Scott Finch & Gypsy - Haze Of Mother Nature (Akarma Records) 2001

Biography Original blues/rock power trio that ingeniously construct their own identity and style. When you open this gatefold (4 parts) CD and album, you will find a glorious tribute to Scott Finch & Gypsy. If you continue to read you will also find that Jimi Hendrix and the 60's psychedelic period of music is the entire focus of this project. I really have come to appreciate the genius of Hendrix as time passes. I also realize for the short time that he was on this earth that he left us with some of the most incredible blues rock that we have ever heard, or may ever hear again. Scott Finch & Gypsy got together in Wisconsin back in the eighties to form a compelling and authoritative trio that reawakened our senses and re ignited our interest in that important period of rock music. Horizon Records (Akarma) recognizes the significance and the value of the music, and how the music buying public have become increasingly receptive to guitar oriented blues based rock. With all of those thoughts in mind, I proceeded to give this music an intense overview with my ears and mind. I had to wonder if this CD/LP was going to live up to the elaborate critique that was so convincingly described by Jo Anne Green in the intense liner notes. The story foregoing the recording is quite fitting to be sure. I found out immediately that this was not merely another Hendrix impressionist. Scott Finch (guitar, vocals), Joe Steil (bass, vocals) and Gregg Slavik (drums, percussion, vocals), are an original blues rock power trio that ingeniously construct their own identity and style. Finch plays and sounds like Jimi often enough during the course of this larger than life release that you may find yourself thinking that it's actually the man himself back from the grave for one more jam session. They readily summon images of the master at several points during the course of the entire 76 minutes found on this generous rock excursion. In its entirety, this music is like watching several points of light coming together to create a supernova. Finch mentions in the liner notes that musical nirvana is the ultimate goal that the group strives to achieve. I think it's safe to say that musical nirvana is obtainable. Just listen to this music.

Tracklist

01.Gypsy - Flowers In The Jungle 3:25

02.Gypsy - Gypsy Waltz 3:55

03.Gypsy - Dream Of The Dove 2:53

04.Gypsy - People From The Darkside 4:36

05.Gypsy - Little Bird 3:33

06.Gypsy - The Goddess 5:35

07.Gypsy - The Race 2:40

08.Gypsy - Can't Live Without It 4:28

09.Scott Finch - Dragnet 1:56

10.Scott Finch - Godora 5:28

11.Gypsy - Acid Joe 4:54

12.Gypsy - Time Keeps Rolling On 5:10

13.Scott Finch - Pipe Dream 4:37

14.Gypsy - Haze Of Mother Nature 3:14

Hendrix Medley

15.Bluehand - I Don't Live Today 3:57

16.Waltzing Tunas - Love Or Confusion 3:25

17.Waltzing Tunas - If 6 Was 9 4:34

18.Bluehand - Little Wing 3:23

19.Scott Finch - Bend The Stone 4:30

Line-up

Gypsy

Scott Finch - Guitar, Vocals

Joe Steil - Bass, Vocals

Gregg Slavik - Drums, Percussion, Vocals

Bluehand

Scott Finch - Guitar

Peter Alt - Lead Vocal, Guitar

Mike Haasch - Bass

Gregg Slavik - Drums

Waltzing Tunas

Scott Finch - Guitar

Peter Alt - Vocals

Mike Kashou - Bass

Gregg Slavik - Drums

Scott Finch

Plays all instruments, Guitar, Bass, Drums, Hammond Organ, Electric piano and Sitar

Midnight Flyer - Midnight Flyer (2013 Airmail Archive) 1981

Biography If any band can lay claim to a seat on the should-have-been shuttle, it's Midnight Flyer, the greatest rock group you've never heard of. This extraordinarily talented quintet comprised veteran artists hailing from a myriad of notable bands Stone the Crows, Whitesnake, and Foghat among them. Lead singer Maggie Bell, an ex-Crow and regular winner of a U.K. "Best Of" readers' polls, was the linchpin of the project, piecing together a new group even as her solo albums were receiving rave reviews. Midnight Flyer was everything she hoped for, as it was for most of the other members, each looking to spread wings too often clipped in the past, and all contributed songs to this set. The group inked a deal with Swansong, to whom Bell was already signed as a solo act, with Bad Company/Mott the Hoople's Mick Ralphs brought in as producer. So this set should rock hard and it does, although the transfer to CD has somewhat flattened the sound. But keep turning up the volume, and when the roof starts shaking you can finally hear the intrinsic power captured on the original vinyl. The remastering does a fine job of pulling John Cook's keyboards up in the mix; unfortunately, it's at the expense of the guitars, another drawback. Yet so potent is the music that even these flaws can't soften the set's potency. And nothing can blunt Bell's edge, as she struts and strolls, wails and rails across the CD. In the end, this is her showcase, as she steals every song out from under her hard-rocking bandmates. She's a star, and there's no eclipsing her. However, this did not prevent the band from dying of benign neglect. In the aftermath of John Bonham's death, labelhead Peter Grant allowed Swansong to drift into free fall. Bad Company and Midnight Flyer consequently suffered the same fate, each drifting on rudderless for a couple of years before calling it a day. Flyer's members went their separate ways, yet each continued to play in a dizzying array of bands and further stamped their own imprimaturs on the U.K. scene. This superb album captures them all at some of their rockingest heights. allmusic.com

Tracklist

01.Hey Boy 3:25

02.Love Games 3:37

03.French Kisses 4:02

04.In My Eyes 4:14

05.Over And Over 2:46

06.Last Resort 3:51

07.Do You Want My Love 3:23

08.Sweet Loving Woman 3:29

09.What Ever I Want 3:31

10.Midnight Love 3:32

11.Rough Trade 4:04

Bonus Tracks

12.Rock 'N Roll Party 3:55

13.Waiting For You 3:16

Line-up

Maggie Bell (ex-Stone the Crows) - vocals

Anthony Glynne - guitar

John Cook (ex-Mungo Jerry, Stretch) - keyboards

Chris Parren - keyboards

Tony Stevens (ex-Savoy Brown, Foghat) - bass & vocals

David Dowle (ex-Chapman-Whitney Streetwalkers, Whitesnake) - drums

Chain - Toward The Blues (2007 Picar Records) 1971

Biography Over 40 musicians have been a member of Chain, one of Australia's premier blues bands that has been going strong for over three decades. Formed from the remnants of Perth band the Beaten Tracks in 1968, the Chain were named by singer Wendy Saddington after the classic soul track "Chain of Fools." Saddington soon left and the band released one of Australia's first progressive blues singles, "Show Me Home," in 1969. Soon after, the Chain shortened their moniker to Chain. In June 1970, Chain recorded the classic live album, Live Chain, at Caesar's Palace discotheque, and along with other Australian acts like Billy Thorpe and the Aztecs, Carson, and the Adderley Smith Blues Band, were considered at the forefront of the Australian blues movement. Signing a new deal with Infinity, the blues subsidiary of Festival, Chain released the single "Black and Blue," which reached number ten on the national charts in May 1971. The classic album Toward the Blues peaked at number six in 1971 and is considered one of Australia's greatest blues albums. The follow-up single, "Judgement," established Chain as the nation's leading progressive blues band. Chain Live Again was released in October 1972 and Chain went on to appear at the first Sunbury Festival in January 1972. In 1973, the band singed with the new Mushroom label and issued the Two of a Kind album. Chain's rotating lineup broke up in 1974 and Mushroom issued the retrospective History of Chain album. Six years later, interest in Chain was still strong and they played at the Mushroom Evolution Concert in January 1982 to celebrate Mushroom's tenth anniversary. They re-formed permanently in 1983 and released Child of the Street in October 1985. Their next album, Australian Rhythm and Blues, was released in April 1988, followed by Blue Metal in May 1990. Several members undertook a tour of Australia in 1991 as Blues Power, while another member, Matt Taylor, toured as Matt Taylor's Chain, who released the album Walls 2 McGoo (Trouble in the Wind) in 1992. The original Chain again undertook a national tour in 1995. allmusic.com

Tracklist
01.Thirty Two-Twenty Blues 4:09
02.Snatch it Back and Hold It (adapted from the stage version) 5:02
03.Boogie 10:43
04.Booze is Bad News Blues 7:45
05.Albert Goose's Gonna Turn the Blue's Loose's 7:04
06.Black and Blue 4:49
07.Undgemend 3:27
08.Blow in D 6:00
09.Mr. President 3:39
10.Leaving 2:46
11.Two of A Kind 4:43
12.Forever 5:06
13.I'm Gonna Miss You Babe 3:29
14.Gertrude Street Blues 5:00

Line-up
Matt Taylor - Vocals, Harmonica
Phil Manning - Guitar, Vocals
Barry Sullivan - Bass
Barry Harvey - Drums

Jeremy Spencer - Jeremy Spencer And The Children (2007 FootPrint Records) 1972

Biography Jeremy Spencer and the Children is an album by British blues rock musician Jeremy Spencer, who was a member of Fleetwood Mac from 1967 to 1971. Released in 1972, this is his second solo album although it was credited to Jeremy Spencer and the Children, referring to his band made up of members of the Children of God (Family International) organisation. After leaving Fleetwood Mac while on tour in the United States in February 1971, Spencer joined the Children of God and has remained with the organisation ever since. The band toured in the US and released a single "Can You Hear the Song" / "The World in Her Heart" to accompany this album. The lyrics were heavily religious, with references to the love of God, finding purpose in life within Christianity, along with anti-war themes and apocalypticism. Although this was the first recording for which Spencer dropped his mimicry and parody of 1950s music and Elmore James blues tunes, he nevertheless continued to show his talent for drawing inspiration from other styles of music. Influences from many contemporary sources can be heard, such as The Byrds, The Beatles, Jefferson Airplane and Creedence Clearwater Revival. Spencer has often stated in interviews that he was unhappy with the poor production quality on the album, once declaring, "It was just like mud."

It has never been released on CD, and Spencer has said that the master recordings were lost in a fire many years ago, but recently he expressed an interest in reworking some of the songs. Wiki

Tracklist
01.Can You Hear The Song 3:00
02.The World In Her Heart 3:15
03.Joan Of Arc 3:41
04.The Prophet 3:23
05.When I Looked To See The Sunshine 4:28
06.Let's Get On The Ball 4:23
07.Someone Told Me 3:43
08.Beauty For Ashes 2:57
09.War Horse 6:05
10.I Believe In Jesus 2:16

Line-up
Jeremy Spencer - vocals, slide guitar, piano
Michael - harmonica, guitar, vocals
Phil Ham - lead guitar, flute, sitar
Moriah - vocals, tambourine
Boaz - bass guitar, vocals, recorder
Ginnethon - drums, congas, timpani, tablas

Circus - Circus (2000 Gear Fab Records) 1973

Biography : Circus' only released album is something of a letdown. They attained considerable popularity on the bountiful Madison, WI, rock scene and then throughout the Midwest festival circuit due to their impressive live show and jamming capabilities. And the list of artists that they supported makes for a winning resume. But Circus is not nearly as interesting as albums by fellow scenesters SOUP or Tayles because the band was mostly unable to translate the excitement of their live shows into the recording studio. Instead of a talented improvisational band, it makes them sound more often like a pedestrian blues-rock or hard rock outfit. The band's signature claim to fame is their utilization of synthesizers, particularly the Moog and clavinet, and the instruments do add intriguing textures, but they are unable to conceal the rather plodding, drab songwriting. Their original tunes pale in comparison to even the second-rate tunes by the Allman Brothers Band and the Grateful Dead, two bands that seem to be touchstones for Circus. They simply are unable to muster many melodies that are particularly memorable, and when they do, as on "Fat Boogie Mama," it is borrowed almost entirely even down to the actual hook from Loggins & Messina's "Your Mama Can't Dance." The most interesting original may be "Travlin' Blues," which, contrary to the title, is solid country-rock with a nice banjo solo. It suggests that Circus may have benefited from leaning harder on that genre, at least in the recording studio. That notion is supported by their country-folk version of Ray Davies' "Skin and Bones," by far the best actual song on the album, with its exquisite acoustic slide guitar. The lack of a distinctive artistic impulse is all the more unfortunate because the five members are such outstanding players, even approaching the high skill level of their inspirations. The dual-guitar attack is hardly visionary, but it is thrilling, and Fred Omernik's keyboard work is superb. The lead vocals are nothing special, but the harmonies frequently are, especially when they appropriate the lead. Still, Circus was primarily a live attraction, and a much in-demand one at that. So it is no surprise that the most satisfying performance on the album is the 12-and-a-half-minute jam on the Rhinoceros cut "Old Age," full of awesome organ and synthesizer work and jazzy guitars as well as limber, tribal drumming. It recalls Santana one minute, space rock the next, and groovy early-'70s funk in general. In other words, it is an exceptional interpretation that evokes how strong of a live unit they really were. But as a studio band, Circus was disappointing more often than it was not. A live recording might have made for better listening. Review by Stanton Swihart

Tracklist 

01.Fat Boogie Mama 4:09

02.You To Me 4:21

03.Let Me Tell You 4:12

04.Skin And Bones 3:53

05.Arrow 3:31

06.Travlin' Blues 2:45

07.Old Age 12:28

08.C'Mon If You're Comin' 4:09

09.I'm Walkin' 3:19

10.Bar Room Wiggy 3:39

Line-up

Brett Peterson - Vocals, Guitar

Randy Glodowksi - Vocals, Guitar

Fred Omernik - Vocals, Organ, Piano

Wayne Kostroski - Bass

Ray Cyr - Drums, Congas, Percussion

Bakerloo - Bakerloo (2000 Repertoire Records Digipack) 1969

Biography : Bakerloo were originally formed as the Bakerloo Blues Line in 1967, at the outset of the blues boom spearheaded by Cream. A power trio similar to the latter outfit, they also incorporated some of the artier elements of pop music from that period -- Dave "Clem" Clempson played solid, bluesy lead guitar, but he also doubled on harpsichord and piano as well as providing the mouth harp, while Terry Poole played bass and Keith Baker played drums. They made all the right moves as a performing outfit, courtesy of their manager, Jim Simpson (who also handled Black Sabbath, known as Earth at the time) -- he organized a U.K. tour, dubbed "Big Bear Ffolly" (which later became the title of a Bakerloo song) which had Bakerloo, Earth, Locomotive, and Tea and Symphony playing throughout the country. Bakerloo was also one of the support acts on October 18, 1968, the night Led Zeppelin made their debut at London's Marquee Club. Bakerloo were among the early signings to EMI's Harvest label, where they made their debut in the middle of 1969 with the single "Driving Backwards" b/w"Once Upon a Time" in July. They followed it up that fall with their self-titled album, which gave their jazz-inflected electric blues, reminiscent in some ways of Blodwyn Pig's work, a full workout. Cut under the guidance of producer Gus Dudgeon and released in November of that year, the album was one of the harder rocking releases in the early Harvest schedule. Bakerloo were one of the more sophisticated blues-oriented power trios, and that might've been their undoing in finding an audience. Given time, they might've been another Ten Years After, but there was barely any time to find their potential, for the band broke up in late 1969 when Clem Clempson quit to join Colosseum, which proved to be a stopping point on his way into the lineup of Humble Pie as Peter Frampton's successor, and later worked with Roger Daltrey, Tom Waits, and the Records, among other major acts. Terry Poole passed through Graham Bond's band in the early to mid-'70s, and Keith Baker later became a member of Uriah Heep. Poole and Baker later reteamed, while Clempson has been a very busy session player for decades. Biography by Bruce Eder

Review : One of the first acts signed to the fledgling Harvest label in 1969, Bakerloo were very much a product of their time, a hard-hitting progressive blues band whose predilections ranged from a straightforward assimilation of Willie Dixon to some positively dazzling flashes of instrumental prowess. Guitarist Dave Clempson's "Big Bear Folly," the opening cut on the band's first and only album, is a dazzling Ten Years After-style showcase, while a jazzy variation on a theme of Bach, the aptly titled "Driving Bachwards," proves that the band wasn't averse to messing with the classics, either. The quartet's virtuosity occasionally overwhelms the songs themselves, although there is no shortage of gripping atmosphere. Bassist Terry Poole unleashes an almost sepulchral vocal across the stygian "Last Blues," a seven-minute marathon that swiftly develops into a full-fledged heavy rocker, punctuated by mood shifts that amount to separate movements -- it's a magnificent piece, rendered with both musical precision and some of producer Gus Dudgeon's most inspired washes and effects. Impressive, too, is "Son of Moonshine," a distorted metal effort that clocks in at double that length and combines Clempson's intensive guitar soloing with a desperately driving blues rhythm. Period comparisons with Cream and early Led Zeppelin really weren't that far off the mark. Bakerloo were not long for this earth -- Clempson quit to join Colosseum shortly after the album's release; Poole reappeared alongside Graham Bond; drummer Keith Baker departed for Uriah Heep; and Bakerloo itself disappeared off the shelves fairly quickly. Review by Dave Thompson

Tracklist

01.Big Bear Ffolly 3:55

02.Bring It On Home 4:16

03.Drivin' Bachwards 2:06

04.Last Blues 7:04

05.Gang Bang 6:15

06.This Worried Feeling 7:03

07.Son Of Moonshine 14:52

Bonus tracks

08.Once Upon A Time 3:37

09.This Worried Feeling (Alternative Take) 5:45

Line-up

Dave 'Clem' Clempson - Guitar, Harmonica, Harpsichord, Piano, Vocals

Terry Poole - Bass, Vocals

Keith Baker - Drums

With

Jerry Salisbury - Trumpet

Kingfish (Bob Weir) - Kingfish (2004 Rhino Records) 1976

Biography : Kingfish is an American rock band led by Matthew Kelly, a musician, singer, and songwriter who plays guitar and harmonica. Kelly co-founded Kingfish in 1973 with New Riders of the Purple Sage bass player Dave Torbert and fellow San Francisco Bay Area musicians Robbie Hoddinott, Chris Herold, and Mick Ward. However, Ward died in a car accident later that year, and was soon replaced by Barry Flast, another keyboardist from San Francisco. In 1974, Kingfish became more well known, and signed their first record contract, after Grateful Dead member Bob Weir, a long-time friend of Kelly's, joined the band. (Kelly had previously been a guest musician on the Grateful Dead album Wake of the Flood.) Weir toured with Kingfish and was a band member on their first two albums, Kingfish and Live 'n' Kickin'. When the Dead started touring again in 1976, Weir left Kingfish, along with Hoddinott and Herold, who were then replaced by Barry Flast, Michael O'Neill and Dave Perper. (Kelly later appeared on the Grateful Dead albums Shakedown Street and The Closing of Winterland, and on Weir's album Bobby and the Midnites. In 1995 he became a founding member of Weir's band Ratdog.) The lineup of the band continued to change, with Kelly and Torbert remaining at the core. Then, in 1979 Torbert and Kelly parted ways and Torbert formed a new lineup with Danny "Rio" DeGennaro and Michael O'Neill on guitars and sharing lead vocals. Also part of that lineup were drummer Steve Shive and Ralph Liberto. Dave Torbert died of a heart attack in 1982. Starting in 1984, Kingfish would regroup from time to time and go on tour with a gradually evolving lineup of musicians led by Matthew Kelly. In 1987, Kelly also released a solo album called A Wing and a Prayer. In 1999 Kingfish released a new studio album, Sundown on the Forest, recorded over a period of several years with different combinations of musicians, including Bob Weir and a number of other Kingfish veterans.
In the 1990s, the touring activity of Kingfish slowly decreased. Late in that decade, Kelly was living in Hawaii, and making a yearly trip to India. Since then the band has not performed live. Guitarist Danny DeGennaro was shot to death on December 28, 2011. Kingfish is the self-titled first album by the rock band Kingfish. It was recorded and released in 1976. It is not to be confused with the band's fourth album, which is also called Kingfish.
When they recorded their debut album, the lineup of Kingfish included Grateful Dead rhythm guitarist Bob Weir. Weir was a member of the band from 1974 to 1976, and left the group shortly after the album's release. Kingfish includes "Lazy Lightnin'" and "Supplication", a jazzy song combination sung by Weir that quickly found its way into the Grateful Dead repertoire. Besides Weir, Kingfish features original band members Matthew Kelly on guitar and harmonica, Dave Torbert on bass, Robbie Hoddinott on guitar, and Chris Herold on drums. Wiki

Tracklist
01.Lazy Lightnin' 3:02
02.Supplication  2:56
03.Wild Northland 2:24
04.Asia Minor 3:32
05.Home to Dixie 3:52
06.Jump for Joy 3:49
07.Good-Bye Yer Honor 2:56
08.Big Iron 4:30
09.This Time 4:23
10.Hypnotize 4:35
11.Bye and Bye 4:03

Line-up
Bob Weir - guitar, vocals
Matthew Kelly - guitar, harmonica, vocals
Dave Torbert - bass, vocals
Robby Hoddinott - lead guitar, slide guitar
Chris Herold - drums, percussion

Nitzinger - One Foot In History (Akarma Digipack) 1972

Aside from jettisoning some increasingly archaic psychedelic tendencies (and welcoming second guitarist Bugs Henderson to the fold), Nitzinger's rather arrogantly named sophomore outing, One Foot in History, pretty much picked up right where the Texan band's critically lauded first album had left off. Which is to say that it too boasted an eclectic batch of songs whose only common denominator was orbiting Planet Southern Rock in some capacity, at a time when the genre was approaching its summer solstice, thanks to the tenacity of its star-crossed founding fathers, the Allman Brothers Band, and their fast-rising heirs apparent, Lynyrd Skynyrd. Among Nitzinger's novel stylistic diversions on One Foot in History were the mellifluous saxophone and orchestrated string backdrops added to the title track and the imperial, Cream-like "Uncle John"; the full-blown jazz breakdown anchoring the Allmans-esque "Motherload"; and, on a negative note, the misplaced, easy listening schmaltz of "Driftwood." Yet heavy Southern rockers were also available in droves, with clear standouts including the barroom brawler "The Cripple Gnat Bounce" (whatever that means!); the driving "Let the Living Grow" (clearly inspired by Humble Pie's barnburning cover of "I Don't Need No Doctor"); and the all-time classic "Earth Eater," which contrasted a pummeling main riff against an amazing melodic hook, the likes of which seems to have cropped up in many an Aerosmith song over the ensuing years. In fact, were it not for the aforementioned "Driftwood" and a pair of rather average rockers in "Take a Picture" and "God Bless the Pervert" (hmmm...funny, but no "Louisiana Cockfight," that one), One Foot in History might have turned out as impressive and enduring as its predecessor. In the end, it was close enough to give no indication of the troubles that lay ahead, as bandleader John Nitzinger became embroiled with too many distractions and made fans wait almost four years for another Nitzinger LP. [New millennium reissues of One Foot in History were enhanced with a pair of bonus tracks: the funky album outtake "Power Glide" and a hair-raising, nine-minute live jam on "Texas Blues, Jelly Roll."]  allmusic.com

Tracklist:
01.Take A Picture
02.Motherlode
03.Good Bless The Pervert
04.Earth Eater
05.Driftwood
06.Let The Living Grow
07.Cripple Gnat Bounce
08.One Foot In History
09.Uncle John
10.Texas Blues/Jelly Roll (Bonus track)

Nitzinger:
John Nitzinger - vocals, guitar
Bugs Henderson - guitar
Curly Benton - vocals
Linda Waring - vocals, percussion

The Human Instinct - Burning Up Years 1969

The Human Instinct were a New Zealand blues rock band active from the late 1960s until the early 1980s. The band's commercial peak was from 1969 to 1971, when albums featured the Jimi Hendrix-inspired guitar work of Billy Tekahika, professionally known as Billy TK. The band emerged from a 1950s pop band The Four Fours, formed in Tauranga in 1958 by drummer Trevor Spitz. Lead guitarist Bill Ward joined in 1959, former police cadet Dave Hartstone became rhythm guitarist in 1960, and Frank Hay was enlisted on bass. The foursome rapidly became one of the most sought-after bands in the country. In mid-1966 Maurice Greer, then fronting his own band The Saints, was asked to try out. He had his first group at the age of 14 and was billed as "the teenage wonder drummer". In 1964 he began experimenting with his drum kit, converting it into a stand up-unit, which he claimed was better for his vocals. As well as his drumming ability, the Four Fours were impressed with his ability to harmonise and hit high notes, talents valued by chart-topping bands of the time. He joined just in time to record their biggest hit "Go Go"/"Don’t Print My Memoirs". The band, featuring Maurice Greer as vocalist and stand-up drummer, toured as support band for The Rolling Stones' 1966 New Zealand tour and sailed to the UK in August, changing their name en route to the Human Instinct. The band won a recording deal with Mercury Records in 1967, releasing "Rich Man" (which New Musical Expess described as a "pounding up-tempo piece with ear catching lyrics and some weird sounds"), "Can’t Stop Loving You", and a re-recording of the Four Fours' "Go Go". The band then signed with Deram Records to record "A Day in My Mind's Mind", described 30 years later by English critic Jon Savage as "a blurring of the real and fantastic, aurally reproduced by untuned raga-style guitars and a few voices". Greer declined an offer to join the Jeff Beck Group, opting instead to return to New Zealand in September 1968 as the band disintegrated.

Tracklist:
01.Blues News 3:35
02.Maiden Voyage 5:21
03.Fall Down 2:52
04.I Think I'll Go Back Home 3:21
05.Ashes and Matches 4:04
06.You Really Got Me 3:24
07.Burning Up Years 14:10

The Human Instinct:
Billy TK - guitar
Maurice Greer - vocals, drums
Larry Waide - bass

Raven - Raven 1969

Raven was an influential rock/blues band formed in 1967 in Buffalo, New York, and active until 1970. It was composed of Tony Galla (lead vocals), Jim Calire (piano/vocals), Gary Mallaber (drums), John Weitz (guitar), and Tom Calandra (bass guitar). Managed by Marty Angelo, the band played throughout the United States, appearing at such popular venues as the Electric Circus (nightclub), the Fillmore East, Steve Paul's Scene, Unganos in New York City, the Grande Ballroom in Detroit, Chicago's Kinetic Playground, and many others. The group formed after Stan Szelest's group "Stan and the Ravens" broke up in 1967. Two of its members, Calandra and Mallaber, joined Galla, Weitz, and Calire, in the group Tony Galla and the Rising Sons. In 1968, they changed the name of their group to simply "Raven", and their first recordings in New York were produced by David Lucas.These songs included "Farmer's Daughter" (written by Szelest), "No Turning Back" (written by Calandra), and "Howlin' for my Baby" (written by Willie Dixon and Howlin' Wolf). Raven toured in England in 1969 and were offered a recording contact by George Harrison via Peter Asher with Apple Records. They turned it down to sign with Columbia Records instead. Wiki

Tracklist:
01.Feelin' Good 2:53
02.Neighbor, Neighbor 4:28
03.Green Mountain Dream 4:37
04.No Turnin' Back 3:35
05.Let's eat 5:48
06.Howlin' For My Baby 4:37
07.Frumpy 3:05
08.Non Of Your Jive 3:28
09.Bad News 10:02

Raven:
John Weitz - guitar
Tony Galla - vocals and harp
James Frank Calire - keyboards and vocals
Gary Mallaber - drums
Thomas J.Calandra - bass

Harvey Mandel - Baby Batter 1971

In the mold of Jeff Beck, Carlos Santana, and Mike Bloomfield, Mandel is an extremely creative rock guitarist with heavy blues and jazz influences. And like those guitarists, his vocal abilities are basically nonexistent, though Mandel, unlike some similar musicians, has always known this, and concentrated on recordings that are entirely instrumental, or feature other singers. A minor figure most known for auditioning unsuccessfully for the Rolling Stones, he recorded some intriguing (though erratic) work on his own that anticipated some of the better elements of jazz-rock fusion, showcasing his concise chops, his command of a multitude of tone pedal controls, and an eclecticism that found him working with string orchestras and country steel guitar wizards. Mandel got his first toehold in the fertile Chicago white blues-rock scene of the mid-'60s (which cultivated talents like Paul Butterfield, Mike Bloomfield, and Steve Miller), and made his first recordings as the lead guitarist for harmonica virtuoso Charlie Musselwhite. Enticed to go solo by Blue Cheer producer Abe Kesh, Harvey cut a couple of nearly wholly instrumental albums for Phillips in the late '60s that were underground FM radio favorites, establishing him as one of the most versatile young American guitar lions. He gained his most recognition, though, not as a solo artist, but as a lead guitarist for Canned Heat in 1969 and 1970, replacing Henry Vestine and appearing with the band at Woodstock. Shortly afterward, he signed up for a stint in John Mayall's band, just after the British bluesman had relocated to California. Mandel unwisely decided to use a vocalist for his third and least successful Philips album. After his term with Mayall (on USA Union and Back to the Roots) had run its course, he resumed his solo career, and also formed Pure Food & Drug Act with violinist Don "Sugarcane" Harris (from the '50s R&B duo Don & Dewey), which made several albums. In the mid-'70s, when the Rolling Stones were looking for a replacement for Mick Taylor, Mandel auditioned for a spot in the group; although he lost to Ron Wood, his guitar does appear on two cuts on the Stones' 1976 album, Black & Blue. Recording intermittently since then as a solo artist and a sessionman, his influence on the contemporary scene is felt via the two-handed fretboard tapping technique that he introduced on his 1973 album Shangrenade, later employed by Eddie Van Halen, Stanley Jordan, and Steve Vai. allmusic.com

Tracklist:
01.Baby Batter
02.Midnight Sun
03.One Way Street
04.Morton Grove Mama
05.Freedoom Ball
06.El Stinger
07.Hank the Ripper

Musicians:
Colin Bailey - Drums
Sandra Crouch - Tambourine
Paul Lagos - Drums
Harvey Mandel - Guitar (Acoustic), Guitar
Mike Melvoin - Organ, Keyboards, Piano
Joe Picaro - Percussion
Jeff Porcaro - Percussion
Emil Richards - Percussion
Larry Taylor - Bass, Fender Rhodes
Howard Wales - Organ, Keyboards, Piano

Outlaw Blues Band - Breaking In 1969

The Outlaw Blues Band And The People brought the band a certain amount of acclaim, and they would score high-profile gigs playing with artists as diverse as Canned Heat, the Paul Butterfield Blues Band, Spirit, Taj Mahal, the Jefferson Airplane, and others. The truth is, however, that the album didn't sell especially well. The long delay between its recording and release (over a year) had found the band evolving towards an even more eclectic sound, while rifts caused by poor management would change the band's musical chemistry as members left and new ones didn't quite fit in the same way.

Remarkably, ABC/Bluesway Records requested a second record from the OBB, the label insisting on a much more blues-oriented set of material. Recorded over a mere two days, by the time of its release a year later in 1969, Breaking In was supported by a band that included only Aleman and Whiteman from the original line-up. Still, since the band had cut its teeth on the blues, the performances on Breaking In are fresh, original, and masterful while still bringing the trademark OBB eclecticism to the material. New OBB bassist Lawrence "Slim" Dickens does a fine job of singing the Big Joe Turner soul-blues number "Plastic Man," his smoldering vocals laying smoothly atop a loping groove created by his walking bass line, Aleman's rhythmic beats, and Diaz's razor-sharp leads.

Tracklist:
01.Plastic Man - 5:17
02.Stormy Monday Blues - 6:41
03.My Baby's Left And Gone - 4:22
04.Day Said - 3:20
05.Mamo Pano Shhhh - 6:13
06.You're the Only One - 2:10
07.Deep Gully - 5:47

Outlaw Blues Band:
Lawrence Dickens - Bass, Organ, Vocals
Joe Whiteman - Flute, Percussion, Soprano, Tenor Sax
Phillip John Diaz - Lead, Rhythm Guitar, Lead Vocals
Leon Rubenhold - Harmonica, Timbales, Vocals
Victor Aleman - Drums, Percussion, Vocals

Lobby Loyde - Plays With George Guitar 1971

Australia's first guitar hero, Lobby Loyde helped shape the sound of classic local bands such as Billy Thorpe and the Aztecs and Rose Tattoo, as well as have a successful solo career.
In 1963, then known as Barry Lyde, he joined the Stilettos, a Shadows-inspired outfit, and by 1964, had joined the R&B band the Impacts. A name change to the Purple Hearts saw their career take off and the band solidified a reputation as one of Australia's best R&B bands. Barry Lyde changed his name to Lobby Loyde in 1967 and joined the Wild Cherries, whom he transformed into an experimental psychedelic group. He left the Wild Cherries at the end of 1968 and joined Billy Thorpe and the Aztecs. Loyde's guitar work helped Billy Thorpe to become the leader of Australia's rock scene during the early '70s.
Loyde left the Aztecs in October 1970 and released the classic solo album Plays With George Guitar in September 1971. He formed a backing band called the Wild Cherries, comprised of Teddy Toi on bass and Johnny Dick on drums, which lasted until February 1972. He then formed a new band, Coloured Balls, which broke up at the end of 1974. He then released a solo single, "Do You Believe in Magic?"/"Love Lost on Dream Tides," in December 1975.
Loyde issued his second solo album, Obsecration, in May 1976, another impressive collection of heavy rock guitar work. He moved to the U.K. where Virgin showed interest in releasing the album, but with England in the throes of punk music, a deal was never sealed. He returned to Australia in 1979 and formed a new lineup with Gil Matthews (drums), Gavin Carroll (bass), and Mándu, known as Southern Electric. They recorded the album Live with Dubs, later released in October 1980. In 1979, Loyde contributed the track "John's Song" to the various artists disc Australian Guitar Album and then joined Rose Tattoo as a bass player. They recorded an album in Los Angeles that was never released, nonetheless Loyde toured with the band from October 1979 to September 1980. Loyde then turned his attention to producing other bands, working with the Sunnyboys, Machinations, X, and Painters and Dockers. In 1990 he played bass in a short-lived band called Dirt, and in 1997 he formed a new band called Fish Tree Mother. After battling lung cancer, Lobby Loyde died in Melbourne on April 21, 2007; he was 65 years old. allmusic.com

01.Everybody Come Together - 5:05
02.Feels Good - 8:05
03.George - 7:06
04.Dream - 8:16
05.What I Want - 3:45
06.Evolution - 8:00
07.Herreni - 1:05
08.I Am The Sea - Stop Killing Me - 3:27
09.Daily Planet - 3:57

Band :
Lobby Loyd - Guitars, Vocals
Teddy Toi - Bass
Johnny Dick - Drums

Flac + Full Scans 402 Mb
Pass : SDB

Seatrain – Sea Train 1969 (Repost)

Out of the ashes of the Blues Project came Sea Train. In an attempt to fuse jazz and rock with touches of bluegrass and country, this initial release didn't show the potential hidden in the ranks of the group. This is very obviously a first album.

01.Sea Train 4:12
02.Let the Duchess No 3:42
03.Pudding Street 5:00
04.Portrait of the Lady as a Young Artist 3:46
05.As I Lay Losing 5:00
06.Rondo 3:29
07.Sweet's Creek's Suite 3:56
08.Outwear the Hills 5:01

Seatrain :
Richard Greene - violin, keyboards, viola, vocals
Roy Blumenfeld - drums, percussion
John Gregory - guitar, vocals
Don Kretmar - bass, saxophone
Andy Kulberg - bass, flute, vocals
Jim Roberts - vocals

Flac + Complete Scans 185 Mb
Pass : SDB

Blues Image - Blues Image & Red White & Blues Image 1969 - 1970

A minor hit following its release in early 1969, Blues Image's debut album is very much cut in the image of the British blues bands that inspired the group in the first place, without ever nodding slavishly toward their examples. Rather, the two drummer lineup, with its penchant for Latin and other esoteric breaks and rhythms, places Blues Image closer to a swampy Santana than Cream or Fleetwood Mac, with solid rockers like "(Do You Have) Something to Say," "Outside Was Night," and "Yesterday Could Be Today" also adding a healthy dose of psychedelia to the proceedings. Often overlooked in favor of the band's hit-packing second album, Blues Image is nevertheless a punchy, and thoroughly enjoyable set, loaded with a musical promise that would explode into day-glo prominence across the course of their sophomore set. In May of 1970, the Blues Image went Top Five and gold with the exquisite "Ride Captain Ride," besting the Top 25-showing of Grand Funk Railroad's sort-of sequel from September of that same year, the equally divine "Closer to Home." Three Dog Night/Steppenwolf producer Richard Podolor returns with his redoubtable engineer, Bill Cooper, for the third album by the group, Red White & Blues Image. But guitarist Mike Pinera has vanished for Iron Butterfly's Metamorphosis, replaced by Kent Henry -- who would later join Steppenwolf for 1971s For Ladies Only, produced and engineered, of course, by Richard Podolor and Bill Cooper -- the same team who worked on Iron Butterfly, as well as Three Dog Nights mega selling Naturally. Between these comings and goings Red White & Blues Image fell through the cracks. Sought after in collectors' circles, singer Dennis Correll seems to be reaching for that "All Right Now" vocal Free brought to the airwaves in September of 1970. Paul Rodgers he is not. And though the Blues Project and Electric Flag may not have enjoyed the profile a "Ride Captain Ride" gave to the group's previous outing, they did what this band was attempting to do: they made albums that could pull you in. Atlantic Records suggested "Rise Up," "Good Life," "Ain't No Rules in California," and "Behind Every Man" as the radio cuts, and "Rise Up" has its charm, maybe as an unholy marriage between Diana Ross' "Reach Out and Touch (Somebody's Hand)" from May 1970 and Moby Grape. One wants to like this disc, but it feels as much in transition as the guitar players roaming from Iron Butterfly to Steppenwolf. Interesting on the surface, but there's no smash single to propel the project -- leaving it to a small group of record collectors to keep the image more in focus than the 73 men who sailed out. . . Drummer Skip Konte and vocalist Correll try to make "Gass Lamps and Clay" happen with its two-minutes-and-thirty-nine seconds and endless "la la la la" vocals (maybe a dig at percussionist Joe Lala, and giving the disc some variety, but no Grammy. New guitarist Kent Henry does compose a gem with bassist Malcolm Jones, a four-minute-plus cut, "It Happens All the Time," which has a ragged Rolling Stones' feel in a Robbie Robertson form. A pity the rest of the album isn't dressed up in this flavor, because it is a wonderful direction and far and away the best track. allmusic.com

Blues Image 1969
1.Take Me to the Sunrise - 4:14
2.Leaving My Troubles Behind - 3:49
3.Outside Was Night - 3:56
4.In Front Behind You - 3:13
5.Lay Your Sweet Love on Me - 2:14
6.(Do You Have) Somethin' to Say - 3:58
7.Lazy Day Blues - 4:50
8.Yesterday Could Be Today - 2:10
9.Reality Does Not Inspire - 9:09

Red, White and Blues Image 1970
10.Rise Up - 4:16
11.Behind Every Man - 3:17
12.Gas Lamps and Clay - 2:39
13.Take Me Back - 3:33
14.It Happens All the Time - 4:01
15.Good Life - 3:35
16.It's the Truth - 3:42
17.Let's Take a Ride - 2:52
18.Ain't No Rules in California - 7:50

Blues Image :
Mike Pinera - Vocals, Guitar
Frank "Skip" Konte - Vocals, Piano, Organ
Joe Lala - Vocals, Drums, Percussion, Congas
Manuel Bertematti - Drums, Congas, Tumba
Malcom Jones - Bass
Dennis Correll - Vocals
Kent Henry - Guitar

Flac + Complete Scans 527 Mb
Pass : SDB

Groundhogs - Blues Obituary 1969 (Akarma Digipack) Wav

Recorded during June of 1969 at Marquee Studios in London with Gary Collins and Colin Caldwell engineering, the trio of Groundhogs put the blues to rest on Blues Obituary in front of a castle on the Hogart-designed cover while six black and whites from photographer Zorin Matic grace the back in morbid Creepy or Eerie Magazine comic book fashion. Composed, written, and arranged by Tony "T.S." McPhee, there are seven tracks hovering from the around four- to seven-minute mark. The traditional "Natchez Burning," arranged by McPhee, fits in nicely with his originals while the longest track, the six-minute-and-50-second "Light Is the Day," features the most innovation -- a Ginger Baker-style tribal rant by drummer Ken Pustelnik allowing McPhee to lay down some muted slide work. As the tempo on the final track elevates along with manic guitar runs by McPhee, the jamming creates a color separate from the rest of the disc while still in the same style. Vocals across the board are kept to a minimum. It is all about the sound, Cream without the flash, bandleader McPhee vocally emulating Alvin Lee (by way of Canned Heat's Alan Wilson) on the four-minute conclusion to side one that is "Mistreated." While Americans like Grand Funk's Mark Farner turned the format up a commercial notch, Funk's "Mean Mistreater" sporting the same sentiment while reaching a wider audience, the Groundhogs on this late-'60s album keep the blues purely in the underground. The pumping beat on "Mistreated" embraces the lead guitarist's vocal, which poses that eternal blues question: "what have I done that's wrong?" Blistering guitar on the opening track, "B.D.D.," sets the pace for this deep excursion into the musical depths further down than Canned Heat ever dared go. While "Daze of the Weak" starts off sludgy enough, it quickly moves like a train out of control, laying back only to explode again. "Times" get things back to more traditional roots on an album that breaks little new ground, and is as consistent as Savoy Brown when they got into their primo groove.

"B.D.D." 5:15
"Daze of the Weak" 3:45
"Times" 5:15
"Mistreated" 4:00
"Express Man" 3:55
"Natchez Burning" 4:35
"Light Was the Day" 6:50

Groundhogs :
Tony McPhee - Guitar, Mellotron, Harmonium, Vocals
Pete Cruikshank - Bass Guitar
Ken Pustelnik - Drums

Eac Rip Wav + Log + Cover + Info 366 Mb

Groundhogs - Scratching The Surface 1968 (Akarma Digipack) Wav

The Groundhogs' debut album is a long way from the "classic" sound of the better-known Thank Christ for the Bomb/Split/Who Will Save the World? trilogy. Indeed, the mellow classic blues through which the band pursues its nine tracks offer the unsuspecting listener little more than a direct blast from the peak of the British blues boom past. Early Fleetwood Mac, Chicken Shack, and Savoy Brown all haunted precisely the same corridors as Scratching the Surface, with only the occasional burst of fuzzed Tony McPhee guitar to distinguish the sonics from the rest of the pack. That said, Scratching the Surface ranks among the finest albums to emerge out of that entire period, a moody shuffle that includes an epic recounting of the Chicago classic "Still a Fool" and which matches five solid McPhee originals with a pair of blistering contributions from outgoing harmonica whiz Steve Rye. In fact, his "Early in the Morning" and "You Don't Love Me" might well be the album's best numbers, a discrepancy that puts one in mind of another of the blues boom's hottest acts, Jethro Tull, and just how much they changed once a founding member (Mick Abrahams) departed. Again, if you arrive at Scratching the Surface in search of a fresh "Cherry Red" or "Status People," you'll probably be disappointed. But if you want to hear the blues sluicing straight out of the Southern England Delta, there are precious few better introductions.

"Rocking Chair" 4:07

"Still a Fool" 6:35

"Early in the Morning" 4:47

"Waking Blues" 2:29

"Married Men" 4:40

"No More Doggin'" 4:57

"Man Trouble" 6:27

"Come Back Baby" 3:54

"You Don't Love Me" 4:11

Groundhogs :

Tony McPhee - guitar, vocals

Steve Rye - harmonica, vocals

Peter Cruickshank - bass

Ken Pustelnik - drums

Eac Rip Wav + Log + Scans 600dpi + Info 448 Mb

The Yardbirds - Ultimate! (2CD Box Set) 2001 (Rhino)

Ultimate! is a two-disc compilation album by English blues rock band The Yardbirds, released in 2001 on Rhino Records, catalogue R2-79825. This is the first official "complete" compilation to feature the group throughout its entire recording era. The set includes every single, both A and b sides, released in either the UK or US during the band's lifetime, as well as the Italian single "Questa Volta" and the Dutch-only single from their first recording session, a cover of John Lee Hooker's "Boom Boom". The b-side to the US-only single "I'm A Man" was "Still I'm Sad", and "I'm Not Talking" had initially been the flip to the American release of "Shapes of Things", pulled and replaced with "New York City Blues". The single "Over Under Sideways Down" and its b-side were released seven weeks ahead of their home album in the UK. "Drinking Muddy Water" appeared also as the b-side to the single "Ten Little Indians" three months after its release on the LP Little Games. In addition to the 32 tracks issued as singles, the album includes 20 tracks released on long-playing records. Tracks five through eight on disc one derive from a live gig at the Marquee Club in London in early 1964, released on the Five Live Yardbirds album. The first ten tracks on disc two approximate the Yardbirds album of the summer of 1966, those ten tracks identical to sides one and two of the British LP with the final tune on each side excised, bringing the British running order down from twelve tracks to the American length of ten. During the final year of the band's existence, the band's management concentrated on the American market, with only one EP and the single "Little Games" released in the UK after 1966. The set includes the only recordings by the line-up while both Jeff Beck and Jimmy Page were in the band, "Happenings Ten Years Time Ago", "Psycho Daisies", and "Stroll On", their reworking of "Train Kept A-Rollin'", for the film Blow-Up (1966), in which the group appeared. Also featured are three Keith Relf solo tracks recorded just prior to and following the Roger The Engineer sessions in 1966 and released as singles, which were extremely difficult to obtain until their issue on this compilation. Studio recordings done at R.G. Jones Studios, Olympic Sound Studios, IBC Studios, Advision Sound Studios, De Lane Lea Studios, and Sound Techniques Studios in London; Columbia Recording Studios in New York City; Sam Phillips Recording Studios in Memphis, Tennessee; and Chess Studios in Chicago, Illinois. Original recordings were produced by Giorgio Gomelsky, Paul Samwell-Smith, Simon Napier-Bell, and Mickie Most. (Wiki)

CD1 : The Giorgio Gomelsky Era
01.Boom Boom 2:26
02.Honey In Your Hips 2:20
03.A Certain Girl 2:19
04.I Wish You Would 2:20
05.Too Much Monkey Business (Live) 3:53
06.I Got Love If You Want It (Live) 2:40
07.Smokestack Lightning (Live) 5:42
08.Here 'Tis 5:15
09.Good Morning Little Schoolgirl 2:46
10.Got To Hurry 2:29
11.I Ain't Got You 2:01
12.For Your Love 2:31
13.I'm Not Talking 2:35
14.Steeled Blues 2:40
15.Heart Full Of Soul 2:30
16.I Ain't Done Wrong 3:42
17.You're A Better Man Than I 3:59
18.Shapes Of Things 2:27
19.The Train Kept A-Rollin' 3:26
20.New York City Blues 4:21
21.Evil Hearted You 2:26
22.I'm A Man 2:39
23.Still I'm Sad 3:04
24.Questa Volta 2:35
25.Pafff...Bum 2:38

CD2 : The Simon Napier-Bell Era

01.Lost Woman 3:15

02.Over Under Sideways Down 2:24

03.The Nazz Are Blue 3:03

04.I Can't Make Your Way 2:27

05.Rack My Mind 3:14

06.Hot House Of Omagararshid 2:44

07.Jeff's Boogie 2:25

08.He's Always There 2:29

09.Turn Into Earth 3:12

10.What Do You Want 3:22

11.Happenings Ten Years Time Ago 2:57

12.Psycho Daisies 1:50

13.Stroll On 2:46

   

CD2 : The Peter Grant Era

14.Little Games (Single Version) 2:25

15.Puzzles 2:03

16.White Summer 3:51

17.Tinker, Tailor, Soldier, Sailor 2:54

18.No Excess Baggage 2:39

19.Drinking Muddy Water 2:54

20.Only The Black Rose 2:52

21.Ten Little Indians 2:17

22.Ha Ha Said The Clown 2:29

23.Goodnight Sweet Josephine (U.S Version) 2:46

24.Think About It 3:50

    

CD2 : The Keith Relf Solo Recordings

25.Knowing 1:55

26.Mr. Zero 2:47

27.Shapes In My Mind 2:19

The Yardbirds :

Keith Relf - vocals, harmonica, tambourine, acoustic guitar

Eric Clapton - electric guitar

Jeff Beck - electric guitars

Jimmy Page - guitars

Chris Dreja - rhythm guitar

Paul Samwell-Smith - bass

Jim McCarty - drums 

Flac CD1 : 403 Mb 

Flac CD2 : 388 Mb

Complete Scans & Booklet : 59 Mb

Love Sculpture - Forms And Feelings 1969

01.In The Land Of The Few 3:55
02.Seagull 3:29
03.Nobody's Talking 3:36
04.Why (How-Now) 7:43
05.Farandole (From L'Arlesienne) 3:41
06.You Can't Catch Me 3:25
07.People, People 3:20
08.Mars 1:52
09.Sabre Dance 11:15

Bonus
10. Think Of Love (single B-side,1968) 3:03
11. Seagull (single A-side,1969) 3:28
12. Farandole (From L'Arlesienne) (single B-side,1969) 3:41
13. In The Land Of The Few (single A-side,1970) 3:19
14. People, People (single B-side,1970) 3:21
15. Sabre Dance (single A-side,1968) 4:49

Love Sculpture :
Dave Edmunds - Guitar, Vocals
John Williams - Bass
Terry Williams - Drums
Mickey Gee - Guitar

Flac 495 Mb

Love Sculpture - Blues Helping 1968

1.The Stumble 3:01
2.3 O'Clock Blues 5:07
3.I Believe to My Soul 3:44
4.So Unkind 2:56
5.Summertime 4:01
6.On the Road Again 3:34
7.Don't Answer the Door 5:59
8.Wang-Dang-Doodle 3:33
9.Come Back Baby 2:40
10.Shake Your Hips 3:20
11.Blues Helping 3:44

Love Sculpture :
Dave Edmunds - guitar, vocals
John Williams - bass
Tommy Riley - drums

Flac 372 Mb