Rory Gallagher & Jack Bruce - 'Rock Life With Jack' Musikhalle, Köln, Germany 1990 (Bootleg) FM Broadcast

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Rory Gallagher:
After the break-up of Taste, Gallagher toured under his own name, hiring former Deep Joy bass player Gerry McAvoy to play on Gallagher's self-titled debut album, Rory Gallagher. It was the beginning of a twenty-year musical relationship between Gallagher and McAvoy; the other band member was drummer Wilgar Campbell. The 1970s were Gallagher's most prolific period. He produced ten albums in that decade, including two live albums, Live in Europe and Irish Tour '74. November 1971 saw the release of his album, Deuce. In the same year he was voted Melody Maker's International Top Musician of the Year, ahead of Eric Clapton. However, despite a number of his albums from this period reaching the UK Albums Chart, Gallagher did not attain major star status.

Gallagher played and recorded what he said was "in me all the time, and not just something I turn on ...". Though he sold over thirty million albums worldwide, it was his marathon live performances that won him greatest acclaim. He is documented in the 1974 film Irish Tour '74, directed by Tony Palmer. During the heightened periods of political unrest in Ireland, as other artists were warned not to tour, Gallagher was resolute about touring Ireland at least once a year during his career, winning him the dedication of thousands of fans, and in the process, becoming a role model for other aspiring young Irish musicians. Gallagher himself admitted in several interviews that at first there were not any international Irish acts until Van Morrison, Gallagher, and later, Phil Lynott and Thin Lizzy grew popular during the 1970s. The line-up which included Rod de'Ath on drums and Lou Martin on keyboards, performed together between 1973 and 1978. 

However, he eventually dropped down to just bass, guitar and drums, and his act became a power trio. Other releases from that period include Against the Grain, Calling Card, Photo-Finish and Top Priority. Gerry McAvoy has stated that the Gallagher band performed several TV and radio shows across Europe, including Beat-Club in Bremen, Germany and the Old Grey Whistle Test. He recorded two Peel Sessions, both in February 1973 and containing the same tracks, but only the first was broadcast.[18] Along with Little Feat and Roger McGuinn, Gallagher performed the first Rockpalast live concert at the Grugahalle, Essen, Germany in 1977.

Gallagher collaborated with Jerry Lee Lewis and Muddy Waters on their respective London Sessions in the mid-1970s. He played on Lonnie Donegan's final album. He was David Coverdale's second choice (after Jeff Beck) to replace Ritchie Blackmore in Deep Purple. Gallagher chose to perform in his own band.
In the 1980s he continued recording, producing Jinx, Defender, and Fresh Evidence. After Fresh Evidence, he embarked on a tour of the United States. In addition he played with Box of Frogs—a band formed in 1983 by former members of The Yardbirds. Becoming obsessive over details and plagued by self-doubt, Gallagher nevertheless retained a loyal fanbase. During this period he stated "I agonize too much".

Notes From San Francisco, an album of unreleased studio tracks and a San Francisco 1979 concert was released in May 2011.

Jack Bruce 80's and 90's:
By 1979, Bruce's drug habit had reached such a level that he had lost most of his money. In that year he married his second wife, Margrit Seyffer. Bruce contributed as a session musician to recordings by Cozy Powell, Gary Moore and Jon Anderson to raise money. By 1980 his career was back on track with his new band, Jack Bruce & Friends, consisting of drummer Billy Cobham, guitarist Clem Clempson, and keyboardist/guitarist David Sancious. 

After releasing an album, I've Always Wanted to Do This at the end of 1980, they undertook a long tour to support the record, but it was not a commercial success and they disbanded. In the early 1980s, he also joined up to play with friends from the Alexis Korner days in Rocket 88, the back-to-the-roots band that Ian Stewart had arranged, and Bruce appears on the album of the same name, recorded live in Germany in 1980. They also recorded a "live in the studio" album called Blues & Boogie Explosion for the German audiophile record label, Jeton. That year he also collaborated on the Soft Machine album Land of Cockayne (1981).

In 1981, Bruce collaborated with guitarist Robin Trower and released two power trio albums, BLT and Truce, the first of which was a minor hit in the United States. By 1983 Bruce was out of contract with the major record companies, and he released his next solo album Automatic only on a minor German label, Intercord INT 145.069. A European tour followed to promote the album enlisting Bruce Gary from The Knack (who had also played in Jack Bruce's 1975 band) on drums and Sancious from his 1980 band (Jack Bruce & Friends) on guitar and keyboards. In 1982 Bruce played with a short-lived ensemble "A Gathering of Minds" comprising Billy Cobham, Allan Holdsworth, Didier Lockwood and David Sancious at Montreux. In 1983 he sang on tracks 5–6 of the Allan Holdsworth album 'Road Games'.

In 1983 Bruce began working with the Latin/world music producer Kip Hanrahan, and released the collaborative albums Desire Develops an Edge, Vertical's Currency, A Few Short Notes from the End Run, Exotica and All Roads Are Made of the Flesh. They were all critically successful, and in 2001 he went on to form his own band using Hanrahan's famous Cuban rhythm section. Other than his partnership with lyricist Pete Brown, the musical relationship with Hanrahan has been the most consistent and long-lasting of his career.

In 1985 he sang lead and played blues harp on the song "Silver Bullet" with Anton Fier's Golden Palominos. It appears on the album "Visions of Excess". In 1986 he re-recorded the Cream song "I Feel Free" and released it as a single to support an advertising campaign for the Renault 21 motor car. A solo album, Something Els, recorded in Germany between 1986 and 1992, reunited him with Eric Clapton, and brought belated, but widespread critical acclaim.

In 1989, Bruce began recording material with Ginger Baker and released another solo album, A Question of Time. Baker and Bruce toured the United States at turn of the decade. Bruce played at the Montreux Jazz Festival in 1990, and was invited by Irish blues rock performer, Rory Gallagher (who had a long-standing relationship with Bruce, having supported Cream's farewell concert in the band Taste in 1968) to perform a couple of songs together onstage. In 1993 Baker appeared, along with a host of former Bruce band colleagues, at a special concert in Cologne to celebrate Bruce's 50th birthday. A special guest was another Irish blues-rock guitarist Gary Moore. 
(Taste - Rory Gallaghers 1st Album 1969)
                             (Taste - Rory Gallaghers 1st Album 1969)

The concert recordings with Moore were released as the live double album Cities of the Heart. On the back of this successful gig Bruce, Baker and Moore formed the power trio BBM, and their subsequent (and only) album Around the Next Dream was a top ten hit in the UK. However, the old Bruce/Baker arguments arose again and the subsequent tour was cut short and the band broke up. A low-key solo album, Monkjack, followed in 1995, featuring Bruce on piano and vocals accompanied by Funkadelic organist Bernie Worrell.

Bruce then began work producing and arranging the soundtrack to the independently produced Scottish film The Slab Boys with Lulu, Edwyn Collins, Eddi Reader and the Proclaimers. The soundtrack album appeared in 1997. In 1997 he returned to touring as a member of Ringo Starr's All-Starr Band, which also featured Peter Frampton on guitar. At the gig in Denver, Colorado the band was joined on stage by Ginger Baker, and Bruce, Baker and Frampton played a short set of Cream classics. He continued to tour with Ringo through 2000.

Rory Gallagher
'Rock Life With Jack' (Westwood WWD-017/18)
Venue: Musikhalle, Köln, Germany
Date: 17 October 1990
FM broadcast

Personnel:
♫♪ Rory Gallagher: Guitar - Vocals
♫♪ Gerry McAvoy: Bass
♫♪ Brendan O'Neill: Drums
♫♪ Mark Feltham: Harmonica
♫♪ Geraint Watkins: Keyboards
♫♪ Jack Bruce: Bass - Vocals (Disc 2: Tracks 6 - 8)

Disc 1:
01. Continental Op
02. Don't Start Me To Talkin'
03. Mean Disposition 
04. Kid Gloves
05. Middle Name
06. King Of Zydeco
07. Out On The Western Plain
08. Empire State Express

Disc 2:
01. The Loop
02. Garbage Man
03. My Baby, She Left Me
04. Shadow Play
05. Shin Kicker
06. Born Under A Bad Sign
07. I'm Ready
08. Politician

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Mike Bloomfield - Live at Bill Graham's Fillmore West with Nick Gravenites, Taj Mahal, Mark Naftalin (US 1969)

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When Mike Bloomfield and Nick Gravenites were recorded by Columbia at the Fillmore West in early 1969, most of the tracks the label released appeared on Live at Bill Graham's Fillmore West 1969. However, not a little additional material from the same source appeared on one side of Gravenites' My Labors LP. This set doesn't contain the most notable of Bloomfield's recordings; it's not the best band he played with, nor is it the best material with which he had to work. It's best appreciated as one of numerous releases on which to hear his reliably accomplished blues-rock guitar work, although it's not as flashy or inventive as his best performances, the arrangements sometimes recalling Electric Flag due to the presence of a horn section. 

No less than four vocalists (Gravenites, Bloomfield, Bob Jones, and Taj Mahal, who guests on "One More Mile to Go") were featured on the original Live at Bill Graham's Fillmore West 1969 LP; this expanded version does give more weight to Gravenites' singing, as he takes lead on all four of the tracks added from My Labors. As a final bonus, the CD also includes a Bloomfield-sung cover of Ray Charles' "Mary Ann" from another Bloomfield live album of the era (The Live Adventures of Mike Bloomfield and Al Kooper), as well as historical liner notes.

Michael Bloomfield was one of America's first great white blues guitarists, earning his reputation on the strength of his work in the Paul Butterfield Blues Band. His expressive, fluid solo lines and prodigious technique graced many other projects -- most notably Bob Dylan's earliest electric forays -- and he also pursued a solo career, with variable results. Uncomfortable with the reverential treatment afforded a guitar hero, Bloomfield tended to shy away from the spotlight after spending just a few years in it; he maintained a lower-visibility career during the '70s due to his distaste for fame and his worsening drug problems, which claimed his life in 1981.

Michael Bernard Bloomfield was born July 28, 1943, into a well-off Jewish family on Chicago's North Side. A shy, awkward loner as a child, he became interested in music through the Southern radio stations he was able to pick up at night, which gave him a regular source for rockabilly, R&B, and blues. He received his first guitar at his bar mitzvah and he and his friends began sneaking out to hear electric blues on the South Side's fertile club scene (with the help of their families' maids). The young Bloomfield sometimes jumped on-stage to jam with the musicians and the novelty of such a spectacle soon made him a prominent scenester. 

Dismayed with the turn his education was taking, his parents sent him to a private boarding school on the East Coast in 1958 and he eventually graduated from a Chicago school for troubled youth. By this time, he'd embraced the beatnik subculture, frequenting hangout spots near the University of Chicago. He got a job managing a folk club and frequently booked veteran acoustic bluesmen; in the meantime, he was also playing guitar as a session man and around the Chicago club scene with several different bands.

Highway 61 Revisited In 1964, Bloomfield was discovered through his session work by the legendary John Hammond, who signed him to CBS; however, several recordings from 1964 went unreleased as the label wasn't sure how to market a white American blues guitarist. In early 1965, Bloomfield joined several associates in the Paul Butterfield Blues Band, a racially integrated outfit with a storming, rock-tinged take on Chicago's urban electric blues sound. The group's self-titled debut for Elektra, released later that year, made them a sensation in the blues community and helped introduce white audiences to a less watered-down version of the blues. 

Individually, Bloomfield's lead guitar work was acclaimed as a perfectly logical bridge between Chicago blues and contemporary rock. Later, in 1965, Bloomfield was recruited for Bob Dylan's new electrified backing band; he was a prominent presence on the groundbreaking classic Highway 61 Revisited and he was also part of Dylan's epochal plugged-in performance at the 1965 Newport Folk Festival. In the meantime, Bloomfield was developing an interest in Eastern music, particularly the Indian raga form, and his preoccupation exerted a major influence on the next Butterfield album, 1966's East-West. Driven by Bloomfield's jaw-dropping extended solos on his instrumental title cut, East-West merged blues, jazz, world music, and psychedelic rock in an unprecedented fashion. The Butterfield band became a favorite live act on the emerging San Francisco music scene and in 1967, Bloomfield quit the group to permanently relocate there and pursue new projects.

A Long Time Comin'Bloomfield quickly formed a new band called the Electric Flag with longtime Chicago cohort Nick Gravenites on vocals. The Electric Flag was supposed to build on the innovations of East-West and accordingly featured an expanded lineup complete with a horn section, which allowed the group to add soul music to their laundry list of influences. The Electric Flag debuted at the 1967 Monterey Pop Festival and issued a proper debut album, A Long Time Comin', in 1968. Critics complimented the group's distinctive, intriguing sound, but found the record itself somewhat uneven. 

Unfortunately, the band was already disintegrating; rivalries between members and shortsighted management -- not to mention heroin abuse -- all took their toll. Bloomfield himself left the band he'd formed before their album was even released. He next hooked up with organist Al Kooper, whom he'd played with in the Dylan band, and cut Super Session, a jam-oriented record that spotlighted his own guitar skills on one half and those of Stephen Stills on the other. Issued in 1968, it received excellent reviews and moreover became the best-selling album of Bloomfield's career. Super Session's success led to a sequel, The Live Adventures of Mike Bloomfield and Al Kooper, which was recorded over three shows at the Fillmore West in 1968 and released the following year; it featured Bloomfield's on-record singing debut.

TriumvirateBloomfield, however, was wary of his commercial success and growing disenchanted with fame. He was also tired of touring and after recording the second album with Kooper, he effectively retired for a while, at least from high-profile activities. He did, however, continue to work as a session guitarist and producer, and also began writing and playing on movie soundtracks (including some pornographic films by the Mitchell Brothers). He played locally and occasionally toured with Bloomfield and Friends, which included Nick Gravenites and ex-Butterfield mate Mark Naftalin. Additionally, he returned to the studio in 1973 for a session with John Hammond and New Orleans pianist Dr. John; the result, Triumvirate, was released on Columbia, but didn't make much of a splash. 

Neither did Bloomfield's 1974 reunion with Electric Flag and neither did KGB, a short-lived supergroup with Barry Goldberg, Rik Grech (Traffic), and Carmine Appice that recorded for MCA in 1976. During the late '70s, Bloomfield recorded for several smaller labels (including Takoma), usually in predominantly acoustic settings; through Guitar Player magazine, he also put out an instructional album with a vast array of blues guitar styles, titled If You Love These Blues, Play 'Em as You Please.

Unfortunately, Bloomfield was also plagued by alcoholism and heroin addiction for much of the '70s, which made him an unreliable concert presence and slowly cost him some of his longtime musical associations (as well as his marriage). By 1980, he had seemingly recovered enough to tour in Europe; that November, he also appeared on-stage in San Francisco with Bob Dylan for a rendition of "Like a Rolling Stone." However, on February 15, 1981, Bloomfield was found dead in his car of a drug overdose; he was only 37.

01. It Takes Time  4:05
02. Oh Mama  3:23
03. Love Got Me  2:39
04. Blues On A Westside  15:35
05. One More Mile To Go  11:08
06. It‘s About Time  7:11
07. Carmelita Skiffle  5:18

Bonus:
08. If i Ever Get Lucky  14:04
09. Stronger Than Dirt (Instrumental) 06:19

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Ernie Graham - Selftitled (Good Rock Album UK 1971)

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This is one of the most hauntingly beautiful solo albums to come out of the whole English pub rock scene, and references to Bob Dylan and the Band are appropriate because the rootsy/folk-like intersections with their work are here. It's also a rival to the best work of Brinsley Schwarz, Ducks Deluxe, Eggs Over Easy, et al. (and no surprise -- the Brinsleys played on this album). 

Opening with the gorgeous, Dylanesque "Sebastian," built on a lyrical acoustic guitar part, Graham reveals himself a songwriter and player of extraordinary sensitivity -- he might easily have been another Alan Hull, or even bigger than that, had he been able to join a band with legs or hold his own career together. As it is, from that Dylan-like start, he and the Brinsleys deliver a brace of full electric numbers that rival the classic sound of the Band, starting with "So Lonely" -- the roots rock sound here is so authentically American that it will fool lots of listeners about its origins and source. 

For this album, "The Girl That Turned the Lever" and "For a Little While" are two of the finest working-class/folk-style compositions this side of "The Night They Drove Old Dixie Down," and "Blues to Snowy" takes Graham into Lynyrd Skynyrd territory. "Belfast" finally takes listeners to Graham's real roots, in a bracing, fiddle-driven folk-based piece from that side of the Atlantic.

Ernie Graham (born Ernest Harold Graham, 14 June 1946 in Belfast, died 27 April 2001 in London) was a singer, guitarist and songwriter, active from the mid-1960s to the early 1980s.

Ernie Graham was born in Belfast, and was training to be a mechanic, when he joined his first band Tony & the Telstars in 1965, as rhythm guitarist. When the band split Graham and two other members moved to England, where Graham met Henry McCullough. Graham and McCullough returned to Belfast and formed The People, with George O'Hara, Davey Lutton and Chris Stewart.

In 1967 the band moved back to London where they came to the attention of Michael Jeffery and were signed by him and Chas Chandler. In 1968 they changed their name to Eire Apparent and toured with Soft Machine, Pink Floyd and Jimi Hendrix.

Eire Apparent only recorded one album Sunrise (1969), which was produced by Hendrix, who also played on the album. Shortly after McCullough left, to tour with The Grease Band, Eire Apparent disbanded. Graham moved in with McCullough and recorded four songs with The Grease Band, but these were never issued.

Graham was then signed to Liberty Records as a solo artist, by Andrew Lauder. Sharing management with Brinsley Schwarz and Help Yourself, they all toured together as "The Down Home Rhythm Kings" package and lived in the same commune in Northwood. Both bands also backed Graham on his eponymous solo album Ernie Graham (1971). The album was well received, described as "one of the most hauntingly beautiful" albums of the pub-rock scene, and "one of the more distinctive and memorable solo albums of the period", but sold poorly.

Graham and 'JoJo' Glemser then joined Help Yourself appearing with them at the Glastonbury Festival in 1971 and playing on their second album Strange Affair (1972), although Graham had left the band before the album was released.

In 1973, Graham formed pub rock band Clancy, who were initially signed to Island Records, but issued two albums and a single on Warner Bros. Records. When Clancy broke up in 1976, Graham played with Nick Lowe  and tried to go solo, issuing Phil Lynott's "Romeo and the Lonely Girl" as a single in 1978, which was his last release.

In the early 1980s, he tried forming a band with Larry Pratt, who had briefly been a member of Clancy, but when this failed, he gave up being a professional musician, worked on the railways, including as a guard on the Orient Express, and was training to become a counsellor, but his "strong alcohol dependence"  caused his health to fail, and he died in April 2001.

Personnel:
♣ Ernie Graham - Guitar, Vocals
♣ Brinsley Schwarz, Richard Treece - Guitar
♣ Bob Andrews - Guitar, Accordion, Piano, Organ, Background Vocals
♣ Ian Gomm - Guitar, Background Vocals
♣ Malcolm Morley - Guitar, Vocals, Piano
♣ Nick Lowe, Ken Whaley - Bass Guitar
♣ Dave Charles - Drums, Percussion, Background Vocals
♣ Billy Rankin - Drums
♣ Chris Cunningham - Fiddle
♣ J. Eichler - Vocals

01. Sebastian 5:40 
02. So Lonely 5:25 
03. Sea Fever 4:40 
04. The Girl That Turned the Lever 6:15 
05. For a Little While 6:35 
06. Blues to Snowy 4:05 
07. Don't Want Me Round You 4.27
08. Belfast 5.39

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Help Yourself - Selftitled (Great Rock Album UK 1971)

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There's no question that Help Yourself's debut album was a product of its times -- something about the whole easygoing boogie vibe and gentle psych-inspired trippiness, the way of singing, the production, and more just screams early-'70s non-metal and non-glam rock & roll. Look at it one way and Help Yourself was just a cut above incipient bar band culture but, heard with fresh ears years after its release, it strikes a great balance between entertaining the crowd and exploration. Call the band a more down-to-earth Pink Floyd or Hawkwind set somewhere in the English countryside without specifically owing anything to either band. 

Morley, who takes vocal lead throughout, shows a fine voice similar to Neil Young's, with just that hint of twang while not sounding quite so cracked and strained. At some points the resemblance is overwhelming -- check out the chorus of the wistful "Old Man" (in fact not a cover of Young's own standard, though that would have been perfectly appropriate). As a unit, the four-piece, which finished up the album in a week's time, comes across as seasoned without being overly pro or polished -- the curse of "tasty licks" is generally avoided in favor of relaxed understatement, solos smoothly fitting into the songs rather than dominating them. 

The more immediately singalong numbers, like "I Must See Jesus for Myself" and the lovely "Paper Leaves," as perfect a late summer evening ramble and sigh as one could ask for, still sneak up on a listener, entrancing without trying too hard to do so. There are some darker numbers worthy of note -- "To Katherine They Fall" is the most space rock of the bunch, keeping the right head-nodding vibes while not tripping out completely, while "Deborah" is a flat-out lovely piano ballad, Morley's wounded voice the perfect accompaniment.

HELP YOURSELF were formed in 1970 near London, and initially consisted of guitarist Richard Treece, drummer Dave Charles, bassist Ken Whaley and guitarist / keyboardist / vocalist Malcolm Morley. The band recorded their first studio album in 1971 and would release three others before disbanding in late 1973, their career marked by financial and personal issues. Bassist Whaley briefly left the band to help form DUCKS DELUXE and was replaced by guitarist Ernie Graham. For a time in the early seventies the band roomed at the Grange (home of Led Zeppelin's Symbols record) with fellow British act Brinsley Schwarz, where they also recorded their second album. They also performed on the All Good Clean Fun tour in 1972 along with MAN and other British acts.

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Amid a number of lineup changes Ken Whaley returned to the band in 1973, and his return was marked by the band's fourth and final seventies release 'The Return of Ken Whaley', after which the group quickly disintegrated, but not before recording several tracks which would become the 2004-issued compilation known simply as '5'.

Morley and Whaley would join MAN, a band to which HELP YOURSELF had been associated for most of their existence. Morley would also do a stint with BEES MAKE HONEY. Treece recorded with ICEBERG as well as forming the short-lived HEALY TREECE BAND in the late seventies with GRATEFUL DEAD drummer Bill Kreutzmann and soundman Dan Healy. He would also record with MAN, as well as THE FLYING ACES, THE ARCHERS, THE NEUTRONS, SPLENDID HUMANS, and THE TYLA GANG before joining GREEN RAY in 1988. 

HELP YOURSELF's rather brief and rocky career left us a collection of decidedly American-sounding folksy, blues and psychedelic recordings. Most of the band members would pursue full-time music careers, and while none managed to find significant commercial success, their discography of Helps albums are widely admired by progressive and psych fans the world over.

01. I Must See Jesus for Myself (4:03)
02. To Katherine they Fall (3:32)
03. Your Eyes are Looking Down (4:30)
04. Old Man (6:42)
05. Look at the View (2:33)
06. Paper Leaves (3:07)
07. Running Down Deep (3:39)
08. Deborah (3:26)
09. Street Songs (5:35)

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Appaloosa - Selftitled (Great Rock Album US 1969)

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Our tale begins on a weekday after my newly-appointed office as staff A&R man at Columbia Records in 1969, had already produced the top ten Super Session album, and was always scouting for new talent. Four young lads had some-how by-passed security and poked their heads into my office. "Can I help you?" I inquired "We've travelled from Boston just to audition for you, Mr. Kooper," they flatteringly exclaimed.

I picked up the phone and called the studio booking office to try and get some space to hear them play as soon as possible. When they heard my end of the conversation, they yelled out: "Hang up!!! We can play right here in your office! All we need is one plug for the bass amp!" Never having been accosted with an offer like this before, I sheepishly hung up the phone, and pointed to the wall outlet.

They plugged in a tiny bass amp and opened their instrument cases. Out came an acoustic guitar, a CELLO! and a VIOLIN! I was totally mesmerized and I had't heard a note yet. The acoustic guitarist. John Compton. began to play and sing. The bass provided a rhthymic/melodic path behind him, and soon the strings began to swirl behind his Buddy Holly-esque vocal and a big smile broke out on my face. Every talent scout hopes for something unique to fall into their lap. Not the run of the mill crap that pours out of AM radios, but something we've never heard before; with unmeasurable depth.

Here it was delivered to my office with no order placed. It was hard to believe. When they finished the first song. I told them to relax - that I would surely sign them up - and to continue playing every? original song in their repertoire. I took notes and asterisked the songs that jumped out at me. "Tulu Rogers" - a pastoral view of the countryside in the height of New England winter, a woman sits by the window crocheting to the sounds of Bach. "Thoughts Of Polly" - a jazzy sounding verse forwards into a folk rock chorus that concludes in a dizzying jazz coda supplied by the addition of then-Blood Sweat & Tears-sters Bobby Colomby on drums and Fred Lipsius on screaming, lyrical alto sax.

The band incorporates the addition of other musicians with nary a blink. "Feathers" - I always felt this album was six months ahead of it's time - that James Taylor followed in the correct time slot, also a New England lad, but with Beatle support, and a great deal more advertising. This song could easily have been written by Taylor in that time slot. "Bi-Weekly" - I could not resist adding a stuaioband around this autumnal quartet. This is a wonderful song lyrically and musicaly. It's hard to believe it's just Robin Bateaux on viola and Gene Rosov on cello, bouilding their own string fortress in this city of sound. "Glossolallia" - reminded me of Donovan to come.

A woman stands in harbor, on a balcy, singing to the ocean. David Reiser, bassist, shows why this quartet had a bassist and drummer in one, when such a thing was neccesary. "Rivers Run To The Sea" Bobby Colomby attempts to bridge this bi-tempo sonnet. I join on electric guitar. "Pascals Paradox" - one of the best examples of what is great and timeless about Appaloosa. With no assistance or correction they do what is INCREDIBLY unique about them. And I lost myself in mock-heroic style, lodged in their castle for awhile. "Yesterdays Roads" - talking about flirting with a past lover and giving it relevance lyrically.

I confess to uncontrollably tinkling the ivories on this track. "Georgia Street" - the other song that Bobby Colomby and Fred Lipsius gave ample contributions. I m also doing my best on the doomed 1969 Rock-Si-Chord keyboard. Anotner duo-tempo composition by Compton is tackled in grand fashion climaxing in a swinging Lipsius alto solo. It's wonderful to ressurect this album now: nearly 40 years after it s innocent, naive debut.

It still retains it s innocence and naivette, and sounds so much like those it influenced much later on in one way or another: Damian Rice. The Left Banke, Christopher Cross, A Stewart, James Blunt, and perhaps in someway or another, James Taylor. The album cover was shot by Marie Cosindas, who specialized in taking all her portraits with Polaroid cameras. She captured the essence of the group admirably and in 60 seconds, we had our cover.

Although not a huge seller in it's time, it reached a lot of people who were in college at the time. I think many of them kept a soft spot in their music heart and will be glad to know about this re-release. To possibly rekindle that warmth once again. 
Thanks for listening 
(Al Kooper)

Although the term somehow didn't stick as part of standard rock criticism vocabulary, for a while in the late 1960s, there was a vogue of sorts for music that was described in the press as "folk-baroque." Artists such as Judy Collins, Donovan, Tim Hardin, and Tom Rush were all arranging folk-oriented material with classical-influenced orchestration. While there weren't many others who dipped as heavily into the folk-baroque bag, the mating of rock with classical could be heard at times in the work of many significant groups and singer-songwriters, including Tim Buckley, Phil Ochs, the Bee Gees, the Beatles, and even the Rolling Stones. Others unveiled a knack for a style without, unfortunately, reaching nearly as wide an audience.

One of the most talented such acts was Appaloosa, whose self-titled 1969 LP matched singer/acoustic guitarist John Parker Compton's thoughtful, melodic compositions to sympathetic arrangements featuring fellow band members Robin Batteau on violin, Eugene Rosov on cello, and David Reiser on electric bass. In both its combination of instruments and the absence of a drummer, it was a most unusual instrumental lineup for a rock band, even at a time when boundaries and restrictions were routinely bent. The core quartet were bolstered by top session players (including members of Blood, Sweat & Tears) and, above all, producer Al Kooper, who also added a lot of his own keyboards and guitar to the album.

Only nineteen at the time of the album's release, Compton began performing in folk clubs in the Boston area as a solo act. "But one night, I invited my classmate David Batteau, both of us seventeen at the time, to join me with his cello," he says. "I remember how the audience began laughing when we walked on stage -- but they weren't laughing after David began to play. I performed songs that I had written in English class at boarding school. The Beatles and the Stones were on the radio every three minutes, and they introduced the world to the idea of using classical instruments with folk music. We and many others were inspired by their folk-baroque productions."

Compton and David Batteau would only do a couple of gigs together, but John would form a duo with David's violinist brother Robin Batteau, who was perhaps the most distinctive element in Appaloosa's instrumental mix. "Robin and I began performing as a duo during the summer of '68 at coffeehouses in Cambridge and Boston, and performing every Sunday afternoon at the Cambridge Common Music Concerts," Compton recalls. "It was an outdoor event one block from Harvard Square that Bob Gordon organized. As you might imagine, the place was packed and it was an instant party. Robin blew everyone's mind every time with his unique soaring violin solos. Gordon took a liking to us and always gave us a place on the roster. We also opened for Tim Hardin during Tim's week-long engagement at Paul's Mall in Boston. Additionally, we opened for the Rascals at Harvard Stadium."

The lineup that played on the Appaloosa album was finalized, he continues, when "Eugene Rosov and David Reiser joined the band. Eugene was living at the Batteaus' house while he was attending Harvard, so I would walk over and there it was -- an instant band. Around September of '68, Robin and I began practicing songs with Eugene (cello) and David (Fender bass) in the Batteaus' garage. We performed one night at a house party of a young attorney in Brookline, Massachusetts who offered to fly us all to New York and audition for record companies."

As for what the new additions brought to the group, "[Robin] Batteau and Rosov mapped unknown musical territories, working as a team. They created a musical grace that one only sees in Olympic figure skaters. Listen to the intro to 'Yesterday's Roads,' and you will hear what I am talking about. The intro is only ten seconds -- yet it contains so many intense levels and moods. It's noteworthy to mention that both Robin and Eugene at the time were 'A' students at Harvard University. I can't imagine their combined IQ. And speaking of high IQs, David Reiser used his high IQ to create the backbone of the Appaloosa sound. Al Kooper picked up on this fact immediately, and mentions it in the liner notes. I was aware that David, who was seventeen, was sitting in with jazz groups twice his age at some of Boston's premier jazz clubs, and thought of him at the time as simply a very accomplished jazz bassist. But I soon came to understand that David possessed an awesome musical and mathematical ability. In a nutshell, David is the [Motown bass session great] James Jamerson and Bootsy Collins of folk-rock. David brought a muscular grace to the band. Songs like 'Pascal's Paradox' or 'Rosalie' wouldn't be the same without his brilliant playing." Reiser also came up with the name for the band, and as Compton smiles, "I always stop when I see an Appaloosa horse and walk up and say 'hello.'"

Appaloosa got their deal -- with one of the biggest record companies in the world -- in the spontaneous, quick fashion that would likely be all but impossible in the far more corporate music business of the twenty-first century. "We auditioned for about five or six record companies in New York City," remembers John. "We were on the waiting list of three or four companies, and decided to approach another company, which turned out to be Columbia. Meeting Al Kooper was just a fluke. We were playing for some secretaries at Columbia while waiting for an appointment. Al Kooper walked by and instantly asked us if we would like to make a demo tape that night."

Kooper was one of the hippest producers a young band could have hoped for, having already made his mark as a member of the Blues Project and the first lineup of Blood, Sweat & Tears, as well as playing on numerous important folk-rock sessions (most notably on some of Bob Dylan's early electric recordings). In 1968 he was hired as a staff producer for Columbia Records, continuing to record as a solo artist, collaborator with Mike Bloomfield, and session musician. "Kooper was very professional, and also very relaxed and wonderful to be around," praises Compton. "A week after meeting Kooper we also met Van Morrison's brilliant producer Lew Merenstein, who orchestrated Van's classic Astral Weeks LP. Lew really wanted to work with us. So for a few weeks there was a tug-of-war between the two producers, but we finally went with Kooper. I often think about how our record would have turned out more organic if we had used Merenstein as our producer, but I am glad that we chose Kooper."

John had written most of the songs on Appaloosa over a period of two years, while "attending a progressive boarding school. The school was in a perfect setting for a young writer. It was in a remote location in the middle of farm country in upstate New York. No television. Radios and record players were the only form of entertainment allowed. The 'mood' and 'feels' that I was surrounded with daily were poet-singer-songwriters that were piped in on AM radio: Donovan, the Beatles, the Bee Gees, etc. Storytelling set to classical music. Songs like the Beatles' 'Eleanor Rigby' reverberated on the radio with a graceful power that the world had never experienced before. People were being introduced to the concept of advanced soul-bearing and soul-searching poetry in pop music. It helped establish a certain mood and feel throughout the world." As for his own songwriting contributions along these lines, "I was trying to tell my girlfriend Jane and my beautiful English teacher how I felt."

To round out the sound, Kooper pulled in two ex-Blood, Sweat & Tears bandmates, drummer Bobby Colomby and alto saxophonist Fred Lipsius; Charlie Calello, who had produced the great singer-songwriter Laura Nyro, for conducting the orchestra on "Now That I Want You" and "Bi-Weekly"; and drummer Artie Schreck, who played on Nyro sessions. (Furthering the Nyro connection, one of Appaloosa's first gigs was opening for Nyro and Sam & Dave at Tufts University.) Kooper himself played electric harpsichord, electric guitar, organ, vibraphone, piano, and electric piano, as well as doing string arrangements for "Rosalie" and temple blocks on "Rivers Run to the Sea."

"I would not be talking to you if it were not for Al Kooper," Compton enthuses. "We were aware at the time, of course, that Kooper worked with Dylan, and we were in awe of him. But from the start, Al immediately set a wonderful relaxed tone, and went out of his way to make us all feel at home -- inviting us to his home for dinner, going out to get hot dogs at a deli, etc. Kooper had a vision, but didn't talk about it much. Al is a musician's musician, and would simply say, 'I'll see you at the studio tomorrow at 3:30 PM.' We would walk in, and there would be Bobby Colomby, one of the world's greatest drummers, who in turn went out of his way to make us feel at home with joke after joke. Bobby really brought a lot to the table. His timing is perfect, and he plays with a light jazz touch. I have fond memories of recording 'Rivers Run to the Sea,' and sitting there and marveling as Bobby Colomby leaned closer to his drum set and artfully made the tempo change, giving the song a Laura Nyro tempo change feel. And Fred Lipsius and Artie Schreck are consummate pros.

"As an instrumentalist, Al is the best. I totally love his piano and electric guitar parts on 'Rosalie,' and his glockenspiel part on 'Rivers Run to the Sea.' The feeling of brotherhood between all the musicians and engineers is what I will always remember and carry with me. Being around and working with Kooper was like being around a wise and experienced uncle. Al went out of his way to give everyone in the band a psychological pat on the back -- and what can be better than that?"

For all the production effort that went into the record, points out Compton, "actually, two-thirds of the songs are produced with a very acoustic sound. For example, songs like 'Pascal's Paradox' and 'Tulu Rogers' are just guitar, violin, cello, and bass. However, as the recording sessions progressed, Al brought in more and more of Blood, Sweat & Tears to play on the songs, and then brought in his friend Charlie Calello to arrange 'Bi-Weekly' and 'Now That I Want You.' Another song that Al 'Kooperized' was 'Rosalie,' which Robin and I had originally performed for years as a folk song. Kooper folk-rocked it up with piano and electric guitar. I couldn't relate to his production of the song for a year or two. Then one day I understood Kooper's production genius -- he kindly gave the song the Blonde on Blonde treatment. To this day I am honored that he went the extra mile on this song, because he set the stage for Robin Batteau and Eugene Rosov to really shine."

Some of the album's standouts included "Thoughts of Polly," with its touches of both classical and jazz; "Bi-Weekly," with its soaring orchestration and distinctive Kooper organ; and "Georgia Street," with its unusual shifting rhythms. "It was great having Fred Lipsius add his distinctive sax to 'Thoughts of Polly,'" observes Compton. "He recorded the part right in the control room, and then Kooper said, 'Let's try playing the tape backwards,' giving Fred's part that Jimi Hendrix here-there-and-everywhere floating sound. We recorded 'Bi-Weekly' live with a big band in Columbia's larger studio, with its control room way up in the clouds." As for his own favorites, he adds, "Personally, I like 'Rosalie' because of Kooper's arrangement and production, and 'Bi-Weekly' because of Charlie Calello's brilliant arrangement. In hindsight, 'Bi-Weekly' should have been 'the single,' with its radio-friendly Glen Campbell-sounding lead guitar part combined with the strings."

Compton's clearly done a lot of thinking about the "folk-baroque" sound from which Appaloosa took much of its inspiration. "The true musical pioneers established the sound a year or two earlier: Donovan, the Beatles, the Rolling Stones, Gordon Lightfoot, Tom Rush, Nick Drake, Bobbie Gentry, and Tim Hardin. They and  their producers were real musical visionaries who created new musical formulas that helped to change the world. Like when the Beatles performed 'All You Need Is Love' on their global broadcast -- the classical instruments really helped to spread their message. Sure, prior to the '60s, record producers had used strings to 'sweeten' a song by adding a string section to the mix and placing it way in the background. But the musical pioneers that I just mentioned took the string section and turned it into a string quartet, and mixed it right up front, interweaving it with the lead vocal. Who can forget hearing the Beatles' 'Michelle' for the first time? There is something so primal about combining vocal, violin, and cello when it is done correctly. The sound massages the soul.

"Donovan's classic song 'Jennifer Juniper,' or the Stones' megahit 'Ruby Tuesday,' or James Taylor's historic 'Fire and Rain,' or Gordon Lightfoot's transcendentally beautiful 'If You Could Read My Mind' -- they all use the same musical formula of combining classical instrumentation in a folk-pop production. One of my school friend's sister was dating James Taylor at the time, so we all watched his every move with anticipation, admiration, and awe. I'll never forget seeing James on the subway in Boston with his guitar on his way to London to audition for the Beatles. A few months later he was on every FM station in the land. His influence and genius was everywhere. Another musical pioneer around that time was Bobbie Gentry, whose unbelievably beautifully produced 'Ode to Billie Joe' knocked the Beatles' 'All You Need Is Love' from the #1 spot on the charts in 1967. And let's not forget Sonny Bono, who blew everyone's mind by writing, arranging, and brilliantly producing Sonny & Cher's 'I Got You Babe.' The oboe part in that song is fantabulous. Each one of these songs uses the same magical musical formula: romantic poetry combined with classical instruments. My appreciation only grows greater and greater the more I listen to these perfect musical gems.

"But the important thing that was happening was that a 'mood' or a 'feel' was being broadcast everywhere. For the first time, the world was being drenched in folk-baroque music. Sure, on one level this new sound was entertainment, but on another level, it was a three-minute example of mathematical perfection. Every time a song [like] James Taylor's 'Fire and Rain' or the Bee Gees' 'To Love Somebody' came on the radio, it was like an acoustical laser beam was being broadcast across the land, with a gentle power to tear down the old world things."

Unfortunately, despite all the care that Appaloosa, Kooper, and friends lavished upon the album, Appaloosa was not often broadcast across the United States. "Interestingly, it appears that Columbia released the album mainly overseas," reveals Compton. "To this day, I get an email every week from someone in Germany or Japan asking where they can buy the record." It would be Appaloosa's only album, the band splitting up when Compton, Batteau, and some friends drove out to California. John and Robin worked as a duo on Columbia for the Compton & Batteau in California album, with John doing his first solo album shortly afterward. Still active in music, in mid-2005 Compton is "pleased to report that Appaloosa is getting back together. We're working in the studio right now on our first single."

The Band
♦ John Parker Compton - Vocals, Acoustic Guitar 
♦ Eugene Rosov - Cello
♦ David Reiser - Bass 
♦ Robin Batteau - Violin 

01. Tulu Rogers - 3:59
02. Thoughts of Polly - 5:51
03. Feathers - 2:29
04. Bi-Weekly - 3:36
05. Glossolalia - 4:07
06. Rivers Run to the Sea - 3:32
07. Pascal's Paradox - 3:23
08. Yesterday's Road - 3:21
09. Now That I Want You - 2:34
10. Georgia Street - 4:47
11. Rosalie - 4:28

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B.B. King - Paul Masson Mountain Winery 1985 FM (Bootleg)

Size: 239 MB
Bitrate: 320
mp3
Found in OuterSpace 
Some Artwork

Universally hailed as the reigning king of the blues, the legendary B.B. King is without a doubt the single most important electric guitarist of the last half century. His bent notes and staccato picking style have influenced legions of contemporary bluesmen, while his gritty and confident voice -- capable of wringing every nuance from any lyric -- provides a worthy match for his passionate playing. Between 1951 and 1985, King notched an impressive 74 entries on Billboard's R&B charts, and he was one of the few full-fledged blues artists to score a major pop hit when his 1970 smash "The Thrill Is Gone" crossed over to mainstream success (engendering memorable appearances on The Ed Sullivan Show and American Bandstand). Since that time, he has partnered with such musicians as Eric Clapton and U2 while managing his own acclaimed solo career, all the while maintaining his immediately recognizable style on the electric guitar.

The seeds of Riley B. King's enduring talent were sown deep in the blues-rich Mississippi Delta, where he was born in 1925 near the town of Itta Bena. He was shuttled between his mother's home and his grandmother's residence as a child, his father having left the family when King was very young. The youth put in long days working as a sharecropper and devoutly sang the Lord's praises at church before moving to Indianola -- another town located in the heart of the Delta -- in 1943.

Country and gospel music left an indelible impression on King's musical mindset as he matured, along with the styles of blues greats (T-Bone Walker and Lonnie Johnson) and jazz geniuses (Charlie Christian and Django Reinhardt). In 1946, he set off for Memphis to look up his cousin, a rough-edged country blues guitarist named Bukka White. For ten invaluable months, White taught his eager young relative the finer points of playing blues guitar. After returning briefly to Indianola and the sharecropper's eternal struggle with his wife Martha, King returned to Memphis in late 1948. This time, he stuck around for a while.

King was soon broadcasting his music live via Memphis radio station WDIA, a frequency that had only recently switched to a pioneering all-black format. Local club owners preferred that their attractions also held down radio gigs so they could plug their nightly appearances on the air. When WDIA DJ Maurice "Hot Rod" Hulbert exited his air shift, King took over his record-spinning duties. At first tagged "The Peptikon Boy" (an alcohol-loaded elixir that rivaled Hadacol) when WDIA put him on the air, King's on-air handle became "The Beale Street Blues Boy," later shortened to Blues Boy and then a far snappier B.B.

King had a four-star breakthrough year in 1949. He cut his first four tracks for Jim Bulleit's Bullet Records (including a number entitled "Miss Martha King" after his wife), then signed a contract with the Bihari Brothers' Los Angeles-based RPM Records. King cut a plethora of sides in Memphis over the next couple of years for RPM, many of them produced by a relative newcomer named Sam Phillips (whose Sun Records was still a distant dream at that point in time). Phillips was independently producing sides for both the Biharis and Chess; his stable also included Howlin' Wolf, Rosco Gordon, and fellow WDIA personality Rufus Thomas.

the Biharis also recorded some of King's early output themselves, erecting portable recording equipment wherever they could locate a suitable facility. King's first national R&B chart-topper in 1951, "Three O'Clock Blues" (previously waxed by Lowell Fulson), was cut at a Memphis YMCA. King's Memphis running partners included vocalist Bobby Bland, drummer Earl Forest, and ballad-singing pianist Johnny Ace. When King hit the road to promote "Three O'Clock Blues," he handed the group, known as the Beale Streeters, over to Ace.

It was during this era that King first named his beloved guitar "Lucille." Seems that while he was playing a joint in a little Arkansas town called Twist, fisticuffs broke out between two jealous suitors over a lady. The brawlers knocked over a kerosene-filled garbage pail that was heating the place, setting the room ablaze. In the frantic scramble to escape the flames, King left his guitar inside. He foolishly ran back in to retrieve it, dodging the flames and almost losing his life. When the smoke had cleared, King learned that the lady who had inspired such violent passion was named Lucille. Plenty of Lucilles have passed through his hands since; Gibson has even marketed a B.B.-approved guitar model under the name.

The 1950s saw King establish himself as a perennially formidable hitmaking force in the R&B field. Recording mostly in L.A. (the WDIA air shift became impossible to maintain by 1953 due to King's endless touring) for RPM and its successor Kent, King scored 20 chart items during that musically tumultuous decade, including such memorable efforts as "You Know I Love You" (1952); "Woke Up This Morning" and "Please Love Me" (1953); "When My Heart Beats like a Hammer," "Whole Lotta' Love," and "You Upset Me Baby" (1954); "Every Day I Have the Blues" (another Fulson remake), the dreamy blues ballad "Sneakin' Around," and "Ten Long Years" (1955); "Bad Luck," "Sweet Little Angel," and a Platters-like "On My Word of Honor" (1956); and "Please Accept My Love" (first cut by Jimmy Wilson) in 1958. King's guitar attack grew more aggressive and pointed as the decade progressed, influencing a legion of up-and-coming axemen across the nation.

In 1960, King's impassioned two-sided revival of Joe Turner's "Sweet Sixteen" became another mammoth seller, and his "Got a Right to Love My Baby" and "Partin' Time" weren't far behind. But Kent couldn't hang onto a star like King forever (and he may have been tired of watching his new LPs consigned directly into the 99-cent bins on the Biharis' cheapo Crown logo). King moved over to ABC-Paramount Records in 1962, following the lead of Lloyd Price, Ray Charles, and before long, Fats Domino.

Live at the Regal In November of 1964, the guitarist cut his seminal Live at the Regal album at the fabled Chicago theater and excitement virtually leaped out of the grooves. That same year, he enjoyed a minor hit with "How Blue Can You Get," one of his many signature tunes. "Don't Answer the Door" in 1966 and "Paying the Cost to Be the Boss" two years later were Top Ten R&B entries, and the socially charged and funk-tinged "Why I Sing the Blues" just missed achieving the same status in 1969.
Across-the-board stardom finally arrived in 1969 for the deserving guitarist, when he crashed the mainstream consciousness in a big way with a stately, violin-drenched minor-key treatment of Roy Hawkins' "The Thrill Is Gone" that was quite a departure from the concise horn-powered backing King had customarily employed. At last, pop audiences were convinced that they should get to know King better: not only was the track a number-three R&B smash, it vaulted to the upper reaches of the pop lists as well.

Love Me TenderKing was one of a precious few bluesmen to score hits consistently during the 1970s, and for good reason: he wasn't afraid to experiment with the idiom. In 1973, he ventured to Philadelphia to record a pair of huge sellers, "To Know You Is to Love You" and "I Like to Live the Love," with the same silky rhythm section that powered the hits of the Spinners and the O'Jays. In 1976, he teamed up with his old cohort Bland to wax some well-received duets. And in 1978, he joined forces with the jazzy Crusaders to make the gloriously funky "Never Make Your Move Too Soon" and an inspiring "When It All Comes Down." Occasionally, the daring deviations veered off-course; Love Me Tender, an album that attempted to harness the Nashville country sound, was an artistic disaster.

Blues Summit Although his concerts were consistently as satisfying as anyone in the field (King asserted himself as a road warrior of remarkable resiliency who gigged an average of 300 nights a year), King tempered his studio activities somewhat. Nevertheless, his 1993 MCA disc Blues Summit was a return to form, as King duetted with his peers (John Lee Hooker, Etta James, Fulson, Koko Taylor) on a program of standards. Other notable releases from that period include 1999's Let the Good Times Roll: The Music of Louis Jordan and 2000's Riding with the King, a collaboration with Eric Clapton. King celebrated his 80th birthday in 2005 with the star-studded album 80, which featured guest spots from such varied artists as Gloria Estefan, John Mayer, and Van Morrison. Live was issued in 2008; that same year, King released an engaging return to pure blues, One Kind Favor, which eschewed the slick sounds of his 21st century work for a stripped-back approach. A long overdue career-spanning box set of King's over 60 years of touring, recording, and performing, Ladies and Gentlemen...Mr. B.B. King, appeared in 2012.

B.B. King 
Paul Masson Mountain Winery
Saratoga, CA 1985-07-04 

01. Intro Jam
02. Instrumental #1
03. Instrumental #2
04. B.B. King Intro Jam
05. Everyday I Have The Blues
06. How Blue Can You Get?
07. Band Introduction
08. Ain't Nobody Home
09. Why I Sing The Blues (tape flip)
10. Guess Who
11. Don't Make A Move Too Soon
12. Blues Medley Rap
13. Don't Answer The Door
14. Five Long Years
15. Nobody Loves Me But My Mother > Flying Story
16. All Over Now
17. Ain't Nobody's Business
18. One Of Those Nights
19. Caledonia
20. Outside Help
21. The Thrill Is Gone
22. Into The Night>DJ Comments

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