Available now from http://www.1960s.london
Roxy Music Live At The BBC and Beyond 1972-73
Tracklisting
Side One
- Grey Lagoons
- Pyjamarama
- Do The Strand
- Editions Of You
- In Every Dream Home A Heartache
- Grey Lagoons
Side Two
- Virginia Plain
- Do The Strand
- Editions Of You
- In Every Dream Home A Heartache
- Remake / Remodel
All songs written by Bryan Ferry
Personnel
Bryan Ferry – Vocals, piano, guitar, harmonica
Andy Mackay – Oboe, saxophone, keyboards, vocals
Brian Eno – Synthesiser, tapes, vocals
Phil Manzanera – Guitar
The Great Paul Thompson – Drums
Rik Kenton – Bass (Side One, Tracks 1 & 6)
Sal Maida – Bass (Side One, Tracks 2-5)
John Porter – Bass (Side Two)
Recording Details
Side One
All tracks recorded live for the BBC
Track 1 Radio In Concert transmitted 03.08.72
Tracks 2 – 5 Radio John Peel’s Sounds Of The Seventies transmitted 08.03.73
Track 6 TV Full House transmitted 25.11.72
Side Two
All tracks recorded in Bremen for the Musikladen TV show and transmitted 30.05.73
Sound Quality
Excellent throughout except Side One, Track 5 which is Very Good
Sleevenotes
“There’s a new sensation…” sang Bryan Ferry and by the time these tracks were recorded he was right on the button. The new sensation was Roxy Music, simply the most exciting and glamorous band to burst through the double-denim years of the early 1970s. Their self-titled first album released in 1972 was a heady blend of prog (Phil Manzanera), avant garde (Andy Mackay and Brian Eno) and thumping rock’n’roll (Thompson), providing the perfect setting for the arty but catchy tunes of crooning hearthrob Bryan Ferry. Ferry was determined to avoid the grind of endless college support gigs and instead persuaded EG Management to fund the band until a record contract with Island Records could be negotiated. Thus Roxy Music emerged fully-formed as if from nowhere. Critical and chart success was immediate.
The BBC were early supporters of the band. The first version of Grey Lagoons was recorded as part of a 1972 In Concert radioslot, ostensibly to promote the first LP. However the song would not be released on record until For Your Pleasure (1973) where it was sandwiched between two instrumentally-driven pieces The Bogus Man and the LP’s title track. By comparison Grey Lagoons is positively conventional, containing the classic Ferry line “morning sickness on Friday nights” and an unexpected harmonica solo. The first song to be written by Ferry on guitar, Pyjamarama was the band’s second single, but according to Manzanera the production, cutting and pressing process were all hurried. The version here recorded for John Peel has more prominent guitars, a more distinctive bass line and a slinkier vocal. From the same session comes the great-single-that-never-was, the dance craze anthem Do The Strand where Andy Mackay blows up a storm. The remaining tracks from this session are two further selections from For Your Pleasure, Editions Of You and In Every Dream Home A Heartache. The former is Roxy’s most straightforward rocker, albeit with classical allusions to the Lorelei, whilst the latter allows Manzanera to stretch out. Finally a second version of Grey Lagoons from BBC2 art programme Full House where Manzanera is again the star, his white Strat not the only Hendrix reference.
In May 1973 the band played a short set for German TV’s Musikladen as part of their spring European tour promoting For Your Pleasure. Debut single Virginia Plain is a strong statement of intent – “teenage rebel of the week” indeed. The instrumental break sees Mackay and Manzanera synchronise their dance steps whilst Eno glitters like a glam-rock ostrich and Ferry’s quiff gleams impossibly black. Paul Thompson does a great job of stopping it all getting too precious. For Do The Strand Ferry changes into a white-double breasted number whilst Eno favours an extravagance of black feathers. Editions Of You has Ferry moving centre-stage away from his piano, whilst Eno responds with some vigorous tambourine bashing and a wild synth solo. The spooky first half of In Every Dream Home A Heartache is dominated by Mackay on organ, until Manzanera shatters the tension on his Les Paul with Ferry playing a rare rhythm guitar part. On Remake/Remodel Eno, Manzanera and Mackay all sing the chorus of “CPL 593A”,emphasising what a visual band this first incarnation had become. The futuristically-garbed Mackay (great codpiece) gives us a snippet of “Deutschland über alles” and after a final explosion of drums the set ends to enthusiastic applause.
Sadly by June 1973 it was all over. During an appearance at York Festival shouts of “Eno” interfered with the bands performance. Eno withdrew in an attempt to quieten his fans, but Ferry informed EG that he would never share a stage with Eno again. Roxy would recover from Eno’s departure, becoming more focused around Ferry but no less successful. As we will see…
Sleevenotes
Lolita & Guernica
Thin Lizzy Live From Germany 1973
Side One
- Vagabond Of The Western World (Lynott)
- Dr Who Theme (Grainer) /
- ‘69 Rock (Lynott, Downey, Bell)
- Suicide (Lynott)
- Slow Blues (Lynott, Downey)
Side Two
- Whiskey In The Jar (traditional arranged Lynott, Downey, Bell)
- Things Ain’t Working Out Down At The Farm (Lynott)
- Whiskey In The Jar (traditional arranged Lynott, Downey, Bell)
- The Rocker (Lynott, Downey, Bell)
Recording Details
Side One and Side Two, Track 1 recorded live at the Waldbuhne on June 9th and broadcast on German TV
Side Two, Tracks 2 – 4 recorded live at the Berlin Art Indoor Festival on September 18th and broadcast on German TV
Personnel
Phil Lynott – bass, vocals
Eric Bell – guitar
Brian Downey – drums
Sleevenotes
The roots of Thin Lizzy go back to the early 1960’s when Phil Lynott and Brian Downey both attended the same Dublin school. The half Irish / half Brazilian Lynott joined The Black Eagles as vocalist but after “a few weeks singing soul on the Dublin bingo hall circuit” as Pete Frame put it, he left for local hotshots Skid Row, who featured future Lizzy guitarist Gary Moore. Skid Row bass player Brush Shiels taught Lynott the rudiments of playing bass. Lynott then joined his school friend Downey in Orphanage. Meeting ex-Them guitarist Eric Bell in December 1969 the threesome decided to form a band they called Thin Lizzy, allegedly named after Tin Lizzie from The Beano with the h added as nod to Irish pronunciation.
The band signed to Decca and at the suggestion of managers Ted Carroll and Brian Tuite moved to London in March 1971. Two albums followed with little commercial success – Thin Lizzy (April 1971) and Shades Of A Blue Orphanage (March 1972).The band had a surprise UK top 10 hit in November 1972 with their arrangement of the traditional Irish folk song Whiskey In The Jar. The accompanying album Vagabonds Of The Western World (September 1973) was not as successful.
Despite their lack of record sales in the UK, by 1973 Thin Lizzy were a popular live draw throughout Europe. The tracks on this record are drawn from two German appearances, in June and September 1973. The June event was a two day festival with a very ‘eavy line-up including Family, The Groundhogs, Uriah Heap and Beck, Bogart and Appice. The setting was the Waldbhune (Woodland Stage) in Berlin, a 22,000 capacity theatre in the Olympiapark where the Stones had staged a memorable riot in 1965. Opening number Vagabond Of The Western World attractively combines Irish folk music themes with a driving Lynott/Downey rhythm track. A version of the Dr.Who Theme precedes the bands own ’69 Rock, a live favourite that was never recorded for a studio LP. Suicide is introduced asa real-life story and features Eric Bell on slide, it would not be released on a studio LP until it appeared on the Fighting LP (September 1975). Side one closes with a Slow Blues. Another track from Vagabonds… the song belies Lynott’s introduction of “and that’s all it is”. After an initial section where Bell’s guitar echoes Lynott’s vocal, a sprightly rhythm makes for a song that is more interesting than its title. Finally, The Hit. Whiskey In The Jar is a traditional Irish song that tells a story of robbery and romantic betrayal. The band were reportedly unhappy with Decca’s decision to release the song as a single but it was a success throughout Europe and reached number 6 in the UK Top Ten. The version here effectively reproduces the arrangement of the single whilst allowing Bell more room for his fluid soloing.
In September Thin Lizzy were again on German TV, seemingly playing in front of an audience of bewildered children and bemused adults. Things Ain’t Working Out Down At The Farm is a track off the New Day EP, released in August 1971. Phil’s silver shoulder-pads give a hint of his future image and he is starting to throw some shapes onstage. A second version of Whiskey In The Jar features Lynott switching from his Rickenbacker bass to a Gibson SG guitar. The closing The Rocker is a sign of Thin Lizzy to come. Upbeat, riff-driven and a lyric that features much Lynott self-mythologising it even manages to include a plug for Ted Carroll’s legendary Rock On rare vinyl stall on Golborne Road. Eric Bell takes a lengthy solo but in this context it seems out of place. Bell would leave the band after a gig at Queen’s University in Belfast on New Years Eve 1973 when he walked off the stage mid-set. Gary Moore was recruited to take his place. The band found a more sympathetic record label in Phonogram and built momentum throughout 1974 and 1975 before finally breaking big in March 1976 with the release of the album Jailbreak and the single The Boys Are Back In Town, a top ten single in both the UK and (crucially) in the US.
Listening to this record you can hear the building blocks of Thin Lizzy’s subsequent success being manoeuvred into position with Lynott’s lyricism and street-wise persona and Downey’s drumming skills to the fore. Eric Bell’s desire for more open song structures and extended soloing would not persist but they served the band well at the time. From Vagabonds to Rockers…
Sleeve notes
Rosa Leigh
New Order fans will know Tom Chapman and Phil Cunningham as the band’s bass player and guitarist but this sold-out gig was a showcase for their other band. Drummer Elliot Barlow kept up a ferocious motorik dance beat throughout the thirteen song set with Tom and Beth Cassidy both generating insistent keyboard-based melodies. Beth took over on lead vocals from Iwan Gronow on Thrills and Le Coup but the best reaction of the night came when Iwan put down his rhythm guitar and upped the intensity for recent single De Facto. With a second LP ready to go, Sea Fever are highly contagious.
This review was written for Record Collector magazine
Royal Albert Hall, March 18th and 20th
Stage view: right down the front
After 24 years Roger Daltrey has retired as the curator of the annual Teenage Cancer Trust fundraiser and his parting gift was this brace of sold-out rock’n’roll shows. A suited and booted Squeeze delivered a solid hour of hits, from the opening Take Me I’m Yours to a closing Cool For Cats. Everything revolved around the songs and singing of front men Chris Difford and Glenn Tilbrook, from the countryish Labelled With Love, through a delicate rendition of Tempted to the faux-Motown of Another Nail In My Heart.
Monday night only saw The Who opening with a crisp I Can’t Explain. Both nights enjoyed a lengthy selection from Tommy where the orchestral backing really came into its own, early highlights being the synchronised guitar strumming of Pete Townshend and his brother Simon on Pinball Wizard and a moving Roger Daltrey vocal on See Me, Feel Me. A handful of singles without the orchestra included Substitute and The Kids Are Alright, performed as tightly as the original recordings. The orchestra returned for a selection from Quadrophenia, their performance of The Rock instrumental track being especially powerful. On the Wednesday night Eddie Vedder from Pearl Jam helped deliver The Punk And The Godfather. Daltrey and Townshend wore the same clothes both nights, suggesting the gigs were being filmed.
Throughout Zak Starkey embodied Keith Moon’s manic glee on drums, Jon Button made no attempt to emulate John Entwistle on bass, Billy Nichols provided vocal support and keyboard player Loren Gold provided the synthetic pulse of Won’t Get Fooled Again and the romantic piano intro to Love, Reign O’er Me. These last two numbers were a remarkable demonstration of Daltrey’s enduring vocal power and range. The closing Baba O’Riley ended with the band being lead a merry dance by first violinist Katie Jacoby culminating in a standing ovation from all present.
Review written for Record Collector magazine
Photography: Dave Alexander / Simon Wright
Out now from http://www.1960s.london and released over two vinyl LPs
The Who – Quadrophenia Live 1973
Tracklisting
Side One
- I Am The Sea
- The Real Me
- I’m One
- Sea And Sand
Side Two
- Drowned
- Bell Boy
- Doctor Jimmy
All songs written by Pete Townshend
Recording Details
All tracks recorded live at The Spectrum, Philadelphia on 4.12.73 and broadcast on The King Biscuit Flower Hour US FM radio
Personnel
Roger Daltrey – lead vocals
Pete Townshend – guitars, vocals
John Entwistle – bass, vocals
Keith Moon – drums, vocals
Sound Quality
All tracks sound exceptional
Sleevenotes
“Abetted by a much clearer sound than on the last tour Quadrophenia was, in a word, stunning. The concert rendition supplied all the raucous power seemingly latent in the storyline, and the added dimension invested the monolithic Quad with the true rock’n’roll excitement missing in large parts from the album. The Who, especially Townshend, seemed genuinely enthusiastic playing the new material. At their best, The Who are still, simply, the best.”
Ken Barnes, Phonograph Record
Quadrophenia came about in part because Townshend was desperate to add new material to The Who’s live show. His cherished Lifehouse project had been heavily edited to form the Who’s Next LP but only three of its songs were regularly played live. As a result the band onstage still depended heavily on Tommy, now four years old. Quadrophenia was a double LP song cycle about a mod called Jimmy, which allowed Townshend to write about the relationship between the band and its fans. Ken Barnes was not the only reviewer to feel there was something missing from the original studio recording. The initial mix was heavy and dense with Daltrey’s vocals lost in Townshend’s synthesisers and orchestrations. Subsequently the record was repeatedly remixed and remastered in an attempt to make the sound sharper and clearer.
For the autumn 1973 UK tour the band included in their set a segment of twelve Quadrophenia songs from the just-released LP. Unfortunately Townshend’s artistic ambition ran ahead of what was then technically possible. When played live the Quadrophenia tracks relied heavily on taped synthesiser tracks which were prone to malfunction. This happened most dramatically at the Newcastle Odeon on November 5th. According to The Who Concert File (Joe McMichael and Jack Lyons) “Pete exploded into a furious rage. He screamed at soundman Bob Pridden, smashed his guitar onto the stage and began tearing down the backing tapes and equipment. Roger, Keith and John stared on in disbelief.” Veteran keyboard player Chris Stainton had played on the studio sessions. Had he been invited to join the band on tour many of the technical problems might have been avoided.
By the winter US tour the Quadrophenia segment was down to ten songs and many of the technical issues had been resolved. Because the album had only just been released in the US both Roger and Pete took it upon themselves to give lengthy song introductions in an attempt to explain the plot of the LP, impeding the momentum of the early US gigs. However by the time the band played their penultimate gig at Philadelphia the Quadrophenia sequence was working well. The opening I Am The Sea is highly atmospheric, relying heavily on taped effects to portray the four recurrent themes. Townshend comes in too early at the start of The Real Me but the band recover well and deliver a tough version of the song with Daltrey singing a verse over just bass and drums, guitar crashing in for the chorus. I’m One is a duet between a reflective and uncertain Townshend and a brash, blustery Daltrey, effectively portraying two very different sides of Jimmy. There is more light and shade in Sea and Sand, again effectively sung by Townshend and Daltrey taking alternate parts. The backing by Entwistle and Moon mirrors this, moving from sparse understatement to full-scale rocking out as Daltrey recalls The High Numbers by singing “I’m The Face if you want it…”
Drowned is a showcase for Townshend’s playing, enhanced by close support from the rhythm section and some powerful vocal improvisation from Daltrey. Keith Moon, manages to sing and drum at the same time on Bell Boy. By changing the lyrics to “Remember the place in Canada that we smashed?” Moon alludes to the after-party that followed their Montreal date on December 2nd, where some post-show renovations to the Bonaventure Hotel resulted in the touring party spending the night in jail. The final track is Doctor Jimmy, where the band demonstrate how well they could integrate their live performance with the taped sounds and we get a glimpse of how good Quadrophenia could have sounded live.
The band would return from the US to play four nights in London at the Edmonton Sundown, with the December 23rd gig held by some Who fans as the best live performance of Quadrophenia that year. A short French tour with a similar set-list followed in February 1974 but by the time The Who played Charlton Football Club in May they included only four songs from Quadrophenia. Critical rehabilitation would eventually follow, culminating in an acclaimed 2013 tour which featured a live rendition of all seventeen Quadrophenia tracks. By then only Townshend and Daltrey would remain. So for an authentic 1973 performance by the original four piece line-up in stunning sound, walk this way…and for the other songs that The Who plated that night check out Live In Philadelphia (R&B136).
Sleevenotes:
Mel and Collyer
The Who – Live in Philadelphia 1973
Tracklisting
Side One
- I Can’t Explain (Townshend)
- Summertime Blues (Cochran / Capehart)
- My Wife (Entwistle)
- See Me, Feel Me / Listening To You (Townshend)
Side Two
- Pinball Wizard (Townshend)
- My Generation (Townshend)
- Naked Eye (Townshend)
Recording Details
All tracks recorded live at The Spectrum, Philadelphia on 4.12.73 and broadcast on The King Biscuit Flower Hour US FM radio
Personnel
Roger Daltrey – lead vocals
Pete Townshend – guitars, vocals
John Entwistle – bass, vocals
Keith Moon – drums, vocals
Sound Quality
All tracks sound exceptional
Sleevenotes
The Spectrum in Philadelphia was the penultimate date of the Who’s US 1973 Winter Tour. By now thoroughly road-hardened, the band performed a sold-out show for 13,500 enthusiastic fans. Fortunately the leading US syndicated FM radio programme The King Biscuit Flower Hour arranged for the entire set to be recorded by the Record Plant Mobile 16 track studio. The newly-released Quadrophenia featured extensively, we have released these tracks as R&B135. The new material was complemented by a variety of Who classics, which are presented here.
Traditional set opener I Can’t Explain is played crisply and precisely with some fine vocal harmonies and a sharp Towshend solo. Given that the Who specialised in songs of teenage disaffection Eddie Cochran’s Summertime Blues was an obvious choice and this cover blasts off in a welter of powerchords and exuberant Keith Moon drumming. More tight vocal harmonies are complemented by the gruff voice of John Entwistle taking the role of The Man. Entwistle provided some fine live numbers for the Who – Boris The Spider, Heaven and Hell and now My Wife. This characteristically dark-humoured tale of marital discord has Entwistle pursued by a heavily armed and enraged spouse. The song is extended to allow Townshend to solo, but rather than merely support him Moon and Entwistle solo as well without getting lost or becoming self-indulgent. See Me, Feel Me / Looking At You was the closing number of the 1969 rock opera Tommy. The band’s performance of this number at Woodstock and its appearance in the resultant movie had helped build the band’s US profile. Daltrey inhabits the Tommy persona with power and conviction, making this song a live highlight – he exhorts the crowd to join in on the chorus and “Let them hear in New York!”
Of the second Tommy number Pinball Wizard, Nik Cohn wrote that the song was “as good as anything Townshend has written, which means as good as anything anyone has written since Chuck Berry.” Despite being introduced as Pineball Blizzard the band play a faithful version of the song with Townshend reprising his flamenco-syle strummed guitar parts. By 1973 My Generation had been through a lot of changes. In 1965 it was played live as a tight three-minute wonder. At Monterey in 1967 the song had expanded to four and a half minutes and by the time Live At Leeds was recorded in 1970 My Generation was over thirteen minutes long and had evolved into a mini-history of the Who, incorporating riffs from Tommy and elsewhere. This seven-minute version retains the power and drive of the original even during an extended instrumental coda which almost veers off into Big Boss Man whilst Daltrey manages to slip a four-letter word past the radio censors. In live dates the following year the song would change again, slowed down to form My Generation Blues. Naked Eye was recorded for an unreleased 1970 EP but the studio track would not appear until the 1974 outtakes collection Odds & Sods. In the sleeve-notes for that LP Townshend describes its gestation “This number was written around a riff that we often played in stage at the end of our act around the time we were touring Tommy. It came to be one of our best stage numbers, it was never released because we always hoped we would get a good live version one day”. Here is that good live version. Played as a rare encore, the song features some of Townshend’s pithiest lyrics. This lengthy arrangement intersperses thoughtful, melodic guitar improvisation with impassioned Daltrey vocals before it ends with the sound of a Cherry Sunburst Gibson Les Paul Deluxe meeting its maker.
“From Shepherds Bush Mods to time machine mystic travellers, The Who played longer, harder and straighter, for the people, than anyone else.” Nik Cohn 1974
Sleevenotes: Joe Kerr-Jaymes
I was very sad to hear the news last night that Wayne Kramer had died. I met him in London 2006 when he was fronting DKT (Davis, Kramer, Thompson aka the MC3). Levis had paid for them to come over and record a DVD at the 100 Club. I wrote up our encounter as part of an article for Bucketfull Of Brains magazine. Wayne came across as warm, genuine and impassioned although he was slightly upset when our cover referred to DTK instead of DKT – I was thinking of the Heartbreakers DTK (Down To Kill). After that I would see him when he came through London, usually as a solo artist but sometimes under the MC5 brand, as in 2018 (review here). My respect for Wayne only grew when I read his autobiography The Hard Stuff detailing his personal ups and downs.
This week with ghastly timing our record label released a vinyl LP The MC5 Live In Europe 1972. Manufacturing lead times being what they are this release was approved months ago, but I still feel awkward about it coming out this week, particularly as we did the same thing to Jeff Beck
There will be many obituaries to Wayne, and rightly so. Most will talk about his time with the MC5, and rightly so. There are however a handful of solo tracks from the Who Shot You Dutch? musical he wrote with Mick Farren which have vanished into obscurity. They are well worth a listen:
Finally the absolute best tribute to the time Wayne spent in the MC5 is the feature-length movie MC5: A True Testimonial (2002). Legal issues prevented the movie getting a full release and copies are hard to find but it is well worth searching out. The live footage showing Wayne trading incendiary guitar parts with his partner in crime Fred ‘Sonic’ Smith whilst executing James Brown-style dance moves is just exhilarating.
Order now from http://www.1960s.london
Mott The Hoople
TV and Radio 1970 – 1971
Side One
- Thunderbuck Ram (Ralphs)
- Original Mixed-Up Kid (Hunter)
- Whisky Women (Ralphs)
- The Moon Upstairs (Hunter, Ralphs)
- Darkness, Darkness (Young)
- At The Crossroads ( Sahm)
- Keep A-Knockin’ (Penniman) /
- What’d I Say (Charles)
Side Two
- Like A Rolling Stone (Dylan)
- You Really Got Me (Davies)
- Angel Of Eighth Avenue (Hunter)
- Wrong Side Of The River (Ralphs)
- When My Mind’s Gone (Hunter)
Recording Details
Side One
Track 1 recorded for BBC radio Top Gear on February 3rd 1970 and transmitted on February 21st 1970
Tracks 2 & 3 recorded for BBC radio Sounds Of The Seventies on March 8th 1971 and transmitted on March 16th 1971
Tracks 4 & 5 recorded for BBC radio Sounds Of The Seventies onOctober 25th 1971 and transmitted on November 4th 1971
Track 6 recorded for Beat Club, ARD TV, Bremen and broadcast on March 28th 1970
Tracks 7 & 8 recorded for Get To Know, ABC TV, Australia and broadcast on January 20th 1971
Side Two
Track 1 recorded for BBC radio Top Gear on July 6th 1971 and transmitted on July 24th 1971
Track 2 recorded for Beat Club, ARD TV, Bremen and broadcast on March 28th 1970
Track 3 recorded for BBC radio Top Gear on July 6th 1971 and transmitted on July 24th 1971
Tracks 4 & 5 recorded for BBC Radio John Peel Sunday Concert on April 23rd 1970 and transmitted on 3rd May 1970
Personnel
Ian Hunter: vocals, piano
Mick Ralphs: guitar, vocals
Pete Overend Watts: bass
Dale “Buffin” Griffin: drums
Verden “Phally” Allen: organ
Sound Quality
All except the final two tracks are Very Good. The two Sunday Concert tracks are of lesser quality but still totally listenable.
Sleevenotes
“I’ll give you a little information about the band I’m mixed up in. Buffin is the baby of the band: he’s a drummer, a fucking great one. Mick Ralphs is your original loner. He’ll run for miles to escape friendship when it’s the one thing he needs. He’s totally committed to the group. Phally – a product of Wales, come from a tiny village outside Swansea. When he’s down, he’s down, when he’s up he’s within reason. Pete still gets to rehearsals two hours late and we have them a quarter of a mile from his place in Hampstead. He’s solid as a rock – when I think of Pete I think of kindness, gentleness, eccentricity – a complete upper in every way.”
Ian Hunter, Diary Of A Rock’n’Roll Star
The period 1970 – 71 found Mott The Hoople playing innumerable live gigs, pausing only to record three well-received LPs for Island Records. The performances here document the band’s live set, featuring several songs not released on the band’s studio LPs plus some deep cuts only rarely performed live.
Thunderbuck Ram provides a suitably raunchy beginning. According to Pete Watts “It was a song with no title. We found the name scrawled on a toilet wall in the Pied Bull, our rehearsal base in Islington and it seemed perfect for the track. I think it was the name of a group.” This version is largely instrumental and the band manage the quiet / loud transitions with precision, Allen’s organ duetting with Ralphs’ guitar. Original Mixed-Up Kid features the band’s sensitive side and includes a quote from Byron. Ralphs is back in charge for Whiskey Woman, a tale of loose women encountered backstage at the Whiskey A Go Go in Los Angeles. The Moon Upstairs was a punk precursor, a fast-paced rocker opening with chopped guitar chords and featuring the lyric “We’re not leading you, we’re bleeding you but you’re too fucking slow”. In deference to delicate BBC sensibilities, Hunter swallows the f-word. Darkness, Darkness was written by Jesse Colin Young for The Youngbloods and is another Ralphs showcase. At The Crossroads was originally written by Doug Sahm for The Sir Douglas Quintet and is performed here for German TV Beat Club. It shows the band at their hairiest. Classic rockers like Keep-A Knockin’ (Little Richard) and What’d I Say(Ray Charles) frequently closed Mott sets: the frantic versions here were recorded for Australian TV.
Like A Rolling Stone was never recorded for a studio LP. It was the number with which Hunter auditioned to join promising Hereford group Silence, thus creating Mott The Hoople. At nine minutes it is also one of the longest tracks the band recorded but featured only briefly in the Mott live set. Uber-Dylan fan Hunter is in his element here with Allen doing his best Al Kooper. Back to Beat Club for a rampaging instrumental take on the Kinks’ You Really Got Me with a guitar/drums/organ rave-up to finish. Angel Of Eighth Avenue served notice that Hunter could write sensitive ballads as well as raucous rockers. We finish with two rare performances, both taken from the May 1970 John Peel Sunday Concert. Wrong Side Of The River was a mournful Mick Ralphs tune steeped in Americana and Allen’s Hammond organ. When My Mind’s Gone was an intense psychodrama from the Mad Shadows LP which Hunter said that he wrote spontaneously whilst hypnotised by mentor Guy Stevens (sleeve credit “spiritual percussion and psychic piano”).
Pete Frame once claimed that on a good night Mott The Hoople were the best live band in the UK, and there is plenty of evidence here to support that claim. The problem was that they weren’t selling any records. “You were selling out the biggest venues in the land and you weren’t having any record success,” said Hunter. “That’s not going to work for long. You have to have the record success to go with it.”
That record success would come with the gift of All The Young Dudes from David Bowie, as we shall see…
Sleevenotes: Doc Thomas
Live In Europe 1972
The MC5
Side One
- Kick Out The Jams (Tyner, Kramer, Smith, Davis, Thompson)
- Ramblin’ Rose (Wilkin, Burch)
- Motor City Is Burning (Smith)
- Tonight (Tyner, Kramer, Smith, Davis, Thompson)
Side Two
- Let It Rock (Berry)
- I Want You (Frechter, Page)
- Looking At You (Tyner, Kramer, Smith, Davis, Thompson)
Recording Details
Side One recorded for Beat Club German TV at Radio Bremen on March 25th
Side Two recorded for Finnish TV at The Kulttuuralo, Helsinki on November 17th
Personnel
Wayne Kramer – guitar, vocals
Fred “Sonic” Smith – guitar, vocals
Derek Hughes – bass
Rob Tyner – vocals (Side One
Dennis ‘Machine Gun” Thompson – drums (Side One)
Ritchie Dharma – drums (Side Two)
Sleevenotes
“The MC5 were the first important American underground rock band to forsake their previous sureness of direction, and ultimately disintegrate, when unable to reconcile the need for commercial success with an original integrity.”Clinton Heylin, From The Velvets To The Voidoids (1993)
The MC5 fought the law and the law won. Repeatedly. The Motor City Five was started by demon twin guitarists Smith and Kramer in 1964 as a Detroit covers band. In autumn 1965 a fierce new rhythm section – Michael Davis (bass) and Dennis Thompson (drums) – plus the addition of jazz-influenced vocalist Rob Tyner lead the MC5 into uncharted territory where their garage band roots were overlaid by free jazz and feedback. With their new manager John Sinclair adding revolutionary rhetoric to the mix the band proved erratic and inflammatory. Danny Fields signed them to Elektra: their debut LP Kick Out The Jams, was recorded live over Halloween 1968 at the bands home venue, the Grande Ballroom. Elektra dropped the MC5 in spring 1969 after a disagreement over obscenities on the record, in the sleeve notes and on promotional posters. Atlantic released two further studio LPs, Back In The USA (1969) and High Time (1972). For the former producer Jon Landau took the bands anarchic live performances and tightened them up into short, sharp rockers: the latter was halfway between the first two LPs and all the better for it. Sinclair was horrified: “they wanted to be bigger than the Beatles, but I wanted them to be bigger than Chairman Mao.”
Whilst the radical politics espoused by the MC5 in their early days resulted in much unwanted police attention what did for them in the end was drugs. The end of the 1960s saw hash, speed and acid replaced by downers, cocaine and heroin. Detroit was no exception. In his autobiography The Hard Stuff,Kramer recalls “we had burned so many promoters by being late that the MC5 could not tour enough to survive. Our drinking and drugging resulted in us arriving late for concerts so often that the word was, don’t book them. When you’re an active drug user, securing your drugs is a top priority: leaving town in time to make the gig was secondary.“
Bass player Michael Davis took this to its logical extension , preferring to stay home and deal rather than tour Europe in spring 1972: he was replaced by Derek Hughes. A lengthy set recorded for Beat Club documents this line-up, sometimes called the MC4. An uncensored Kick Out The Jams makes for a provocative set opener, the song derived from the band’s challenge to headliners they supported in Detroit. Next is the band’s version of Ramblin’ Rose, originally recorded by Jerry Lee Lewis in 1962 and now a feature for Wayne Kramer. Motor City Is Burning is a slow blues originally recorded by John Lee Hooker with a lyric that documents the riots that had decimated the band’s native city. Finally an extended Tonight allows Kramer and Smith to trade solos and phrases.
By November when the band played a lengthy set for Finnish TV both Tyner and Thompson were gone, the latter replaced by a pick-up drummer found in London. These were the band’s penultimate dates – they would reconvene for one final wretched gig at the Grande on New Years Eve – and Kramer has been scathing about their performances. Certainly the absence of Tyner means that they fall back on their garage roots but with guitarists of the calibre of Kramer and Smith (The MC2?) this is not a bad thing. An opening Let It Rock sung by Fred Smith reveals a great rock’n’roll voice. The Troggs I Want You is revisited from the first LP, the opening feedback giving way to a slow and deliberate riff before Kramer shows off at the end. Looking At You is a good place to end, starting slow and rhythmic with a teasing introduction before gradually building to both Kramer and Smith playing in unison.
A mere three years after their New Year nadir the MC5 were highly fashionable again as they were discovered by a new generation of rock’n’rollers. Primal Scream, The Damned, the Hot Rods, The Flamin’ Groovies, The Clash and Patti Smith either namechecked the band or covered their songs. But this is where the sonic revolution began. “Ladies and Gentlemen I Give You A Testimonial…The MC5!”
Sleevenotes: Sister Anne
From the January 2024 edition. Thank you Ian McCann
From the January 2024 edition
Thank you Niall Doherty
Available now from http://www.1960s.london
Cowgirl In The Sand Live 1970 (Vinyl LP)
Neil Young & Crazy Horse
Side One
- Cowgirl In The Sand
- Cinnamon Girl
- Helpless
Side Two
1Sugar Mountain
2 Cowgirl In The Sand
All songs written by Neil Young
Personnel
Neil Young – acoustic guitar, electric guitar, vocals
Danny Whitten – rhythm guitar, vocals
Billy Talbot – bass, backing vocals
Ralph Molina – drums, backing vocals
Jack Nitzsche – electric piano
Recording details
Side One Tracks 1 – 4 and Side Two Track 1 recorded live at the Boston Tea Party on March 1st and broadcast on WNBCN-FM Boston the following day
Side Two Track 2 recorded live at the Santa Monica Civic Auditorium, March 28th and broadcast on Radio KUSC FM
Recording Quality
The Boston tracks are all very good, whilst the recording from Santa Monica is of lesser quality but still very listenable
Sleevenotes
The reaction to our Neil Young & Crazy Horse Live At Santa Monica Civic LP (R&B 70) has been so positive that we are now issuing a second excerpt from the US tour performed by Neil Young and Crazy Horse in the spring of 1970.
1970 was a very busy year for Neil Young. He finished a tour with Crosby, Stills, Nash & Young on January 11th, began this tour with Crazy Horse a month later, toured again with CSNY in the summer and then toured solo at the end of the year. In between all this live activity Young also managed to record the tracks for his After The Goldrush LP, which would be released in September 1970. Here is long-term Young watcher Nick Kent writing in his 1994 book The Dark Stuff. “He augmented Crazy Horse with Jack Nitzsche’s honky-tonk piano playing and took off on a tour, recording each date for a projected live album of new songs. The music that was made during these shows, which later resurfaced on bootleg tapes, remains some of the most exciting of Young’s whole career.”
The tour with Crazy Horse started at the Cincinatti Music Hall on February 25th: the Santa Monica gig was the last night of the tour on March 28th. In between were gigs at the Electric Factory (Philadelphia), Boston, New York Fillmore East (4 shows), Contra Costa College, San Pablo and Palomar College, San Marcos (both in California). The format of each show was an initial acoustic solo set from Neil, followed by an electric set featuring Crazy Horse. These ten shows are revered by Neil Young fans because they were the only time that Neil played live with original Crazy Horse guitarist Danny Whitten who would die in 1972.
The extraordinary rapport between Young and Whitten can be heard on the opening Cowgirl In The Sand, recorded live in Boston. The studio take released on Young’s 1969 LP Everybody Knows This Is Nowhere runs to just over 10 minutes: this version clocks in at sixteen. Young claims he wrote this song at his house in Topanga whilst suffering from a fever. Whilst the lyrics are oblique and may or may not refer to female promiscuity the music is unambiguous. The rhythm section of Ralph Molina and Billy Talbot provides a loping rhythm over which Young and Whitten construct their ornate guitar interactions which generate spontaneous applause from the audience. Cinnamon Girl is more compact but just as exciting, faster than the recorded version, with chiming guitars and joint lead vocals from Young and Whitten. Young’s onstage ramblings produce laughter from the crowd when he mentions his previous appearance in Boston. This took place when the Buffalo Springfield played the Back Bay Theatre on November 24th 1967 together with The Soul Survivors, The Strawberry Alarm Clock and The Beach Boys. Maybe the serious denim-clad FM audience who came to see Neil Young in 1970 had no time for AM pop stars with their shiny hit singles. This rap precedes a well-received version of Helpless, sung beautifully by Neil with just his acoustic guitar for accompaniment. The opening of Sugar Mountain gets recognition applause: impressive as it was only released as a single B-side. Written by Young at the age of nineteen it remains a perennial live favourite, although getting the audience to sing along as they do here is rare. To close we return to Santa Monica Civic for a second, monumental version of Cowgirl In The Sand that builds and builds. Over fifteen minutes Whitten and Young spur each other on – surely somewhere a youthful Tom Verlaine and Richard Lloyd were taking careful notes.
Contemporary reviews of the 1970 Crazy Horse tour were mixed. Writing in the Boston Herald Traveller under the headline “Neil Young Manages To Be Both Boring And Exciting”, music critic Timothy Crouse notes the “unprecedented level of respectful silence” that Young’s “huge following” brought to the Tea Party. Helpless is described as a “shrill and not very interesting number”. Crazy Horse get damned with faint praise: “they laid down good, simple, funky arrangements and only got into trouble during the endless instrumental breaks in Down By The River and Cowgirl In The Sand. Here the variations on the theme were too simple, and Young and his lead guitarist became redundant bores.” In Rolling Stone magazine, John Morthland gave the Contra Costa gig a more positive review. “Crazy Horse is a strong band that gives Young all the support he needs. With Crazy Horse rolling along steadily behind him, Young displayed amazing virtuosity. Pacing the stage in his patched blue jeans, his head jerking up and down with the music, he picked guitar lines seemingly out of nowhere, piling them up one staccato note on another. Cowgirl In The Sand, Young’s most romantic and most fully-realised performance thus far was the finale and it gave Neil another vehicle for long screaming improvisations. He seems most at ease with Crazy Horse and they in turn fit his style better than any of the other bands he has worked with. On this night they could do no wrong.”
Sleeevenotes: Byrne Oot and Faye d’Away
LIVE IN LONDON, PARIS AND…FELIXSTOWE 1965 – ’67 (CD)
The Who
Tracklisting
- My Generation (Pete Townshend)
- Daddy Rolling Stone (Otis Blackwell)
- Shout & Shimmy (James Brown)
- Man With Money (Don & Phil Everley)
- My Generation (Pete Townshend)
- So Sad About Us (Pete Townshend)
- Substitute (Pete Townshend)
- Man With Money (Don & Phil Everley)
- Dancing In The Street (Marvin Gaye / William Stevenson / Ivy Jo Hunter)
- Barbara Ann (Fred Fassert)
- My Generation (Pete Townshend)
- Happy Jack (Pete Townshend)
- My Generation (Pete Townshend)
- I’m A Boy (Pete Townshend)
- Substitute (Pete Townshend)
- My Generation (Pete Townshend
- C C Rider (Traditionaal)
- My Generation (Townshend
- Baby Don’t You Do It (Holland, Dozier, Holland)
- Substitute (Townshend)
- Jingle Bells (James Lord Pierpoint)
- You Rang ? (Pete Townshend / John Entwistle / Roger Daltrey / Keith Moon)
Recording Details
Track 1 recorded live at the London Students Carnival Ball at the Empire Pool, Wembley on 19/11/65 and transmitted by ATV on 08/12/65
Track 2 recorded live at Twickenham Film Studio for US TV Shindig (ABC) 03/08/65
Tracks 3-5 recorded live for Ready Steady Go! and transmitted 5.11.65
Track 6 Track recorded for BBC Saturday Club at the Playhouse Theatre, London 13/09/66
Tracks 7-11 recorded for ORTF on 31/3/66 at the Music Hall de France, d’Ailleurs, Issy-les-Moulineaux
Tracks 12 & 13 recorded for Beat Club at the Marquee, London 02/03/67 Tracks 14-16 recorded at the Pier Pavilion, Felixstowe on 08/09/66 and broadcast on the French television show Seize Millions Des Jeunes with DJ Emperor Rosko on 18/10/66.
Tracks 17-20 recorded live at Westminster Technical College on 09.07.66 9th and broadcast on Canadian TV CBC Take 30 on 6.10.66
Track 21 recorded for Ready Steady Go! on 17.12.65 and transmitted 24.12.65.
Track 22 recorded for BBC Saturday Club on 15.03.66 and transmitted on 19.03.66
Personnel
Roger Daltrey – vocals
Pete Townshend – guitar, vocals
John Entwistle – bass, vocals
Keith Moon – drums
Sleevenotes
“Was there ever a more exciting live group than The Who at their first peak, 1965/66? I think not. The Who were two quite different bands. In the early 70’s, after Tommy’s success d’estime bailed them out of a tight spot, they resolved themselves into a different type of act – the world’s greatest stadium band. At Bath Pavilion, in the summer of 197I, I saw a warmup show for the Who’s Next US Tour and they had grown wonderfully; nobody better. But my heart remains forever with the group I first saw in the mid-60s – the flash, noisy, violent, melodic pop group of the Ready Steady Go! years. Here they are…”
John Perry (guitarist and author of Meaty, Beaty, Big and Bouncy (Classic Rock Albums)
London, Paris and…Felixstowe. During their initial burst of success from 1965 to 1967 the band were a blur of live gigs, radio and TV appearances and hurried recording sessions. This CD collates the material from this period that is unavailable elsewhere, albeit sometimes in sound quality that reflects contemporary broadcast standards.
Playing under a string of fairy lights the Who offered London’s students a well-behaved version of My Generation, with Pete and John sharing a microphone Beatles-style. The band don’t seem to know how to finish the song without its usual auto-destructive ending, so that at one point only Keith Moon’s extravagant drumming keeps the song from petering out before Townshend weighs in with a final vocal. Other bands on the bill which ran from 9pm to 4 am included Georgie Fame & The Blue Flames, The Hollies, Wilson Pickett and Donovan. Although listed on the bill, the Kinks failed to appear whilst John Lee Hooker was replaced at the last minute by an 18 year old unknown folk singer called Marc Bolan. The Who’s appearance was delayed when Daltrey took exception to the sound quality of the PA provided and refused to perform until the Who’s own PA had been installed. Daddy Rolling Stone was first released by the Who as the B-side to Anyway, Anyhow, Anywhere. The band base their arrangement on Derek Martin’s exhilarating version from 1963, a favourite with the mods in their audience. This recording was made in London for US TV programme Shindig, Townshend in Union Jacket and birdman poses
The TV programme Ready Steady Go! played a vital part in the early success of the Who. In Andy Neill’s definitive book on RSG! Who co-manager Chris Stamp remembers that band and TV programme were in perfect alignment: “we knew we were made for each other. It was an archetypal Sixties happening.” An exciting Shout and Shimmy demonstrates the bands early James Brown fixation with a rare drums-and-bass interlude and the Everly Brothers’ Man With Money gets a powerful finish. Man With Money was a stage favourite but would not appear officially until the 1995 CD re-release of A Quick One. My Generation receives another outing. The Who would appear seventeen times on RSG! and were part of the very last edition on December 23rd 1966 when they played a spirited version of Johnny Kidd’s Please Don’t Touch. BBC sessions were another vital part of the band’s early promotional strategy. So Sad About Us is a song Pete wrote for The Merseys which turned out so well that The Who nicked it for themselves. This fine version was inexplicably omitted from The Who BBC Sessions (1999). Listen for the immaculate harmonies and the new vocal refrain (“Last Night”) at the end.
Next up are five songs recorded for French TV. France got The Who straight away due to the potent combination of their stylish pop-art visual and Townshend’s overt intelligence. The band open with a lively version of Substitute, Townshend delivering an uncharacteristic solo on a Telecaster whilst looking very Brooks Brothers. From the country influences of Man With Money to Motown – why not ? Dancing In the Street is an obvious, mod-orientated choice and features Townshend using a mike stand to get some wayward sounds, his backing vocals on this number being equally experimental. Surf-nut Keith Moon’s falsetto vocals are a feature but not a highlight of Barbara Ann. The closing My Generation is performed quite conservatively with only a solitary cymbal getting knocked over – maybe the band were under heavy manners to behave themselves.
The Who’s spiritual home at this time was The Marquee Club on Wardour Street. In order to support debut single I Can’t Explain, co-manager Kit Lambert arranged for a Tuesday night residency at the Marquee, fly posted using the legendary Maximum R’n’B poster (later to be included with initial copies of Live At Leeds). Bob Bickford of Ready Steady Go! was so impressed by the band’s Marquee performance in front of an audience of rabid Who fans that he recommended the band for a TV slot. These Beat Club tracks give you an idea of what Bob heard on that Tuesday night. A brief and to the point Happy Jack is followed by Townsend again playing slide with the mike stand at the end of My Generation. Before he can total his guitar a smoke-bomb causes the power to fail. Roger is at the height of his Dippity-Do hair-gel dandy phase, the curly haired Rock God still two years away. Entwistle recreates his bass solo in My Generation with impressive and impassive dexterity. And beaming over all he surveys is Keith Moon, the original Happy Jack, visibly having the time of his life.
Next up are frenetic versions of I’m A Boy, Substitute and My Generation recorded on Felixstowe Pier. My Generation ends with Townshend ramming his Rickenbacker into a Marshall amp that bears the scars of previous assaults whilst Moon upends his kit to the presumed delight of the French TV crew filming the gig. Another TV crew, this time from Canada, caught the band in action at Westminster College in July 1966. Footage of this gig shows a rammed college, with as many mod girls as boys. The four song fragments presented here back up the presenters description of the Who as “formidable” and “extraordinary.” C C Rider is a traditional song recorded by (amongst others) Ma Rainey, Mitch Ryder and Elvis Presley, sung here by a deadpan John Entwistle. Marvin Gaye’s Baby Don’t You Do It was a long-time stage favourite and it features Townshend getting into the power chords and melodic explorations that would come to fruition on Live At Leeds (as well as the riff from Satisfaction). We only have the instrumental from Subsitute, complemented by a mighty My Generation where Townshend pulls out all his tricks – incessant windmilling, birdman feedback and finally shoving his sturdy Telecaster into his amp. Daltrey and Moon carry in regardless as the curtain drops. Reviewing a Yeovil gig from later that week the Melody Maker concluded that “there is no other group on the scene remotely like them…”
To complete this rich musical feast we have a couple of rarely heard musical petit fours. A real period piece from the 1965 Christmas Eve edition of RSG!, Jingle Bells features “John on French Horn, Roger on bell, Keith on kazoo and Pete on feedback” (Keith Altham, NME). By contrast You Rang? is a great Ventures-type instrumental in the style of The Ox and this is the only known recording. The words “You Rang?” are uttered by John Entwistle and are taken from the hit TV show The Munsters, where it was the catchphrase of Lurch (Ted Cassidy). A suitably light-hearted note on which to close this selection of songs – neaty, Petey, gig and flouncy.
Sleeve notes: Harry Blandford
The Betsy Trotwood, Clerkenwell, London
October 31st 2023
To a sold-out but tiny audience of sixty fans, Chris delivered two sets that included songs from Sneakers and The dB’s, his duets with Peter Holsapple and his many solo recordings. Lit by the worlds smallest lighting rig (one bulb) Chris opened as alter-ego Jazzbo Jenkins, adept purveyor of American Songbook-style originals such as I Fall In Love So Easily and Je Ne Sais Quoi. For the second set he was joined by cellist Cristina Munoz, whose sympathetic playing combined beautifully with Stamey’s acoustic guitar and evoked the quieter moments of the Big Star Third collective. Cycles Per Second, From A Window To A Screen and Happenstance were all performed with respect for the originals whilst upbeat versions of early solo singles Cara Lee and (I Thought You) Wanted To Know sounded fresh and dynamic. An extended Something Came Over Me allowed for some rare instrumental improvisation. Throughout Chris provided witty introductions to the songs and explained how they had been written. An encore of 14 Shades Of Green – in response to an audience request – followed by 27 Years In A Single Day emphasised the songwriting quality on display tonight.
Review written for Record Collector magazine
Only Rock 'n' Roll 