Marvin Holmes and Justice - Honor Thy Father (Great Funk'n Soul US 1975)

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A real killer from Marvin Holmes and his hip Oaktown combo Justice – a group who effortlessly blend together jazz, soul, and funk into a wonderfully soaring style – yet one that's also more than heavy enough to live up to the message-oriented lyrics of the tracks! 

The album's one of those rare soul sides that really blows away most of 
the mainstream from the time – a wonderfully heady album that could only have been cut in the underground – where folks like Marvin were keeping things real, and pushing a social agenda that was way stronger than anything you'd find in the charts! Horns are great, as are the rhythms – and the vocals blend together perfectly on cuts that include "Motherless Child".

Recorded at San Francisco
Originally released from Brown Door Records as MH 6581 LP, 1975

01. You Better Keep Her  04:13
02. Motherless Child  03:48  
03. She's A Dancer  02:59  
04. Honor Thy Father  03:38  
05. Find Yourself  03:45  
06. Take the Time Out  03:17  
07. Neighbor Neighbor  03:27  
08. Kwame  03:12  
09. Gimme Some Tonight, Part 1  04:56
10. Gimme Some Tonight, Part 2  02:44

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Us Single 1974

Bruce & Terry - The Best of (Surf and Hot Rod Sound US 1966)

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Best known for their hits as the Rip Chords, the vocal duo of Bruce Johnston and Terry Melcher collaborated on countless hot-rod and surf records during the mid-1960s, working under a seemingly endless variety of studio guises. While Johnston was already a well-known West Coast session player, Melcher (the son of Doris Day) had released a series of singles under the name Terry Day before being named Columbia Records' youngest-ever staff producer; he brought Johnston to the company to release 1963's Surfin' Round the World, and the pair soon began collaborating regularly. 

As the Rip Chords, they scored their biggest hit with 1964's "Hey Little Cobra; " a series of singles credited to Bruce and Terry followed before the duo went their separate ways, with Johnston joining the Beach Boys and Melcher enjoying even greater success as a producer. In mid-1998 the Sundazed label compiled The Best of Bruce and Terry, a 20-track collection of their hits.

This 20-track compilation gathers together the best of Johnston's and Melcher's best sides for Columbia under the B&T moniker. That's important, because this collection could just as easily have been double the length if they had amassed all the tracks that Bruce & Terry had recorded under other names like the Rip Chords, etc. including the hit "Hey Little Cobra." Because Bruce & Terry were a virtual vocal overdubbing machine, some of the tracks on here ("Custom Machine," "Don't Run Away," "I Love You Model T," "Come Love," "Raining In My Heart") appear in mono-only formats. 

This becomes the only way to hear the final product as it was etched into black phonograph records, as B&T would overdub right directly onto the final single track mix. It also gives the sound of these tracks an edgy, mid-rangey "squashed" kind of compression to them, making them leap out of the speakers. As a musical satellite orbiting around the Brian Wilson/Jan & Dean/Wrecking Crew axis, the music here reflects that time and sound beautifully. These are the beginnings of two long-standing careers in the record business and the records they literally cut their teeth on.

Bruce & Terry - US Promo Single 24 Dec 1963

Based in Los Angeles, California, USA, this duo comprised Terry Melcher (Terrence Jorden, 8 February 1942, New York City, New York, USA, d. 19 November 2004, Beverly Hills, California, USA; vocals) and Bruce Johnston (b. 27 June 1944, Peoria, Illinois, USA; vocals). They met in 1959 when Johnston recorded for the Arwin label which was co-owned by Melcher’s mother, Doris Day. Within three years Melcher had become a staff producer at Columbia Records where he oversaw, among other albums, Johnston’s Surfin’ Around The World. The pair began working together in 1963 as the Hot Doggers, before enjoying chart success as the Rip Chords. 

They made their chart debut as Bruce And Terry in February 1964 with ‘Custom Machine’, written by Brian Wilson of the Beach Boys. It was succeeded by ‘Summer Means Fun’, the first of several P.F. Sloan / Steve Barri songs the duo recorded. Bruce and Terry parted company in 1965 as Melcher’s production commitments to the Byrds and Paul Revere And The Raiders took precedence. In April 1965 Johnston joined the Beach Boys, with whom he still plays. However, he resumed a partnership with Melcher in 1976 when the pair founded a short-lived record label, Equinox Productions.

01.Hawaii - (previously unreleased)
02.Summer Means Fun
03.Come On, Let's Go - (with The Rogues)
04.Carmen
05.Don't Run Away - (mono)
06.Custom Machine - (mono)
07.I Love You Model "T" - (mono)
08.Raining In My Heart - (mono)
09.Everyday - (with The Rogues)
10.Roger's Reef - (mono, with The Rogues)
11.Yeah! - (mono)
12.Thank You Baby - (mono)
13.Girl, It's Alright Now - (mono)
14.Roger's Reef, Part II - (mono, with The Rogues)
15.Halfway - (previously unreleased, mono)
16.Come Love - (mono)
17.Four Strong Winds
18.Help Me Rhonda - (previously unreleased)
19.Look's Who Laughing Now - (previously unreleased)
20.Here Comes Summer - (previously unreleased)

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Led Zeppelin - Led Zeppelin II (Original Album Photo From World War I)

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More of Billboard Magazines Album Review From 60's to early 70's

Neil Young -Tonight The Nights 1973-74 (Acetate)

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Of all legendary released or unreleased Neil Young albums, none has received more accolades, criticism or prompted more discussion by fans &/or critics than "Tonight's The Night".

Although the released LP (issued June 20,1975) is supposidly closer to the original concept, it's those the alternate versions that Neil (or someone close to him) has mentioned in numerous interviews over the years that fuels interest in what might have been. Details were few, except that "most" of the released songs have always been part of the story, which songs were anybody's guess. Even the often-mention Elliott Roberts stage play version has never been detailed. Then, about 25 years ago, I came across a box of acetates at a record swap meet. 

Neil Young & Graham Nash
at The Roxy October 13, 1973

Some of them were labeled; some were not. A few of the labels bore the names of unknown artists in faded type. One Columbia Studios disc had "NEIL YOUNG" in type so faded that it was more embossed than legible; the "B" side label was blank. I bought it, carefully put it in my record carry-case, headed for the door and went home. I had no idea about what I'd found, but I knew that I'd found enough for one day.

What I found that day was one of the who-knows-how-many different "Tonight's The Night" acetates. Although seven of the twelve acetate cuts did end up on the 1975 Reprise LP, the song order was completely different (and included only one take of the title song). Three of the remaining five songs were eventually released, but the other two are still unreleased, nearly thirty years later. Expected but missing was the no-break-between-song chatter that had been one of the few recurring "original concept" rumors. 

There is a small amount of extra "musician noise" at the end of some cuts, but it is always followed by cold silence.

As it turned out, nothing unexpected (based on countless discussions and published articles) would appear sonically on the acetate. Invariably, accounts of the numerous unreleased versions of this album have always implied a cohesive "story" (i.e., starting and ending with the title song), this previously undocumented version seems unfocused as it rolls on like any other collection of songs drawn from various dates.

The album starts off just like the released LP, with "Tonight's The Night (Part One)", followed by "Mellow My Mind", "Roll Another Number", "Tired Eyes" and "Speakin' Out" -- out of sequence (all from the released LP). But that's where the similarities end and the interesting stuff begins. Two tracks from "On The Beach" (July 10, 1974) follow, with "Walk On" closing side one and "For The Turnstiles" opening side two. The still-unreleased "Bad Fog Of Loneliness" is next. 

Neil Young 1973 Photo

How this [alleged] Crazy Horse track ended up in this project has been debated for years, but the mood & performance fits seamlessly with the Santa Monica Flyers cuts. This slow, plodding recording is classic Crazy Horse, highlighted by the "dueling" lead guitars of Old Black (Neil) & the sweet pedal steel guitar (Ben Keith). "New Mama" (from the released album) follows, with "Winterlong" (from "Decade" October 28, 1977) and then "Borrowed Tune" (also from the Reprise LP). 

The acetate closes with the second unreleased song, a solo acoustic version of "Traces". A well-known leftover from the '74 CSNY tour, the song is most-likely an unused demo from the unfinished "Human Highway" project rather than a new recording cut specifically for this project. Even so, the song of hope for an unresolved relationship closes the set well in this symbolic summing up of the program's theme. After twenty-five years of listening to "Tonight's The Night" as Neil presented it to us, it's disorienting (although certainly interesting) to listen to this acetate. Nonetheless, of all the Neil Young tapes available from tape collectors/ traders, maybe ten of them are really worth seeking out; this one is ESSENTIAL.

Neil Young - Tonight's The Night Acetate (1973-74) 
The Original Recorded Version 

Personnel
♦ Neil Young – vocal, piano, guitar, harmonica, vibes
♦ Ben Keith – pedal steel guitar, vocal, slide guitar
♦ Nils Lofgren – guitar, piano, vocal
♦ Danny Whitten – guitar, vocal
♦ Jack Nitzsche – electric piano, piano
♦ Billy Talbot – bass
♦ Tim Drummond – bass
♦ Ralph Molina – drums, vocal
♦ Kenny Buttrey – drums
♦ George Whitsell – vocal on New Mama

Band credits
Tracks 1, 2, 3, 4, 5 and 9 credited to Neil Young and The Santa Monica Flyers
Track 6 and 7 are from On The Beach
Track 8 on side one credited to Neil Young and Crazy Horse
Track 10 is from Decade
Track 12 is a leftover from the '74 CSNY tour

01. Tonight's The Night
02. Melllow My Mind
03. Roll Another Number
04. Tired Eyes
05. Speakin' Out
06. Walk On
07. For The Turnstiles
08. Bad Fog Of Loneliness
09. New Mama
10. Winterlong
11. Borrowed Tune
12. Traces

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Steve Hackett - Genesis Revisited - Live At Hammersmith 2013 (3CD) + Alot of Rare Artwork

Steve Hackett World Tour 2013 Poster

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It takes a legend to bring a myth back to life. A unique treat for music fans worldwide, Steve Hackett's critically acclaimed live production 'Genesis Revisited' has so far triumphed in Europe, Japan and North America alike and is still going strong; on May 10th it celebrated its success at a sold out London's Hammersmith Apollo with an ecstatic audience.

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Here's yet another strong live album from Steve Hackett, this time focusing (almost) exclusively on material that he recorded with Genesis. All of the Genesis albums on which Hackett participated, from 1971's Nursery Cryme to 1976's Wind And Wuthering, are represented in the set list. This period is widely considered as the best by fans of progressive Rock, and every one of these albums is a classic of the genre. 

This period in the band's history culminated with the excellent live album Seconds Out which was released in 1977 and became the final Genesis recording to feature Hackett before he went his own special way (and then there were three). About half of the songs that were featured on Seconds Out are revisited here, including (full versions of) The Musical Box, Supper's Ready, I Know What I Like, Firth Of Fifth, Dance On A Volcano, Los Endos, and Afterglow. The latter is here sung by a guesting John Wetton and is immediately preceded by Unquiet Slumbers For The Sleepers and In That Quiet Earth just like on the studio album Wind And Wuthering.

Genesis - Melody Maker 16th Dec 1972

Other classic songs being performed are Watcher Of The Skies, Dancing With The Moonlit Knight, Entangled, and Blood On The Rooftops. A somewhat surprising, but indeed excellent, choice is Eleventh Earl Of Mar, a song that I don't think has been featured on any Genesis or Steve Hackett live album before. I for one am very happy to see so many selections from the Wind And Wuthering album, which belongs to my top three Genesis albums together with A Trick Of The Tail and Selling England By The Pound. A surprising omission is Horizons, a tune that is practically synonymous with Hackett's name. The only non-Genesis song is Shadow of the Hierophant which originally appeared on Hackett's solo debut album Voyage Of The Acolyte.

Melody Maker Jan 29th 1972
Charisma Bands Tour Advertisis

Accept for the few songs being handled by guest stars, and Blood On The Rooftops which is sung by Hackett's drummer Gary O'Toole, I really don't know who is doing the lead vocals here. But whoever it is he has a Peter Gabriel/Phil Collins type voice and is clearly up to the task. The audience joins in on suitable occasions. Hackett himself, on the other hand, remains silent throughout this time (except the spoken introductions).

A reunion of the classic line-up of Genesis featuring Hackett is never going to happen, this is as close as it will get. So, if you are a fan of classic Genesis by all means get this one. But don't miss out on Steve's other live releases, most of which feature a judicious mix of Genesis tunes and his best solo material. Hackett has a simply amazing live catalogue with a stunning amount of excellent audio and video releases,

Was there ever a band quite like Genesis? Through their ranks have been some of the most commercially acclaimed (Phil Collins, Mike & The Mechanics, Peter Gabriel) and critically acclaimed (Anthony Phillips, Tony Banks, Daryl Stuermer) artists of the last 40 years. But, to my ears there is one who stands head and shoulders above all these, Steve Hackett. 

Steve Hackett World Tour 2013 Japan Poster

Since leaving Genesis he has pursued many different styles, including classical, and has been in the odd 'supergroup' (GTR, Squackett) as well. His albums are always, without fail, finely crafted pieces of work and always immensely enjoyable. Back in 1996 he decided to revisit some of the Genesis songs he felt most close to, then repeated the exercise last year and toured with a show guaranteed to make any diehard Genesis fan drool at the mouth.

To put some things into context. Steve was with Genesis from 1971 to 1976, recording four studio albums with Peter and two with Phil. From those six (plus one solo song, which was co- written with Mike Rutherford so can justifiably be included) he has produced a live album of 150 minutes in length. Back in 2007 Genesis reformed and performed to massive audiences throughout Europe, but of the set they produced on their 'Live Over Europe' album only two complete songs are the same as here. 

Genesis moved on when Phil took over lead vocals, and again when they were reduced to just three in the studio, and many fans talk about the Gabriel period or the Collins period being their particular favourite. Me, I'll say that the Hackett period is the one that suits me best thanks very much. 

Genesis Advertise 1972

Of all Genesis albums recorded with Phil on vocals the first three are easily the best, and I'm not a massive fan of the albums pre- Steve (although 'The Knife' is and always will be an absolute classic).

Listening to this album is at first a blast from the past, as I spent my formative years listening to these songs, but then it turns into something far much more. Musically Genesis has always been controlled by Tony Banks who is an incredible musician (and very under-rated), but although he is also a guitarist he is first and foremost a keyboard player so the arrangements have always put the guitars somewhat in the shade. 

Genesis - Melody Maker 23rd Dec 1972

Now we have classic songs (mostly forty years old remember) given new life by a guitarist in control of his own band, with the additional confidence of always being on the road and proving himself time and again. He has mostly stayed very true to the originals, but when he has the opportunity to crank his guitar out he certainly does. 'The Musical Box' may start gently, but it rips into a version that gives the song much more life and drama than one could ever imagine from the original. Also of particular note is the ending of 'Shadow of the Hierophant' which is intense, powerful, moving and compelling all at the same time.

This album is what I always refer to as a review killer as once it hits the player all I want to do is hit 'repeat' and it takes concerted effort to move on to something else. If I had to ask for one song that isn't on this set it would probably be 'Squonk' but that is picking straws as we have everything else from 'Supper's Ready' (all 27 minutes of it) to 'Eleventh Earl of Mar' from the criminally overlooked 'Wind & Wuthering'. I could play this album all day, every day, and just wished that I had been able to see this performed. But as I live on the wrong side of the world I was unable to do so, so I will just have to keep playing this instead. Superb. [From progarchives.com]

Lineup:
- Steve Hackett - Guitars, Vocals
- Roger King (Gary Moore, Snoop Doggie Dog, Jamelia) - Keyboards, 
- Gary O'Toole (Kylie Minogue, Chrissie Hynde) - Drums, Percussion, Vocals
- Rob Townsend (Eddie Henderson, Bill Bruford, Django Bates) - Sax,Flute, Percussion, 
- Lee Pomeroy (Take That, Rick Wakeman) - Bass 
- Nad Sylvan (Abba's Michael B Tretow) - Vocals

With: 
- Nik Kershaw - Vocals
- Steve Rothery - Guitar
- John Wetton - Bass, Guitar, Vocals
- Jakko Jaksyzk - Guitar, Vocals
- Amanda Lehmann - Guitar, Vocals

Disc 01
01. Watcher of the Skies  09:54
02. The Chamber of 32 Doors  06:04
03. Dancing with the Moonlit Knight  07:44
04. Fly on a Windshield  03:34
05. Broadway Melody of 1974  03:32
06. The Lamia  09:13
07. The Musical Box  12:14
08. Shadow of the Hierophant  11:01
09. Blood on the Rooftops  05:45

Disc 02
01. Unquiet Slumbers for the Sleepers  02:08
02. In That Quiet Earth  05:00
03. Afterglow  04:35
04. I Know What I Like  06:23
05. Dance on a Volcano  06:40
06. Entangled  05:46
07. Eleventh Earl of Mar  07:09
08. Supper’s Ready  27:56

Disc 03
01. Firth of Fifth  10:37
02. Los Endos  10:31

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Genesis Zig Zag Magazine

Genesis - Hobbits Garden Wimbledon Dec 7th 1971

Not to be missed: Roberto Ciotti - Super Gasoline Blues (Italian Blues 1978) Sounds like 1967-69

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Roberto Ciotti (20 February 1953 – 31 December 2013) was an Italian bluesman, composer and professional guitarist.

Born in Rome, Ciotti began playing the guitar at the age of 12. From 1970 to 1972 he was a member of the jazz band Blue Morning, then he started a solo career as a bluesman, a composer and a professional guitarist, collaborating with Chet Baker, Francesco De Gregori and Edoardo Bennato, among others.

His debut album was Supergasoline Blues, released in 1978. In 1980, he opened the Italian concerts of Bob Marley. In 1989 he got critical and commercial success with the musical score of Marrakech Express by Gabriele Salvatores, with whom he collaborated again two years later in On Tour. After the 2002 album Behind the Door he devoted himself mainly to the live concerts. In 2006 he published an autobiography, Unplugged, in which he recounted the difficulty of coherence in doing blues without ever yielding to the lure of show business and easy money.

Ciotti died, aged 60, following a long illness, on December 31, 2013.

Born in Rome in 1953, Roberto starts to play the guitar at the age of 12, devoting himself immediately to Delta Blues and Electric Rock-Blues.

Having worked with jazz/rock band "Blue Morning" and tenor saxophonist Maurizio Giammarco, he then played as a session man with such top Italian artistes as Francesco De Gregori and Edoardo Bennato, continuing as this latter's live band leader until 1977.

Having perfected his Dobro guitar technique, he appeared as a solo artist and with his band in leading blues festivals in Italy (Pistoia) and Europe (Berlin, Lucerne, Hamburg, Montreux) as well as playing alongside Brian Auger, Jerry Ricks, Louisiana Red, Matt "Guitar" Murphy and Willie Littlefield.

♣ Double Bass – Enzo Pietropaoli
♣ Drums – Giampaolo Ascolese
♣ Vocals, Guitar – Roberto Ciotti

01. Hell Boogie  02:26
02. Fisherman  03:17
03. Castles Of Sand  05:18
04. Bigroad Blues Vocals – Susanna De Vivo  02:46
05. Trying  04:53
06. When Is My Time  03:58
07. Need More  03:21
08. Blues Plays Me  04:51
09. Super Gasoline  06:15

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Pictures of The Day

The Living 60's....

Toni Vescoli - Information (Swiss Psychedelic Folkrock 1971)

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In 1970, when Swiss garage-beat band Les Sauterelles split, their leader, Toni Vescoli, decided to start a solo career. At first, inspired by Dylan, he thought of going strictly acoustic, but he soon changed his mind and started incorporating psychedelic & electric elements to his sound, such as feedback, primitive drum machines, guitars and vocals filtered through Leslie speakers etc., as he was also influenced by bands like Pink Floyd and King Crimson. He also incorporated to his repertoire some of the songs he had written for the never recorded Sauterelles concept album, “Seven Deadly Sins”. 

In 1971, Toni released his debut solo album, “Information”. A folk-rock - psychedelic gem which reflected his influences at the time: folk, rock, psychedelia, progressive-rock…From fragile acoustic numbers to dark, wigged-out psychedelic tracks, this is highly recommended to anyone into “CQ” era Outsiders or Frank Nuyen’s “Rainman” album. 

Stunning mastertape sound, original gatefold sleeve, repro of the rare poster and insert with detailed liner notes by Mike Stax. 

Toni Vescoli is a pioneering Swiss singer/songwriter/guitarist of the classic rock era who over the course of his long career performed a variety of styles, from English-language pop/rock to Dylanesque folk music. Born on July 18, 1942, in Zürich, Switzerland, Vescoli formed the trailblazing rock band Les Sauterelles in 1962. Comprised of Vescoli (rhythm guitar, lead vocals), Rolf Antener (lead guitar, vocals), Heinz Ernst (bass guitar, vocals), and Düde Dürst (drums, vocals), Les Sauterelles were sometimes referred to as the "Swiss Beatles" and recorded on Columbia Records during the mid-'60s. 

The band's first hit was "Hong Kong" (1965), written by Vescoli; also in 1965, the band was featured on the compilation album Swiss Beat Live! alongside fellow Swiss bands the Counte and the Dynamite. Les Sauterelles released several singles during the latter half of the '60s, including the number one hit "Heavenly Club," and they released a couple albums, too. Vescoli broke up the band in 1970.

When Les Sauterelles split, Toni Vescoli, decided to start a solo career. At first, inspired by Dylan, he thought of going strictly acoustic, but he soon changed his mind and started incorporating psychedelic and electric elements to his sound, such as feedback, primitive drum machines, guitars and vocals filtered through Leslie speakers etc., as he was also influenced by bands like Pink Floyd and King Crimson. He also incorporated to his repertoire some of the songs he had written for the never recorded Sauterelles concept album, “Seven Deadly Sins”.

In 1971, Toni released his debut solo album, “Information”. A folk-rock - psychedelic gem which reflected his influences at the time: folk, rock, psychedelia, progressive-rock, from fragile acoustic numbers to dark, wigged-out psychedelic tracks.

01. Dying Land - 3:22
02. Idleness - 2:50
03. Happy Family - 1:13
04. Hatred And Love - 5:21
05. Information - 4:43
06. Beautiful Morning - 4:35
07. There's A Bird - 3:36
08. Hypocrites - 3:17
09. Intermezzo - 0:28
10. Do Hurry - 5:37

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