Frank Zappa Song By Song Thread (1966-96)*

Discussion in 'Music Corner' started by Zoot Marimba, Aug 21, 2018.

  1. Jazzmonkie

    Jazzmonkie Forum Resident

    Tempe, AZ
    I saw them at the NY State Fair when they were popular and surprisingly they actually rocked out. They even did an oldies medley that included "Rock Around the Clock."
    Zoot Marimba likes this.
  2. Zoot Marimba

    Zoot Marimba And I’m The Critic Of The Group Thread Starter

    Pretty cool story. And you bumped this thread up another page.
    Jazzmonkie likes this.
  3. Zoot Marimba

    Zoot Marimba And I’m The Critic Of The Group Thread Starter

    Clearing some out as I jam Absolutely Free.
    1. The Everly Brothers, Beat & Soul (Jim Gordon) [1965]
    2. Mel Tormé, Right Now! (Gordon) [1966]
    3. Gene Clark, Gene Clark with Gosdin Brothers (Gordon) [1967]
    4. Van Dyke, Song Cycle (Gordon) [1967]
    5. The Stone Poneys, Evergreen, Volume 2 (Billy Mundi, Gordon) [1967]
    6. Canned Heat, Canned Heat (Henry Vestine) [1967]
    7. Judy Collins, Who Knows Where The Time Is (Gordon) [1968]
    8. Harry Nilsson, Aerial Ballet (Gordon) [1968]
    9. Harry Nilsson, Skidoo Soundtrack (Gordon) [1968]
    10. Randy Newman, Randy Newman (Gordon) [1968]
    11. Canned Heat, Boogie With Canned Heat (Vestine) [1968]
    12. Canned Heat, Living The Blues (Vestine) [1968]
    13. Canned Heat, Hallelujah (Vestine, Elliot Ingber) [1969]
    14. The Hamilton Face Band, Hamilton Face Band (Ruth Komanoff-Underwood) [1969]
    15. Bread, Bread (Gordon) [1969]
    16. Hoyt Axton, My Griffin Is Gone (Gordon) [1969]
    17. Dave Mason, Alone Together (Gordon) [1970]
    18. Randy Newman, 12 Songs (Gordon) [1970]
    19. Canned Heat, Vintage (Vestine) [1970]
    20. Hamilton Face Band, Ain’t Got No Time (Ruth) [1970]
    21. John Mayall, USA Union (Sugarcane) [1970]
    22. Don “Sugarcane” Harris, Sugarcane (Sugarcane) [1970]
    23. Joe Cocker, Mad Dogs And Gentlemen (Gordon) [1970]
    24. Don “Sugarcane” Harris, Keep on Driving (Sugarcane) [1971]
    25. Don “Sugarcane” Harris, Fiddler On The Rock (Sugarcane) [1971]
    26. Nolan Porter, No Apologies (Lowell George, Roy Estrada, Jimmy Carl Black) [1971]
    27. Bob Smith, The Visit (Don Preston) [1971]
    28. T. Rex, Electric Warrior (Mark Volman, Howard Kaylan) [1971]
    29. Canned Heat and John Lee Hooker, Hooker n Heat (Vestine) [1971]
    30. Canned Heat, Live At Topanga Corral (Vestine) [1971]
    31. Canned Heat, Historical Figures And Ancient Heads (Vestine) [1971]
    32. B.B. King, B.B. King in London (Gordon) [1971]
    33. Leon Russell, Leon Russell And The Shelter People (Gordon) [1971]
    34. Traffic, The Low Spark Of High Heeled Boys (Gordon) [1971]
    35. Maxayn, Maxayn (Andre Lewis) [1972]
    36. Nolan Porter, Nolan (George, Estrada, Black) [1972]
    37. Domenic Troiano, Domenic Troiano (Bunk Gardner, Buzz Gardner) [1972]
    38. Nicholas Greenwood, Cold Cuts (Bunk) [1972]
    39. John Lennon and Yoko Ono, Sometime In New York City (Live Jam/tracks 3-6 featuring Frank, Mark and Howard, Ian, Don Preston, Bob Harris #1, Jim Pons, Dunbar) [1972]
    40. T. Rex, The Slider (Mark And Howard) [1972]
    41. Pure Food & Drug Act, Choice Cuts (Sugarcane) [1972]
    42. New Violin Summit (Sugarcane, Ponty) [1972]
    43. Albert Hammond, It Never Rains in Southern California (Gordon) [1972]
    44. Bobby Whitlock, Bobby Whitlock (Gordon) [1972]
    45. Bobby Whitlock, Raw Velvet (Gordon) [1972]
    46. Skip Battin, Skip (Mundi) [1972]
    47. Roxy Music, Stranded (Jobson) [1973]
    48. Buddy Miles, Chapter VII (Lewis) [1973]
    49. Johnny “Guitar” Watson, Listen (Lewis) [1973]
    50. Maxayn, Mindful (Lewis) [1973]
    51. Don “Sugarcane” Harris, Sugar Cane’s Got the Blues (Sugarcane) [1973]
    52. Canned Heat, The New Age (Vestine) [1973]
    53. Canned Heat, One More River to Cross (Vestine) [1973]
    54. Art Garfunkel, Angel Clare (Gordon) [1973]
    55. Donovan, Essence to Essence (Gordon) [1973]
    56. The Incredible Bongo Band, Bongo Rock (Gordon) [1973]
    57. Albert Hammond, The Free Electric Band (Gordon) [1973]
    58. David Gates, First (Gordon) [1973]
    59. The Hues Corporation, Freedom for the Stallion (Gordon) [1973]
    60. John Cale, Paris 1919 (Lowell) [1973]
    61. Happy Ends, Happy Ends (Lowell) [1973]
    62. Gordon Lightfoot, Stallion (Gordon) [1974]
    63. Tom Waits, The Heart Of Saturday Night (Gordon) [1974]
    64. John Sebastian, Tarzana Kid (Lowell, Gordon) [1974]
    65. Robert Palmer, Sneakin Sally Through the Alley (Lowell) [1974]
    66. Mick Ronson, Slaughter on 10th Avenue (Dunbar) [1974]
    67. Roxy Music, Country Life (Jobson) [1974]
    68. Howdy Moon, self titled album (Lowell George, Roy Estrada) [1974]
    69. Luis Gasca, Born to Love You [1974]
    70. Billy Cobham, Crosswinds (George Duke) [1974]
    71. Maxayn, Bail Out For Fun! (Lewis) [1974]
    72. Roger McGuinn, Peace on You (Mark And Howard) [1974]
    73. Dave Mason, Dave Mason (Sal Marquez) [1974]
    74. Herbie Mann, London Underground (Dunbar) [1974]
    75. Freddie Hubbard, High Energy (Ian Underwood) [1974]
    76. Don “Sugarcane” Harris, Cup Full Of Dreams (Sugarcane) [1974]
    77. Don “Sugarcane” Harris, I’m On Your Case (Sugarcane) [1974]
    78. Junior Hanson, Magic Dragon (Lewis) [1974]
    79. Jack Bruce, Out Of The Storm (Gordon) [1974]
    80. Souther-Hillman-Furay Band, The Souther-Hillman-Furay Band (Gordon) [1974]
    81. John Stewart, The Phoenix Concerts (Gordon) [1974]
    82. Roxy Music, Siren (Jobson) [1975]
    83. Freddie Hubbard, Liquid Love (Ian) [1975]
    84. Billy Cobham, A Funky Thide Of Sings (Walt Fowler) [1975]
    85. Down And Dirty Duck Soundtrack (Preston, Mark Volman, Howard Kaylan, Pons, Dunbar) [1975]
    86. Mick Ronson, Play, Don’t Worry (Dunbar) [1975]
    87. Nils Lofgren, self titled (Dunbar) [1975]
    88. Don “Sugarcane” Harris, Keyzop (Sugarcane) [1975]
    89. Mallard, Mallard (Art Tripp) [1975]
    90. The Carpenters, Horizon (Gordon) [1975]
    91. Minnie Riperton, Adventures in Paradise (Gordon) [1975]
    92. Art Garfunkel, Breakaway (Gordon, Max Bennett, John Guerin) [1975]
    93. Joan Baez, Diamonds And Rust (Gordon) [1975]
    94. Darryl Hall and John Oates, Darryl Hall And John Oates (Gordon) [1975]
    95. Richard “Groove” Holmes, Six Millionare Dollar Man (Gordon) [1975]
    96. Thelma Houston, I’ve Got the Music In Me (Gordon) [1975]
    97. Gordon Lightfoot, Cold on the Shoulder (Gordon) [1975]
    98. Robert Palmer, Pressure Drop (Lowell) [1975]
    99. Joan Baez, From Every Stage (Gordon) [1976]
    100. The Carpenters, A Kind Of Hush (Gordon) [1976]
    101. Alice Cooper, Alice Cooper Goes To Hell (Gordon) [1976]
    102. Neil Diamond, Beautiful Noise (Gordon) [1976]
    103. Journey, Look Into The Future (Dunbar) [1976]
    104. Jean-Luc Ponty, Aurora (Ponty, T. Fowler) [1976]
    105. Roxy Music, Viva! [1976]
    106. Spirit, Farther Along (Ian) [1976]
    107. Jean-Luc Ponty, Imaginary Voyage (Ponty, T.Fowler, Allan Zavod) [1976]
    108. Grand Funk, Good Singin, Good Playin (Produced by Zappa) [1976]
    109. Air Pocket, Fly On (T. Fowler, Bruce Fowler, W. Fowler, Thompson) [1976]
    110. Stephen Stills, Illegal Stills (Mark And Howard) [1976]
    111. Ian Hunter, All American Space Boy (Dunbar) [1976]
    112. Flo and Eddie, Moving Targets (Mark, Howard, Ian) [1976]
    113. T. Rex, Futuristic Dragon (Mark and Howard) [1976]
    114. Nils Lofgren, Cry Tough (Dunbar) [1976]
    115. Carmen MacRae, Can’t Hide Love (Ian) [1976]
    116. Sammy Hagar, Nine On A Ten Scale (Dunbar) [1976]
    117. Alphonso Johnson, Moonshadow (Ian) [1976]
    118. Marathon Man Soundtrack (Ian) [1976]
    119. George Duke, Liberated Fantasies (Duke, Napoleon Murphy Brock, Ruth) [1976]
    120. Don “Sugarcane” Harris, Flashin’ Time (Sugarcane) [1976]
    121. Captain Beefheart And The Magic Band, Bat Chain Puller (Beefheart, Denny Walley) [1976]
    122. Seals & Croft, Sudan Village (Ralph Humphrey) [1976]
    123. Joan Baez, Gulf Winds (Gordon) [1976]
    124. Phil Keaggy, Love Broke Thru (Gordon) [1977]
    125. Chunk, Ernie, & Novi, Chunk, Ernie, & Novi (Ian) [1977]
    126. George Duke, From Me to You (Duke, Glenn Ferris) [1977]
    127. Demon Seeds Soundtrack (Ian) [1977]
    128. Journey, Next (Dunbar) [1977]
    129. Jean-Luc Ponty, Enigmatic Ocean (Ponty, Zavod) [1977]
    130. Little Feat, Time Loves A Hero (Lowell) [1977]
    131. Genesis, Seconds Out (Thompson) [1977]
    132. Quincy, Jones, Roots (Ian) [1977]
    133. Mandré, Mandré (Lewis) [1977]
    134. Alphonso Johnson, Spellbound (Thompson) [1977]
    135. Journey, Infinity (Dunbar) [1978]
    136. U.K., self titled (Eddie Jobson) [1978]
    137. Lynda Carter*, Portrait (Humphrey) (*yes, the same one who played Wonder Woman) [1978]
    138. George Duke, Reach For It (Duke) [1978]
    139. George Duke, Don't Let Go (Duke) [1978]
    140. The Brecker Brothers, Heavy Metal Be-Bop (Bozzio) [1978]
    141. Jean-Luc Ponty, Cosmic Messenger (Ponty, Zavod) [1978]
    142. Steve Hackett, Please Don’t Touch (T.Fowler, Chester Thompson) [1978]
    143. David Bowie, Stage (Adrian Belew) [1978]
    144. Alice Cooper, From the Inside (Mark And Howard) [1978]
    145. Ambrosia, Somewhere I’ve Never Travelled (Ian, Ruth) [1978]
    146. Herb Alpert and Hugh Masekela, Herb Alpert/Hugh Masekela (Ian) [1978]
    147. Captain Beefheart And The Magic Band, Shiny Beast (Bat Chain Puller) (Beefheart, B.Fowler, Tripp) [1978]
    148. Lao Schifrin, Gypsy (Ian) [1978]
    149. Barbara Streisand, Songbird (Ian) [1978]
    150. Little Feat, Waiting For Columbus (Lowell) [1978]
    151. Mandré, Mandré Two (Lewis) [1978]
    152. Karen Alexander, Voyager (Humphrey) [1978]
    153. The Grateful Dead, Shakedown Street (Lowell) [1978]
    154. U.K., Danger Money (Jobson, Terry Bozzio) [1979]
    155. Jean-Luc Ponty, Live (Ponty, Zavod) [1979]
    156. David Bowie, Lodger (Belew) [1979]
    157. Big Sonny and the Lo Boys, In Heat (Black) [1979]
    158. Apocalypse Now Soundtrack (Preston) [1979]
    159. The Residents, Eskimo (Preston) [1979]
    160. Jefferson Starship, Freedom at Point Zero (Dunbar) [1979]
    161. Lowell George, Thanks, I’ll Eat It Here (Lowell) [1979]
    162. Peggy Lee, Close Enough For Love (Ian) [1979]
    163. Little Feat, Down On The Farm (Lowell) [1979]
    164. George Duke, Follow the Rainbow (Duke, Nappy) [1979]
    165. George Duke, Master Of The Game (Duke, Nappy) [1979]
    166. Tony Banks, A Curious Feeling (Thompson) [1979]
    167. Jean-Luc Ponty, A Taste for Passion (Ponty, Zavod) [1979]
    168. Freddie Hubbard, The Love Connection (Thompson) [1979]
    169. Lalo Schifrin, No One Home (Ian) [1979]
    170. The Warriors Soundtrack (Ian) [1979]
    171. Mandré, M3000 (Lewis) [1979]
    172. Ray Pizzi, The Love Letter (Humphrey) [1979]
    173. Leroy Hutson, Unforgettable (Thompson) [1979]
    174. David Pritchard, City Dreams (Thompson) [1979]
    175. The Muppet Movie Soundtrack (Gordon) [1979]
  4. Zoot Marimba

    Zoot Marimba And I’m The Critic Of The Group Thread Starter

    Since today would have been his 78th birthday, I want to write something for Jim “Motorhead” Sherwood.
    While not a founding member of the Mothers per se, Motorhead was always there, be it as a roadie, a lighting guy, a featured player of sorts, and finally as a member of the band. Compared to some of the older looking guys in the band, Motorhead looked like the dude in Pottery class that sells you pot in the back room. He was one of the saner looking members, yet he seemed eager to egg on the insanity around him and see what friend would come up with next to freak out the good wholesome folk of America.
    I can still recall seeing their Color Me Pop performance and just being stunned by what I was seeing and hearing. One of many moments that jumped out at me was when Motorhead beginning his solo. The way it played, it sounded like Motorhead was strangling the damn thing. It was part free jazz brilliance, part trolling brilliance, just pushing the baritone sax to its absolute limit and playing like it it was the most dangerous thing to do.
    Beyond music, his cool, devil-may-care demeanor and levity brought a very down to earth feeling to the group, even with as crazy as things could get and often did. He was one of us, the ground level types who managed to get on stage and hang with the band. Even as intense as the band could seem onstage, there was Motorhead just kicking it and enjoying himself.
    Last but not least, he was one of Frank’s oldest friends. Through Bob, Motorhead and Frank would meet and bond over their love of old blues records, and of course the rest is history. No matter what, whenever Frank needed him, Motorhead was always there, be it as a roadie, as a player, or as an actor in the case of 200 Motels. Even as saddened as he was by the news of the Mothers’ breakup, his faith and loyalty to Frank never wavered. I’ll put it this way: plenty would have ridden with Frank in a limo, but Motorhead would have taken the cruddy, rundown Greyhound with him. There’s a reason that Frank was willing to name his child after Motorhead. As I said, a name holds weight, and even if Dweezil’s birth name was a placeholder, that Frank chose Motorhead among others says it all- “these men are important to me, these are men who have made my life better, and I’ll be very fortunate if my son takes after any one of them.”

    Happy birthday Motorhead. Wherever you and the others are, hope the tunes are crankin’, the car is roaring, and the beer is ice cold.
  5. Zoot Marimba

    Zoot Marimba And I’m The Critic Of The Group Thread Starter

    Today is the 55th anniversary of the Soul Giants changing their name to the Mothers (or Muthers).
    Sure, the group itself had already existed for at least few months by that point, first as a pretty good rhythm and blues bar band, then a pretty good rhythm and blues bar band that hired an aspiring avant garde composer to be their new guitar player. Then a pretty good rhythm and blues bar band that were either smart enough, crazy enough, or smart AND crazy enough to play that composer’s music. From there, traces of the blues and doo wop remained, but it gradually mutated as the group paid their dues and said composer started to slowly develop an idea of what he could do as a writer and what kind of band he and his cohorts would be.

    A name isn’t much, yet it’s so much at the same time. It’s a lot harder than you’d think to come up with one. It gives a sense of identity, a sense of purpose, it’s the start of a new life, a sense of feeling just right. When the group started to morph, the Soul Giants no longer fit, and the revolving names reflected a band not quite fully realized. With the name “The Mothers”, soon to be the “Mothers Of Invention”, this new band declared once and for all who they were and they stood for. They were a band not to be trifled with, a band with no interest in being “nice” or “pretty”, a band with no intention of fitting into an easy category. And of course, that would set the tone for a long, strange journey not only for the band but also for its leader.

    And it all started with a simple declaration fifty-five years ago today.
  6. Fastnbulbous

    Fastnbulbous Doubleplus Ungood

    Washington DC USA
    This photo reminds me of another declaration:

    “I have an important message to deliver to all the cute people all over the world. If you're out there and you're cute, maybe you're beautiful. I just want to tell you somethin' — there's more of us UGLY MOTHER****ERS than you are, hey-y, so watch out.”
  7. Fastnbulbous

    Fastnbulbous Doubleplus Ungood

    Washington DC USA
    I just came across this video. Submitted for your consideration. I happen to agree with almost all of his choices, except I'd put Uncle Meat in there and drop one of the guitar-only releases.

    Zoot Marimba likes this.
  8. Zoot Marimba

    Zoot Marimba And I’m The Critic Of The Group Thread Starter

    Let’s wish an excellent 76th to the excellent Ralph Humphrey, drummer with the Don Ellis Orchestra from 1968-73 and then Frank Zappa and the Mothers Of Invention from 73-74.
    A master of swing, an odd meter king, a true master of the instrument, what more can be said about this bad cat? The man brought incredible feel to the records he played on. As strange and dense as the material he was often presented could be, Ralph made it look like “Chop Sticks”, and truly made the notes on paper come to life every time. The minute you put on Over-Nite Sensation and “Camarillo Brillo” starts, particularly with Humohrey’s pocket, you know that you’re in for a treat and in for yet another new beginning in Frank’s career. And then when he and Chester Thompson were paired together for the first part of Thompson’s tenure? Fa-get about it! They had a power that I can only compare to James Brown, they were that tight and that funky.
    And since his time with Zappa, he’s played with Al Jarreau, he’s played with Seals and Croft, Wayne Shorter, he’s worked in film and television, he’s become a music teacher, HE PLAYED WITH WONDER WOMAN! (Seriously, look that up)

    So happy birthday to this bad mother, long live Ralph Humphrey!

  9. Zoot Marimba

    Zoot Marimba And I’m The Critic Of The Group Thread Starter

    Hoyt Axton, My Griffin Is Gone:

    My Griffin Is Gone is the ninth studio album by singer-songwriter Hoyt Axton, released in 1969 on Columbia. Produced by Alex Hassilev, Axton (vocals/guitar) is backed here by our very own Jim Gordon on drums, David Cohen on guitar, James Burton on dobro, Mike Melvoin, Larry Knetchel, and Paul Lewinaon on keyboards, Ben Benay and Jimmie Fadden on harmonicas, Chuck Berghofer and Steve La Fever on bass, and Gary Coleman from Diff’rent Strokes on percussion.
    I didn’t know this album prior to preparing for the review, but man, this dude wrote “The Pusher”? “No No Song”, the one that Ringo (ohmyga!) had a hit with? From this album, it’s a pretty decent slice of folk rock if you’re into that style. Axton shows some solid writing chops in addition to a rich, earthy voice that elevates the material. Of course, Jim Gordon and the Wrecking Crew give a solid support, they always did.
    It’s not essential listening, but if you’re into singer-songwriters or the LA folk scene, it’s a good listen.
  10. Zoot Marimba

    Zoot Marimba And I’m The Critic Of The Group Thread Starter

    Dave Mason, Alone Together:

    Alone Together is the solo debut album by Dave Mason, released July of 1970 on Blue Thumb. Produced by Mason and Tommy LiPuma, this marked Mason's first effort after leaving Traffic and is best known for the single "Only You Know and I Know". Backing Mason on here is our very own Jim Gordon on drums alongside John Barbata, Mason's Traffic bandmate Jim Capaldi, and Jim Keltner, a man stealing the identity of our very own Don Preston on guitar alongside Mason and Michael DeTemple, Leon Russell and John Simon on keyboards, Chris Etheridge, Larry Knetchel, and Carl Radle on bass, and Bonnie Bramlett, Rita Coolidge, Mike Coolidge, Lou Cooper, Claudia Lennear, Bob Norwood, and Jack Storti on backing vocals.
    I always enjoyed Dave Mason’s work with Traffic and other artists, but this thread is the first time I’ve actually listened to any of his solo albums. I have to say, though, this is a really good album. Mason is a strong singer in addition to being a good guitarist and writer, the production and performances top notch. I can definitely see why this album gets a strong reception, because it’s definitely a keeper.
    To fans of 70s rock or Mason’s work with Traffic among others, this is definitely worth a look into.
  11. Zoot Marimba

    Zoot Marimba And I’m The Critic Of The Group Thread Starter

    Randy Newman, 12 Songs:

    12 Songs is the second studio album by Randy Newman, released April 1970 on Reprise. Produced by former Warner Bros head Lenny Waronker, the album features a more swampy style of roots music in contrast to Newman's debut. The sole single, "Have You Seen My Baby?", was later covered by Ringo Starr. Backing Newman (vocals/piano) is our very own Jim Gordon on drums alongside then-Byrds drummer Gene Parsons, Parsons' Byrds bandmate Clarence White on lead guitar and B-bender guitar, Ron Elliott on rhythm guitar, Ry Cooder on slide guitar, Lyle Ritz on bass and upright bass, Roy Harte and Milt Holland on percussion, and Al McKibbon on upright bass.
    As I stated when reviewing Newman’s first album, I mostly just know him from his work with Pixar and “Short People”, which I understood was not necessarily an accurate reflection of his style. So I’m largely new to this album as well as his performing career. Yeah, I know “Have You Seen My Baby” from Ringo’s cover, but that’s it. I will say I like Randy Newman’s version more, certainly from a musical standpoint. I have to say this was a very pleasant surprise. Based on some of his film work, I probably shouldn’t be that surprised, but this a really good slice of Americana with a satiric twist. Honestly, Newman can be damn near Frank levels of sardonic, though his sarcasm can fall on deaf ears (“Short People” anyone?). And for twelve songs, it’s pretty damn short, clocking in at just under 30 minutes (I’ll keep this album in mind whenever I’m on a treadmill next time or having a walk). Of course, the guitar work is fantastic, with Clarence and Ry deliver some absolutely sublime slide and steel styled playing, while Ron Elliott provides an able backbone to them. Of course, Gene Parsons help Clarence create the B-Bender, so I knew he could play country styled music. But Jim Gordon, even though I know he was one of the top session guys of his day, I’m still somewhat surprised. This is obviously not the album he’s known for, but it’s still amazing how much the guy could do-the jazz rock of Steely Dan and the Wazoo band, the intense rock of Derek and The Dominoes, the funk and proto hip hop of “Apache”, the baroque stuff of Pet Sounds. Hal Blaine taught him well, and he in turn taught Jeff Porcaro well.
    This is a great record, definitely for somebody that loves singer-songwriters and rootsy rock.
    mark winstanley and Jazzmonkie like this.
  12. Fastnbulbous

    Fastnbulbous Doubleplus Ungood

    Washington DC USA
    Jim Gordon is one of saddest stories in rock, and that's saying something.
  13. Zoot Marimba

    Zoot Marimba And I’m The Critic Of The Group Thread Starter

    Joe Cocker, Mad Dogs And Gentlemen:

    Mad Dogs And Englishmen is a live album by Joe Cocker, released August of 1970 on A&M. Produced by Denny Cordell and Cocker, the album was recorded at the Fillmore East in March of that year. Backing Cocker is our very own Jim Gordon on drums alongside Jim Keltner, some jerk stealing the identity of our very own Don Preston on guitar and backing vocals, Leon Russell on lead guitar/piano/backing vocals, Chris Stainton on organ and piano, Carl Radle on bass, Jim Horn and Bobby Keys on saxophones, Jim Price on trumpet, Chuck Blackwell on drums and percussion, Sandy Konikoff and Bobby Torres on percussion, and Cordell, Rita Coolidge, Donna Washburn, Claudia Lennear, Daniel and Matthew Moore, Pamela Polland, Nicole Barlay, and Bobby Jones on backing vocals.
    Joe Cocker is usually an artist I have to be in the mood for, but I will not deny the man had talent. First off, he was a great singer, very soulful and expressive, and also a great performer. Even when I watch him at Woodstock, the man could really hold a crowd in the palm of his hands. And this album is a great example of Joe Cocker as a performer-big, bombastic, very broad, huge sound both musically and vocally. A little heavy on covers? Maybe, but he almost always made them his own. While it’s not on here, wasn’t even written yet, “You Are So Beautiful” is probably my favorite Joe Cocker tune, certainly my favorite of the hits. It’s very sparse for Cocker, but even there, the emotion carries so much power. Gordon, Keltner, and Blackwell really bring a crushing power to this album, really making the floor rumble underneath your feet even as you’re just listening at home. Even though I’m generally trying to learn the bass, I also love drums because of that sensation of the floors rumbling, so any ability to feel that is always golden in my book.
    If you’re into Joe Cocker, this is essential listening, but for a regular rock live album, it’s still a good listen as well.
  14. Zoot Marimba

    Zoot Marimba And I’m The Critic Of The Group Thread Starter

    It really is.:(
  15. Zoot Marimba

    Zoot Marimba And I’m The Critic Of The Group Thread Starter

    B.B. King, B.B. King In London:

    B.B. King In London is the nineteenth studio album by blues guitarist and singer B.B. King, released October 11, 1971 on ABC in the United States and then November 9th on Probe in the U.K. Produced by Ed Michell and Joe Zagarino, the album was largely recorded in London with various British and American session players. Backing King is our very own Jim Gordon on drums alongside Jim Keltner (with Ringo Starr playing on tracks 5-7 and Humble Pie drummer Jerry Shirley on “Alexis’ Boogie”), Paul Butler on guitar (with John Uribe on tracks 2, 4, and 9, Peter Green on “Caldonia”, Alexis Korner on “Alexis’ Boogie”, and David Spinozza on “Nobody’s Home”), John Best and Klaus Voorman on bass (with Humble Pie bassist Greg Ridley on “Alexis’ Boogie”), Gary “Dream Weaver” Wright on piano and Hammond organ, Steve Winwood on Hammond organ, Dr. Ragovoy and Pete Wingfield on piano, Rick Wright (not that one) and Dr. John on keyboards-Dr John also plays guitar on “Ghetto Woman”, Jim Price on trumpet/trombone/piano/Fender Rhodes, Ollie Mitchell on trumpet, Chuck Findley on trombone, Bobby Keys on tenor saxophone, Bill Perkins on baritone saxophone and clarinet, Duster Bennett on harmonica (with Steve Marriott on “Alexis’ Boogie”)
    Overall, the album is...okay. Naturally, it’s playing is top notch and the material is listenable by and large, but it doesn’t do a whole lot to stick out beyond having the big names attached. There are select highlights on here such as “Ghetto Woman” and “Part Time Love” but I can’t say this is really essential. If you like the blues or BB King, it’s a pretty good listen, but you don’t really need it.
  16. Zoot Marimba

    Zoot Marimba And I’m The Critic Of The Group Thread Starter

    Leon Russell, Leon Russell And The Shelter People:

    Leon Russell And The Shelter People is the second solo album by Leon Russell, released May 3, 1971 on Shelter. Produced by Russell and Denny Cordell, the album features Russell on vocals/guitar/piano/Hammond organ, our very own Jim Gordon on drums alongside Jim Keltner, and Chuck Blackwell, the clone of our very own Don Preston on guitar and vocals alongside Joey Cooper, Jesse Ed Davis, Eric Clapton, and Chris Stainton on guitars, John Gallie and Jim Price on Hammond organ, Carl Radle on bass, and Claudia Lennear and Kathie McDonald on backing vocals. In addition, the Muscle Shoals Rhythm Section make guest contributions to the album.
    What can I say? Leon Russell was awesome, a brilliant artist, musician, and songwriter with a great range of styles, tones, and musicality. This album is merely one more example of that. Rooted firmly in Americana, the album is a musical gumbo stew that remains quite appetizing throughout.
    I highly recommend this album and Leon Russell as a whole, you will be in for a real treat.
  17. Zoot Marimba

    Zoot Marimba And I’m The Critic Of The Group Thread Starter

    Traffic, The Low Spark Of High Heeled Boys:

    The Low Spark Of High Heeled Boys is the fifth studio album by Traffic, released November 1971 on Polydor in Canada and everywhere else on Island. The album marks the first album with percussionist Rebop Kwaku Baah and the only one to feature our very own Jim Gordon on drums and bassist/violinist Ric Grech, who’d previously played with keyboardist/vocalist/guitarist Steve Winwood in Blind Faith. Rounding out the lineup is mainstays Jim Capaldi on percussion and vocals and Chris Wood on saxophone and flute.
    While I do love a lot of the previous Traffic stuff, this is them at their best as far as I’m concerned. Without taking anything away from Capaldi, having Rebop and Gordon really brings the music to another level, strengthening the sound and providing another dimension. That the writing is really solid as well is another point in this album’s favor. As far as Capaldi singing lead, he’s not a bad singer actually, if not up to Winwood. The album makes a nice balance of the group’s more commercial leanings and their more progressive/jazzy tendencies.
    I definitely give a strong recommendation to this album, it’s a stellar addition to the collection.
    mark winstanley likes this.
  18. Fastnbulbous

    Fastnbulbous Doubleplus Ungood

    Washington DC USA
    This ranks along with Dark Side of the Moon as the ultimate stoner album. I've probably heard "Low Spark" as many times as "Stairway", but have no real desire to hear it again. When the Eagle Flies is my favorite Traffic album, in part because it wasn't played to death in my youth.
    mark winstanley and Zoot Marimba like this.
  19. Zoot Marimba

    Zoot Marimba And I’m The Critic Of The Group Thread Starter

    Albert Hammond, It Never Rains In Southern California:

    It Never Rains In Southern California is the solo debut album by Albert Hammond, released in 1972 on Mums (a subsidiary of Columbia). Produced by Hammond and Don Altfeld, the album is best known for its title track, which became a Top 5 hit. Backing Hammond (lead vocals/guitar) is our very own Jim Gordon on drums alongside Hal Blaine, Larry Carlton and Jay Lewis on guitars, Joe Osborn and Ray Pohlman on bass, Michael Omartian on keyboards, Altfeld on percussion, and Carol Carmichael in backing vocals.
    This was an album I never knew of prior to this thread, though the name seemed somewhat familiar. Turns out, his son Albert Jr plays guitar in The Strokes, so that’s it. Putting that aside, this album is a fairly decent take on 70s soft rock. If that’s your speed, you’ll dig this album, but otherwise, you can gloss over it.
  20. M2225

    M2225 Caesar's Lab

    Helsinki, Finland
    I don't get it how anyone keep this thread somewhat in line :)

    Anyway, after another winter with Jazz here in the Nordics, I'm getting snowed in on the official Zappa releases, I guess that's normal?:wiggle:
    Zoot Marimba and Jazzmonkie like this.
  21. mark winstanley

    mark winstanley Pick up a fast car, burn my name in the road

    This tour was enormous, but should probably have never happened. Cocker and his band had just finished touring England and wanted a break. The Manager came in with threats and mafia style innuendo and basically threatened Joe that if he didn't get it together and do this tour "legs would be broken", because venues were already booked.
    On a spur of the moment type situation up pops Leon Russell, who is really into the idea of this tour and says he can get a band together etc etc and we end up with the Mad Dogs and Englishmen tour.
    The band was too big, the expectations too high, there was a film crew and there were actually a lot of US fans that were itching to see the guy that owned Woodstock.
    According to all reports the tour started off very well, but being the times it was, and being the guys it was it ended up turning from a love fest of music, into a drug fest of overindulgence.
    Reports are that Joe would just be getting handed pills of any description and just put them in his mouth and keep rolling. There were issues there just waiting to break everything apart.
    According to reports Leon Russell would pretty much try and upstage Cocker every night but apparently failed, because although Leon was an excellent performer, and charismatic band leader, as soon as Joe went to the mic it was all over and the star had centre stage.

    I have seen the movie, but to be honest I didn't really get into it, I just wanted the performances. I tend to really dislike concerts interrupted by people wandering around backstage. No matter how interesting it might be to someone to me it is just a distraction and holds no part of my attention, destroys any momentum that the performances may have been able to create, and I just end up annoyed.
    The album on the other hand is great.

    This was an enormous scale tour, and band, and when you add the movie crew, it was a nightmare waiting to take control.

    At the end of the tour, the sheer size and overindulgence had left the money bags empty, Joe exhausted and in deep throws of addiction, and they weren't even sure if they could get an album out of it.
    Joe disappeared to England to try and get himself back together, but generally just to escape what had just gone on.
    A&M records co-founder Jerry Moss said "The album almost didn't happen, he tour was so taxing, I didn't see Joe for a couple years, and he was nowhere to be found."
    The label ultimately turned to producer Glyn Johns to make sense of the Mad Dogs tapes, and by the time he was finished mixing the record (which was co-produced by Russell and Denny Cordell), Moss knew they had a hit even if he couldn't find Cocker, and his instincts were proven right with Cocker'srendition of the Box Tops hit "The Letter," which cracked the Top 10 and helped the album on its way to over a million in sales.

    The story behind this album is just as enormous as the tour itself. The album is a really great live document, and you know there are no overdubs, because everyone ran away afterwards.
    PJayBe, Jazzmonkie and Zoot Marimba like this.
  22. mark winstanley

    mark winstanley Pick up a fast car, burn my name in the road

    Fantastic album
    Jazzmonkie and Zoot Marimba like this.
  23. Zoot Marimba

    Zoot Marimba And I’m The Critic Of The Group Thread Starter

    I don’t either. :laugh:
    M2225 and Jazzmonkie like this.
  24. Cherrycherry

    Cherrycherry Forum Resident

    Whatchu talkin' bout, Willis?
    Zoot Marimba likes this.
  25. Zoot Marimba

    Zoot Marimba And I’m The Critic Of The Group Thread Starter

    Bobby Whitlock, Bobby Whitlock:

    Bobby Whitlock is the self-titled solo debut album by Bobby Whitlock, released March 1972 on ABC-Dunhill in the US and CBS in the UK. Produced by Andy Johns and Whitlock, the album features all of Whitlock’s former Derek & The Dominoes bandmates-our very own Jim Gordon, bassist Carl Radle, and Eric Clapton, though not all together on any track, and George Harrison, who was indirectly responsible for the existence of Derek & The Dominoes (in more ways than one). Recorded during the last months of the group’s existence, the album was born out of the sessions for the ultimately aborted second album. The overall lineup on the album is Whitlock on vocals/keyboards/guitar/12-String guitar, Gordon playing drums on all but three tracks and tabla on tracks 3 and 7, Clapton playing guitar on tracks 1 and 5-7, Radle playing bass on tracks 4 and 8-9, Harrison playing guitar on tracks 1 and 5-6, Klaus Voorman playing bass on tracks 1-3 and 5-7, Jim Keltner playing drums on tracks 4 and 9, Jerry McGhee playing guitar on tracks 4 and 8-9, Bobby Keys playing saxophone on tracks 1 and 6, Jim Price playing the trumpet on track 1 and trombone on track 6, Chris Wood from Traffic playing the flute on track 3, Delaney Bramlett playing guitar on track 2, and both he and Bonnie do backing vocals on tracks 4-5 and 8. In addition, track 10 features the Los Angeles Symphony Orchestra.
    I know Derek and The Dominoes were falling apart, hence why none of the tracks feature all four members. With that said, there’s still some of the spark left in this record, and it’s just a great rock and roll album. Bobby has often gotten overlooked in discussions of Derek & the Dominoes, but he added so much to the group, not least being that he co-wrote roughly half the album, in addition to being one of the singers in the band. And he shows that here, in addition to being a great musician in general. Plus, getting George and Slowhand together is always pretty cool.
    If you’re a fan of Derek & The Dominoes, definitely look into this bad boy.

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