis (3) 
Photography By – Michel Arnaud (2) 
Piano, Melodica – Vicenzo Crucioli 
Vocals, Guitar, Electric Bass, Producer – Michael Klein (14) 
Vocals, Guitar, Percussion – Gil Eden 
Vocals, Guitar, Percussion, Kazoo – Dede Brewer 
Vocals, Guitar, Written-By, Composed By – Ken Wilson (2)

Tracklist 
A1 Present Continuous Baby
A2 Mister Monday
A3 Going To
A4 It’s Only Half Past Three
A5 Tomorrow Will Be Wonderful
B1 Alice’s Song
B2 Did You Used To Be Like Me?
B3 If You Go To Rome
B4 I’m Sitting All Alone
B5 When You Wake 

The Great Society “Born To Be Burned” (1996) recorded in 1965-1966 US Psych Garage Rock








The Great Society “Born To Be Burned” (1996) recorded in 1965-1966 US Psych Garage Rock
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BORN TO BE BURNED is a collection of mostly-unreleased studio recordings.The Great Society includes: Grace Slick (vocals).Recorded in 1965. Includes liner notes by Jud Cost.This is part of the Sundazed Quakes From The Eureka State series.Audio Mixers: Chris Athens; Bob Irwin.Liner Note Author: Jud Cost.Recording information: Golden State Recorder, San Francisco, CA (1965).Photographers: Darby Slick; Ray Andersen; Jud Cost.The only recordings released during the Great Society's 1965-1966 lifetime were the two sides of its Northbeach Records single, "Free Advice"/"Someone [Somebody] to Love." This album reissues those two sides along with the rest of the group's previously unreleased recording sessions of the fall of 1965. There are two more takes of the Indian-influenced "Free Advice," the group-written "Father Bruce," about comedian Lenny Bruce, and a set of pop-oriented songs written by singer David Miner. The tracks are rough, little more than demos rather than finished recordings. (No wonder it took 30 years for someone to release them.) But they provide tremendous insight into one of the '60s San Francisco scene's forgotten bands. ~ William Ruhlmann................

Rhino, the masters of the box set universe, included the Great Society on "Love Is The Song We Sing: San Francisco Nuggets". They really belong on the original Nuggets psychedelic punk compilation. They were a truly wacky garage band with a world class lead singer. I put together my own Grace Slick box set, and the Great Society was the hardest part to fit in amongst the Airplane, Slick/Kantner, Jefferson Starship, and her solo stuff. They really are rock bottom raw. In a good way.

I fit the profile of someone who must own everything Grace Slick. I still own the original two Great Society Columbia releases on vinyl, and agree with the reviewers who cite the fact that they were a truly original live band. I think their version of "Sally Go 'Round the Roses" is the definitive version, and the original Middle Eastern raga rock version of "White Rabbit" is hypnotic. All together more interesting than the Airplane's straight bolero (albeit nothing on earth comes close to Jack Casady's bass on that song, and Grace's blood curdling "Feed your head!" crescendo.) I'm also partial to their version of "Outlaw Blues."

"Someone to Love," however, not so much. Doesn't matter if it's the studio version included here, or the live version on the Columbia set. It doesn't do much for me as a dirge-like lament. Leaden to the max. The Airplane's double-timed, amped up assault with Grace demanding, threatening, we better find somebody to love works for me............ByKatherine McCarthy.............

A very interesting view on the early days of Grace Slick`s carrer. The Great Society was not an outstanding band, but neither were The Grateful Dead when they made their first recordings (incidently, the same year The Great Society did theirs). If they had had time to develop, they could have turned into a really great band, but Grace took the decision of joining Jefferson Airplane and that was it for Society.

I consider their live recordings far more interesting, but this is undoubtfully a very interesting release. It contains a nice booklet with notes and the sound quality is certainly great.............ByR. N. ESPIÑEIRA................

Seventeen track compilation CD of Grace Slick's pre-Jefferson Airplane band. Not too different from Airplane's music, in fact. Material on 'Born To Be Burned' was recorded through out 1965. Dug about every cut here, like all three versions of "Free Advice" (third version sounds almost like a complete other song, I thought), "Somebody To Love", the awesome folk-rocker "Where", "Heads Up" and "Father Bruce". Line-up: Grace Slick-vocals, Darby Slick (Grace's brother-in-law)-guitar, David Miner-bass and Jerry Slick (Grace's ex-husband)-drums. A nice collector's item of vintage west coast psychedelia to seek out. A should-have..............ByMike Reed............

An interesting if marginal collection of previously unreleased material from late 1965. Recorded at a pretty early stage in the band's development, this is largely comprised of demos that the group recorded during their short-lived association with the Autumn label. Both the songwriting and execution are pretty sketchy and tentative, sounding considerably closer to garage rock than their later psychedelic recordings. Certainly there's a fair amount of promise here, particularly in the songs by Grace and Darby Slick, which far outshine the basic Rolling Stonesy derivations by the band's other songwriter, David Miner. Miner, a below-average garage growler, unfortunately shared the lead vocal duties with the immeasurably superior Grace Slick, who already sounds searing and confident. But unlike Collector's Item, which contains some of the finest (and most unjustly overlooked) psychedelic music ever recorded, this is really mostly of interest to scholars and collectors. The material is far weaker here, and the ragaish Indian influences that characterized their most innovative work had yet to surface. It does include some songs that also appear on Collector's Item ("Born to Be Burned," "Daydream Nightmare," "That's How It Is," "Father Bruce"), but these versions are far more skeletal and less forceful. The highlight is their lone, rare single, which featured the first (pre-Jefferson Airplane) version of "Somebody to Love" and the flipside "Free Advice," one of the first examples of raga-rock............ by Richie Unterberger .............

Track Listing
1. Free Advice
2. Someone to Love
3. You Can't Cry - (previously unreleased)
4. That's How It Is - (previously unreleased)
5. Girl - (previously unreleased)
6. Where - (previously unreleased)
7. Heads Up - (previously unreleased)
8. alternate take) Free Advice - (previously unreleased
9. Father Bruce - (previously unreleased)
10. Born to Be Burned - (previously unreleased)
11. Double Triptamine Superautomatic Everlovin' Man - (previously unreleased)
12. Love You Girl - (previously unreleased)
13. alternate take) That's How It Is - (previously unreleased
14. Right to Me - (previously unreleased)
15. alternate take) Where - (previously unreleased
16. alternate take) Free Advice - (previously unreleased
17. Daydream Nightmare Love - (previously unreleased)

Soft Machine “Live in Paris”(Recorded in 1972) 2004 UK Fusion Jazz Rock Canterbury Scene 2 CD








Soft Machine “Live in Paris”(Recorded in 1972)  2004 UK Fusion Jazz Rock Canterbury Scene 2 CD
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Recorded: May 2nd, 1972 at Olympia, Paris
Released: 2008

The Cuneiform issue of Soft Machine's Paris Olympia Theatre concert is a straight reissue of the One Way set released in 1995 and quickly deleted. It features the short-lived but compelling lineup of Elton Dean, Hugh Hopper, Mike Ratledge, and drummer John Marshall. Marshall was in fact the second drummer to be hired after Robert Wyatt's departure in August of 1971 (Phil Howard was the first), and this edition of Soft Machine recorded merely half an album together. It is one of the few documents of an entire Soft Machine concert available, and the sound quality is unusually good (as Soft Machine live recordings go). The material on the set is split pretty much cleanly between the albums Third and Fifth, with the band's fourth album being completely ignored -- Dean was writing wildly knotty jazz-rock stuff at the time and Marshall was just coming into the band from a stint with Jack Bruce. That said, this wonderfully spacy open jam material is solid, showcasing a band utterly comfortable with improvisation and in command of its use of space. For a stellar example check "Slightly All the Time" on disc one, where Ratledge and Dean weave through and around one another in the middle and simultaneously solo, taking the tune into the stratosphere without losing its focus. Another fine example is the stellar version of "Facelift" that kicks off disc two with elastic drum work by Marshall and a burning solo by Dean. All in all, though, these are ensemble performances, the sound of a band working together to get to they know not where but knowing how to travel. Highly recommended.................... by Thom Jurek ...............

Among the shortest-lived of Soft Machine's seemingly countless lineups is the fleeting period between John Marshall coming on board and Elton Dean leaving the band. Not being a huge fan of Karl Jenkins' subsequent contributions to the groups, I find this rare (and, compared to the many Cuneiform and Voiceprint live releases, pristine) recording of this version of the band much more revelatory of their potential than side B of "5". Mainstays of the live repertoire of the classic quartet like "Facelift", "Slightly All the Time" and "Out-Bloody Rageous" retain some of the looseness of the Phil Howard era. The main difference, though, is the percussive philosophy of Marshall in contrast to Howard. Marshall somehow manages to combine the free-flow sensibility of the Softs' prior drumsmiths with a solid, in-the-pocket technical aptitude that would mark the future of the band. Even compared to his recordings with Nucleus and as a sideman for numerous artists, he really seems to come into his own style in his tenure with Soft Machine, and this recording shows Marshall hitting the ground running. The rest of the band seem somewhat revitalized from their time with Howard. Hugh Hopper's bass work regains its vitality from the learned helplessness on display on the "Drop" album, alternatingly solid and fluid even on ad hoc jam pieces like "And Sevens" and "At Sixes" (named presumably for their respective time signatures). Elton Dean has since complained of mike problems dampering this performance, and while at moments his sax playing appears to get thrown off, he manages to saves face in short order, churning out passionate phrasing unseen since the septet days. Overall, what the band lacked in compositional direction at this transitional phase in their arc, they make up for in performance, making this a must-have for Machineheads all, not just the completionists.......ByJohnny Fargo.............

I can imagine the type of thoughts folks have when looking at this version of Live in Paris just released last week. "It doesn't have Wyatt on it"; Modern mixing destroys the authentic sound" and yada yada yada.
What folks often forget (as I did in the beginning) is that along about 1972, just before and during the release of TSM 6, the band was softening their overtly brash sound and opting for a less harsh and abrasive sound. I believe this versions takes it one step further and cleans up some of the technilogical meanderings from the 1972 master tape recordings of this concert set and makes it presentable if a very positive way!
The inclusion of John Marshall (The Bands prefered Drummer after Wyatt split), captures the band in a special moment in time. He is incredible!
Commercially, things were in a flux for the band until the release of TSM seven. This captures the band as their are moving and gathering steam in the public eye (In europe anyway). They adjusted to personnel changes positively as it was an almost continuous event back in 1972. The recording is capturing a rare moment in the Soft Machine time capsule. This is a collectors piece and if you are not really familar with the band, it just might be better to start with their legacy album TSM3. Then come back and check out Noisette and THEN buy this record/CD. Great spin!......ByCarl Johnson...............

After Phil Howard was told he wasn’t Soft Machine’s drummer anymore, there were two problems. One of them was Elton, who lost his musical pal and because of that realised that he seemed not to be so important as Mike and Hugh, since they had made that decision. The other one was the planned recording session for a new album, for which half was finished already. Soft Machine needed a new drummer urgently. On the very night John Marshall heard that the band he was playing in – Jack Bruce’s – stopped, Sean Murphy – Soft Machine’s manager at that time – met John and told him that Soft Machine needed a new drummer: “maybe he was interested?” John was, and soon he was invited to play at a rehearsal. He arrived in a strange atmosphere; Elton was thinking about his place in the band and Mike and Hugh were thinking about how they could finish their new record. John, a very good drummer, both in rock and jazz styles, but also a drummer with volcanic explosions, fitted like a glove. He could play the written scores and sometimes very difficult themes, but could also flow with the improvisational side. As Mike Ratledge remembered: “It’s nice to have someone who takes notice of the score”. But maybe that quote made more clear about his thinking than John’s approach. With John in the line-up the band restarted recording sessions for Fifth in February 1972. As written elsewhere on this site, that album ended in two split halves; one side with Phil, one side with John as drummer. Starting in March, two small tours had to be done with the new quartet. One of the places visited was Olympia in Paris. ‘Live in Paris’, this two cd-set, is the complete concert. The set-list is remarkable: compositions from the Third album, as well from the soon to be released Fifth album; nothing from Fourth. They had skipped compositions from that album already when Phil was the drummer, but even with a more structured drummer they didn’t choose to play that complex material. The Paris concert starts with Plain Tiffs, a typical Elton Dean composition with more free aspects. All White is played tighter than before, with a new heavy bass sound from Hugh and a clear and more rock based layer from John, while Elton plays a long saxello solo. In Slightly all the Time new and old visions meet. Drop Is free at first, but halfway becomes more straight. M.C. does it without drummer and has a light and fluid touch. Out-Bloody-Rageous is more organised, more like the actual version on Third. The concert part two starts with a long Facelift, which begins with Fender Rhodes piano and bass; it is the longest track and has free as well thematic parts. ‘And Sevens’ is a new composition, but better one could speak of a live group-improvisation. It develops in a more rock-orientated sound than the jazzier sound the band had with Phil in the line-up. The beautiful As If has lost its lazy late night jazz feeling and is played more aggressive; in my opinion that isn’t an improvement, but you can’t have everything, can you? John shows his abilities in LBO, after which Pigling Bland is played and that one also is changed in favour of the rhythmic approach. For an encore the band plays ‘At Sixes’; another group improvisation. You can hear that there had been an enormous musical growth, but it wasn’t enough for Elton; at the end of the tour he quit the band. That makes this record a special one, since it is the last recording with Elton playing. Once again, there was a vacancy for a new musician. ............Paul Lemmens © 2014....................

The Soft Machine line-up of Elton Dean, Hugh Hopper, John Marshall and Mike Ratledge lasted under half a year and recorded just one half of an album (side two of "5"). Live in Paris is a rare recording of this quartet during that lineup’s final days; Dean left Soft Machine later that month. It is also a special, rare example of a Soft Machine concert recorded and released in its entirety. Live in Paris shows Soft Machine playing in top form. As Aymeric Leroy points out in the liner notes, the music illustrates main composers Ratledge and Hopper's shift in compositional style…towards looser and more minimalistic themes." The tracklisting consists of works from "Third" and "5" in often significantly different versions, as well as several piece not recorded elsewhere. This excellent quality release is taken from the less than 2 dozen shows performed by this version of the band, and shows that despite such a short life, that this version of the quartet definitely had their own style and sound................

This is the Soft Machine line-up of 1972, without Robert Wyatt but with Elton Dean, Hugh Hopper, John Marshall and Mike Ratledge. The Soft Machine sounds here far more as a jazz quartet as in early years. However, this combination lasted only less then half a year and recorded just one half of an album (side two of "5").

Live in Paris contents two disks and is a rare recording of this quartet during that lineup’s final days; Dean left Soft Machine later that month. It is also a rare example of a Soft Machine concert recorded and released in its entirety.

Live in Paris shows Soft Machine playing in top form. Listen f.e. to Facelift on the second disk. It's just great, with an excellent saxophone playing by Dean, Ratledges warm-sounding keyboards and last but not least Hoppers modest, dreamy but nevertheless pushing bass-lines. There are more live tracks from "Third" and "5" with highly creative improvisations, as well as several tracks not recorded before. This excellent quality release is taken from the less than twenty-five shows performed by this version of the band, and shows that despite such a short life, that this version of the quartet definitely had their own style and sound. If you like jazz with a lot of energy, just listen to this album.......by...fredgon ..............

Wow! Another newly found live recording which was previously available only in bootleg format? Unfortunately, the disc is a mono-sound recording which is frustrating if you’re expecting live stereo sound and a truer representation of the band's live sound. It doesn't appear to obscure the forceful performances by band members however. The lack of liner notes is also frustrating since no positive date is available for the gig as well as missing information on venue and city! This indicates less than the normal care given for CD archive releases. But Wayside lists the date as Elton Dean's last with the band from Paris in May 1972, which could be correct. The personnel line-up is the same as Soft Machine 5, side 2 with Dean/Hopper/Marshall/Ratledge, probably one of the more stable line-ups for this period. This was John Marshall's first tour replacing Robert Wyatt at the drumkit (daunting task indeed). The set material consists of three songs from Third; the remainder is from 5. Three songs are unfamiliar to me: "Plain Tiffs" (the intro piece preceding "All White"), "And Sevens," and "At Sixes." Ratledge's characteristic pieces spotlight his Lowrey organ style, although he seems to be much less aggressive for this concert than the Paradiso show from '69 (previously reviewed). Dean is clearly the main soloist during this phase of the band's career. Ratledge's role is primarily as a Fender Rhodes piano player with wah-wah. Overall a pretty good show by a band constant in transition.........by Jeff Melton, ....................

By May 2, 1972, when Soft Machine appeared at the Paris Olympia, the band had already lost founding member Robert Wyatt and had contracted from a lineup with full horn section down to a quartet with saxophonist Elton Dean. They had also recently replaced drummer Phil Howard with John Marshall, a decision made by bassist Hugh Hopper and keyboardist Mike Ratledge without input from Dean. Howard was central to Dean’s plans to shift the band from a progressive rock band into a largely improvisational, jazzlike unit. (A disillusioned Dean would only play out the string of concert commitments, including this one, before leaving himself.)

Soft Machine must have stumped the crowd as it performed as part of pop fest. A decently recorded complete performance from the band, Live in Paris suggests that, despite the new drummer, the Howard era was still leaving a mark. Soft Machine tunes featuring tight, complicated arrangements were left off the set list, there are no vocals and the band focused almost exclusively on open ended, long-form material culled from the studio records Third and Fifth. Dean’s buzzing, terse saxello and soprano saxophone parts are the primary element here. Hopper and Ratledge give the music its character with brooding, simple vamps from the former and unsettled, churning chord sequences from the latter. The band lets the dark clouds break now and again, at times with a sound remarkably close to ambient. But even at their most sour, they still generate energy thanks to Marshall’s drumming.

The best moments come when Dean feeds off of the focused rumble from his chosen drummer’s replacement. Though creaky in some places and certainly dated, Live in Paris is much more than an archival curio and deserves to be heard by an audience greater than long-time fans.......... By Aaron Steinberg........

Of all the line-ups that can be filed under the (mysterious but ultimately useful) "New English Jazz" label, Soft Machine are without a doubt the group that's still remembered with more affection and warmth, especially on the Continental part of Europe where at the time their music was met with real enthusiasm - and tangible sales. And I'm quite sure that had Soft Machine been an American group by now they would have received their due in the evolution of the electric music, post-Davis.
Cognoscenti know quite well that the group's history is more than a bit complicated, and they reserve a special spot for the album titled Volume Two, quite influential on many groups - alas!, of the non-commercial kind. Hence, outside the pages of most Encyclopedias.
Whether Soft Machine were still a good group after Robert Wyatt jumped ship has always been the source of heated arguments. One could maybe distill the discussion about Live In Paris - a double CD recorded live on May 2, 1972 which had previously been released with a different mastering - by asking the reader whether s/he likes Soft Machine's Fifth; especially side two, which presented the work of John Marshall, the same drummer featured on Live In Paris.
This factor is important for still another issue: for technical reasons, this recording places the rhythm section as louder than the era's norm (we could jokingly talk about a "Can mix"), so we get a loud set of drums; Elton Dean's saxophones suffer a bit, while Mike Ratledge's organ solos are sometimes partially masked by Dean's piano backing. Hugh Hopper's bass is always clear.
Though it was destined to undergo further changes not too long after this concert, the group never sounds tired or as playing by the numbers. This is quite easy to see in the versions of those perennial classics - off the album Third - titled Slightly All The Time, Out-Bloody-Rageous and Facelift. But it's when playing the compositions off the still-new Fifth that the group sounds especially involved, and very convincing. All White, Drop and Pigling Bland are very good, but the peaks are to be found on the relaxed M.C. and the long As If. There are also two improvisations: And Sevens, with two electric pianos (hope I'm not wrong if I say that during this concert Dean plays more electric piano than on most other live recordings of the group); and the closing track, At Sixes, with the usual instrumentation.
Without a doubt Marshall is a technically more accomplished drummer than Wyatt. But whereas when Wyatt was in the group one had the impression that anything could happen, Marshall's kind of geometry (listen to the high-hat - and notice how different Hopper's work sounds for this) sometimes gives the impression of narrower horizons.........Beppe Colli 2004.....................

Originally released on CD a few years ago by One Way Records, this 2 CD live set by Soft Machine was recorded May 2nd, 1972, now rescued from the "out of print" vaults and remastered by Cuneiform Records. Besides the fantastic performance of the band, the other notable reason to seek out this release is the fact that it is one of the few live recordings ever of the short-lived line-up of Elton Dean (sax/electric piano), Hugh Hopper (bass), John Marshall (drums), and Mike Ratledge (electric piano/organ.)

Even more so than most of the other previously available Soft Machine releases, Live in Paris is primarily a jazz album, as the band is extremely laid back, grooving and soloing with more restraint than you would usually hear them, but adventurous and groundbreaking nontheless. Ratledge's organ solos take on a rather distorted, reed-like quality, and his electric piano passages ring with majestic tones, much like Chick Corea, Jan Hammer, or Herbie Hancock. Elton Dean, who is the other main soloist in the band, squonks and soars throughout-check out his melodic leads on the smooth "Slightly All The Time" for a perfect example of his far reaching talents, complete with Marshall and Hopper pounding away with some complex rhythms. Surprisingly, the material covered on this set is mostly from the Third and Fifth albums, which is a bit looser and allows more room for extended blowing, as opposed to the more complex and structured tunes from the Fourth album. Fear not though, as favorites such as "Facelift" (all 17+ minutes of it), "Out Bloody-Rageous" and "At Sixes" are covered with superb results.

This is an essential recording from one of progressive music's treasured bands. So sit back , pop the 2 discs into your changer, and get ready for over 90 minutes of prime Soft Machine, as jazzy and far reaching as they have ever been.....................

Elton Dean: saxello, alto sax, rhodes piano
Hugh Hopper: bass
John Marshall: drums
Mike Ratledge: electric piano, organ 

CD1
1. Plain Tiffs
2. All White
3. Slightly All The time
4. Drop
5. M.C.
6. Out-Bloody-Rageous
CD2
1. Facelift
2. And Sevens
3. As If
4. LBO
5. Pigling Bland
6. At Sixes

Galactus “Cosmic Force Field ” 1976 US Private Hard Rock








Galactus “Cosmic Force Field ” 1976 US rare Private Hard Rock
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This band is most notable for containing Bob Hocko, formerly of The Swamp Rats. This album is entirely covers, and actually surprisingly decent, and consistently so. It is fairly commercial sounding hard-edged rock, with a typical-for-it's-vintage sound..............

Bob Hoko, Jim Wilson, John Puckett - in this line-up this record was recorded. I must say that Hoko is known for his garage group "Bob Hocko & The Swamp Rats". They played mostly covers on famous songs. After the disintegration, Hoko shook himself up on different teams and decided to reassemble the team again. He invited bassist and vocalist Jim Wilson, who managed to record on the records of such bands as "Creme Soda" and "Carousel" (in 2013 he participated in the recording of the reunion). John Puckett stood behind the microphone. After recording and releasing this album on January 1, 1976, the tracks of the musicians dispersed and now the record is in rarities (the average price of vinyl is about $ 100). "Cosmic Force Field" was released on Airship Records................

Tracklist
A1 Live With Me
A2 Do Ya
A3 You Can't Win
A4 Blind Eye
A5 Catch You On The Rebopp
B1 You Could Have Been A Lady
B2 Under My Thumb
B3 If I Needed Someone
B4 How We Were Before
B5 Stealin

Bonnie Bramlett "Lady’s Choice" 1976 US Southen Rock,Rhythm n` Blues,Soul







Bonnie Bramlett  "Lady’s Choice"  1976  US Southen Rock,Rhythm n` Blues,Soul Folk Rock
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Although Bonnie Bramlett is a good blue-eyed soul singer, and gets backing by top Muscle Shoals session musicians on this 1976 album, you need more than a good singer and a good band to make a good record. You also need interesting material, and while most of the songs presented here are good, they're mostly well-traveled soul and R&B covers. It seemed to be a holding pattern album of sorts, Bramlett opting to record half of the album with guest vocalists, including Gregg Allman, Dobie Gray, Bobby Whitlock, and Mickey Thomas (the last of whom sang lead on Elvin Bishop's huge hit "Fooled Around and Fell in Love" around this time). Any one or two of these songs would have been okay as album filler, but they in fact fill up almost the entire album, and they don't match the originals or come at them from noteworthy angles. An exception, perhaps, is Bob Dylan's "Forever Young," given a full mid-'70s rock-with-horns arrangement; at least it wasn't a composition that was overly familiar or often interpreted. Lady's Choice was combined with Bramlett's previous album, 1974's It's Time, on a single-CD reissue by Raven Records.......... by Richie Unterberger .................

Bonnie Bramlett is an R&B/rock singer. She moved to Memphis in the early '60s and became a session and backup singer for R&B and blues performers such as Fontella Bass and Albert King. She then became a member of the Ikettes, the backup singers for Ike & Tina Turner. That brought her to Los Angeles in 1967, where she met Delaney Bramlett, who had been a member of the Shindogs, the resident group on the TV show Shindig; they married within five days and formed a musical act, Delaney and Bonnie. Delaney and Bonnie cut an album for Stax Records in Memphis, backed by Booker T. and the MG's, but it was not released at first. They then formed a group called Delaney and Bonnie and Friends, who featured Leon Russell among others, and cut Accept No Substitute (1969). After Delaney and Bonnie and Friends toured opening for Blind Faith, Eric Clapton left that group and joined them along with such notables as George Harrison and Dave Mason. This resulted in the On Tour album, after which members of the Friends band worked with Clapton and Harrison, and on Joe Cocker's Mad Dogs and Englishmen. Delaney and Bonnie made several more albums before divorcing. Bramlett then formed the Bonnie Bramlett Band and released her debut solo album, Sweet Bonnie Bramlett, backed by the Average White Band, in 1973. She then signed to Capricorn Records and made It's Time (1975), Lady's Choice (1976), and Memories (1978). She later became a born-again Christian and began singing gospel music. She turned to acting in 1987, under the name Bonnie Sheridan, and has since appeared in the film The Doors and the TV series Rosanne. In 2002 Bramlett returned to the music world with the release of her first album in over twenty years, I'm Still the Same on Audium. The record features Bramlett singing a variety of styles like jazz, blues, and adult contemporary in a voice that has lost little of its power. ~ William Ruhlmann.............

Bonnie Bramlett was one of the greatest r&b vocalists of the '60s and '70s. This album catches her in top form singing from the heart (did she ever sing any other way?). Today's female vocalists could learn from Bonnie's heartfelt interpretations that there's more to singing then octave leaps and the same old melismas. Until then, here's the real thing..................

Bonnie Bramlett is an R&B/rock singer. She moved to Memphis in the early '60s and became a session and backup singer for R&B and blues performers such as Fontella Bass and Albert King. She then became a member of the Ikettes, the backup singers for Ike & Tina Turner. That brought her to Los Angeles in 1967, where she met Delaney Bramlett, who had been a member of the Shindogs, the resident group on the TV show Shindig; they married within five days and formed a musical act, Delaney and Bonnie. Delaney and Bonnie cut an album for Stax Records in Memphis, backed by Booker T. and the MG's, but it was not released at first. They then formed a group called Delaney and Bonnie and Friends, who featured Leon Russell among others, and cut Accept No Substitute (1969). After Delaney and Bonnie and Friends toured opening for Blind Faith, Eric Clapton left that group and joined them along with such notables as George Harrison and Dave Mason. This resulted in the On Tour album, after which members of the Friends band worked with Clapton and Harrison, and on Joe Cocker's Mad Dogs and Englishmen. Delaney and Bonnie made several more albums before divorcing. Bramlett then formed the Bonnie Bramlett Band and released her debut solo album, Sweet Bonnie Bramlett, backed by the Average White Band, in 1973. She then signed to Capricorn Records and made It's Time (1975), Lady's Choice (1976), and Memories (1978). She later became a born-again Christian and began singing gospel music. She turned to acting in 1987, under the name Bonnie Sheridan, and has since appeared in the film The Doors and the TV series Rosanne. In 2002 Bramlett returned to the music world with the release of her first album in over twenty years, I'm Still the Same on Audium. The record features Bramlett singing a variety of styles like jazz, blues, and adult contemporary in a voice that has lost little of its power. ~ William Ruhlmann, Rovi....................

Bonnie Bramlett - Vocals on tracks 1, 3, 5, 7 & 11

Bonnie Bramlett & Mickey Thomas - Vocals on track 2
Bonnie Bramlett & Dobie Gray - Vocals on track 4
Bonnie Bramlett & Gregg Allman - Vocals on track 6

Bonnie Bramlett & Jimmy Hall - Vocals on track 8

Bonnie Bramlett, Jimmy Hall & Mickey Thomas - Vocals on track 9

Bonnie Bramlett & Bobby Whitlock - Vocals on track 10

Musicians:
Barry Beckett - Piano, Electric Piano, Organ, Clavinet

David Hood - Bass

Johnny Sandlin - Guitar

Roger Hawkins - Drums

Tommy Talton - Guitar

Muscle Shoals Horn Section:
Charles Rose, Ronald Eades, Harvey Thompson, Harrison Calloway

Guest Musicians:
Chuck Leavell - Piano on track 8
Richard Betts - Guitar on track 8
Ricky Hirsch - Guitar on track 5
Gregg Allman - Organ on track 1
Randall Bramblett - Soprano Sax on track 3
Dianne Davidson - Background Vocals on tracks 1 & 11
Anita Ball - Background Vocals on tracks 1 & 11
Paul Hornsby - Organ on track 11

1. Think (About It)
2. Hold On I'm Comin'
3. You Send Me
4. Never Gonna Give You Up
5. Let's Go Get Stoned
6. Two Steps From The Blues
7. If I Were Your Woman
8. Ain't That Lovin' You Baby
9. You've Really Got A Hold On Me
10. Thrill On The Hill
11. Forever Young

Shakey Vick "Little Woman You’re So Sweet" 1969 UK,Blues Blues Rock













Shakey Vick  "Little Woman You’re So Sweet" 1969 UK, Blues Rock
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English band formed in 1968 in Birmingham frontman Graham Vickery (aka Shakey Vick). Shakey Vick started playing blues harmonica in the late fifties. In 1963, he formed his first band, teaming up with Chris Youlden. In 1967, Vic gathered "Big City Blues Band" and began performing in clubs in London, including the "Marquee". During this period, he has worked with many American artists, including "Champion" Jack Dupree, Arthur "Big Boy" Crudup, Johnny Shines. Around this same time, he received an offer to join the "Savoy Brown", but he was forced to withdraw as the band's manager Harry Simmonds was able to offer only half that sum, which required him to maintain his wife and child. He played a few gigs with the "Savoy Brown" and continued to work with the "Big City Blues Band". In 1969 it was renamed the "Shakey Vick" and the label "Janus" was recorded first album "Little Woman You're So Sweet" .........

Shakey Vick got into blues in the late fifties and early sixties in various duos and blues bands around London.In 1963 he formed his first band, teaming up with Chris Youlden. They won a heat of an R&B contestand did a gig at the Marquee, which was recorded by Giorgio Gomulsky of Yardbirds connection. Shakey and Chris did a few duo gigs and also worked occasionally with Dave Peverett in Dave’s band Lonesome Jax.

In 1967 The first Shakey Vick Big City Blues Band was formed and started to gig around London and the home-counties circuit, including the Marquee, 100 Club, Klooks Kleek, etc. During those early yearshe worked with many American artists, including the late Champion Jack Dupree, Arthur Big Boy Crudup,and Johnny Shines.

At about this time Shakey was asked to join Savoy Brown when their harp player left. Shakey had toturn the offer down because Harry Simmonds, the manager could only offer half of what Shakey neededto live on. While the others in the band were all single at that time, Shakey had a wife and childrento support. He did a few gigs until Savoy Brown had a day off and were able to rehearse their setwithout harp and then carried on with his own Big City Blues Band. Later both Chris Youlden and Dave
Peverett joined Savoy Brown and started their States careers.

The Shakey Vick band gigged regularly for a few years before Mel Wright, Ron Skinner and Rod Price split to form Dynaflow Blues. Rod Later teamed up with Dave Peverett in Foghat, the British bandwhich became very successful in the USA.

The Shakey Vick band continued with Bruce Langsman on guitar and the first album Little Woman You’re So Sweet, was recorded for Pye in 1969 (later released in the U.S.A. on the Janus label a Chess Records-associated company).

This was followed by the first continental touring. Shakey Vick Tours in Europe included: Denmark and Sweden in 1969/70, Holland 1972, Holland/Belgium 1974, Holland 1981, Italy 1983, and Holland again in 1985.

In 1975 Big Bear Records asked Shakey to be the Artistes road Manager for the annual Anglo-American tour of France, Holland, Belgium, Switzerland and Germany. Here he travelled with Homesick James, Billy Boy Arnold and Tommy Tucker among others. One night arriving late at a German hotel, Tommy asked to share Shakeys room as hed got fed up rooming with Homesick. The next morning, the musicians asked Tommy what it was like sharing the room with a white guy.

I slept with one eye open. declared Tommy.

I slept with both eyes open. Shakey replied.

A series of long-lasting residencies on the London circuit continued during the ups and downs of the blues scene in Britain. Shakey continued to play the blues when other bands were turning to Rock, indeed his whole career has been about encouraging interest in the blues, whether as a musician inspiring younger blues players via open mic jams, or as the editor of a blues magazine, British Blues Review or as a promoter of blues gigs around London.

Shakey edited the British Blues Review from April 1998 until July 1999. In addition to his band work, Shakeys promotions around London from 1992-1999 included the American artists, Kenny Neal, Lucky Evans (ex Howlin’ Wolf), Guitar Shorty, Elisha Blue and U.P.Wilson. at places as diverse as the 100 Club W1, the Carnarvon castle NW1, the Station Tavern W10, the Plough SW17 and the Dublin Castle NW1. He also started his own blues label, Vicksboro Records.

In January 2000, he went to the U.S. to gig and record an album for ex -Foghat guitarist Rod Price. Rod was in the first Shakey Vick band before joining the Black Cat Bones and then going on to success in the States with Foghat. The cd was released in the U.S on the Burnside label and then in Europe about eight weeks later. Shakey returned to the States another four times during the following eighteen months for promotional tours.

Currently Shakey has teamed up with Chris Youlden and Mel Wright (Chris was the singer in Savoy Brown when that band started to take off in the States, but he had formed a band with Shakey as early as 1963. Mel was the drummer in the original Shakey Vick Big City Blues Band). They have formed a new band, Maxwell Street, named after the famous Chicago market where bluesmen and women busked on the street.

The band personnel are Shakey Vick, vocals and harp, Chris Youlden, vocals and guitar, Bernie Pallo, lead guitar, Pete Moody, electric Bass and Mel Wright, drums.

They have recorded a 4-track cd entitled Movin Along with all songs penned By Shakey and arranged by the band. This has now been released on the Vicksboro label. The band will be doing some gigs in future. The Shakey Vick Big-City Blues Band will also continue to gig.

Maxwell Street have changed their name as there are at least two other bands with the same name. The band will now be known as Waydown and will release the forthcoming Cd album under the title “Greek Street” after the Soho street. This album will consist of nine new tracks plus the Maxwell Street tracks.

The band meet in the Coach & Horses pub in Greek Street, whenever they need to discuss business. This is the pub where Mel and Shakey first came up with the idea of the Moving Along Cd, and also where the name change was agreed so it seems appropriate to identify with the area.

Waydown’s line-up is the same as Maxwell Street with the exception of the bass. Pete Moody was unable to continue due to other commitments so Andy Cleveland joined for the other recording sessions. Andy has worked with the Shakey Vick Band and with Gordon Smith and the Top Topham/Jim McCarty Band among others..................

Graham Vickery - harp, vocals
Bruce Langsman - lead & bottleneck guitar
Nigel Tickler - bass guitar
Ned Balen - drums

Tracklist
A1 Introduction By Erskin T. (DJ At Mothers)
A2 Good Morning Little Schoolgirl
A3 Blues With A Feeling
A4 Backbiter
A5 Come On In My Kitchen
A6 Crossroads Blues
B1 Terraplane Blues
B2 Little Woman You're So Sweet
B3 I'm Going Upstairs
B4 Death Valley Blues
B5 Movin' To Chicago

johnkatsmc5, welcome music..