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DARE YE AIR !

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So technically  I am not here posting this item ~( still on a break somewhat) So you may chose to ignore  this post if you deem so however I am sure you will want to give it a listen and try to refrain from joining in on your chosen "Air" instrument / In fact I dare you to listen to these tunes and refrain from from joining in on the air guitar or drums  I found myself to be a true rocker joining in on the second song and really had to refrain on number one since it starts with my all time favorite guitar riff. Can you resist air harmonica on Mystic Eyes or air saxophone on California Man ?/ So give a listen  let me know what tune hooked you and should you claim to make through all songs the I guess you fail to meet the standards of Air Guitarist Extraordinaire   It is absolutely impossible to make to to #24 Which is considered by many to be the ultimate air guitar song ever made  ( OMO) Hope you all are  enjoying the summer and I  will be back shortly


I would have sworn I heard her say....Old Guys Rule !!





TWENTY FOUR HOUR BLUES

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Original artwork by Robert Crumb

Well I am back and a little more refreshed even if I did catch a good case of the blues. I was listening to some of the original blues and singers from the 20's-50's  I was delighted to hear some of the tunes that many artists in the 60's and later have reworked  and kept in the limelight. I have decided to put together some comps that showcase the evolution of blues during the time of my life. I also was humored just how many titles actually call the song some specific kind of blues . Now mind you not every song is truly  a blues piece but if they call it the blues I gotta believe their good intentions. Songs from the kaleidoscopic days of rock that indeed have their roots in the blues

Blues is a genre and musical form that originated in African-American communities in the "Deep South" of the United States around the end of the 19th century. The genre is a fusion of traditional African music and European folk music, spirituals, work songs, field hollers, shouts and chants, and rhymed simple narrative ballads. The blues form, ubiquitous in jazz, rhythm and blues and rock and roll, is characterized by the call-and-response pattern and specific chord progressions, of which the twelve-bar blues is the most common. The blue notes are also an important part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect called a groove.

Blues as a genre possesses other characteristics such as lyrics, bass lines, and instruments. The lyrics of early traditional blues verses consisted of a single line repeated four times. It was only in the first decades of the 20th century that the most common current structure became standard: the so-called AAB pattern, consisting of a line sung over the four first bars, its repetition over the next four, and then a longer concluding line over the last bars. Early blues frequently took the form of a loose narrative, often relating troubles experienced within African American society.

Many blues elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa. The origins of the blues are also closely related to the religious music of the Afro-American community, the spirituals. The first appearance of the blues is often dated to after emancipation and, later, the development of juke joints. It is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century. The first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a wide variety of styles and subgenres. Blues subgenres include country blues, such as Delta and Piedmont, as well as urban blues styles such as Chicago and West Coast blues. World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners.In the 1960s and 1970s, a hybrid form called blues rock evolved 

By the beginning of the 1960s, genres influenced by African American music such as rock and roll and soul were part of mainstream popular music. White performers had brought African-American music to new audiences, both within the U.S. and abroad. However, the blues wave that brought artists such as Muddy Waters to the foreground had stopped. Bluesmen such as Big Bill Broonzy and Willie Dixon started looking for new markets in Europe. Dick Waterman and the blues festivals he organized in Europe played a major role in propagating blues music abroad. In the UK, bands emulated U.S. blues legends, and UK blues rock-based bands had an influential role throughout the 1960s.

Blues performers such as John Lee Hooker and Muddy Waters continued to perform to enthusiastic audiences, inspiring new artists steeped in traditional blues, such as New York–born Taj Mahal. John Lee Hooker blended his blues style with rock elements and playing with younger white musicians, creating a musical style that can be heard on the 1971 album Endless Boogie. B. B. King's virtuoso guitar technique earned him the eponymous title "king of the blues".

White audiences' interest in the blues during the 1960s increased due to the Chicago-based Paul Butterfield Blues Band and the British blues movement. The style of British blues developed in the UK, when bands such as The Animals, Fleetwood Mac, John Mayall & the Bluesbreakers, The Rolling Stones, The Yardbirds, and Cream and Irish musician Rory Gallagher performed classic blues songs from the Delta or Chicago blues traditions.

The British and blues musicians of the early 1960s inspired a number of American blues rock fusion performers, including The Doors, Canned Heat, the early Jefferson Airplane, Janis Joplin, Johnny Winter, The J. Geils Band, Ry Cooder, and The Allman Brothers Band. One blues rock performer, Jimi Hendrix, was a rarity in his field at the time: a black man who played psychedelic rock. Hendrix was a skilled guitarist, and a pioneer in the innovative use of distortion and feedback in his music.Through these artists and others, blues music influenced the development of rock music.
Santana, which was originally called the Carlos Santana Blues Band, also experimented with Latin-influenced blues and blues rock music around this time. At the end of the 1950s appeared the very bluesy Tulsa Sound merging rock'n'roll, jazz and country influences. This particular music style started to be broadly popularized within the 1970s by J.J. Cale and the cover versions performed by Eric Clapton of "After Midnight" and "Cocaine".

In the early 1970s, The Texas rock-blues style emerged, which used guitars in both solo and rhythm roles. In contrast with the West Side blues, the Texas style is strongly influenced by the British rock-blues movement. Major artists of the Texas style are Johnny Winter, Stevie Ray Vaughan, Doug Sahm, and ZZ Top. These artists all began their musical journey in the 1970s, but they did not achieve major international success until the next decade.

Welcome to volume 1 ofAlla' Dem Blues

01 human ball blues - mccoys
02 jimmy's blues - mill valley bunch
03 tube train blues - brunning sunflower blues band
04 pony blues - canned heat
05 stonehead blues - eric quincy tate
06 tombstone blues - bob dylan
07 grand hotel blues - kathi mcdonald
08 hawaii blues - commander cody
09 travelin' riverside blues - loose gravel
10 american money blues - 60,000,000 buffalo
11 blues for millie - shades of joy
12 willy shakespere blues - bob mosley
13 fishin' blues - lovin' spoonful
14 ecological blues - blue cheer
15 london blues - canned heat
16 shotgun blues - blues brothers band
17 shaman's blues - doors
18 invitation to the blues - doug sahm
19 smokey factory blues - steppenwolf
20 bay bridge blues aum
21 rock coast blues - country joe & the fish
22 vicksburg blues - savoy brown
23 hot jelly roll blues - hot tuna
24 big railroad blues - grateful dead



A COUPLE DOZEN EGGS

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Eggs over Easy were an American country-rock band, of the early 1970s, who visited London to record an album, and then became a resident band in a London public house, launching what subsequently became known as pub rock

Although both hailed from New York, Jack O'Hara (guitar, bass & vocals) met Austin de Lone (keyboards, guitar & vocals) in Berkeley, California, where they formed a duo. The pair moved back to New York, where they met Brien Hopkins (keyboards, bass, guitar & vocals) who joined to form a multi-instrumental trio, without a drummer or percussionist. They regularly played clubs and bars in Greenwich Village and Long Island, until they acquired a small fan base, and a manager, Peter Kauff. Kauff was also helping Cannon Films to move into the music business, and arranged for Chas Chandler (bass player for The Animals and producer/manager of the Jimi Hendrix Experience) to produce their first album.
Recording started at Olympic Studios in Barnes, London, in December 1970, initially with Les Sampson (a friend of Noel Redding who joined him in the band Road) on drums. They also played several dates at the American Embassy as a trio. Recording was completed in January 1971, with ex-Animal John Steel on drums. The recordings went well, but Kauff fell out with Cannon Films, and advised the band to stay in London, until the problems were resolved, rather than return to the US.
Chandler, by now their manager, arranged for the band to play a number of college gigs around the country. Many of these were sponsored by the American Embassy in London, which paid for the band to tour British universities to perform before larger audiences with American poets such as Marilyn Hacker, Denis Boyles and Louis Simpson. By then, the band had moved into a house, 10 Alma Street, Kentish Town, near a pub called the Tally Ho. The band were used to playing in American bars, but in common with most London pubs at the time, the Tally Ho had a jazz-only policy. They persuaded the landlord that they played jazz, although their music was predominantly country rock and blues, and first appeared on either 3 May, or 13 May] 1971, with Steel on drums. They soon attracted large crowds - including other musicians, such as Graham Parker, Nick Lowe and Elvis Costello - making Eggs the pioneers of the "pub rock" movement. Eventually, they were asked to increase their performances, until they were playing three nights and Sunday lunchtime each week. On other days they often appeared at other venues, such as The Marquee, which is where Dave Robinson, Brinsley Schwarz's manager, had seen them and introduced them to the band.

Eggs over Easy had a large repertoire of over 50 of their own songs, and 50 covers, and were regularly joined on stage by members of Brinsley Schwarz and other performers, such as Loudon Wainwright III and Frankie Miller. One of the former Tally Ho jazz players, Barry Richardson, was so impressed he formed Bees Make Honey, who were also given a Tally Ho residency, alongside a mix of new and existing bands, such as Max Merritt and the Meteors and Brinsley Schwarz.



The number of venues wanting to stage Eggs Over Easy and other "pub-rock" bands was also increasing, primarily in large Victorian pubs “north of Regents Park” where there were plenty of suitable pubs. Eggs over Easy toured a chain of London pubs owned by the brewer Ind Coope, and in September and October 1971 supported John Mayall on a UK tour, with George Butler replacing Steel on drums; "Eggs over Easy's country rock-flavored repertoire offering a fascinating counterpoint to Mayall's then rampant jazz-blues fixation" .

Kauff had not managed to resolve the dispute with Cannon Films, so the album remained unreleased, and the band had not secured a contract with a UK record label either. As they were having visa problems, Kauff suggested that they return home, so on 7 November 1971 they played their last gig at the Tally Ho, and went back to the US.

Back in New York, Bill Franz joined on drums, they signed a deal with A&M Records and in 1972 they recorded their first album to be released, Good 'N' Cheap. This was partially a re-recording of the tracks originally recorded in London. The album was produced by Link Wray, at his brother, Vernon Wray’s studio in Tucson, Arizona, and the band wrote all but one of the songs.

In 1973, they moved to San Francisco, and later supported The Eagles and Yes on tour; ironically, the sort of “megastar” bands that, back in England, pub rock was seen as a backlash against. By 1976 John “Jay” David (ex Dr. Hook & The Medicine Show) had replaced Franz on drums, and they issued a single “Bar in my Car”, on Buffalo Records, but the record company “tanked as soon as the record came out.” Originally titled "I'm Gonna Put a Bar in the Back of My Car (And Drive Myself to Drink)", the song appears on numerous internet lists of "worst country song titles" as being from their album Fear of Frying, but this is incorrect.



The second album Fear of Frying was eventually recorded in 1980/81 and issued on Squish Records, which also failed as soon as the album was released, making this album a rarity,
The Eggs were frequently joined on stage by Grootna's vocalist Anna Rizzo and also played with members of Commander Cody and his Lost Planet Airmen in Moonlighters.One of their final gigs was as “The Opinions”, backing Dan Hicks and Eggs Over Easy finally split in 1981

                                                                     

    


WORLD WATCHING

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Pete Sears & Friends
Watchfire
1988

* Guatemala (Jeanette Sears / Pete Sears)
* Stream (Jeanette Sears / Pete Sears)
* Sanctuary (Pete Sears)
* Save Something for the Children (Jeanette Sears / Pete Sears)
* Lands End (Pete Sears)
* Nothing Personal (Jeanette Sears / Pete Sears)
* One More Innocent (Jeanette Sears / Pete Sears)
* Rain Forest (Jeanette Sears / Pete Sears)
* Let the Dove Fly Free (Mimi Farina / Jeanette Sears / Pete Sears)
* Blood from the Rose (Pete Sears)

Musicians

* Pete Sears - piano, guitar, synthesizer, keyboards, bass, accordion, vocals
* Sikiru Adeposu - talking drum
* David Auerbach - neo-celtic harp, mountain dulcimer, hammered dulcimer
* Kitty Beethoven - vocals
* John Cipollina - guitar
* Enrique Cruz - kena (Andean flute), siqus (Andean pan pipes)
* Jack Cunningham - highland war pipes
* Willard Dixon - soprano saxophone
* Marty Elliott - shekere
* Greg Errico - drums, percussion
* David Frazier - bongos, percussion
* Jerry Garcia - slide guitar, lead guitar, acoustic guitar
* David Grisman - mandolin
* Geoff Grace - guitar
* Paul Harris - djembe
* Mickey Hart - drums
* David Hayes - bass
* Kevin Hayes - drums
* Tony Menjivar - congas, percussion
* Andy Narell - steel drums
* Holly Near - vocals
* Babtunde Olatunji - ngoma drum
* Leo Rosales - timbales, percussion
* Bob Ryken - drums
* Dimitri Vandellos - guitar
* Archie Williams - guitar
* Rand Witherwam - samples animal sounds

Track nine features a number of support vocalists in a variety of languages;
* Mimi Farina (English)
* Rafael Manriquez (Spanish)
* O.J. Ekemode (African)
* Christy Agbe (African)
* Paul Andrews (Russian)
* Nada Lewis (Hebrew)
* Nazir Latouf (Arabic)
* The Bay Area Men's Slavic Chorus (Slavyanka)

I had a spare moment and thought I would share this one with you as I watch the world and what is going on around me. Still in the middle of issues some better some worse but working at it with the help of God

Peter 'Pete' Sears (born 27 May 1948, Bromley, Kent) is an English rock musician. In a career spanning more than four decades he has been a member of many bands and has moved through a variety of musical genres, from early R&B, psychedelic improvisational rock of the 1960s, folk, country music, arena rock in the 1970s, and blues. He usually plays bass, keyboards, or both in bands.

Sears played on the classic Rod Stewart albums Gasoline Alley, Every Picture Tells A Story which was listed high in Rolling Stone Magazine's top 500 best albums of all time, Never a Dull Moment,and Smiler. He also played on the hit singles Maggie May, and Reason To Believe. During this period, Sears toured the US with Long John Baldry blues band, and played with John Cipollina in Copperhead.

Sears was with Jefferson Starship from 1974 to 1987, and went on to play in the Jorma Kaukonen Trio with Kaukonen and Michael Falzarano. He also played with Kaukonen and Falzarano along with Jack Casady and Harvey Sorgen in Hot Tuna.

He was one of several musicians considered to join the Grateful Dead after the death of Brent Mydland in July, 1990. Jerry Garcia gave Sears a box full of music to listen to. Both Jerry and Joel Selvin told Sears he was the number two choice, but because he didn't have any vocal experience at the time, the keyboard slot was given to Vince Welnick of the Tubes. Sears and Welnick became good friends.

Sears performed at the Rock and Roll Hall of Fame tribute to John Lee Hooker at Stanford University as one of Hooker's guests. He also wrote a song with Hooker, "Elizabeth", which they performed live together in the studio on Sears' solo album The Long Haul. In 2001, he played keyboards as a guest of Hooker's in Oroville, California, shortly before Hooker died in July 2001.

Sears has played with many other musicians through the years, including Leigh Stephens and Micky Waller in Silver Metre; Long John Baldry, Copperhead with John Cipollina, Jerry Garcia, Steve Kimock, Bob Weir, Phil Lesh, Leftover Salmon, and Los Lobos. Currently, he divides his time between the David Nelson Band and his main band Moonalice.

Sears has also written and recorded the original score for many documentary films, including the award winning "The Fight in the Fields" - Cesar Chávez and the Farmworkers Struggle directed by Emmy Award winning Ray Telles and Rick Tehada Flores. His most recent film, also directed by Ray Telles and co-produced by Ken Rabin is called "The Storm That Swept Mexico" about the Mexican Revolution which will air on National PBS in May 2011.


ACACIA XANTHOPHLOEA

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* Dennis Keller - vocals
* Michael Stephen Knust (March 11, 1949 - September 15, 2003) - guitar
* Rob Landes - synthesizer, organ, piano
* E.E. "Bud" Wolfe - bass guitar
* John Tuttle - drums

Fever Tree is a former American psychedelic rock band of the 1960s, chiefly known for their anthemic 1968 hit, "San Francisco Girls (Return of the Native)"

The band hailed from Houston, Texas and started in 1966 as folk rock outfit, The Bostwick Vines. They changed their name to Fever Tree a year later after the addition of keyboard player Rob Landes.

Their fifteen minutes of fame arrived when their song "San Francisco Girls (Return of the Native)" reached #91 in the U.S. charts, sometime in late 1968. Like most of the band's material, it was written by the couple of Scott and Vivian Holtzman, who also were their producers. This four-minute track captured all the band's trademarks: Dennis Keller's incantation-like vocals, the quick shifting between slow parts with an almost sacral feeling and faster, more rock-oriented parts, and especially the searing guitar work by Michael Knust.

Fever Tree also released their self-titled debut album, Fever Tree, in 1968, which charted at #156. A second album, Another Time, Another Place, followed in 1969. Apart from "San Francisco Girls", they never had another hit, although they later also tried writing songs themselves when they had dropped the Holtzmans as producers. The group disbanded in 1970, but reformed in 1978 with only guitarist Michael Knust remaining from the original line-up. The new formation of the group had little commercial success; Fever Tree was not heard of again until 2003 when Michael Knust died.

Dennis Keller has in the past couple of years fronted a new band called Fever Tree Rising. He has played to some good reviews.

One last piece of trivia.... The band's signature song was of course about those " San Francisco Girls" however Fever Tree never played in the Bay area.




RUBY'S BLUES

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01 barnyard blues - 13th floor elevators
02 old man blues - clover
03 new york city blues - country weather
04 steel rail blues - spanky & our gang 
05 up-downhearted blues - shiva's headband
06 folsom prison blues - charlatans
07 my man blues - maria muldaur
08 jailhouse blues - elmer city rambling dogs
09 bullfrog blues - canned heat
10 yonder comes the blues - fred neil
11 big mouth blues - gram parsons
12 joe blues - moving sidewalks
13 police dog blues - jorma kaukonen
14 bedroom blues - mike bloomfield
15 new new minglewood blues - grateful dead
16 piney brown blues - paul butterfield blues band
17 aeroplane blues - black keys
18 light bulb blues - shadows of knight
19 fried chicken blues - transatlantic railroad
20 lime street blues - procol harum
21 morning blurs - jim kweskin jug band
22 walkin' blues - quicksilver messenger service
23 stu's balkan blues - kalideoscope
24 stray cat blues - rolling stones


SOUTHERN GARAGE

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                           Recall requested by Pete Greenwood in Perth, Western Australia



 THE ALLMAN JOYS CIRCA 1966
GREGG ALLMAN ON KEYBOARDS, DUANE ALLMAN ON GUITAR, BILL CONNELL ON DRUMS AND BOB KELLER ON BASS


The Allman Joys was an early band with Duane and Gregg Allman fronting. It was originally the Escorts, but it eventually evolved into the Allman Joys. Duane Allman quit high school to spend his days at home practicing guitar. They auditioned for Bob Dylan's producer, Bob Johnston, at Columbia Records, backing a girl trio called The Sandpipers In true Beatles-esque style, Johnston was more interested in the girls... Eventually, they went on to form Hour Glass and then the Allman Brothers Band.




PILOT OF A BLUE TATTOO

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My first thought was to post the solo Lp by Bruce Stephens entitled Watch That First Step but after thinking about it a little more I felt this guy deserved more than just a solo lp to do him justice. I decided to put together some of Bruce's collected works from the bands he participated with as well as some solo work.  Bruce was a founding member of Mint Tattoo as well as spending time as lead guitarist in Blue Cheer.  He made two solo LP's " Pilot" and the before mentioned" Step" LP  The "Pilot" Lp is not to be confused with the English band of the same name , Bruce was an excellent song writer and had a great distinctive voice  Bruce passed away in 2012  I always enjoyed his music and like so many in his class He deserved more recognition for his work

Tracks  1-5   as performed with Blue Cheer
           6-7       From the KSAN demo tapes
              8-14      as performed with Mint tattoo
           15-20    as performed on the Pilot Lp
                              21-22    From the Solo Lp Watch That First Step
         23-24    as performed with Shotgun 


 







SOUND TARGET

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01 sabre dance - california cotton pickers
02 speakin' - lovin' spoonful
03 sundown in mexico - nicky hopkins
04 missing - camel
05 snowflakes - elmer city rambling dogs
06 max roach - charlie watts - jim keltner project
07 sizzler - mistress
08 chinese checkers - booker t & the mg's
09 unvicioud circle - john cipollinas's rsven
10 interlock - ginger baker
11 goofers - micheal bloomfield
12 citara - light my fire - ananda shankar
13 and she won't - crazy horse
14 no warning - king crimson
15 kahuna sunset - buffalo springfield
16 new blue ooze - kaleidoscope
17 premonition - keef hartley band
18 tighten up - merl saunders quintet
19 plunk a little funk - papa john creach
20 969(the oldest man) - guess who
21 alabama's ghost - loading zone
22 fire eater - three dog night
23 san-ho-zay - chicken shack
24 thing - jefferson airplane


SNOOP DOG BLUES

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01 blues from an airplane - jefferson airplane
02 codeine blues - charlatans
03 gang war blues - steppenwolf
04 no sleep blues - incredible string band
05 last call blues - mill valley bunch
06 outlaw blues - great society
07 milk cow blues -bob wills & his texas playboys  
08 payday blues - dan hicks & his hot licks
09 jackson - kent blues - steve miller band
10 spanish harlem -senor blues - gary duncan
11 nobody blues - serpent power
12 establishment blues - rejoyce
13 blues for breakfast - country joe ncdonald
14 slow blues - mike wilhelm
15 miller's blues - moby grape
16 showbiz blues - fleetwood mac
17 pawnshop blues - spirit
18 worried life blues - blues magoos
19 penicillin blues - stone the crows
20 blues my naughty sweetie gives to me - jim kweskin jug band
21 san francisco fm blues - doug dahm
22 pill's blues - rockets
23 searchin ' blues - novato frank band
24 roadhouse blues - doors




BI-PLANE

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 The album Pilot had as the principal player  Bruce Stephens, often confused with Leigh Stephens. Leigh Stephens did make a guest appearance on the album. Pilot was the name of the album, not a group as is often stated. Eric Albronda co-produced the Pilot album with Bruce Stephens at Trident Studios in London. The recordings were done in 1971 and released on RCA Records. The song "Fillmore Shuffle" was covered by Sammy Hagar. A song about the perils of substance abuse.

Bruce Stephens    keyboards, acoustic & electric guitar, vocals

Leigh Stephens     electric guitar
Martin Quittenton     acoustic guitar
Neville Whitehead     bass
Mick Waller     drums
&   
Ray Cooper     percussion
Gordon Huntley     dobro, pedal steel guitar
David Hentschel     synthesizer
Chris Hughes     sax
Karen Friedman     vocals
Jacki Hardin     vocals
Dari Lalou     vocals
Casey Synge     vocals


Stop And Think     3:24     (Bruce Stephens)
Miss Sandy     3:43     (Bruce Stephens)
Rendevous     3:49     (Bruce Stephens)
Fillmore Shuffle     7:50     (Bruce Stephens)
Love Is That Way     4:02     (Bruce Stephens)
Penny Alone     4:05     (Bruce Stephens)
With Me Tonight     4:02     (Bruce Stephens)
Rider                       4:55                       (Bruce Stephens)

Recorded At:
    - AIR Studios, London
    - Morgan Studios, London
    - Trident Studios, London
Produced By Eric Albronda & Bruce Stephens
Album Design: Wilson McLean
Photography: Roger Perry





BRUCE AND FRIENDS

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Bruce Stephens - Watch That First Step 

1. Cold Cold Heart
2. Detroit Or Buffalo
3. Full Moon
4. The Best Of You
5. Crawl Out Your Window
6. Wrong Way Girl
7. 61 Clay
8. Ooh La La
9. Heart Of Saturday Night 
Credits
Acoustic Bass - Mario Feraci
Arranged By [Horn & Strings] - Denny Jaeger
Artwork By [Airbrush] - Vera Knudsen
Artwork By [Art Direction] - Dag Wærner
Backing Vocals - Annie Sampson , Billy Bop Boman , Jo Baker , Two Tons O'Fun*
Bass - Lonnie Turner
Drums - B.J. Wilson
Engineer - Neil Schwartz
Engineer [Aided & Abetted] - Eric Buck , Richard Greene
Guitar - Greg Douglas
Guitar [Slide Guitar] - Michael O'Neill
Harmonica - Norton Buffalo
Horn - Mel Martin & Friends*
Keyboards, Vocals - Bruce Stephens
Percussion - Babatunde
Percussion [Brushes] - Bud Spangler
Photography - Patricia Kay
Producer - Bob Simmons , Jack Leahy
Steel Guitar [Pedal] - Joe Goldmark
Vibraphone [Vibe] - Larry Blackshear
Violin - John Tenny , Nate Rubin

STEPHEN'S TATTOO

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Mint Tattoo was born as an offshoot of the legendary 60's proto punk acid band Blue Cheer. Bruce Stephens and Ralph (Burns) Kellogg had played together in Blue Cheer on band's self titled album in 1969, but after that one album, Stephens left the band to pursue other interests. Kellogg stayed on with Blue Cheer until the demise of the band in 1971, but during his tenure with Blue Cheer he reunited with Stephens along with drummer Gregg Thomas to form the band Mint Tattoo. Produced by James William Guercio (Chicago) and engineered by Phil Ramone in New York, the Mint Tattoo is a mixture of blues styled original songs, a cover of classic a blues numbers and some rather uninspired, typical for the era hard rock tunes. Not an overly exciting album, compared to the early Blue Cheer material, but none the less a period piece and better than most material that was being released in the early 70's. 

1 Sister Fleu (First Movement) (3:53)
2 Leper's Epitaph (Second Movement) (1:34)
3 Policeman's Ball (Third Movement) (2:24)
4 Littal Lieu Lieu's Revenge (Fourth Movement) (:15)
5 Faces of Roses (3:37)
6 I'm Talking About You (3:25)
7 Scorpio Woman (6:46)
8 Mark of the Beast (2:37)
9 Moanin' (4:21)
10 With Love (2:30)
11 I Hear the Spirits (3:22)


PEARL'S BLUES

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01 kosmic blues - janis joplin
02 lonesome whistle blues - chicken shack
03 mercury blues - david lindley
04 tennessee blues - doug sahm
05 death sound blues - country joe & the fish
06 florida blues - salloom,sinclair, & the mother bear
07 groundhog blues - linn county
08 subterranean homesick blues - bob dylan
09 lightnin' bar blues - hoyt axton
10 chauffeur blues - jefferson airplane
11 airplane blues - allen ginsberg & bugs henderson
12 new york city blues - yardbirds
13 honky tonk blues - banana & the bunch
14 joe's blues - country joe mcdonald 
15 hong kong blues - spanky & our gang
16 guitar blues - barclay james harvest
17 fine artist blues - robert crumb & his cheap suit serenaders
18 blues concerning my girl - bethlehem exit
19 payola blues - neil young
20 hesitation blues - hot tuna
21 buried alive in the blues - big brother & the holding Co.
22 enron blues - black.estrada & pini
23 viola lee blues - grateful dead
24 country blues - jimi hendrix
  

IT'S A GAS

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West Coast Natural Gas began life in 1965 in Seattle. In early 1967 they went to San Francisco to work for a local music manager named Matthew Katz.  

Katz was the original manager for Jefferson Airplane, Moby Grape and later It’s a Beautiful Day. He talked West Coast Natural Gas into signing a contract with him but they didn’t realize at the time, being young and stupid. That basically they signed over everything to him. They went to the studio and recorded some original tunes: A Favor, Go Run and Play, The Jumping Frog, Hashish, Water or Wine, Beyond This Place, and Two’s A Pair. 

In early 1968 the band broke up and went back to Seattle. Katz released a single – Go Run and Play / A Favor on his S.F. Sound label under the name West Coast Natural Gas. Later he released a compilation album - the first San Francisco Sound sampler - called “Fifth Pipe Dream”. The four songs mentioned before, Water or Wine, Hashish, Beyond This Place and Two’s A Pair were the ones recorded by WCNG and relabeled by Katz as Indian Puddin’ and Pipe. 

Bio material borrowed from  Rockesteria Music Blog
Thanks Mario!


Tracks
1. Go Run And Play (Kris Larsen) - 2:33
2. A Favor (Steve Mack) - 3:41
3. A Favor Version 2 (Steve Mack) - 3:44
4. The Jumping Frog (Pat Craig) - 3:33
5. Two's A Pair (Steve Mack) - 4:15
6. Beyond This Place (Pat Craig) - 2:32
7. Hashish (Kris Larsen) - 3:03
8. Water Or Wine (Steve Mack) - 3:40
9. The West Coast Natural Gas White Levis Commercial 'Never Break' (Pat    Craig) - 0:46
10.Radio Promo from the Galaxy Club ca. 1968 - 0:37
11.Mr. You're A Better Man Than I (M. Hugg, B. Hugg) - 2:56
12.Younger Girl (J. Sebastian) - 2:11
13.You Make Me Feel So Good (C. White) - 2:12
14.He Was A Friend Of Mine (Traditional, lyrics by J. McGuinn) - 2:38

West Coast Natural Gas
*Pat Craig - Vocals, Piano, Organ, Autoharp, Guitar
*Kris Larsen - Vocals, Guitar
*Steve Mack - Vocals, Lead Guitar
*Dave Burke - Bass
*Jeff Labrache- Drums, Vocals




GAS PIPE

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Psych-rock combo Indian Puddin' and Pipe formed in Seattle in 1966--originally dubbed the West Coast Natural Gas, the group initially comprised singer/guitarist Kep, guitarists Chuck Bates and Kris Larson, bassist Dave Burke and drummer Jeff LaBrache. A latter-day lineup minus Kep and Bates and featuring vocalist Pat Craig and guitarist Steve Mack relocated to San Francisco and in late 1967 issued the lone WCNG single, the Matthew Katz-produced "Go Run and Play." Katz--the manager of Moby Grape, It's a Beautiful Day and other luminaries of the San Francisco psych scene--structured his contracts so that different lineups could appear under a given group's name anytime and anywhere he desired; one lineup of Indian Puddin' and Pipe already existed, but Katz nevertheless rechristened West Coast Natural Gas with the name as well, moving Craig to keyboards and recruiting vocalist Lydia Mareno for what is now considered the definitive version of the group. Indian Puddin' and Pipe never recorded a full-length LP, but did produce four excellent tracks for the compilation Fifth Pipe Dream, issued on Katz's San Francisco Sound label in 1968. This incarnation of the group split soon after, with Mareno later resurfacing in Stoneground and Craig and Mack reuniting in Pipe.

Members 

Jeff LaBrache ~ Drums 
Kris Larson ~ Guitar 
Dave Burke ~ Bass 
Pat Craig ~ Keyboards, Vocals 
Steve Mack ~ Guitar, Violin, Vocals 
Paul Trousdale ~ Tenor Saxophone, Flute, Vocals 
Steve "Warthog" Jackson ~ Bass, Vocals 
Barry Lewis ~ Drums 
Dennis Lannigan ~ Alto Saxophone, Piano, Vocals 
Rex Larsen ~ Guitar, Vocals 
Rick Quintanal ~ Drums 
David Savage ~ Trumpet 
Jock Ellis ~ Trombone 
Lydia Moreno ~ Vocals 



Indian Puddin' and Pipe circa 1969 in Bolinas, CA.

Band members in the photo  are from left to right  Top - Paul Trousdale (Brave New World), Dennis Lannigan (Sonny & Cher Band, the Turtles, The Ducks), David Savage, Rex Larsen (Sonny & Cher Band, The Turtles), Pat Craig (West Coast Natural Gas), Bottom (with hand on chin) Steve Mack (West Coast Natural Gas), Rick Quintanal (Don Ellis Orchestra) Steve (Warthog) Jackson.

tracks 1-6 from the IPP "lost" Lp
Tracks 7-8 from the sampler San Francisco Sound "Then and Now"
Oddly these two tracks are listen by another artist but in reading the musicians roster it is clear that it is IPP

            01 Morning Delight   
        02 A Penny
            03 Shadowlarks
        04 Mr. Blue
         05 Spirit        
06 Planetary Road
 07 Aquarian Dream
                                                        08 John                                                                

SAN FRANCISCO MUSIC BOX CO.

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This is an essential post from another of the Katz slew of artists. It is rather common around the internet but is important as a piece in the SF history of the bands of the time.

The Tripsichord Music Box was one of the many San Francisco bands managed and produced by self-styled psychedelic Svengali Matthew Katz -- despite a slim body of recorded work that stands among the most atmospheric and cosmic to emerge from the Bay Area scene in the post-Summer of Love era, they are sadly best-known as one of the so-called "fake Grape" units unleashed on unsuspecting audiences after Katz lost control of his former protégés, the legendary Moby Grape. Originally dubbed the Ban, Tripsichord Music Box formed in Lompoc, California in 1963 -- the group was founded by singer/guitarist Tony McGuire, bassist Frank Straight, keyboardist Oliver McKinney, and drummer Randy Guzman (sometimes credited as Randy Gordon to avoid conflict due to his parents' management of the act). According to the book Acid, Fuzz & Flowers, the Ban signed to the Brent label to release their lone single, the garage rock stomper "Bye-Bye," splitting soon after when McGuire was drafted to serve in Vietnam; the remaining threesome then recruited singer/bassist David Zandonatti, with Straight moving to lead guitar. Rechristening themselves the Now, they relocated to Los Angeles, sharing Sunset Strip stages with local acts including the Seeds and the Strawberry Alarm Clock before signing to Milton Berle's Embassy label for the 1967 effort "I Want." The single attracted little attention, however, and the Now relocated to San Francisco. There they connected with Katz, who essentially discovered Jefferson Airplane along with Moby Grape -- Katz soon signed the band to his San Francisco Sound label, rechristening them the Tripsichord Music Box. In late 1967 the group recorded three tracks -- "You're the Woman,""It's No Good" and "The Family Song" -- later included on the Fifth Pipedream: The San Francisco Sound, Vol. 1 compilation. When Moby Grape severed ties to Katz, he laid claim to their name, forcing Tripsichord Music Box to play a series of live dates under the Moby Grape aegis -- the deception ultimately prompted McKinney to quit the band in 1969, with guitarist Bill Carr signing on in his place. Around this same time, Zandonatti's high school friend Ron McNeeley also began sitting in on vocals, and after a 1969 single, "Times and Seasons," Tripsichord dropped the "Music Box" from their name in time to cut their sole full-length, a self-titled cult classic issued in 1970. Their dark yet ethereal music found few takers, however, and the band relocated to Utah, splitting when Zandonatti and McNeely joined the Sons of Mosiah, a Mormon musical troupe managed by future U.S. Senator Orrin Hatch. Ironically, Guzman later played drums in a legitimate incarnation of Moby Grape

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Tracks
    * On The Last Ride (Zandonatti / Carr)
    * We Have Passed Away (Carr)
    * Black Door (Carr)
    * The New Word (Zandonatti)
    * Son Of The Morning (Zandonatti)
    * Short Order Steward (Zandonatti)
    * The Narrow Gate (Zandonatti)
    * Fly Baby (Carr)
    * Everlasting Joy (Zandonatti / Carr)
    * You're The Woman (Zandonatti)
    * It's Not Good (Zandonatti)
    * Family Song (Zandonatti)
    * Times And Seasons (Zandonatti)
    * Sunday The Third (Zandonatti) 
Musicians
    * Randy Gordon - drums
    * Oliver McKinney - keyboards
    * Frank Straight - lead guitar
    * Dave Zandonatti - bass
    * B. Carr - guitar, vocals 

                                                                       

                                                                             
                               







JERRY AND OLD AND IN THE WAY

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As requested by Charlie Jackson of Charleston, South carolina

OLD AND IN THE WAY
SONOMA STATE UNIVERSITY GYM,
ROHNERT PARK,CA.
NOVEMBER 4,1973

CD1
1-GOIN' TO THE RACES ( FADES IN )
2-CATFISH JOHN
3-EATING OUT OF YOUR HAND
4-LONESOME FIDDLE BLUES
5-LAND OF THE NAVAJO
6-JERRY'S BREAKDWON
7-PANAMA RED
8-PIG IN A PEN
9-FANNY HILL
10-HOBO SONG
11-WILD HORSES
12-WHITE DOVE
13-LONESOME L.A. COWBOY
14-DRIFTIN' TOO FAR FROM THE SHORE
15-WICKED PATH OF SIN
16-KNOCKIN' ON YOUR DOOR
17-UNCLE PEN
18-HIGH LONESOME SOUND

CD2
1-JUST A TRAMP ON THE STREET *
2-ALL AROUND THE WATERTANK *
3-MIDNIGHT MOONLIGHT
4-ORANGE BLOSSOM SPECIAL

* W/ RAMBLIN' JACK ELLIOT

KSAN-FM STUDIOS,S.F.,CA.
MARCH 2,1973

5-GOIN' TO THE RACES
6-DARK HOLLOW
7-KATIE DEAR
8-NEW CAMPTOWN RACES
9-TWO LITTLE BOYS
10-HOME IS WHERE THE HEART IS
11-DOWN WHERE THE RIVER BENDS
12-KNOCKIN' ON YOUR DOOR
13-OLD AND IN THE WAY BREAKDWON  






EARLY RIDERS OF THE BARBARY COAST

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human expression = optical sound
                   love at psychedelic velocity

other side - streetcar
             walking down the road

rear exit - miles beyond
            excitation

wiliam penn & his pals - swami
                         blow my mind

euphoria - no me tomorrow
           hungry woman

harbinger complex - i think i'm down
                    my dear and kind sir

flying circus - midnight highway
                green eyes green word

vejitables - i still love you
             good things are happening

bethlehem exit - walk me out
                 blues concerning my girl

other half - no doubt about it
             wonderful day

denver overland pony express - nsu
                               codine

west coast natural gas - water or wine
                         a favor

Before the  haight Ashbury scene exploded in 67 there were literally thousands of garage and psychedelic bands playing up and down the coast > Most disappeared into thin air leaving only a tune or two and some of the best band names ever for us to remember them by   Here's a few!







BOB AND WILLIE EP

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A five song Ep released by Bob in 1986 and released in a limited number of 500 copies. The set was recorded at home.







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