Tuesday, January 29, 2013

Man - Welsh Connection (1976 great uk psyche-prog rock - wave)


This was to be Man's last studio album for two decades, and with its weak sales (it failed to chart) and underpowered material it's easy to see why the band called it quits for the time being. There's some irony, then, in the closing track being "Born with a Future." It's a good final bow, though, as it's well harmonized and ultimately one of the best cuts on the album. Perhaps this releases's most nagging overall problem is the mix-Phil Ryan's keyboards are high up, while Deke Leonard's bracing guitar parts are less evident than usual. Although this isn't always a liability-the lengthy title track lazily wends its way through some pleasant moog solos and electric piano flourishes-the grittiness of the band's sound is largely squandered here.

Tracklist
01. "The Ride and the View"   Deke Leonard 5:01
02. "Out of Your Head"   Leonard 4:04
03. "Love Can Find a Way"   John McKenzie 5:13
04. "The Welsh Connection"   Phil Ryan, Micky Jones 7:18
05. "Something is Happening"   Ryan 6:21
06. "Car Toon"   Leonard, Ryan 6:01
07. "Born With a Future"   Jones, Leonard, Ryan 7:07
08. "(I'm A) Love-Taker"   Leonard 2:47



Credits
Terry Williams – Vocals & Drums
Phil Ryan – Vocals & Keyboards
John McKenzie – Vocals & Bass
Deke Leonard – Vocals & Guitar
Micky Jones – Vocals & Guitar
Caromay Dixon – Vocal on "Something is Happening"
Jeffrey Hooper – Vocal on "Out of Your Head"
Anton Matthews – Vocal on "Out of Your Head"
Pete Brown – African Talking Drums on "The Welsh Connection" and "Something is Happening"

Sunday, January 27, 2013

Gene Clark - No Other (us 1974 great california country rock - 2003 edition with bonus tracks - wave)


When The Byrds reunited for Asylum Records there was the hope that the original quintet would recapture the magic they generated with their first couple of albums. It didn't happen. While The Byrds (which is still out of print)suffered from an overabundance of ambition, production and egos, Clark's solo effort for Asylum had all the ambition and production of the previusly mentioned album but with the inspiration necessary to pull it off.
This is Clark's most "produced" effort. For that very reason, there are some Byrds and Clark fans that can't stand it. Looking past the ambitious production, the songs are what really matter. At its core, No Other features some of Clark's most sublime material. Many folks have compared it to Van Morrison's Astral Weeks but I'd venture to compare it to Lennon's Imagine. The heartache, pure emotion and powerful performances at the core of the album benefit from the production.

Rhino has done a terrific job of remastering the album. While I can't detect a huge sonic difference between this and the fine Collector's Choice edition, it does benefit from the inclusion of alternate versions and a bonus track not available on a legit CD before.

Gene Clark was always the most vulnerable of The Byrds. That was reflected in his powerful, emotional songs as much as his emotionally naked vocals. It's about time that this great album got the deluxe treatment it deserves. Certainly if you're a Byrds/Clark fan pick this up. Even if you're not, it's well worth purchasing. Like Neil Young's wounded On the Beach, No Other is a classic album that stands outside of its time but was also made at the wrong time. Perhaps it'll finally get some appreciation.(By Wayne Klein) 



Tracklist
01-"Life's Greatest Fool" – 4:44
02-"Silver Raven" – 4:53
03-"No Other" – 5:08
04-"Strength of Strings" – 6:31
06-"From a Silver Phial" – 3:40
07-"Some Misunderstanding" – 8:09
08-"The True One" – 3:58
09-"Lady of the North" – 6:04
Bonus Tracks
10-"Train Leaves Here This Morning" - 4:59
11-"Life's Greatest Fool" (alternate version) - 4:16
12-"Silver Raven" (alternate version) - 3:06
13-"No Other" (alternate version) - 5:35
14-"From A Silver Phial" (alternate version) - 3:42
15-"Some Midunderstanding" (alternate version) - 5:17
16-"Lady Of The North" (alternate version) - 5:54



Credits
Gene Clark - Vocals, Guitar
Lee Sklar - Bass
Butch Trucks - Drums
Russ Kunkle - Drums
Michael Utley - Keyboards
Craig Doerge - Keyboards
Joe Lala - Percussions
Richard Greene - Violin
Chris Hillman - Mandolin
Ted Machell - Cello
Bill Cuomo - Rheem Organ
Jerry McGee - Guitar
Danny Kootch - Guitar
Jesse Ed Davis - Guitar
Steve Bruton - Guitar
Buzzy Feiten - Guitar
Ronnie Barron - Cindy Bullens - Claudia Lennear - Venetta Fields - Clydie King - Shirley Matthews - Carlena Williams - Tim Schmit - Voices

Here

Friday, January 25, 2013

Copperhead - Copperhead (1973 us great west coast rock - 2001 remaster - wave)


When John Cipollina left Quicksilver Messenger Service in 1971, he formed Copperhead with Jim Murray and Casey Sonoban (two members of the first Quicksilver line-up), his brother Mario (who later found fame with Huey Lewis and The News) and various other musicians. Their frequent rehearsals and gigs didn't allow them to get a recording contract and in 1972 Cipollina assembled a new line-up with Gary Philippet (ex Front Line), Jim McPherson (ex Stained Glass), David Weber and Hutch Hutchinson. A record, Sealed For Your Protection, was ready to be released on Just Sunshine Record but was eventually shelved. Finally Copperhead was issued by CBS in 1973 and is a superb example of San Francisco Sound, with seven original tracks and a new version of Kibitzer, already recorded by McPherson with Stained Glass. A must for fans of Quicksilver and Cipollina's guitar.
After Copperhead, Cipollina, Weber, McPherson and Hutchinson joined Terry and The Pirates and played with various local groups. Hutch Hutchinson became a renowned bass session player and is still active in the studios.(Stephane Rebeschini)



Tracklist
01. Roller Derby Star 4:16
02. Kibitzer 3:46
03. A Little Hand 5:01
04. Kamikaze 5:26
05. Spin-Spin 3:18
06. Pawnshop Man 5:30
07. Wing-Dang-Doo 4:06
08. They're Making A Monster 7:36
09. Chameleon 3:40



Credits
John Cipollina - Lead & Hawaian Guitars
Hutch Hutchinson - Vocals, Bass
Jim McPherson - Vocals, Piano, Bass, Percussion
Gary Philippet - Vocals, Guitar, Organ
David Weber - Drums 

Thursday, January 24, 2013

Roy Harper - HQ (1975 great uk classic rock & folk rock - wave)


Harper considers HQ to be "...probably the best record that I have made to date"

HQ finds Roy in 1975 as part of a rock quartet, Trigger. The album opens with The Game, one of Harper's most compelling long songs--it's a rocker with a smart lyric and includes David Gilmour and John Paul Jones. The next 2 tracks are solid rockers, "Spirit" is an anti-religion song, and "Grown ups" is a great 50's style boogie displaying Roy's playful wit. "Referendum" has some sweet guitar from Spedding and switches between acoustic and electric. "Forget Me Not" is the first acoustic song on the album and is a beautiful love song. "Hallucinating Light" is beautiful and finely crafted, and the album is superbly topped off with "Cricketer," an emotional and lovely take on aging and the proud memories of a life. The bonus tracks are good, but not as essential as the original album songs. Throughout, Roy's voice is top-notch. The lyrics are some of his finest, and his band is tight and rocking. I recommend this gem to anyone who likes classic rock, and especially to fans of Pink Floyd, Led Zeppelin, Jethro Tull, and Dylan's folk-rock. HIGHLY RECOMMENDED! 
(By Elliot Knapp) 

Tracklist
01 "The Game (Parts 1–5)" – 13:42
02 "The Spirit Lives" – 4:14
03 "Grown ups are Just Silly Children" – 2:55
04 "Referendum (Legend)" – 3:49
05 "Forget Me Not" – 2:24
06 "Hallucinating Light" – 6:24
07 "When An Old Cricketer Leaves The Crease" – 7:13
08 "The Spirit Lives" (Early Mix, 23 March 1975)
09 "When An Old Cricketer Leaves The Crease" (Live in Exeter, 31 October 1977)
10 "Hallucinating Light" (7" Single version)



Credits
Roy Harper – vocals, guitar
Chris Spedding – guitar
Bill Bruford – drums
Dave Cochran – bass
David Gilmour – guitar on "The Game"
John Paul Jones – bass on "The Game"
Steve Broughton – drums on "The Game"
The Grimethorpe Colliery Band – brass on "When an Old Cricketer Leaves the Crease"

Link

Wednesday, January 23, 2013

Bulbous Creation - You Won't Remember Dying (1969-70 great us heavy psychedelic rock - wave)


An extremely rare and previously unreleased 1969/1970 heavy psychedelic album housed in a superb sleeve. It was recorded in the Cavern Sound Studio, Missouri. The opening cut, End Of The Page, has a lovely guitar intro and the other highlight is the lengthy Let's Go To The Sea, which features some great Hendrix' psychedelic guitar work. The remainder of the album comprises harder edged rock cuts, their own interpretation of Stormy Monday and Hooked, which is the best moment on the album vocally. Worth checking out. The band hailed from the Kansas/Missouri area.

A1 End of the Page 4:44
A2 Having a Good Time 4:08
A3 Satan 6:05
A4 Fever Machine Man 6:29
B1 Let's Go to the Sun 8:26
B2 Hooked 4:05
B3 Under the Black Sun 2:55
B4 Stormy Monday 4:48

Heavypsych classic with warm dusty basement sound with HEAVY bass and great acid psych guitarwork of premium quality. "Stormy Monday" and "Let's go to the sea" are amazing.



"1970 recordings of great jammy downer hardrock/psych with an intense atmosphere, far-out vocals and only one weak cut. Lyrics deal with smack, 'Nam, satanism and more; a merciless snapshot of the post-flower power era. In my opinion among the very best of all the Cavern Sound Studios stuff (Stoned Circus, Crank/Thump Theatre, Phantasia, Trizo 50) that has appeared. The reissue has the usual Rockadelic sleeve obsession with heroin and death, which is well matched by the sounds inside. The label was unable to locate the band which explains the lack of info." 

Yes more great underground Heavy Psych. This time Bulbous Creation - You won't remember dying from 1970 (Rockadelic). This album is another personal favorite. You get great acid lead guitar in class with Garcia or Cipolina and warm heavy, dusty underground sound with a eerie dark edge. Some great gems of this album are opener "End of the page", "Having a good time", the Heavy Psych monsterpiece "Let's go to the sea" and the incredible acid psych version of "Stormy Monday" which has some of the best psychedelic clear tone lead guitar ever recorded. The sheer variation, the musical quality and underground production make this album a true keeper. A desert Island record if there ever was one. Have a quality psychedelic experience with this beloved gem. Please share your views on this album.


Here

Tuesday, January 22, 2013

Copperhead With John Cipollina - Hollywood Palladium LA - 1972-04-28



01- Kibitzer
02- Highway #9 (aka Back Roads)
03- Spin Spin
04- Wang Dang Do
05- Rider
06- Cobra
07- Drunken Irish Setter
08- Instrumental
09- Bigelow 6-9000
10- Roller Derby Star

John Cipollina - Lead Guitar
Jim McPherson - Vocals, Piano
Gary Philippet - Vocals, Guitar
David Weber - Drums
Hutch Hutchinson - Vocals, Bass

Excellent and rare concert of Copperhead ...
Enjoy !!!

Here

Thursday, January 10, 2013

The Farm Band - The Farm Band (1972 us great psychedelic rock - cd edition - Wave)


Kind of a given here, don't you think? The Farm Band (also operating as Stephen & The Farm Band and the Tennessee Farm Band) was the houseband at The Farm, flagship of all hippie communes. I strongly recommend anyone with an interest in the rural revolution to check out this amazing place more; the book "Voices From The Farm" (Rupert Fike, ed.) is a good start.
This massive 2LP set was the Farm Band's first release and also by some miles their finest moment (later LPs are pretty good too, though, and I wouldn't want to let go of any of them). A nine-piece outfit, the standard rock setting is augmented by flute, electric fiddle, and French horn(!); mixed vocals and long, jam-oriented material give this an undeniable late-stage West Coast feel (not much of a surprise, really, as most of the Farm residents originated from San Francisco). The mood is one of joy and spontaneity, where you easily can imagine a few hundred longhaired freaks out in the fields groovin' all night long into the morning sun, as the last jam slowly fades away.
This spontaneity also results in performances that are perhaps a tad "loose", shall we say, or even sloppy, with vocal harmonies going all over the place. Songwriting never was the Farm Band's forte either. What they do succeed in is creating a sort of tribal Earth Rock, where the leadguitar of Walter Rabideau cuts through time and space leading the band further and further away into holy man jam land; the rhythmguitarist steps on his wah-wah, the violinist comes sweeping in from the cornfield ready to push things into even higher grounds, and eventually it's a wall of sound-effect that soars high above the watertower, leaving Summertown, TN, as nothing but a tiny dot on the map that stretches out far below. Get the picture? When the jams here really gel it's an amazing power at work, a psychedelic testimony with a groove that appears to be endless.
This being a very communal effort it feels contradictory to single out any specific player, but I can't let the opportunity pass to praise Walter Rabideau's guitarplaying. One of rock's unsung guitarheroes, his solos have a rich tone, an amazing flow & if you like me have an inclination towards air guitar-moves, Walter's all you need for a night of good fun. Ok, the last statement may not really be serving his reputation much good, but he really is fantastic, and an Acid Rock Legend in this household. On this album he also benefits from having some hot rhythm guitar to play against, by someone named Joseph (last name unknown to me), who wasn't on any of the subsequent LPs. 
In all, this is a document of a time where possibilities seemed endless (the heading on the Farm Band's touring bus read "Out To Save The World"), the music being only a fracture of what it was all about. The Farm is still there though, with some 300 members, but the Farm Band called it quits in the late 70s or so. Like any other Farm product the packaging here is awesome; a thick gatefold cover, huge poster and printed inners. A piece of art, a statement and an essential piece of underground head sounds.(http://www.beautifullies.se)


Tracklist


01- OM 2:36
02- Loving Your (Phillip Schweitzer) 10:16
03- Lord's Work (Thomas Dotzler) 3:06
04- Keep Your Head Up High (Phillip Schweitzer) 3:17
05- Being Here With You (Thomas Dotzler) 11:51
06- Let It Ride (Phillip Schweitzer) 12:05
07- Prayer (Phillip Schweitzer) 2:51
08- I Believe It (Phillip Schweitzer) 17:12

Credits
Acoustic Guitar, Electric Guitar, Vocals – Walter Rabideau
Bass – William 
Drums – David Chalmer
Electric Guitar, Harmonica, Twelve-string Guitar, Vocals – Joseph 
French Horn, Piano – Cynthia 
Organ, Flute, Vocals, Piano – Thomas Dotzler
Vocals – Kay Marie, Louise
Vocals, Electric Fiddle, Piano, Acoustic Guitar – Phillip Schweitzer

Here

Tuesday, January 8, 2013

Love - Out Here (1969 great us psychedelic rock - Wave)


An underrated masterpiece from Love 
Yes indeed, this is a different band than was behind the beloved Forever Changes, but that's ok, because this is a great record, a truly underrated gem. Sure, this record is all over the dang place with long psychedelic guitar jams, drum solos, short novelty tunes, 3 minute pop songs-sung with much love, soul and passion by Arthur Lee, down and out blues, and acoustic folk songs. But for music nerds who enjoy stuff like that-this is a buried treasure. Yes, maybe it could have been cut down to a single record, but then why not just let this band do their thing and indulge, after all this was 1968! Indeed the sister album to this, "Four Sail", is the superior of the two, but Out Here is really good and kinda Out There...far out man! No kidding, this Love band was a tight, versataile group. Don't compare it to the first 3 Love records and just enjoy it for what it is. Arthur Lee's "White album", ya know -like the Beatles!. A sprawling 2 LP monster full of melodic, half-crazed, blues/rocking/funk/folk, short, medium, long, quiet, loud, funny, serious, sad, happy and big songs. Gary Rowles' lead guitar solo on "Love Is More Than Words..." is amazing, beyond words. 
Favorites are "Gather 'Round", "Listen To My Song", "I'll Pray For You", "Doggone", "Willow Willow", "Run To The Top", "I Still Wonder", "Stand Out", and the slowed down blues version of "Signed D.C." which has one of the greatest harmonica solos ever put down on vinyl, from Arthur of course. Great stuff. If nothing else, you gotta appreciate how awesome and amazing Arthur Lee's vocals were at this point. The guy had range like no other. Believe that! (By Hoagie Mike) 

Tracklist
01 I'll Pray For You - 4:16
02 Abalony - 1:46
03 Signed D.C. - 5:15
04 Listen To My Song - 2:24
05 I'm Down - 3:47
06 Stand Out - 3:00
07 Discharged - 1:36
08 Doggone - 12:00
09 I Still Wonder - 3:05
10 Love Is More Than Words Or Better Late Than Never - 11:20
11 Nice To Be - 1:50
12 Car Lights On In The Day Time Blues - 1:10
13 Run To The Top - 3:00
14 Willow Willow - 3:20
15 Instra-Mental - 3:00
16 You Are Something - 2:05
17 Gather Round - 4:50

Credits
Arthur Lee - Lead Vocals, Rhythm Guitar
Frank Fayad - Bass Guitar
George Suranovich - Drums
Jay Donnellan - Lead Guitar

Here

Monday, January 7, 2013

Arthur Lee - Vindicator (1972 great us heavy psych rock - cd edition with bonus tracks - wave)



Late last year when we wrote about Arthur Lee’s superb soul spin “Everybody’s Gotta Live,” we hadn’t yet heard Vindicator, the track’s 1972 mothership and Lee’s solo debut. Admittedly, we (I) naively assumed that Vindicator would be a record full of similar songs–an exploration of Lee’s R&B range that was largely neglected during his time in Love. We (I) were wrong.
It took us 17 tracks and roughly 51 minutes to find out that “Everybody’s Gotta Live” is the exception, not the formula. Vindicator is, at turns, southern rock, blues, folk, psychedelic rock and, yes, R&B. Lyrically, it spans from blues ballad to the utterly (and intentionally) ridiculous. While so many solo records segue with few seams from an artist’s ensemble career, Vindicator proves to be something of a non sequitur. That is, Love ends and Arthur Lee begins.

 Granted, there are some shades of what Lee would become (or probably always was) on Love’s grittier eponymous debut, shades that would be rubbed out gradually across De Capo and Forever Changes. Lee, famously, was somewhat controlling in Love, or he tried to be. But despite his better efforts, Bryan MacLean hedged Lee’s influence on composition and harmony, and probably to the benefit of Love. That’s not to say that Vindicator falls short, but only that it reveals what Love might not have been if Lee had his druthers. So, Vindicator is as much as album name as it is a statement for Lee, a practice in individuality, an exercise of personal salvation. Here, he does everything he ever wanted to do. Literally, everything.
 The opening track, “Sad Song,” is a return to his southern roots, where Lee does Skynyrd before Skynyrd did Skynyrd. A moderately paced rock piece formed around a call and response–Lee calling, his guitar responding–“Sad Song” might tempt you to believe this is what the album is about. Until the record skips over to the second song. “You Can Save Up to 50% But You’re Still a Long Ways from Home” is a 17-second a cappella nursery rhyme that, after multiple listens, still struggles to find sense: “I pawned it / a black-white-yellow human / And if you don’t like what I say / Then vote for Harry Truman.” It’s the kind of quirk you’d expect–if you were expecting such a thing–to find snugly fit into the later tracks, not just as you were getting warmed up. But it seems to work as an attention grabber. Bizarre as it may seem, you want to listen to it twice. And it informs that maybe you have no fucking clue what’s about to happen. In fact, it’s the same kind of subtle narcissistic kink as Lee’s notably flamboyant wardrobe. “Look at me,” it says.

 And to his credit, he does settle down after that. His straightforward blues standard in “He Said She Said” (a likely nod to his Memphis nascency) is also one of the few rhythm and blues approximations found. While it hinges primarily on blues, it’s justifiably, and pleasantly, both.
And that’s sort of how it goes: normalcy is met with brief episodes of eccentricity. Because for every blues and rock sanity, we find a “Hamburger Breath Stinkfinger,” the tale of an ill-advised date at McDonald’s, where Lee laments about the woman, “Oh what a dish / She smelled just like a fish.”

 Throughout the wandering, Vindicator’s common thread would be Lee’s voice and his guitar. Consistent variations aside, both are reminiscent of Hendrix. Vocally, the best document of this is either “Busted Feet” or “You Want Change for Your Re-Run.” The latter is the best effort on the record next to “Everybody,” and arguably the best composed. Driving guitar is joined halfway through by a simple piano underpinning, arriving perfectly out of nowhere. The Hendrix influence isn’t surprising. And not because Hendrix is “influential.”
 Friend’s in the early-’60s L.A. scene, Hendrix played guitar behind Rosa Lee Brooks when she sang the Lee-written “My Diary.” And Lee was known to frequent Isley Brothers shows, where Hendrix cut his teeth before “Hey Joe” forever wove him into the musical fabric. Lee even claims that it was Love’s version of “Hey Joe,” not Tim Rose’s, that inspired the version we all know. Even Hendrix’s later fashion sense offers a nod to the eccentric Lee, whose frills, tunics, scarves and hats were staples when Hendrix was still sporting a skinny tie as a backup. If that’s not enough, Vindicator is credited, not to Arthur Lee, but Arthur Lee & Band-Aid. On the record, Band-Aid is a mostly anonymous group of musicians. But the name was originally conceived by Hendrix and Lee for a group they intended to form with Steve Winwood. Of course, that would never happen.

 So instead, we have Vindicator. Not a tribute to Hendrix. Not an evolution of Love. It’s Arthur Lee frantically and impressively trying to fit every ounce of his musical yearning into one record. Someone trying to prove his every potential in one fell swoop. Years of pent-up emotion and style are released, and with great effort. Most other times, such a product would be a disjointed mess. But here, it’s a sincere piece of man. Punctuated with the exclamation, “I’m not Love,” Vindicator succeeds in showing us who Lee is. “Look at me,” it says. And maybe that’s vindication enough. (J. Crosby)

Tracklist
01 "Sad Song" – 2:20
02 "You Can Save Up to 50%, But You're Still a Long Ways from Home" – 0:17
03 "Love Jumped Through My Window" – 2:56
04 "Find Somebody" – 3:47
05 "He Said She Said" – 2:18
06 "Every Time I Look Up I'm Down or White Dog (I Don't Know What That Means!)" – 3:57
07 "Everybody's Gotta Live" – 3:31
08 "You Want Change for Your Re-Run" – 4:17
09 "He Knows a Lot of Good Women (Or Scotty's Song)" – 3:14
10 "Hamburger Breath Stinkfinger" – 2:44
11 "Ol' Morgue Mouth" – 0:53
12 "Busted Feet" – 4:53
Bonus tracks
13 "Everybody's Gotta Live" – 3:37
14 "He Knows a Lot of Good Women" – 3:16
15 "Pencil in Hand" – 2:15
16 "E-Z Rider" – 2:58
17 "Looking Glass Looking at Me" – 4:05

Credits
Arthur Lee - guitar, vocals
Charlie Karp - guitar
Frank Fayad - bass
Clarence McDonald - keyboards
Don Poncher - drums
Craig Tarwater - guitar
David Hull - bass

Sunday, January 6, 2013

Roger Chapman – Mail Order Magic (1980 great uk classic rock with powerful vocals - Flac)


Roger Chapman's second studio album, Mail Order Magic, was recorded under some Roger Chapmantough conditions for the singer. Punk and new wave were sweeping England of any "oldies" acts, and Chapman was having trouble taking root in his own country. In addition, the label to which he had signed was folding, giving him a deadline to finish and release the album. Meanwhile Chapman, still high from the success of continental tours, tried to up the ante by recording with better players, including old Family-mate John Wetton. But lack of finances bumped the sessions from studio to studio, and Terry Barham and Paul Smykle (notable for reggae production) were brought in to stitch together the recordings into a pressable album. Considering all of this, the results were fantastic. The hard-edged rock, especially "Unknown Soldier," suited Chapman's edgy voice best. The Shortlist also served up R&B and even a little experimental music ("Ground Floor" sounds like an early demo of "Higher Ground"). Chapman would find a more comfortable career down the road, but the material would rarely be as convincing and as powerful as this.(Patrick Little)

It's hard to keep reviews of obscure 22-year-old recordings in context. In some ways, this CD has not aged as well as others in Roger Chapman's extensive solo discography, yet one has to recall the dreadful state of corporate-run FM radio back then (and now).
This recording is one of the better ones from Chappo's collaborations with guitarist Geoff Whitehorn. Standouts include Unknown Soldier (Can't Get To Heaven), Mail Order Magic, Making The Same Mistake, Barman, Higher Ground, and Ground Floor. Poli Palmer, another Family alum, co-wrote Barman, Higher Ground, and Ground Floor, and John Wetton kicks in some nice bass chops on a couple of tracks. Whitehorn delivers consistent, solid lead guitar, showing some flashes of brilliance (but ultimately making me miss Charlie Whitney's lead all the more).
Chappo is the main attraction, of course, and he delivers the goods, really shining on the title cut, Unknown Soldier, and He Said, She Said.
I doubt that this CD won Chappo many new fans outside of Germany, but it certainly is essential listening for his core faithful.(By Loce The Wizard)



Tracks Listing
01 Unknown Soldier (Can't Get To Heaven) - Roger Chapman 3:44 
02 He Was She Was - Roger Chapman & Geoff Whitehorn 4:48 
03 Barman - Roger Chapman & Poli Palmer 5:24 
04 Right To Go - Roger Chapman 4:05 
05 Ducking Down- Roger Chapman & Geoff Whitehorn  3:53
06 Making The Same Mistake - Roger Chapman & Geoff Whitehorn 4:58 
07 Another Little Hurt - Roger Chapman & Tim Hinkley 3:53 
08 Mail Order Magic - Roger Chapman 4:26 
09 Higher Ground - Roger Chapman 4:15 
10 Ground Floor 1:56 - Roger Chapman & Poli Palmer  

Credits

Roger Chapman - Harmonica, Vocals
Geoff Whitehorn - Guitar
Jerome Rimson - Bass, Vocals
John Wetton - Bass
Tim Hinkley - Keyboards
Poli Palmer - Synthesizer 
John Halsey, Les Binks, Mitch Mitchell - Drums

Pacific Gas & Electric - Live 'N' Kicking At Lexington (1970 great us rock blended blues & rhythm & blues -2007 Issue - Wave)



The band was formed in Los Angeles in 1967, by guitarist Tom Marshall, bassist Brent Block, second guitarist Glenn Schwartz (previously of The James Gang) and drummer Charlie Allen, who had previously played in the band Bluesberry Jam. When it became clear that Allen was the best singer in the new group, he became the front man, and Frank Cook, previously of Canned Heat, came into the band on drums. Originally known as the Pacific Gas and Electric Blues Band, they shortened their name when they signed to Kent Records, releasing the album Get It On in early 1968. The record was not a success, but following the band's performance at the Miami Pop Festival in May 1968 they were signed by Columbia Records.
Their first album for Columbia, Pacific Gas and Electric, was issued in 1969, but they achieved greater success with their next album, Are You Ready in 1970. The title track reached # 14 on the Billboard Hot 100.[3] After the album was recorded, Cook was injured in a car accident and was replaced on drums by Ron Woods, Cook staying on as manager. Marshall and Schwartz left, and were replaced by Frank Petricca (bass) and Ken Utterback (guitar), with Brent Block moving to rhythm guitar before leaving later in 1970. Unusually for the time, the band contained both black and white musicians, which led to rioting and gunfire on one occasion when the band, who toured widely, performed in Raleigh, North Carolina.
In 1971, the band changed their name to PG&E, following pressure from the utility company of the same name. The band also expanded, Allen, Woods, Petricca and Utterback being joined by Jerry Aiello (keyboards), Stanley Abernathy (trumpet), Alfred Galagos and Virgil Gonsalves (saxophones), and Joe Lala (percussion). They recorded the album PG&E, and also appeared in and provided music for the Otto Preminger film Tell Me That You Love Me, Junie Moon starring Liza Minnelli. The band then split up. A final album using the name, Pacific Gas & Electric Starring Charlie Allen, was recorded by Allen with studio musicians and released on the Dunhill label in 1973. For a time the group also included Rick Durrett formerly of the band The Coven on keyboards.

A real nice 5-piece blues-based, rock and roll band kickin' out the jams, live in Lexington, KY. I'm glad someone realized they had this concert and released the audio for our enjoyment. This is 2 guitars, bass and drums blues-based rock and roll at its finest, vintage 1970. Yowza!(By Ted J. Wagner "Teddy James") 



Tracklist
01- Old Slop In "A"(11:20)
02- Are You Ready (6:25)
03- Next Time You See Me (2:38)
04- Elvira (3:16)
05- 32-20 Blues (6:09)
06- One More River To Cross (3:12)
07- Motor City Is Burning (12:40)
08- Jelly Jelly (16:30)

Credits
Charlie Allen - Vocals
Brent Block - Guitar
Frank Petricca - Bass
Ken Utterback - Lead Guitar
Ron Woods - Drums


Link