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Free, Crosby Stills Nash & Young New LPs

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Free – Live In Santa Monica 1971

Side One

1. Be My Friend (Fraser, Rodgers)

2. The Stealer (Fraser, Rodgers, Kossoff)

3. Woman (Fraser, Rodgers)

4. Ride On A Pony (Fraser, Rodgers)

Side Two

  1. Don’t Say You Love Me (Fraser, Rodgers)
  2. All Right Now (Fraser, Rodgers)
  3. Fire And Water (Fraser, Rodgers)
  4. Heavy Load (Fraser, Rodgers)

Side Three

1. The Highway Song (Fraser, Kossoff)

2. My Brother Jake (Fraser, Rodgers)

3. Soon I Will Be Gone (Fraser, Rodgers)

4. I’m A Mover (Fraser, Rodgers)

Side Four

1. Mr. Big (Fraser, Rodgers, Kirke, Kossoff)

2. The Hunter (Jones, Wells, Dunn, Jackson, Cropper)

3. Rock Me Baby (Josea, King)

Recording Details

All tracks recorded live at Santa Monica Civic Centre, Santa Monica, California on

January 22nd 1971 and broadcast by DJ Elliot Mass on Radio KUSC FM in February 1971.

Personnel

Paul Rodgers: vocals

Paul Kossoff: guitar

Andy Fraser: bass, keyboards 

Simon Kirke: drums

Sleevenotes

Free formed under the aegis of London blues veteran Alexis Korner in April 1968. They were all very young – bass player Andy Fraser was 15, whilst guitarist Paul Kossoff was 17 and lead singer Paul Rodgers and drummer Simon Kirke were both 18. Signing with Chris Blackwell’s Island Records, the band released debut Tons Of Sobs in March 1969. Madcap producer Guy Stevens had the band run through their live set twice in the studio and selected the best takes at a total recording cost of £800. Follow up Free was released in October 1969. By now the band’s constant touring had earned them the support spot on Blind Faith’s only US tour with Eric Clapton asking for tips on how to copy Kossoff’s trademark vibrato. 

Everything changed with the release in June 1970 of 3rd LP Fire and Water. Many bands were attempting to emulate the success of Cream and Jimi Hendrix. Whilst Free had the musical ability to do this, crucially the Fraser/Rodgers songwriting team could write hit singles. An edit of All Right Now was the breakthrough, reaching number two on the UK singles charts and propelling Free to an acclaimed performance in front of 600,000 fans at the Isle Of Wight Festival in August 1970. Fire and Water highlighted Kossoff’s ability to do more with less. On standout track Mr Big he lays back and lets Fraser’s bass take the lead.  As Simon Kirke said “It was almost as much about the notes he didn’t play as the notes he did.” Adding to this, Kirke’s own talent for metronomic beats plus Rodgers’ Otis Redding vocals and tight trousers and the end result should have been massive global success. Fire and Water reached number 2 in the UK album charts and number 17 in the US. The follow up Highway (December 1970) did not do so well. More introspective and melodic than its predecessor, it was influenced heavily by the Band’s Music From Big Pink. By now Kossoff was finding being in a famous group hard to handle, resulting in escalating drug use. Tensions between Rodgers and Fraser would cause the band to split for the first time in May 1971.

January 1971 finds Free just starting a US tour in Santa Monica in front of a lively crowd who know the songs. Be My Friend makes for a slow start, with a thoughtful bass groove underpinning a convincing Rodgers vocal and a melodic solo from Kossoff. The Stealer has the same lurching rhythm as All Right Now and this version adds urgency to the studio track: the Faces live version from around this time is recommended – Rod Stewart really rated Paul Rodgers. Woman demonstrates the sparseness of the Free live sound with passages of just drums and vocals. Ride On A Pony was allegedly written for Wilson Pickett and is thoroughly funky. Don’t You Say You Love Me begins delicately before Rodgers starts to testify. Its slow pace acts an effective aperitif to All Right Now.  Kossoff’s opening riff is greeted by cheers from the audience. Fire and Water features another impassioned Rodgers vocal and ends with a mini solo from Kirke. Fraser adds another dimension to the sound by moving to piano for Heavy Load where minimal Kossoff guitar supports Rodgers’ subtle vocal.

Jaunty piano drives the upbeat The Highway Song and single My Brother Jake. Soon I Will Be Gone is another plaintive ballad, allowing the band to catch their breath before the final rave up. I’m A Mover is an early single where Kirke and Kossoff swap riffs before Fraser and Rodgers enter. The playing on Mr Big shows bass, guitar and drums playing with rare empathy. Albert King’s The Hunter was a highspot of early Free gigs. The lyric is of its time (“I’ve got you in the sights of my love gun”) but Kossoff finally lets rip with an exuberant solo. The final song is B.B. King’s Rock Me Baby, renamed as Rock My Plimsoul on the first Jeff Beck Group LP. Kossoff is lyrical and tasteful here and the twelve bar gracefully brings the set to a close via a Rodgers call-and-response with the audience.

Free would reform in 1972, mainly out of concern for Kossoff. The reunion produced a hit single (Little Bit Of Love) and LP (Free At Last) but Kossoff was unable to tour consistently. After a final LP Heartbreaker the band broke up for good in February 1973. Kossoff died of a pulmonary embolism in March 1976 at the age of 25. The Wishing Well single contained the Paul Rodgers lyric “Throw down your gun you might shoot yourself, or is that what you are trying to do?”.

Rolling Stone magazine has referred to Free as “hard rock pioneers” but they were much more than that. Whilst they strongly influenced US Southern rockers such as Lynyrd Skynyrd and The Black Crowes, at the heart of Free’s music is a sparseness and a subtlety that is the antithesis of hard rock. A better comparison would be Peter Green’s Fleetwood Mac, another band that came out of the London blues boom of the late 1960s and who used it as the springboard to create something new where respect for the blues tradition met inspired songwriting and instrumental virtuosity in the service of the song. A recording career that generated six studio LPs in four years: no wonder they struggled to keep up. Today the band would have been told to take a break after Highway and sort themselves out. And then how might The Free Story have ended?

Sleevenotes: Mr. Morrision

PLEASE NOTE

Owing to a manufacturing error the second disc of this 2LP set is labelled incorrectly. The music however is as per the tracklisting. Apologies for the mistake.

Crosby Stills Nash & Young: Live 1969 – 1970

Side One

  1. Sea Of Madness (Young)
  2. 4+20 (Stills)
  3. Down By The River (Young)
  4. Get Together (Powers)
  5. Mobile Line (Duren, Stampfel)
  6. Red Eye Express (Duren)

Side Two

  1. You Don’t Have To Cry (Stills)
  2. Long Time Gone (Crosby)
  3. Down By The River  (Young)
  4. Ohio (Young)
  5. Southern Man (Young)
  6. On The Way Home (Young)
  7. Find The Cost Of Freedom (Stills)

Recording Details

Side One

Tracks 1-6 recorded at the Big Sur Folk Festival in the grounds of the Salen Institute, California, September 13th -14th 1969 and included in the film Celebration At Big Sur

Side Two

Tracks 1 & 2 Recorded for This Is Tom Jones, ATV Television, broadcast October 16th 1969

Track 3 Recorded live for ABC TV  Music Scene and broadcast on September 22nd 1969

Tracks 4 – 7 recorded live at the Fillmore East, New York June 2nd 1970 and broadcast on VH-1 Legends Specials March 12th and June 15th 2000

Personnel

Side One – tracks 1-4, Side Two tracks 1 -3

Neil Young – guitar, vocals, organ

Stephen Stills – guitar, vocals, organ, piano

David Crosby – guitar, vocals

Graham Nash – guitar, vocals, organ, piano

Dallas Taylor – drums

Greg Reeves – bass

Joni Mitchell – guitar, vocals (Side one, Track 4)

John Sebastian – vocals (Side one, Track 4)

Tom Jones – vocals (Side 2, Track 2)

Side One – tracks 5 & 6

Stephen Stills – guitar, vocals

John Sebastian – guitar, vocals

Side Two tracks 4-7

Neil Young – guitar, vocals, organ

Stephen Stills – guitar, vocals, organ, piano

David Crosby – guitar, vocals

Graham Nash – guitar, vocals, organ, piano

John Barbata – drums

Calvin Samuels – bass

Sleevenotes


Following the release of their eponymous LP in May 1969 Crosby, Stills, Nash & Young were an overnight success – overnight that is if you discount the years of apprenticeship served in the Byrds, Hollies and Buffalo Springfield. Their second gig was Woodstock and the rest of 1969 saw them building on this instant popularity through appearing on TV and in concert.

The Big Sur Folk Festival was a more manageable version of Woodstock, held annually from 1964 -1971 with crowd numbers kept deliberately modest. Filmed in 1969 for the documentary Celebration At Big Sur, the band performs a rollicking version of’ Sea Of Madness driven by Neil Young’s organ.  4+20 is delicately performed acoustically by Stills solo, a rare moment of understatement. However a local artist starts heckling Stills and ends up in a fight with him, accompanied by Crosby’s helpful “Peace and love, peace and love. Kick his ass!”. The festival is a benefit for the Institute For The Study Of Non Violence: Stills’ is wearing a very ostentatious fur coat. Such are the contradictions of the counterculture. Down By The River is a song from Young’s second solo LP Everybody Knows This Is Nowhere (May 1969), performed here with space for some extended guitar sparring. The band are joined by Joni Mitchell and a totally tie-dyed John Sebastian for a version of hippie anthem Get Together. Originally a hit single for the Youngbloods, other versions were recorded by Jefferson Airplane, HP Lovecraft and a solo David Crosby (pre-Byrds). Stills and Sebastian duet acoustically on Mobile Line and Red Eye Express.

The first two songs on Side Two are from This Is Tom Jones, recorded in London. At the time Tom Jones was an all-round family entertainer so inviting CSNY onto his peak time show was a brave move. Even braver was Tom joining in on vocals on Long Time Gone. Footage shows a sceptical Crosby looking progressively more impressed as the song continues. You Don’t Have To Cry is unencumbered by Tom Jones’ contribution. For the opening show in ABC TV’s Music Scene series CSNY played a more concise version of Down By The River. The band were introduced by TV comedian David Steinberg. Other guests on the show included The Beatles, James Brown, Tony Bennett and Buck Owens.


The final selection of tracks stem from a residency at Bill Graham’s Fillmore East from June 2nd – 7th  1970. By now second CSNY album Deja Vu had been released to great commercial and critical success. Touring the LP resulted in ructions between the band and their rhythm section, culminating in Taylor and Reeves  being fired and replaced by Johnny Barbata and Calvin Samuels. Barbata came from The Turtles whilst Samuels was recommended by Young’s former bandmate Rick James. The fragment of Ohio is a highlight here. Written by Young  in response to police shooting students at Kent State this track managed to turn the vaguely idealistic lyrical notions of the band’s songs into something more specific and highly targeted. The rush-released single benefitted from raucous guitars to echo the anger of the lyrics and the version here is no less impassioned. Ohio would not appear on a CSNY studio album until the 1974 compilation So Far. Southern Man is taken from Young’s third solo LP After The Goldrush and gets an extended full-band band workout. The Buffalo Springfield’s On The Way Home is sung solo by Young. An excerpt fromStills’ Find The Cost Of Freedom closes this side:the songwas the band’s traditional set closer and was the B side of Ohio.

Selections from the Fillmore East residency plus recordings from Chicago and Los Angeles would form the basis of the double LP Four Way Street. By the time this LP was released in 1971 CSNY had splintered and would remain apart until the lure of vast amounts of money saw them reunited for a tour in 1974. The bands post-1970 activities would be incredibly successful financially, but less rewarding in artistic terms as the members of CSNY concentrated on their respective solo careers. The recordings on this LP show this mercurial collective at their peak.

Coral Lanyon

With many thanks to Neil Parison for his invaluable assistance with this release

New Van Morrison, Rolling Stones releases

Available now from http://www.1960s.london

Van Morrison – “It’s Too Great To Stop Now” Live 1971 2LP set

Side One

1. Into The Mystic (Morrison)

2. I’ve Been Working (Morrison)

3. Friday’s Child (Morrison)

4. Que Sera, Sera (Livingston & Evans) /

    Hound Dog (Leiber & Stoller)

Side Two

1. Ballerina (Morrison)

2. Tupelo Honey (Morrison)

3. Wild Night (Morrison)

4. Just Like A Woman (Dylan)

Side Three

1. Moonshine Whiskey (Morrison)

2. Dead Or Alive (Guthrie)

3. You’re My Woman (Morrison)

4. These Dreams Of You (Morrison)

Side Four

1. Domino (Morrison)

2. Call Me Up In Dreamland (Morrison)

3. Blue Money (Morrison)

4. Bring it On Home to Me (Cooke)

5. Buena Sera, Signorina (Sigman & de Rose)

Personnel

Van Morrison: guitar, harmonica, vocal

Ronnie Montrose: electric and acoustic guitars, mandolin

Mark Jordan: piano, organ

Bill Chuch: bass

Bill Atwood: trumpet, trombone

Jack Schroer: soprano, alto, and baritone saxophones, piano

Rick Shlosser: drums, percussion

Ellen Schroer: vocals

Janet Morrison: vocals

Sleevenotes: Richard Cory

Recording Details

All tracks recorded live at Pacific High Recorders, Marin, California on September 5th 1971 and broadcast on Radio KSAN FM in October 1971.

Morrison’s live 1974 double LP It’s Too Late To Stop Now is “one of the greatest live albums of all time and one acknowledged by Morrison as a career peak” (John Tobler). It was recorded at shows in Los Angeles, Santa Monica and London between May and July 1973. What is less well known is the concert given by Van and his stellar band in September 1971 to an intimate audience of less than 200 at the Pacific High Recorders studio  in Marin County, near to where Morrison was living with his wife Janet and their new daughter Shana. Many of the praises applied to It’s Too Late…apply equally to the earlier session, presented here in glorious stereo. By the time of this recording Van Morrison had left behind the beat-group days of Them and the intricate song cycle of Astral Weeks, although he plays homage to both. What took their place were the 1970 LPs Moondance and His Band And Street Choir, both rooted in soul and R&B but also informed by Morrison’s love of traditional folk and jazz. His next LP Tupelo Honey would follow in October 1971.

Opening track Into The Mystic makes for a relaxed introduction, highlighting the ability of the Atwood/Schroer horn section to punctuate a song. Morrison improvises vocally, but the well-drilled band follows him. I’ve Been Working  features the jazzy piano of Mark Jordan and finishes with a whispered “You send me”Friday’s Child is a real rarity. Written in 1967 for Them it is a song about leaving home with the telling refrain “you can’t stop now” carried effectively by Jordan’s piano and the female backing vocals of Ellen Schroer and Janet Morrison. A more humorous insight into Morrison’s childhood is provided by the segue from  Que Sera Sera into a riotous Hound Dog that positively drips with grease.

The only song here from Astral Weeks, Ballerina expands to nine minutes.  Next up are two songs from the forthcoming LP Tupelo Honey. The title track is a relaxed reflection on Morrison’s new-found bucolic existence, whilst Wild Night by contrast is all horn-driven exuberance. Newly released as a single it starts with some enticing guitar from Ronnie Montrose and never lets up. Van Morrison was a good interpreter of Bob Dylan, with Them’s version of It’s All Over Now Baby Blue  being particularly effective. Just Like A Woman is beautifully sung, although some of Morrison’s vocal improvisations dismantle the sexual ambiguity of the original.

Moonshine Whiskey is another new track from the soon-to-be released Tupelo Honey which demonstrates the band’s ability to stop on a dime, orchestrated by Morrison’s discrete hand signals. Dead Or Alive is a Woody Guthrie song, popularised by Lonnie Donegan on the UK skiffle scene of the early 1960s. Another rarity, this cheerful performance belies the message of its lyrics and features some buoyant call-and-response vocals. You’re My Woman was inspired by Janet Morrison, who thus sings about herself. The band turn These Dreams Of You into an irresistible invitation to the dance floor driven by the impeccable rhythm section of Chuch and Schlosser.

The exuberant mood persists through Domino where even the notoriously taciturn Morrison sounds like he’s having a good time: Bruce Springsteen was clearly listening very closely to this masterclass in band dynamics. Call Me Up In Dreamland and Blue Money retain this cheerful vibe. A leisurely stroll through Sam Cooke’s Bring It On Home To Me tees up the unexpected set closer Buena Sera, Signorina. Previously a hit for Louis Prima, Dean Martin and Acker Bilk it starts bizarrely with the 1812 Overture played as a polka before rocking out.

 “This is Van Morrison at the top of his game, delivering a set fuelled with unbridled passion. With no trace of the nervousness or anger that occasionally marred his concert performances during this era and with his sense of humour so prominent, it is no wonder that this recording has achieved such legendary status among Morrison’s fans and collectors. This provocative performance is often brilliant and is an enthralling listen from beginning to end.” Alan Bershaw

Sleevenotes: Richard Cory

On Tour ’65 2CD Set

The Rolling Stones

CD One

  1. (I Can’t Get No) Satisfaction (Jagger, Richard)
  2. I’m Alright (McDaniel)
  3. Everybody Needs Somebody To Love (Russell, Burke, Wexler)
  4. Pain In My Heart (Neville)
  5. Around And Around (Berry)
  6. Time Is On My Side (Meade)
  7. I’m Movin’ On (Snow)
  8. The Last Time (Jagger, Richard)
  9. (I Can’t Get No) Satisfaction (Jagger, Richard)
  10. I’m Alright (McDaniel)
  11. Get Off Of My Cloud (Jagger, Richard) / Satisfaction (Jagger, Richard) / I’m Movin’ On (Snow)
  12. Everybody Needs Somebody To Love (Russell, Burke, Wexler)
  13. Around and Around (Berry)
  14. Off The Hook (Nanker, Phelge)
  15. Time Is On My Side (Meade)
  16. Carol (Berry)
  17. It’s All Over Now (Womack, Womack) 
  18. Little Red Rooster (Dixon)
  19. It’s All Over Now (Womack, Womack)
  20. Everybody Needs Somebody To Love (Russell, Burke, Wexler)
  21. The Last Time (Jagger, Richard)
  22. I’m Alright (McDaniel)
  23. Crawdad  (McDaniel)
  24. Everybody Needs Somebody To Love (Russell, Burke, Wexler)
  25. Pain In My Heart (Neville)
  26. Around And Around (Berry)
  27. The Last Time (Jagger, Richards)
  28. Little Red Rooster (Dixon)

Recording Details

Tracks 1 & 2 Recorded live at Halle Munsterland, Munster, Germany (first show) on September 11th and broadcast on German TV (ZDF) Schaufenster Deutschland and Deutsche Wochenschau

Tracks  3 – 10 recorded live in the Ernst Merck Halle, Hamburg, Germany on September 13th (second show) and broadcast on German TV

Track 11 Recorded live in Waldbuhne, Berlin, Germany on September 15th and broadcast on German TV SFB Berliner Abendschau on September 16th

Tracks 12 – 23 Recorded live at the Olympia, Paris for RTL Radio, First Show April 18th 1965

Tracks 24 –  27recorded live at Wembley Empire Pool, London on 11th April 1965 and broadcast on April 18th as “The Big Beat ’65” (ABC and ITV).

Track 28 Track Rehearsal recorded live and broadcast January 6th on UTV Belfast Six Five

CD Two

  1. The Last Time (Jagger, Richard)
  2. Little Red Rooster (Dixon)
  3. Everybody Needs Somebody To Love (Russell, Burke, Wexler)
  4. Oh Baby (We Got A Good Thing Going)
  5. (I Can’t Get No) Satisfaction (Jagger, Richard)
  6. Down The Road Apiece (Raye)
  7. Little Red Rooster (Dixon)
  8. The Last Time (Jagger, Richard)
  9. Play With Fire (Jagger, Richard)
  10. (I Can’t Get No) Satisfaction (Jagger, Richard)
  11.  Around And Around (Berry)
  12. If You Need Me (Bateman, Pickett, Sanders)
  13. Down The Road Apiece (Raye)
  14. Time Is On My Side (Meade)
  15. What A Shame (Jagger, Richard)
  16. Everybody Needs Somebody To Love (Russell, Burke, Wexler)
  17. The Last Time (Jagger, Richard)
  18. Everybody Needs Somebody To Love (Russell, Burke, Wexler)
  19. Pain In My Heart (Neville)
  20. I’m Alright (McDaniel)
  21. Oh Baby (We Got A Good Thing Going) (Lynn)
  22. That’s How Strong My Love Is (Jamison)
  23. (I Can’t Get No) Satisfaction (Jagger, Richard)
  24. Cry To Me (Russell)
  25. She Said Yeah (Jackson, Christy)
  26. Get Off Of My Cloud (Jagger, Richard)
  27. Useless Information (Jagger, Richard)
  28. She Said Yeah (Jackson, Christy)
  29. Get Off Of My Cloud (Jagger, Richard)
  30. Reelin’ And Rockin’ (Berry)

Recording Details

Tracks 1-3 Recorded and broadcast on the ‘Ed Sullivan Show’, New York 2.5.65

Tracks 4 & 5 Recorded for ‘Yeh Yeh’ with Tony Hall, BBC Light Programme, London on 20.8.65 and broadcast on 30.8.65

Tracks 6 -10 Recorded for ‘Shindig’, Los Angeles on 20.5.65 and broadcast on 26.5.65. Backing track for Satisfaction recorded at Chess Studios, Chicago on 10.5.65

Tracks 11 – 26 recorded and broadcast on ‘Ready Steady Go’, Studio One, Wembley (ARTV) on 07.08.64 (11 & 12), 15.01.65 (13 – 15), 26.02.65 (16), 9.04.65 (17 – 20), 10.09.65 (21 – 23, pre-recorded on 2.9.65)  and 22.10.65 (24 – 26).

Tracks 27 – 29 recorded and broadcast on NBC ‘Hullabaloo’ New York  11.11.65.

Track 30 Recorded for ‘Nestle’s Top Swinging Groups’, Radio Luxembourg Studios, London Mayfair 18.03.64

Personnel

Mick Jagger – lead vocals, harmonica

Brian Jones – guitar

Keith Richard – guitar, backing vocals

Bill Wyman – bass

Charlie Watts – drums

Sleevenotes

Following the success of our On Tour ’64 release we are delighted to bring you a companion volume from the following year. 1965 was the year that the Stones exported their domestic success to the rest of the world: the tracks here comprise radio and TV broadcasts from the UK, Germany, France and the USA.

The Rolling Stones first visit to Germany was a “riotous five city affair” (Bill Wyman) with thousands of screaming fans greeted by the police using water cannons. An Essen policeman claimed “I’ve seen nothing like this since the old days of a Nazi or Communist rally.” The Berlin date ended in a full-scale riot: the excerpts of Get Off Of My Cloud, Satisfaction and I’m Moving On included here come from a German TV news programme scandalised by the damage done to the venue. Equally seismic was Brian Jones meeting Anita Pallenberg for the first time after the Munich gig. 

Two songs from Munster reveal Jagger making full use of a big stage to rouse a predominantly-seated audience during Satisfaction. Jones is in imperious form, shaking a tambourine to get the crowd going during the closing I’m Alright. An impassioned Everybody Needs Somebody To Love opens the Hamburg set, with Jagger testifying during Pain In My Heart. The recording is so clear you can hear Jagger’s handclaps on Around And Around before the guitars of Richard and Jones muscle in and take over. Time Is On My Side features Keith Richard’s languid backing vocals providing a charming if slightly ragged harmony. A rare live outing for I’m Moving On includes Brian Jones on slide duetting with Jagger’s harmonica whilst Richards holds down the rhythm. A very polite Charlie Watts introduces The Last Time – more joint Jagger/Richardvocals and chiming twin guitars. The band stomps through Satisfactionbefore finishing with I’m Alright, Bill Wyman’s bass carrying the rhythm as Jagger works the crowd into a frenzy.

The Olympia, Paris was the venue for another exhilarating gig, thankfully recorded in good quality by French radio. A brief snippet of Everybody Wants To Somebody To Love prefaces a rockin’ Around And Around, Jagger’s vocal exuberance matched by the Richards / Jones guitar team tearing into the solos. The loping rhythm of overlooked B-side Off The Hook highlights the dexterity of Watts and Wyman. Carol kicks off with an electrifying intro from Keith Richards, whilst  Brian Jones’ slide guitar is the focus of Little Red Rooster (introduced here by the rarely-vocal Charlie Watts). Sheer punk energy drives Route 66. A lengthier Everybody Needs Somebody To Love is followed by The Last Time, featuring Richard’s distinctive backing vocals. Then back to the Crawdaddy club in Richmond for two rarely-played Bo Diddley covers I’m Alright and Crawdad itself, both of which have the desired effect of making the crowd go completely bonkers. 

Amidst this European success the UK was not overlooked. Bill Wyman remembers “On 11th April we played our first UK show in three weeks at the Empire Pool, Wembley. It was ‘The NME Poll Winners concert’ in front of a capacity audience of 10,000. Other acts included the Moody Blues, Georgie Fame, the Seekers, Donovan, Them, the Animals and the Beatles. We closed the first half and the Beatles closed the show.” Everybody Needs Somebody To Love is performed at a slower pace than usual and forms a medley with Pain In My Heart . Around and Around features a pair of densely interwoven guitars whilst the start of The Last Timeis greetedwith female screams and benefits from distinctive Keith Richards backing vocals. At the concert the Stones picked up awards for Best New Group, Best British R’n’B Group and Mick Jagger won Best New Disc Or TV Singer.

Rounding off the first disc is a brief but charming rehearsal of Little Red Rooster, done for Irish TV.

Disc Two collates the Stones 1965 TV appearances in the UK and in the US. London’s Ready Steady Go! would became the Stones televisual home from home. Fronted by uber-mod Cathy McGowan this is where the Stones learnt to play to the cameras. Mick Jagger: “RSG! wasn’t safe, it took risks and waded right into the wonderful chaos of the times. It was the best rock’n’roll show of all time”. Initial programmes were  mostly mimed, although the Stones August 1964 performances of Wilson Pickett’s If You Need Me and Chuck Berry’s Around And Around are unmistakeably live.  January 1965 saw the Stones playing their own What A Shame as well as covers of Time Is On My Side and  Down The Road Apiece. During the February 1965 performance of Everybody Needs Somebody To Love Mick was dragged offstage by female members of the Stones fan club.

By April 1965 every band was performing live. The programme’s iconic slogan “The Weekend Starts Here!” adds excitement to The Last Time, followed by the Everybody Needs Somebody To Love / Pain In My Heart medley and a truncated version of I’m Alright. By September 1965 the Stones’ increased popularity had earned them their very own edition of RSG! which showcased a more soul orientated approach through covers of Barbara Lynn’s Oh Baby! (We Got A Good Thing Going) and Otis Redding’s That’s How Strong My Love Is, before closing with a pounding Satisfaction.  Director Michael Lindsay-Hogg was especially pleased with the way Satisfaction turned out,  “a very exciting performance”. Sheila Oldham (Loog’s wife) described it as “so great, watching the Stones do Satisfaction was like having sex, it was fabulous”. There is a rare appearance from sixth Stone Ian Stewart on Oh Baby! and his distinctive piano can be heard in the second half of the song. An October 1965 session contrasts the impassioned ballad Cry To Me with the all-out ravers of Get Off My Cloud and She Said Yeah, the latter co-written by Sonny Bono under an alias.

A short-lived BBC radio programme was “Yeh Yeh” was hosted by Tony Hall and featured the Stones in August 1965. Versions of Oh Baby (We Got A Good Thing Going) and(I Can’t Get No) Satisfaction are different to those on the official BBC On Air release. A further rare track is the Radio Luxembourg recording of Reelin’ and Rockin’.

The success of RSG! spawned similar shows in America such as Shindig and Hullabaloo.  The Stones recorded five tracks for Shindig in May 1965. Little Red Rooster benefitted from some additional howling and Brian Jones’s peerless slide, whilst a brief Down The Road Apiece squeezed in a Berry-style solo from Keith Richard. What the natives made of references to Hackney and Knightsbridge in the brooding Play With Fire is not known. The backing tracks for these songs were specially recorded at RCA Studios in Los Angeles two days previously and feature an early collaboration with Billy Preston on keyboards. Mercifully the Hullabaloo Orchestra’s brief ‘interpretation’ of Satisfaction is overwhelmed by the Stones rocking out on inspired live versions of She Said Yeah and Get Off Of My Cloud, Jones and Richards sporting matching Gibson Firebirds.

Equally influential in the US was The Ed Sullivan Show. Whilst Shindig and Hullabaloo were filmed on the West Coast and had pretensions to being  hip, the Sullivan show was ultra-conservative and based in New York. Even so, Ed Sullivan provided a useful platform for the Stones right up until November 1969, giving aspiring rock’n’rollers such as Patti Smith their first glimpse of the band. On their May 1965 appearance The Last Time seems to take Charlie by surprise as he is still setting up when the song starts. Brian sports a gorgeous white Vox Teardrop but it is Keith that solos. Brian’s slide provides the focus of Little Red Rooster, duetting with Jagger’s harmonica at the end of the song. Jagger vamps his way into Everybody Needs Somebody To Love, the audience screaming louder in response to his pointing at them during the “you, you, you” sequence. Remarkably the band still bow at the end of each number.

From February 1964 through to November 1965, the Stones were frequent performers on mainstream radio and television. It was like having them in your living room: they would never offer this easy access again.  From 1966 onwards the increasing fragility of Brian Jones would result in the Stones gradually cutting back on their live performances, both in person and on TV. Once 1967’s “Summer Of Love” was safely out of the way the Stones would resurface in the darkly menacing video for Jumping Jack Flash, all tribal make up and bug-eye shades.

The weekend would no longer start here, because the weekend would never stop.

Sleevenotes – Linda Lu

The Who Acoustic @ Royal Albert Hall

Teenage Cancer Trust Benefit

View: Right Down The Front (Arena F)

Royal Albert Hall, March 25th 2022

A more accurate description would be Townshend/Daltrey Unplugged, albeit with a band featuring Who stalwarts Simon Townshend and Billy Nicholls on guitar and vocals plus bass-player Phil Spalding, Charlie Hart on fiddle, Andy Cutting playing the accordion, Geraint Watkins on keyboards and longtime collaborator Jody Linscott exuberant on percussion. The opening salvo of Substitute and The Kids Are Alright demonstrated how many of the early Who songs work really well  when played only on acoustic guitar. Repeated attempts at Squeeze Box in a variety of keys suggested that the two hours rehearsal time claimed by Townshend was  generous, but the version of Tattoo that followed was gorgeous. From then on it was a mixture of the well known (Who Are You, Behind Blue Eyes, Pinball Wizard, Eminence Front) and the more obscure (Let My Love Open The Door, Real Good Looking Boy). Beads On One String received its live debut, dedicated to the people of Ukraine. The double whammy of Baba O’Reilly and Won’t Get Fooled Again brought the capacity crowd to their feet, the latter performed by Daltrey and Townshend as an intimate duet. A fascinating sidelong glance at the Who, which devoid of the Sturm und Drang of their normal electric performances demonstrated the strength of their songbook.

This review written for Record Collector magazine

Trash Enter 21st Century!

Thanks to the sterling work of Keith Steptoe we can now be found on Spotify (whatever that is) here

And the Soul Jazz LP featuring Priorities is allegedly being released in time for Record Store Day next month, we shall see…

Faces Live BBC2 1971

Available now from http://www.1960s.london

Side One

1. (I Don’t Want To Discuss It) You’re My Girl (Cooper, Beatty, Shelby)
2. Bad ‘n’ Ruin (McLagan, Stewart)
3. It’s All Over Now (Womack, Womack)

Side Two

1. Had Me A Real Good Time (Lane, Stewart, Wood)
2. (I Know) I’m Losing You (Whitfield, Holland, Grant)
3. Richmond (Lane)
4. Bad ‘n’ Ruin (McLagan, Stewart)

Recording Details

Side One Tracks 1-3 and Side Two Tracks 1 & 2 recorded live for BBC Radio John Peel’s Sunday Concert on May 13th 1971 and broadcast May 23rd 1971

Side Two Tracks 3 & 4 Live vocals over a backing track, recorded for BBC TV Top Of The Pops April 28th 1971 and broadcast April 29th 1971

Personnel

Rod Stewart – lead and backing vocals

Ronnie Lane – bass, backing vocals, lead vocals

Ron Wood – lead guitar, slide guitar, backing vocals

Ian McLagan – Hammond organ, pianos, backing vocals

Kenney Jones – drums and percussion

Sleevenotes

1971 was a fantastic year for the Faces, as critical acclaim and commercial success coincided. The profile of singer Rod Stewart was also in the ascendant, which would prove helpful to begin with but a problem in due course. Our previous two LPs (R&B 71 and R&B  ??) documented the band’s live activities in 1970. As we move into 1971 we see more reliance on the band’s own material and greater self-confidence onstage. The band’s progress continued to be documented through their close relationship with BBC TV and radio and with DJ John Peel in particular.

Sunday Concert kicked off with a lengthy rendition of live staple I Don’t Want To Discuss It (Rhinoceros via Delaney & Bonnie via Little Richard), which they had recorded for Stewart’s second solo album Gasoline Alley, released in June 1970. Here Stewart repeated the call-and-response vocal style he had used in the Jeff Beck Group with Ron Wood’s guitar doing the responding. The same LP provided a rousing version of It’s All Over Now with McLagan’s bar-band piano introducing a strutting version of the Valentinos / Stones classic with Wood on slide and solo spots for Lane and McLagan. Sandwiched between the two was Bad’n’Ruin, a highlight of second Faces LP Long Player, released in February 1971. Stewart announced that it was the first time the band had played the song live and that “it might fall apart in the middle”: it didn’t, even during the tricky decelerating ending. Had Me A Real Good Time was by now the band’s anthem, with some of Stewart’s wittiest lyrics and a snatch of Auld Lang Syne in the middle. The Faces version of the Temptations (I Know) I’m Losing You would eventually appear on Stewart’s third solo LP in July 1971, the massively successful Every Picture Tells A Story. Stewart announces it as “one of the best standards that we ever do” and he’s right, even a Kenney Jones drum solo cannot derail the song’s momentum.

The two bonus tracks are from BBC’s popular TV chart programme Top Of The Pops. Although focussed on singles, by April 1971 an Album Of The Week feature had been introduced, giving the Faces a chance to plug Long Player.  Opening track Bad’n’Ruin was an obvious choice with Rod cavorting in a pink jacket, Kenney Jones sporting a questionable moustache and Ronnie Wood playing a guitar made out of a toilet seat complete with toilet roll. A less obvious track was Ronnie Lane’s singing his acoustic ballad Richmond, written on tour in the US on how he would sooner be at home. This too would cause problems in the future.

But let us leave the Faces in Spring 1971, very much on the way up, making wonderful music and knowing there was more to come…

Sleevenotes

Deborah Ree

Jeff Beck ’68, Rolling Stones ’69 – Out Now!

Available from http://www.1960s.london

The Jeff Beck Group with Rod Stewart – Radio Broadcasts 1968

Side One

  1. You Shook Me (Dixon, Lenoir)
  2. Shapes Of Things (McCarty, Relf, Samwell-Smith)
  3. Sweet Little Angel (Taub, King)
  4. Rice Pudding (Newman, Wood, Beck, Stewart)
  5. Rock My Plimsoul (Beck, Stewart)
  6. Don’t Know Which Way To Go (Dixon, Perkins)

Side Two

  1. You Shook Me (Dixon, Lenoir)
  2. Let Me Love You (Beck, Stewart)
  3. Morning Dew (Dobson)
  4. Jeff’s Boogie (Dreja, McCarty, Beck, Relf, Samwell-Smith)
  5. The Sun Is Shining (James)

Personnel

Jeff Beck  – Guitar

Rod Stewart – Vocals

Ron Wood – Bass

Tony Newman – Drums (Side One, Tracks 1-5)

Aynsley Dunbar – Drums (Side One, Track 6)

Micky Waller – Drums (Side Two)

Recording Details

Side One

Tracks 1-5 recorded live for BBC Top Gear 17.09.68 and broadcast on 29.09.68 except for Track 5, broadcast 03.11.68

Track 6 recorded live for BBC Saturday Club on 04.07.67 and broadcast on 08.07.67

Side Two

All tracks recorded live at the Fillmore West, San Francisco on July 24th 1968 and broadcast on KSAN FM radio

Sleevenotes

Following on from the success of our previous release – Jeff Beck Radio Sessions 1967 (R&B 28) – this LP takes us into the following year through eleven well-recorded tracks, including four songs not included on the two studio LPs recorded by this incarnation of the Jeff Beck Group.

The talented but erratic Beck had found fame with the Yardbirds, where he replaced Eric Clapton and would in turn be replaced by Jimmy Page. After being fired from the Yardbirds in 1966 he tried a series of unsuccessful group line-ups until hitting on the winning formula of Rod Stewart on vocals and Ron Wood on bass plus a Spinal Tap-style succession of drummers.

By the summer of 1968 the UK and the US saw Beck very differently. In the UK Beck was known for a string of Mickie Most-produced pop singles. Most was not interested in the B-sides and as result tracks like Rock My Plimsoul, Beck’s Bolero and I’ve Been Drinking Again outshone the rather flimsy A sides. By contrast in the US the Yardbirds had toured extensively so there Beck already had a reputation, American audiences regarding the Jeff Beck Group as a logical successor to power trios such as the Jimi Hendrix Experience and Cream.

In session for the BBC the band’s blues roots were very much in evidence with impressive takes on B.B.King’s Little Angel and Buddy Guy’s Don’t Know Which Way To Go. Tracks from the debut Jeff Beck Group LP Truth (July 1968) included Muddy Water’s You Shook Me and a reworking of Shapes Of Things, which stemmed back to Beck’s time as a Yardbird. The instrumental jam Rice Pudding would not appear on record until the second Jeff Beck Group LP Beck-Ola (June 1969). These tracks display the instrumental dexterity of the band – Beck’s savage guitar finding a worthy adversary in Stewart’s call-and-response vocals whilst Ron Wood was a dextrous and melodic bass player and Tony Newman provided a heavy beat. Don’t Know Which Way To Go comes from an earlier session with Aynsley Dunbar drumming.

Rod Stewart places the breakthrough for the Jeff Beck Group as their first US tour. This commenced on June 14th at the Fillmore East, New York where they blew headliners the Grateful Dead offstage. By the time the Jeff Beck Group supported Moby Grape at the Fillmore West the following month Stewart had lost his initial stage fright and Beck, Wood and Waller (another drummer) were operating at maximum r’n’b.  The set opens with a taste of You Shook Me before seguing into Let Me Love You. Next is Morning Dew, credited by Stewart to “your Tim Rose”: following a deceptively quiet introductionBeck lets rip with his wah wah pedal. Jeff’s Boogie is a Yardbirds era instrumental which includes a rare Wood bass solo and the theme from The Beverley Hillbillies. The final song is Elmore James’ The Sun Is Shining, also recorded by the Yardbirds and played here as a straight blues. On the night it was followed by Hi Ho Silver Lining, sung unenthusiastically by Beck: we have omitted this track partly because of lack of space and partly because it is a terrible song.

Beck’s skills as a guitarist were not matched by his abilities as a band leader. The day before a US tour in February 1969 Beck fired Wood and Waller claiming their playing had deteriorated. He was forced to rehire Wood when his replacement only lasted one gig but from then on Wood and Stewart were looking for another situation, eventually joining the Faces in October 1969. Watching all this very carefully was Jimmy Page. To Beck’s dismay Led Zeppelin’s debut LP (March 1969) also contained a version of You Shook Me and with strong management from Peter Grant they moved into the gap in the US market that the Jeff Beck Group had created but been unable to fulfil. Stewart resented Beck turning down Woodstock: they were offered the gig but instead went back to London as Beck had heard a rumour that his wife was having an affair with the gardener. Thus ended the first and best Jeff Beck Group: not with a bang but with a whimper. The music on this LP gives a tantalising glimpse of what might have been.

Sleevenotes: “You Know Who”

Let The Airwaves Flow Volume 6:  London & Detroit 1969

The Rolling Stones

SIDE ONE

  1. Down Home Girl (Leiber/Butler)
  2. Give Me A Drink (Jagger/Richards)
  3. Street Fighting Man (Jagger/Richards)
  4. Backstage Rehearsal with Mick Jagger (interview)
  5. Gimme Shelter (Jagger /Richards)

SIDE TWO

  1. (I Can’t Get No) Satisfaction (Jagger/Richards)
  2. Jumpin’ Jack Flash (Jagger/Richards)
  3. Carol (Chuck Berry)
  4. Sympathy For The Devil (Jagger/Richards)
  5. Stray Cat Blues (Jagger/Richards)
  6. Little Queenie (Chuck Berry

Recording Details

Side 1

Tracks 1 – 4 recorded live in Hyde Park, London July 5th 1969 broadcast on Dutch Radio Veronica, July 15th 1969

Track 5 broadcast Pop Goes Sixties December 12th 1969

Side 2

Tracks 1 – 3 1st show, Saville Theatre, London December 14th 1969 broadcast US TV as “Supernight of Rock’n’Roll”

Tracks 4 – 6 recorded live at the Olympia Stadium, Detroit  on November 24th 1969 and broadcast on Detroit Tube Works WSU

Personnel

Mick Jagger – vocals

Keith Richards – guitar, vocals

Mick Taylor – guitar

Bill Wyman – bass

Charlie Watts – drums

Sleevenotes

The July 5th 1969 free concert in Hyde Park came at a crucial time for the Stones. Brian Jones had died three days previously, making Hyde Park both a memorial for Brian and a public introduction to Mick Taylor. It was the Stones first live gig in for over a year and it took place in front of at least 250,000 fans. Under the circumstances the band can be forgiven a little rustiness. The concert was recorded by Granada Television and extracts were broadcast as The Stones InThe Park. Subsequent DVD releases featured up to ten of the thirteen tracks played, this release documents the remaining three songs. Down Home Girl received a rarelive outing as did a track called Give Me A Drink, later to be known as Loving Cup.This was another number unfamiliar to the audience as it would not be released until May 1972 on Exile On Main St. Street Fighting Man made its live debut at Hyde Park: over the next six months the Stones would hone this track into a devastating set closer but this is a creditable first attempt.  The bonus track here is a guitar duet recorded backstage plus some words of wisdom from Mick Jagger just prior to his taking the stage. 

Having introduced Taylor to their home audience next up was a tour of the USA.  Brian Jones unreliability had prevented the Stones from touring this most lucrative market for three long years,  a lifetime in 60’s rock’n’roll. Rolling Stones magazine for December 28th was enthusiastic about their performances. “The band got better and better the more they performed. That was clear to anyone who heard them on the West Coast, in San Francisco or Los Angeles, and then, later, in New York or West Palm Beach.” Mick Jagger was quoted: “Compared to the way we sounded later along, we were terrible in San Francisco. Ragged. By the time we were in Detroit, I’d say, it was like a one hundred percent improvement.” Or in the title of a contemporary bootleg “We Never Really Got It On ‘til Detroit”. Thankfully a local cable TV station recorded three numbers, providing fierce soundboard versions of Sympathy For The Devil, Stray Cat Blues, and Little Queenie. Local resident Iggy Pop was at the show and nominated it as his all-time most memorable gig “because of the brazen audacity with which the beat was unhurried and the guitar sound was entirely unsweetened. It was like a heroin pie in your face.”

By the time the Stones played London just before Christmas 1969 their re-invention was complete. They had triumphantly conquered the USA, giving some of the finest performances of their lives with Taylor completely integrated into the band. So expecting a heroes’ welcome they booked two shows at the (modest) Saville Theatre, now the Covent Garden Odeon cinema.  Supporting acts were Shakin’ Stevens and the Sunsets and Mighty Baby, plus DJ Jeff Dexter and the David Bergas Magic Show. Talking to Chris Welch in the Melody Maker for December 20 Jagger complained that “the first show was a bore: full of fucking journalists and totally lacking in energy”. Not a criticism you can level at the snarling guitars of SatisfactionJumpin’ Jack Flash and Carol, although Jagger’s onstage frustration is audible. Still for most Stones fans their final glimpse of the band in 1969 would have been a version of Gimme Shelter performed for the Pop Goes Sixties TV programme. Peace and love was over, replaced by fear and dread. Here come the seventies…

Sleevenotes: Arfur Math

A Degree Of Murder 7″ Vinyl EP featuring Brian Jones, Jimmy Page et al (OST)

Out now from http://www.1960s.london

Selected Extracts From The Original Soundtrack

All music composed and played by Brian Jones

Personnel

Brian Jones: sitar, organ,  guitar, recorder, bass, banjo, dulcimer, harmonica

Jimmy Page: guitars

Nicky Hopkins: piano

Kenney Jones: drums

Peter Gosling: keyboards, Mellotron, vocals

Mike Leander: orchestra

Glyn Johns: engineering

Recording Details

Recorded January – February 1967 @ IBC and Olympic Studios, London. Broadcast on ZDF TV 1969

Sleevenotes

In early 1967 Brian Jones found time in between Stones tours to record the soundtrack to the film Mord und Totschlag (A Touch Of Murder), starring his then- partner Anita Pallenberg as Marie. In the film Marie shoots her ex-boyfriend with his own gun after he attempts to beat her up. Instead of reporting this to the police she hires two men to help her dump the body in a construction site near an autobahn. Although the film was entered into the 1967 Cannes Film Festival it is known today chiefly for its soundtrack. The tracks on this EP provide you with the musical highlights from the soundtrack, which has never officially been released.

Talking to Rolling Stone in 2012 collaborator Jimmy Page said “Brian knew what he was doing. It was quite beautiful. Some of it was made up at the time; some of it was stuff I was augmenting with him. I was definitely playing with the violin bow. Brian had this guitar that had a volume pedal – he could get gunshots with it. There was a Mellotron there. He was moving forward with ideas.” In the film’s official press release, director Volker Schlöndorff was delighted with the results. “Brian’s music has worked so marvellously. His special music fits the film wonderfully – and I do not think anyone but he could have done it.”

William Perks

Writing in Record Collector magazine for May 2022 Ian McCann really liked this record:

New Years Eve 2021 DJ Playlist

A three hour session outdoors with bonfire and mulled Abundance cider. It’s great to be back!

The Swag – Link Wray

I Hear you Knocking – Dave Edmunds

Acquiesce – Oasis

Let It Rock – Rolling Stones

I’m A Believer – Monkees

Tusk – Fleetwood Mac

Gangsters – Specials

Roadhouse Blues – Doors

Is She Really Going Out With Him? – Joe Jackson

Get It On – T.Rex

It’s My Party – Lesley Gore

Nothing Compares 2 U – Sinead O’Connor

Last Nite – Strokes

White Man In Hammersmith Palais – Clash

You Know I’m No Good – Amy Winehouse

Happy Together – Turtles

Back In The USSR – Beatles

Sheena Is A Punk Rocker – Ramones

Walk Like An Egyptian – Bangles

Heroes – David Bowie

Heart Of Glass – Blondie

Town Called Malice – Jam

Reward – Teardrop Explodes

This Charming Man – Smiths

Lazy Sunday – Small Faces

Something In The Air – Thunderclap Newman

Lola – Kinks

Walk On The Wild Side – Lou Reed

Leader Of The Pack – Shangri La’s

Love is the Drug – Roxy Music

Loaded – Primal Scream

Unfinished Sympathy – Massive Attack

Miss You – Rolling Stones

Mony Mony – Tommy James & The Shondells

Go Your Own Way – Fleetwood Mac

I Love The Sound Of Breaking Glass – Nick Lowe 

I Can’t Stand Up For Falling Down – Elvis Costello

Gimme Some Loving – Spencer Davis Group

Money – Barrett Strong 

All The Young Dudes – Mott The Hoople

Sex & Drugs & Rock & Roll – Ian Dury

London Calling – Clash

Jumping Jack Flash – Rolling Stones

Let’s Dance – Chris Montez

Last Train To Clarkesville – Monkees

Shout – Isley Brothers

Brass In Pocket – Pretenders

Once In A Lifetime  – Talking Heads

Amy Winehouse – Rehab

Ghost Town – Specials

Woke Up This Morning – Alabama 3

Because The Night – Patti Smith

Pump It Up – Elvis Costello

John I’m Only Dancing – David Bowie

7 Nation Army – White Stripes

Dance To The Music – Sly & The Family Stones

Jeepster – T.Rex

Layla Part Two – Derek & The Dominoes

Rolling Stones / Crosby, Nash & Young

Available now from http://www.1960s.london

Let The Airwaves Flow Volume 7: On Tour ’65 Germany and More

The Rolling Stones

Side A

  1. Everybody Needs Somebody To Love (Russell, Burke, Wexler)
  2. Pain In My Heart (Neville)
  3. Around And Around (Berry)
  4. Time Is On My Side (Meade)
  5. I’m Movin’ On (Snow)
  6. The Last Time (Jagger, Richard)
  7. (I Can’t Get No) Satisfaction (Jagger, Richard)
  8. I’m Alright (McDaniel)

Side B

  1. (I Can’t Get No) Satisfaction (Jagger, Richard)
  2. She Said Yeah (Jackson, Christy)
  3. Get Off My Cloud (Jagger, Richard)
  4. (I Can’t Get No) Satisfaction (Jagger, Richard)
  5. I’m Alright (McDaniel)
  6. Little Red Rooster (Willie Dixon)
  7. Get Off My Cloud (Jagger, Richard) / Satisfaction (Jagger, Richard) / I’m Movin’ On (Snow)

Side One

Tracks  1 – 8 recorded live in the Ernst Merck Halle, Hamburg, Germany on September 13th (second show) and broadcast on German TV

Side Two

Tracks 1 – 3 Recorded for Hullabaloo US TV, New York, 11th November

Tracks 4 & 5 Recorded live at Halle Munsterland, Munster, Germany (first show) on September 11th and broadcast on German TV (ZDF) Schaufenster Deutschland and Deutsche Wochenschau

Track 6 Rehearsal recorded live and broadcast January 6th on UTV Belfast Six Five

Track 7 Recorded live in Waldbuhne, Berlin, Germany on September 15th and broadcast on German TV SFB Berliner Abendschau on September 16th

Personnel

Mick Jagger – Vocals, harmonica, maracas

Keith Richard – Guitar, vocals

Brian Jones – Guitar, tambourine

Bill Wyman – Bass

Charlie Watts – Drums

Sleevenotes

The Rolling Stones first visit to Germany was a “riotous five city affair” (Bill Wyman) with thousands of screaming fans greeted by the police using water cannons. An Essen policeman claimed “I’ve seen nothing like this since the old days of a Nazi or Communist rally.” The Berlin date ended in a full-scale riot: the excerpts of Get Off My Cloud, Satisfaction and I’m Moving On included here come from a German TV news programme scandalised by the damage done to the venue. Equally seismic was Brian Jones meeting Anita Pallenberg for the first time after the Munich gig.  

Everybody Needs Somebody To Love makes for an impassioned opener to the Hamburg set, with Jagger testifying during Pain In My Heart. The recording is so clear you can hear Jagger’s handclaps on Around And Around before the guitars of Richard and Jones muscle in and take over. Time Is On My Side features Keith Richard’s languid backing vocals providing a charming if slightly ragged harmony. A rare live outing for I’m Moving On includes Brian Jones on slide duetting with Jagger’s harmonica whilst Richards holds down the rhythm. A very polite Charlie Watts introduces The Last Time – more joint Jagger/Richardvocals and chiming twin guitars. The band stomps through Satisfaction before finishing with I’m Alright, Bill Wyman’s bass carrying the rhythm as Jagger works the crowd into a frenzy. Two songs from Munster reveal Jagger making full use of a big stage to rouse a predominantly-seated audience during Satisfaction. Jones is in imperious form, shaking a tambourine to get the crowd going during the closing I’m Alright.

Three further songs from 1965 close our account. Mercifully the Hullabaloo Orchestra’s brief ‘interpretation’ of Satisfaction is overwhelmed by the Stones rocking out on inspired live versions of She Said Yeah and Get Off My Cloud, Jones and Richards sporting matching Gibson Firebirds. An added delight is a brief but charming rehearsal of the rarely-heard live Little Red Rooster, done for Irish TV. Sound quality on this release is excellent throughout, although the Berlin song fragments betray their origin as news footage.

And if you thought the Stones were busy in 1965, wait until we get to 1966…

Sleevenotes: Chel C Drugstore

Crosby, Nash & Young Live On TV1970 a

Tracklisting 

Side One

1. Simple Man (Nash)
2. Marrakesh Express (Nash)
3. Guinevere (Crosby) 
4. Tree With No Leaves (Crosby)
5. Teach Your Children (Nash)
6. Right Between The Eyes (Nash)

7. The Lee Shore (Crosby)
8. Traction In The Rain (Crosby)

Side Two.

  1. Everybody Knows This Is Nowhere (Young)
  2. Everybody’s Alone (Young)
  3. Dance, Dance, Dance (Young)
  4. On The Way Home (Young)
  5. Wonderin’ (Young) /
  6. Instrumental Interlude
  7. Sugar Mountain (Young)


Recording Details

Side One Tracks 1-8 recorded for BBC TV In Concert, broadcast November 9th 1970

Side Two Tracks 1-7  recorded for KQED, San Francisco on February 19th 1970

Personnel

Graham Nash – vocals, piano, acoustic guitar (Side One Tracks 1 – 8)

David Crosby – vocals, acoustic guitar (Side One Tracks 1- 8)

Neil Young – vocals, acoustic guitar (Side Two Tracks 1 – 7 )

Sleevenotes

The Crosby, Stills & Nash LP was released in May 1969 to critical acclaim and commercial success: it reached number six on the Billboard charts and has been certified as four times platinum with over four million sales. In 2003 Rolling Stone ranked it number 262 on their list of The 500 Greatest Albums of All Time.

Realising that three singer / guitarists would not be able to tour the album effectively the trio hired drummer Dallas Taylor and bass player Greg Reeves. Stills knew Neil Young from their time together in Buffalo Springfield and offered him a supporting role: Young agreed to join only if he was made a full member of the group, which changed its name to Crosby, Stills, Nash & Young. CSNY’s second ever gig was Woodstock in August 1969: despite a performance so poor that it had to be re-recorded, the band’s appearance in the resultant movie and on the soundtrack LP catapulted them to instant international stardom, cemented with the release of the similarly successful Déjà Vu in March 1970.

1970 found Crosby, Nash and Young reverting to a simpler, more acoustic format for solo television appearances, presented here in excellent audio quality. For Crosby and Nash In Concert Graham Nash starts seated at the piano with a solo performance of his Simple Man, with David Crosby casually strolling over to add a harmony. Thereafter the two perch on stools with their acoustic guitars, singing material from a variety of sources. Simple Man would appear on Nash’s Songs For Beginners in 1971. From Crosby, Stills & Nash there is the sprightly hit single Marrakesh Express and Crosby’s more contemplative Guinevere. Nash’s Teach Your Children is from Déjà Vu, performed here with the most delicate harmonies. Also recorded for Déjà Vu but not included on the LPare The Lee Shore and Right Between The Eyes: live versions would appear on CSNY’s 1971 Four Way StreetTree With No Leaves would appear more accurately titled as Song With No Words when it appeared on David Crosby’s If Only I Could Remember My Name LP in 1971, also the source of Traction In The Rain..

What is notable about the six songs that Neil Young recorded for San Francisco TV station KQED in early 1970 is how many came from his latest LP. The answer is precisely one, title track Everybody Knows This Is Nowhere. The other five songs had either been recorded for the LP but not included (Everybody’s Alone and Wonderin’),donated to his backing band Crazy Horse’s first LP(Dance, Dance, Dance), revived from his time with Buffalo Springfield (On The Way Home) or issued repeatedly as a perennial single B-side (Sugar Mountain).The choice of songs suggests an artist hell-bent on following his muse rather than promoting the latest product, a trait that would become more apparent in later years.

In front of a small audience Young sounds relaxed and takes Everybody Knows This Is Nowhere and Dance, Dance, Dance more slowly than the studio versions, thus revealing the dexterity of his guitar playing. Wonderin’ breaks down when Young hits a chord that “I’ve never hit before and it made me laugh”, a second version is more successful. There ensues a fascinating passage when Neil runs through short instrumental extracts from Out On The Weekend, Country Girl, Do I Have To Come Right Out And Say It and Danny Whitten’s I Don’t Want to Talk About It

Final track Sugar Mountain was clearly a song Young held in high regard making its absence from any of his contemporary studio LPs baffling, the same could be said for Everybody’s Alone and Wonderin’ It is good to finally have such listenable versions of these overlooked songs.

After these recordings Crosby, Nash and Young would experience further commercial success, undermined by massive drug consumption and ego-driven intraband conflict. Never again would they sound as relaxed or as close to their acoustic roots.

Sleevenotes: Mr.Soul

With many thanks to Neil Parison for his invaluable assistance with this release

Faces Live 1970 / Buffalo Springfield Live 1967

Available now from http://www.1960s.london

Side One

  1. Wicked Messenger (Dylan)
  2. Devotion (Lane)
  3. (You’re My Girl) I Don’t Want To Discuss It) ( Cooper, Beatty, Shelby)
  4. Flying (Stewart, Wood, Lane)
  5. Too Much Woman (For A Hen Pecked Man) (Turner) /
  6. Street Fighting Man (Jagger, Richards)

Side Two

1. Maybe I’m Amazed (McCartney)

2. Gasoline Alley  (Stewart, Wood) /

3. Plynth (Stewart, Wood)

4. God Rest Ye Merry Gentlemen (Traditional)

5. Away In A Manger (Traditional)

6. Good King Wenceslas (Traditional)

7. Silent Night (Traditional)

8. O Come All Ye Faithful (Traditional)

Recording Details

Side One

Track 1 recorded for BBC Dave Lee Travis on March 10th 1970, broadcast March 15th

Tracks 2-6 recorded for Swing In (German WDR TV) live at the Marquee 7th December 1970

Side Two

Tracks 1-3 recorded for Swing In (German WDR TV) live at the Marquee 7th December 1970

Tracks 4 -8 recorded for BBC as The Top Gear Carol Concert on December 8th 1970 and broadcast on December 26th

Personnel

Side One Tracks 1 – 6, Side Two Tracks 1-3

Rod Stewart – lead and backing vocals

Ronnie Lane – bass, backing vocals, lead vocals

Ron Wood – lead guitar, slide guitar, backing vocals

Ian McLagan – Hammond organ, pianos, backing vocals

Kenney Jones – drums and percussion

Side Two

Tracks 4 – 8 David Bedford (piano and organ) and vocals from: Marc Bolan, June Child, Ivor Cutler, Sonja Kristina, (solo on track 7), Romey Young, Rod Stewart (solo on track 5), Robert Wyatt (duet on track 6), Mike Ratledge, Ron Wood , Ronnie Lane (duet on track 6), John Peel, Sheila Ravenscroft, Kenny Jones, Ian McLagan, Pete Buckland, Bridget St John.

Sleevenotes

Our second release from The Faces brings together a variety of tracks recorded in 1970 and broadcast on radio and TV. The version of Wicked Messenger is taken from the band’s very first radio session and it a focussed and compact version of the Dylan song.

The next selection of tracks are taken from the second half of a gig at the original Marquee Club (Wardour Street) filmed for German television. The ballad Devotion includes a lovely section where Rod Stewart and Ronnie Lane sing in unison. The tempo increases on a riff-driven (You’re My Girl) I Don’t Want To Discuss It which is from Stewart’s second solo album Gasoline Alley, released in June 1970. Despite audience calls for Tin Soldier(!) debut Faces single Flying is next, Ron Wood’s lead guitar and Ian McLagan’s organ combining well here with the harmonies of Lane and Wood. The cover of Ike & Tina Turner’s Too Much Woman (For A Hen Pecked Man) never made it onto a Faces studio LP despite it being a mainstay of their live set, frequently as part of a medley – tonight with a snatch of the Stones Street Fighting Man, another Stewart solo track. Ronnie Lane sings the introduction to Paul McCartney’s Maybe I’m Amazed before Stewart joins in and Ronnie Wood plays two elegant solos. The pregnant pause in the middle of the song fools the audience who start clapping before the band returns. Gasoline Alley features McLagan and Lane harmonising before Ronnie Wood uses Plynth to showcase his prowess on slide guitar. A cracking set, recorded when the band still drank pints of bitter rather than pints of Courvoisier .

Finally we include John Peel’s Christmas Carol concert from December 1970. This was a one-off, never attempted before or since. Peel and producer John Walters rounded up the usual suspects and recorded five traditional carols for broadcast on Boxing Day.  Keyboard accompaniment was provided by classically-trained David Bedford, then a member of Kevin Ayers and The Whole World : characteristically Kevin Ayers was contracted to appear but never showed up. All the Faces plus road manager Pete Buckland were present and incorrect – Rod sings Away In A Manger beautifully, whilst Sonja Kristina (Curved Air) contributes a solo Silent Night. Ronnie Lane duets with Robert Wyatt (Soft Machine) on Good King Wenceslas and the entire ensemble attempt God Rest Ye Merry Gentlemen and O Come All Ye Faithfull. Alcohol may have been consumed.

A suitably celebratory note with which to end our review of the Faces broadcast activities in 1970. Coming soon  – the Faces in 1971, where commercial success and artistic recognition coincide…

B. Lynde-Horse

Side One

1.Pay the Price (Stills)      

2.Nowadays Clancy Can’t Even Sing (Young)            

3.For What It’s Worth (Stills)        

4. Mr.Soul (Young)                               

5. Rock & Roll Woman (Stills) 

6. For What It’s Worth (Stills)   

7. Interview with Dick Clark           

Side Two

  1. For What It’s Worth (Stills)        
  2. Nowadays Clancy Can’t Even Sing (Young)            
  3. Rock & Roll Woman /    
  4. Bluebird (Stills)              
  5. A Child´s Claim To Fame (Furay)
  6. Pretty Girl Why (Stills)
  7. For What It’s Worth (Stills) / Mr.Soul (Young)

Recording Details

Side One

Tracks 1- 4 recorded live at the Hollywood Bowl and broadcast by Rock Radio Powerhouse KHJ on April 29th

Track 5 recorded live for the Popendity TV programme at the Warwick Theatre Studios, Providence, Rhode Island, broadcast on ABC November 16

Track 6 recorded live for the Smothers Brothers TV programme on February 17th at CBS TV City, Hollywood, broadcast February 26th 

Track 7 American Bandstand interview with Dick Clark, broadcast January 21st

Side Two

Tracks 1- 6 recorded live at the Monterey International Pop Festival on June18th

Track 7 recorded live for the Hollywood Palace TV programme on January 20th 1967, broadcast April 8th

Personnel

Stephen Stills – guitar, keyboards, vocals

Neil Young – guitar, vocals (Side One Tracks 1-7, Side Two Track 7)

Dewey Martin – drums, vocals

Richie Furay – guitar, vocals

Bruce Palmer – bass guitar (Side One and Side Two tracks 1-6)

David Crosby – guitar, vocals (Side Two Tracks 1-6)

Doug Hastings – guitar (Side Two Tracks 1-6)

Dick Davies – bass (Side Two track 7)

Sleevenotes

“While not really a folk-rock band the prodigiously talented Buffalo Springfield deserve special mention both for caring enough to preserve the very best qualities of the form and for conscientously consolidating them into inspired if idiosyncratic rock’n’roll. Like the Byrds, the Buffalo could either hang back on a song until all its juices boiled over or just come right out and say it. Although the group had a short but troubled career, their melodies not their maladies linger on’”

Paul Nelson, Rolling Stone

Named after a steamroller seen from their manager’s window, Buffalo Springfield was the sound of experienced folk-singers plugging in to go electric, in much the same way as the Byrds formed after seeing A Hard Days Night. Neil Young was from Toronto, Canada. He split up his second electric band The Squires to become a folk singer. On tour in Ontario Neil Young found himself on the same bill as The Company, a spin-off group from the Au Go Go Singers who included Stephen Stills (from Dallas) and  Richie Furay (from Ohio). In 1966 Neil joined The Mynah Birds with bass player and fellow Canadian Bruce Palmer. Neil then decided to relocate to  Los Angeles to try to find Stephen Stills, and was driving his distinctive hearse along Sunset Boulevard with Bruce one day in April 1966 when he was spotted by Stills and Furay. The band was completed by Nashville session drummer Dewey Martin, another Canadian from Ontario. You can hear Neil Young explain some of this to Dick Clark in an American Bandstand interview.

Buffalo Springfield was a mercurial group beset by managerial and personal disagreements throughout their career, which only lasted from April 1966 to May 1968. Although the band managed to produce three successful studio LPs both Stills and Furay have claimed the group were much better live. This compilation brings together the TV and radio broadcasts from 1967 to allow you to explore that claim.

The Springfield’s appearance at the Hollywood Bowl was part of a three hour concert organised by Rock Radio Powerhouse KHJ in celebration of their second year as a Top 40 station. The rest of the eclectic bill comprised The Fifth Dimension, Brenda Holloway, Johnny Rivers, The Seeds and The Supremes, reserved seats $0.93. The Springfield were on early with a short set as they had another gig at The Fillmore in San Francisco the same night. Pay The Price makes for a confident upbeat opener with some good unison vocals and spiky guitar solos. Nowadays Clancy Can’t Even Sing is slower and more reflective with more strong harmonies and intertwined guitar parts. Hit single For What It’s Worth was left off the first Springfield LP before being hurriedly added: once again the mix of vocal harmonies and multiple guitars is very effective. Forthcoming single Mr Soul makes its first public appearance with a committed lead vocal from Neil Young ably supported by Stills  and those duelling guitars again. Stills’ Rock & Roll Woman was a highlight of second LP Buffalo Springfield Again. An uncredited David Crosby helped to write the song, allegedly about Grace Slick. More of those intoxicating harmonies are allied to a catchy tune, albeit one that only reached 44 on the Billboard charts when released as a single.

The Monterey International Pop Festival was a major event which helped establish both Jimi Hendrix and the Who in America. Rolling Stone publisher Jann Wenner said “Monterey was the nexus – it sprang from what the Beatles began, and from it sprang what followed.” What should have been a triumphant appearance by the Springfield was marred by Neil Young having temporarily left the band. His place was taken by Doug Hastings, from Seattle band The Daily Flash. Also sitting in for this gig was David Crosby. Under the circumstances the band did a good job. They were introduced by an effusive Peter Tork, who had known Stills’ since the latter’s teeth prevented him from becoming a Monkee. On Nowadays Clancy Can’t Even Sing Richie Furay takes the lead vocal, working well with Stills’ on the verse and Crosby adding a supportive harmony. Martin and Palmer can be heard as a fine rhythm section, leaving space for some jazzy guitar fills. Rock & Roll Woman gives Crosby some space, before evolving into Bluebird, a showcase for Stills’ lead guitar. In contrast Furay sings a brief version of his A Child’s Claim To Fame, where the bands country influences become more apparent. The final Monterey song Pretty Girl Why is only available as a song fragment, it is included here to complete the set,

Finally two further TV appearances. The version of For What It’s Worth recorded for The Smothers Brothers is notable visually for Stills’ magnificent Stetson as well as a very literal interpretation of the lines “there’s a man with gun in his hand” and “hooray for our side”. After a smarmy introduction from Hollywood Palace host Tony Martin Stills kicks off with What It’s Worth before handing over to Young and his impressively fringed jacket for Mr Soul. Why was Bruce Palmer sitting with his back to the camera? Because it wasn’t Bruce – in another personnel change he had been replaced by Dick Davies.

Brian Hogg, Bam Balam magazine: ”Buffalo Springfield is the farewell to L.A folk rock, the last before its mutation into something different.” Different, but not necessarily better

Sleevenotes: Stan Peed

Special thanks to Neil Parison