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Vince Herman is a guitarist and singer best known for being one of the founding members of Leftover Salmon. Leftover Salmon started in 1989 as somewhat of a melding of the Left Hand String Band and the Salmonheads, and became more and more popular over the sixteen years that followed. The band decided to go their separate ways in 2005, but still play together (billed as Leftover Salmon) on occasion. Since the hiatus, Herman formed a new band named The Great American Taxi, who released their debut album in 2007.
"Let's get one thing straight right off the bat -- Great American Taxi is not a jam band. It's not too hard to understand how their particular brand of open-hearted Americana has found an audience in that milieu, and maybe they stretch out while swapping solos on-stage, but there's no loosey-goosey jamming whatsoever on Reckless Habits...GAT is pretty much a straight-up, old-school country-rock outfit. Not only do they wear their Grateful Dead, Flying Burrito Brothers, and Commander Cody influences on their sleeves, they overtly reference their forebears in the lyrics of their songs. The title track chronicles the story of Gram Parsons, telling of his time with the Burritos, the International Submarine Band, Byrds, etc."
Great American Taxi is Vince Herman (vocals, guitar, mandolin), Chad Staehly (keys, vocals), Jim Lewin (guitar, vocals), Chris Sheldon (drums, vocals) and Brian Adams (bass, vocals). On their latest release, Paradise Lost (produced by Todd Snider), the band enlisted master folk musicians Tim O'Brien, Barry Sless, and Elizabeth Cook to tackle songs about working class, blue-collar issues while maintaining Taxi's signature upbeat, country-, bluegrass-, rock-infused, Americana-without-borders feel.
"I believe in the power of music and songs that can generate the energy to do something," explains Herman. "Politics should be in music; everything's politics, especially music. Songwriting can draw attention to appropriate issues of our times." The band holds no bars in confronting current issues like mountaintop removal, nuclear energy, poor economic conditions, or a soldier returning home from war.
"Taxi's latest release has shed the jamming and gone for the throat with focused song writing and tight musical arrangements," adds Staehly. "The album combines 'folky' elements with straight ahead bluegrass that was propelled by Tim O'Brien playing fiddle, banjo and mandolin on several numbers mixed with equal parts rock 'n' roll — think early-'70s country-rock Rolling Stones."
The band crafted a batch of 12 songs that follow a script of sorts, focusing on America in the new millennium. The theme started to develop in 2010 when they spent time in Nashville. Later that year, while on tour with Snider in Denver, lightning struck: Snider and the band decided to work together to create Taxi's third album, which was to explore what "paradise lost" meant to all of them, individually and collectively. Paradise Lost takes on issues such as loss of childhood, loss of innocence, lost loved ones — even the loss of the record industry.
The lead track, "Poor House," came to them in a peculiar way while the band was playing in Oklahoma City. They received a call from their songwriting friend Benny Galloway (local Boulder songwrtier extraordinnaire), who had no idea that GAT was in Oklahoma City at the time. By coincidence, he called to say he was driving through Woody Guthrie's hometown of Okemah, OK, knowing that the Taxi boys were big Guthrie fans. Galloway showed up about an hour before the show and ran "Poor House" by them as a potential song they could play together that night. Galloway obliged the band's desire to include the track and dropped off a demo version weeks later while all were back home in Colorado.
When work began on Paradise Lost, Snider wanted the lyrics first before anything else. All five band-members contributed. Snider helped them edit and whittle down the catalog of songs to about fifteen tunes before they shored up the music and headed for East Nashville in April of 2011. There they arrived at Eric McConnell's house (where Snider cut his acclaimed release East Nashville Skyline and where Jack White produced Loretta Lynn's Grammy-award winning release Van Lear Rose).
Staehly recalls, "The house definitely has a certain vibe to it, maybe it's all the old analog gear or McConnell's approach, but this new album from Taxi hearkens to the sounds of both of those albums. It's a bit raw with all kinds of warmth and vibe to it that helps bring home these workingman songs. Paradise Lost has an everyman's aesthetic to it that evokes a reminder of how things ought to be for those in search of the elusive American Dream."
Taxi has been performing many dates over the past couple of years as backup band for Snider so it's no surprise to see his name crop up on the production credits. He makes an appearance on lead vocals, harp and some back-up vocals.
Great American Taxi remains inspired by roots rockers like The Band, The Jayhawks, Gram Parsons, and New Riders of the Purple Sage, wearing these influences on their collective sleeve but carving out new territory along the way both lyrically and musically.
Great American Taxi's sophomore effort, Reckless Habits, garnered critical attention on the Americana music scene, topped at #12 on the Americana Music Association's radio chart; it remained in the top 25 for more than two months. Habits sat atop the Colorado radio chart for more than two months and remained in the top 25 for more than a year. The album found the band moving "confidently between touching base on their first-generation influences and building songs with unmistakably individual presence," noted the Boulder Weekly.
Taxi has spent the last seven years touring America non-stop, and their astute observations on the American condition resound with a truth and values ethos that all can relate to. After all, these guys have seen a lot, having played more than 750 shows in their short history together and traveling close to 500,000 miles in that time, spreading a brand of music that they affectionately refer to as "Americana without borders."
The 12 tracks on Paradise Lost include a couple of reflective ballads, a sing-along or two, and some rockers that will make you want to get up and shake your money-maker. Great American Taxi, along with their friend and producer Todd Snider, deliver a collection of what Staehly calls "electric folk music for our times." Paradise Lost is an ode to the American Dream, often times forsaken but always there to be rediscovered."
"It's hard to imagine someone not liking Great American Taxi. In their bone structure and general jiggle, GAT is a modern equivalent to Little Feat, Los Lobos and the Grateful Dead – i. e. bonhomie rich, barroom ready rockers with a healthy facility with twangy stuff, all anchored to quality songwriting, playing and presentation. The Taxi is the whole dang package for someone looking to lift their heels whilst wetting their whistle and getting their head and heart fed, too. In short, Great American Taxi is a speakeasy where all are welcome..."
Great American Taxi
May 30,2013
John Hartford Memorial Festival
Bill Monroe Music Park
Bean Blossom,IN
Personnel
♦ Vince Herman - guitar/vocals
♦ Chad Staehly - keyboards/vocals
♦ Jim Lewin - guitar/vocals
♦ Chris Sheldon - drums
♦ Brian Adams - bass
Disc 1
01.Boogie
02.Good Night To Boogie
03.Steamboat Whistle Blues
04.Reckless Habits
05.Silver Fiddle
06.One Of These Days
07.Swamp Song
08.I'm Still Here
09.Swamp Song
10.I'm On My Way Back To The Old Home
11.Boatman
12.Liza Jane
13.I'm On My Way Back To The Old Home
14.Twilight
Disc 2
01.Cherokee
02.New Millenium Blues
03.Poor House
04.Lazy John
05.Big Railroad Blues
06.Blair Mountain
07.Brown Eyed Women
08.Lumpy Bean Poles And Dirt
09.Banter
Encore
10.Homegrown
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Muddy Waters was the single most important artist to emerge in post-war American blues. A peerless singer, a gifted songwriter, an able guitarist, and leader of one of the strongest bands in the genre (which became a proving ground for a number of musicians who would become legends in their own right), Waters absorbed the influences of rural blues from the Deep South and moved them uptown, injecting his music with a fierce, electric energy and helping pioneer the Chicago Blues style that would come to dominate the music through the 1950s, ‘60s, and '70s. The depth of Waters' influence on rock as well as blues is almost incalculable, and remarkably, he made some of his strongest and most vital recordings in the last five years of his life.
Waters was born McKinley Morganfield, and historians argue about some details of his early life; while he often told reporters he was born in Rolling Fork, Mississippi on April 4, 1915, researchers have uncovered census records and personal documents that would pin the year of his birth at 1913 or 1914, and others have cited the place of his birth as Jug's Corner, a town in Mississippi's Issaquena County. What is certain is that Morganfield's mother died when he just three years old, and from then on he was raised on the Stovall Plantation in Clarksdale, Mississippi by his grandmother, Della Grant. Grant is said to have given young Morganfield the nickname "Muddy" because he liked to play in the mud as a boy, and the name stuck, with "Water" and "Waters" being tacked on a few years later. The rural South was a hotbed for the blues in the '20s and ‘30s, and young Muddy became entranced with the music when he discovered a neighbor had a phonograph and records by the likes of Blind Lemon Jefferson, Lonnie Johnson, and Tampa Red.
As Muddy became more deeply immersed in the blues, he took up the harmonica; he was performing locally at parties and fish fries by the age of 13, sometimes with guitarist Scott Bohanner, who lived and worked in Stovall. In his early teens, Muddy was introduced to the sound of contemporary Delta blues artists, such as Son House, Robert Johnson, and Charley Patton; their music inspired Waters to switch instruments, and he bought a guitar when he was 17, learning to play in the bottleneck style. Within a few years, he was performing on his own and with a local string band, the Son Simms Four; he also opened a juke joint on the Stovall grounds, where fellow sharecroppers could listen to music, enjoy a drink or a snack, and gamble. Waters became a fixture in Mississippi, performing with the likes of Big Joe Williams and Robert Nighthawk, and in the late summer of 1941, musical archivists Alan Lomax and John Work III arrived in Mississippi with a portable recording rig, eager to document local blues talent for the Library of Congress (it's said they were hoping to locate Robert Johnson, only to learn he had died three years earlier). Lomax and Work were strongly impressed with Waters, and recorded several sides of him performing in his juke joint; two of the songs were released as a 78, and when Waters received two copies of the single and $20 from Lomax, it encouraged him to seriously consider a professional career. In July 1943, Lomax returned to record more material with Waters; these early sessions with Lomax were collected on the album Down On Stovall's Plantation in 1966, and a 1994 reissue of the material, The Complete Plantation Recordings, won a Grammy award.
In 1943, Waters decided to pull up stakes and relocate to Chicago, Illinois in hopes of making a living off his music. (He moved to St. Louis for a spell in 1940, but didn't care for it.) Waters drove a truck and worked at a paper plant by day, and at night struggled to make a name for himself, playing house parties and any bar that would have him. Big Bill Broonzy reached out to Waters and helped him land better gigs; Muddy had recently switched to electric guitar to be better heard in noisy clubs, which added a new power to his cutting slide work. By 1946, Waters had come to the attention of Okeh Records, who took him into the studio to record but chose not to release the results. A session that same year for 20th Century Records resulted in just one tune being issued as the B-side of a James "Sweet Lucy" Carter release, but Waters fared better with Aristocrat Records, a Chicago-based label founded by brothers Leonard and Phil Chess. The Chess Brothers began recording Waters in 1947, and while a few early sides with Sunnyland Slim failed to make an impression, his second single for Aristocrat as a headliner, "I Can't Be Satisfied" b/w "(I Feel Like) Goin' Home," became a significant hit and launched Waters as a star on the Chicago blues scene.
Initially, the Chess Brothers recorded Waters with trusted local musicians (including Earnest "Big" Crawford and Alex Atkins), but for his live work, Waters had recruited a band which included Little Walter on harmonica, Jimmy Rogers on guitar, and Baby Face Leroy Foster on drums (later replaced by Elgin Evans), and in person, Waters and his group earned their reputation as the most powerful blues band in town, with Waters' passionate vocals and guitar matched by the force of his combo. By the early '50s, the Chess Brothers (who had changed the name of their label from Aristocrat to Chess Records in 1950) began using Waters' stage band in the studio, and Little Walter in particular became a favorite with blues fans and a superb foil for Waters. Otis Spann joined Waters' group on piano in 1953, and he would become the anchor for the band well into the '60s, after Little Walter and Jimmy Rogers had left to pursue solo careers. In the '50s, Waters released some of the most powerful and influential music in the history of electric blues, scoring hits with numbers like "Rollin' and Tumblin,'" "I'm Ready," "I'm Your Hoochie Coochie Man," "Mannish Boy," "Trouble No More," "Got My Mojo Working," and "I Just Want to Make Love to You" which made him a frequent presence on the R&B charts.
By the end of the '50s, while Waters was still making fine music, his career was going into a slump. The rise of rock & roll had taken the spotlight away from more traditional blues acts in favor of younger and rowdier acts (ironically, Waters had headlined some of Alan Freed's early "Moondog" package shows), and Waters' first tour of England in 1958 was poorly received by many U.K. blues fans, who were expecting an acoustic set and were startled by the ferocity of Waters' electric guitar. Waters began playing more acoustic music informed by his Mississippi Delta heritage in the years that followed, even issuing an album titled Muddy Waters: Folk Singer in 1964. However, the jolly irony was that British blues fans would soon rekindle interest in Waters and electric Chicago blues; as the rise of the British Invasion made the world aware of the U.K. rock scene, the nascent British blues scene soon followed, and a number of Waters' U.K. acolytes became international stars, such as Eric Clapton, John Mayall, Alexis Korner, and a modestly successful London act who named themselves after Muddy's 1950 hit "Rollin' Stone." While Waters was still leading a fine band that delivered live (and included the likes of Pinetop Perkins on piano and James Cotton on harmonica), Chess Records was moving more toward the rock, soul, and R&B marketplace, and seemed eager to market him to white rock fans, a notion that reached its nadir in 1968 with Electric Mud, in which Waters was paired up with a psychedelic rock band (featuring guitarists Pete Cosey and Phil Upchurch) for rambling and aimless jams on Waters' blues classics. 1969's Fathers and Sons was a more inspired variation on this theme, with Waters playing alongside reverential white blues rockers such as Mike Bloomfield and Paul Butterfield; 1971's The London Muddy Waters Sessions was less impressive, featuring fine guitar work from Rory Gallagher but uninspired contributions from Steve Winwood, Rick Grech, and Georgie Fame.
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Curiously, while Chess Records helped Waters make some of the finest blues records of the '50s and ‘60s, it was the label's demise that led to his creative rebirth. In 1969, the Chess Brothers sold the label to General Recorded Tape, and the label went through a long, slow commercial decline, finally folding in 1975. (Waters would become one of several Chess artists who sued the label for unpaid royalties in its later years.) Johnny Winter, a longtime Waters fan, heard the blues legend was without a record deal, and was instrumental in getting Waters signed to Blue Sky Records, a CBS-distributed label that had become his recording home. Winter produced the sessions for Waters' first Blue Sky release, and sat in with a band comprised of members of Waters' road band (including Bob Margolin and Willie "Big Eyes" Smith) along with James Cotton on harp and Pinetop Perkins on piano. 1977's Hard Again was a triumph, sounding as raw and forceful as Waters' classic Chess sides, with a couple extra decades of experience informing his performances, and it was rightly hailed as one of the finest albums Waters ever made while sparking new interest in his music. (It also earned him a Grammy award for Best Traditional or Ethnic Folk Recording.) Waters also dazzled music fans when he appeared at the Band's celebrated farewell concert on Thanksgiving 1976 at the invitation of Levon Helm, who had helped produce one of his last Chess releases, The Muddy Waters Woodstock Album. Muddy delivered a stunning performance of "Mannish Boy" that became one of the highlights of Martin Scorsese's 1978 concert film The Last Waltz. Between Hard Again and The Last Waltz, Waters enjoyed a major career boost, and he found himself touring again for large and enthusiastic crowds, sharing stages with the likes of Eric Clapton and the Rolling Stones, and cutting two more well-received albums with Winter as producer, 1978's I'm Ready and 1981's King Bee, as well as a solid 1979 concert set, Muddy "Mississippi" Waters Live. Waters' health began to fail him in 1982, and his final live appearance came in the fall of that year, when he sang a few songs at an Eric Clapton show in Florida. Waters died quietly of heart failure at his home in Westmont, Illinois on April 30, 1983. Since then, both Chicago and Westmont have named streets in Muddy's honor, he's appeared on a postage stamp, a marker commemorates the site of his childhood home in Clarksdale, and he appeared as a character in the 2008 film Cadillac Records, played by Jeffrey Wright.
Tuesday June 15, 1976
Muddy Waters at Paul's Mall, Boston
WBCN-FM Stereo
Personnel
♣ Muddy Waters - guitar, vocals
♣ Willie "Big Eyes" Smith - drums
♣ Luther "Guitar Jr." Johnson - guitar
♣ Calvin Jones - bass
♣ Bob Margolin - guitar
♣ Joe "Pine Top" Perkins - piano
♣ Jerry Portnoy - harmonica
01. Dj Intro 00:23
02. Instrumental #1 (cut in) 04:55
03. Instrumental #2 08:12
04. Instrumental #3 03:25
≈≈≈≈ Enter Muddy Waters ≈≈≈≈
05. Muddy Waters Day Proclamation 03:57
06. Caldonia 05:41
07. Kansas City 08:38
08. Hoochie Coochie Man 02:51
09. I Want You To Love Me 04:21
10. Baby Please Don't Go 04:05
11. Long Distance Call 07:29
12. Mannish Boy 05:22
13. Got My Mojo Working 03:05
Encore
14. You Don't Have To Go 03:48
15. Exit Music 01:43
16. dj outro 01:01
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Morris Holt (August 7, 1937 – February 21, 2013), known as Magic Slim, was an American blues singer and guitarist. Born at Torrance, near Grenada, Mississippi, the son of sharecroppers, he followed blues greats such as Muddy Waters and Howling Wolf to Chicago, developing his own place in the Chicago blues scene.
Magic Slim was forced to give up playing the piano when he lost his little finger in a cotton gin mishap. He moved first to nearby Grenada. He first came to Chicago in 1955 with his friend and mentor Magic Sam. The elder Magic (Sam) let the younger Magic (Slim) play bass with his band and gave him his nickname.
At first Slim was not rated very highly by his peers. He returned to Mississippi to work and got his younger brother Nick interested in playing bass. By 1965 he was back in Chicago and in 1970 Nick joined him in his group, the Teardrops. They played in the dim, smoke-filled juke joints popular in Chicago in the 1970s on bandstands barely large enough to hold the band.
Slim's recording career began in 1966 with the song "Scufflin'", followed by a number of singles into the mid 1970s. He recorded his first album in 1977, Born Under A Bad Sign, for the French MCM label. During the 1980s, Slim released titles on Alligator, Rooster Blues and Wolf Records and won his first W.C. Handy Award. In 1980 he recorded his cover version of "Mustang Sally".
In 1982, the guitarist John Primer joined the Teardrops and stayed and played for him for 13 years. Releases include Spider in My Stew on Wolf Records, and a 1996 Blind Pig release called Scufflin', which presented the post-Primer line-up with the new addition of the guitarist and singer Jake Dawson.
In 1994, Slim moved to Lincoln, Nebraska where the Zoo Bar had been booking him for years. Slim was frequently accompanied by his son Shawn (Lil' Slim) Holt, an accomplished guitarist and singer.
In 2003, Magic Slim and the Teardrops won the W.C. Handy Award as 'Blues Band Of The Year' for the sixth time. They released a live performance on CD and DVD in August 2005 entitled Anything Can Happen.
Slim died at a hospital in Philadelphia, Pennsylvania on February 21, 2013 at age 75. He had health problems that had worsened while he was on tour several weeks earlier. His manager had stated bleeding ulcers had sent Slim to the hospital, but that he also suffered from heart, lung and kidney problems.
In May 2013, Magic Slim was posthumously awarded a Blues Music Award in the 'Traditional Blues Male Artist' category.
Magic Slim & the Teardrops proudly upheld the tradition of what a Chicago blues band should sound like. Their emphasis on ensemble playing and a humongous repertoire that allegedly ranged upwards of a few hundred songs gave the towering guitarist's live performances an endearing off-the-cuff quality: you never knew what obscurity he'd pull out of his oversized hat next. Born Morris Holt on August 7, 1937, the Mississippi native was forced to give up playing the piano when he lost his little finger in a cotton gin mishap. Boyhood pal Magic Sam bestowed his magical moniker on the budding guitarist. Holt first came to Chicago in 1955, but found that breaking into the competitive local blues circuit was a tough proposition. Although he managed to secure a steady gig for a while with Robert Perkins' band (Mr. Pitiful & the Teardrops), Slim wasn't good enough to progress into the upper ranks of Chicago bluesdom. So he retreated to Mississippi for a spell to hone his chops.
When he returned to Chicago in 1965 (with brothers Nick and Lee Baby as his new rhythm section), Slim's detractors were quickly forced to change their tune. Utilizing the Teardrops name and holding onto his Magic Slim handle, the big man cut a couple of 45s for Ja-Wes and established himself as a formidable force on the South Side. His guitar work dripped vibrato-enriched nastiness and his roaring vocals were as gruff and uncompromising as anyone's on the scene. All of a sudden, the recording floodgates opened up for the Teardrops in 1979 after they cut four tunes for Alligator's Living Chicago Blues anthology series. After that, a series of tough-as-nails albums for Rooster Blues, Alligator, and a slew for the Austrian Wolf logo fattened Slim's discography considerably.
the Teardrops weathered a potentially devastating change when longtime second guitarist John Primer cut his own major-label debut for Code Blue, but with Slim and bass-wielding brother Nick Holt still on board, it became doubtful that the quartet's overall sound would change dramatically in Primer's absence. In 1996, Slim signed with Blind Pig and cut some of the most celebrated albums of his career, including Scufflin' in 1996, Black Tornado in 1998, Snakebite in 2000, and Blue Magic in 2002. A live recording taped in 2005 at the Sierra Nevada Brewery was released that same year on both DVD and CD as Anything Can Happen. Tin Pan Alley, a set of recordings made between 1992 and 1998 in Chicago and Europe, was released in 2006 by Austria's Wolf Records. Midnight Blues appeared in 2008, followed by Raising the Bar in 2010. Bad Boy, a collection of covers given the Magic Slim makeover, hit the streets in 2012. However, while on tour with the Teardrops in January 2013, Slim experienced breathing difficulties and was hospitalized first in Phoenixville, Pennsylvania and then in Philadelphia; he died there on February 20, 2013 at the age of 75.
Personnel
♣ Magic Slim - Guitar, Vocals
♣ Alabama Junior Pettis - Guitar, Vocals
♣ Nick Holt - Bass; Douglas Holt - Drums
01. Going Down Slow 07:25
02. Born On A Bad Sign (aka Born Under A Bad Sign) 07:07
03. Born In Missouri (aka Cummins Prison Farm) 06:50
04. Slim's Bump 04:05
05. Buddy Buddy Friend 04:36
06. Born Down The Bridge (aka Don't Burn Down The Bridge) 06:39
07. Rock Me Baby 05:08
Bonus Tracks
08. Tell Me Baby 02:59
09. You Upset Me Baby 03:51
10. Jumpin' At Ma Bea's 05:01
11. I Don't Got Over 05:28
12. Tramp 06:06
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"A Trick of the Tail" is the seventh studio album by British rock band Genesis and the first to feature drummer Phil Collins as full-time lead vocalist following the departure of original vocalist Peter Gabriel. It was released in February 1976.
After Peter Gabriel left Genesis, the remaining members held auditions for a permanent lead singer, although some members (most notably Banks) considered continuing as an instrumental act, as most songs were written without knowledge as to how they would be sung. Initially, Phil Collins did not wish to take over for Gabriel, opting instead to teach the potential lead singers the songs.
One of the 400 auditioners, Mick Stickland, came close to being chosen, but the band and Mick decided in the end against working together. According to the band members, the backing tracks for A Trick of the Tail had already been recorded and were in a key in which Mick was not comfortable singing. When the auditions failed to produce a suitable vocalist, Collins reluctantly went in the studio to sing "Squonk" and the band decided that Collins should be the new vocalist.
The album was recorded and mixed at Trident Studios in October/November 1975. It also marked the first album that the band would co-produce with David Hentschel. They would work with Hentschel for the next four years.
For the first time in their career, Genesis filmed promotional videos for their songs. Three videos were filmed. Banks' "A Trick of the Tail" was the first, which featured the band playing to the track together around a piano. A miniature Phil Collins can be seen hopping around on a piano and a guitar (Collins later revealed that this video was the most embarrassing of his career). The second video was for the song "Ripples," which was a performance clip. The third was for "Robbery, Assault and Battery" which depicted Collins as a bank robber who shoots an elderly man (played by Mike Rutherford) after holding him up and is then pursued by cops (played by Banks, Hackett and Rutherford), shooting Banks in the process.
A Trick of the Tail reached No.3 in the UK, remaining on the charts for 39 weeks, and No.31 in the US. Additionally, the album was certified Gold in the US by the RIAA in March 1990. Also according to Tony Banks in the essay that comes with Platinum Collection, the album doubled the band's previous albums sales. This success was also financially crucial for Genesis who were $400,000 in debt by the time Peter Gabriel left.
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| Italy Single 1976 |
"Squonk" is based on the North American tale of the squonk which when captured dissolves in a pool of tears. The song features many different sections and was a live favourite at Genesis concerts between 1976 and 1980. It forms a significant part of the album's closing song, "Los Endos," which continued to be played live through the 2007 Turn It On Again tour. According to Collins, in the interviews on the DVD release, this song was intended to be the closest thing Genesis ever got to Led Zeppelin (who were signed to Atlantic Records, the US label for Genesis). The working title of the song was "Indians". [Wikipedia]
After Peter Gabriel departed for a solo career, Genesis embarked on a long journey to find a replacement, only to wind back around to their drummer, Phil Collins, as a replacement. With Collins as their new frontman, the band decided not to pursue the stylish, jagged postmodernism of The Lamb Lies Down on Broadway -- a move that Gabriel would do in his solo career -- and instead returned to the English eccentricity of Selling England by the Pound for its next effort, A Trick of the Tail. In almost every respect, this feels like a truer sequel to Selling England by the Pound than Lamb; after all, that double album was obsessed with modernity and nightmare, whereas this album returns the group to the fanciful fairy tale nature of its earlier records.
Also, Genesis were moving away from the barbed pop of the first LP and returning to elastic numbers that showcased their instrumental prowess, and they sounded more forceful and unified as a band than they had since Foxtrot. Not that this album is quite as memorable as Foxtrot or Selling England, largely because its songs aren't as immediate or memorable: apart from "Dance on a Volcano," this is about the sound of the band playing, not individual songs, and it succeeds on that level quite wildly -- to the extent that it proved to longtime fans that Genesis could possibly thrive without its former leader in tow. [AMG]
Recorded October–November 1975, Trident Studios. Released 2 February 1976 (UK), 20 February 1976 (US)
Personnel
» Tony Banks – organ (Hammond T-102), synthesisers (ARP Pro Soloist and ARP 2600), pianos (acoustic and RMI Electra 368), background vocals, 12-string guitar, mellotron
» Phil Collins – vocals, background vocals, drums, percussion
» Steve Hackett – electric guitar, 12-string guitars
» Mike Rutherford – bass guitar, 12-string guitar, bass pedals
01. "Dance on a Volcano" Banks, Collins, Hackett, Rutherford 05:55
02. "Entangled" Banks, Hackett 06:26
03. "Squonk" Banks, Rutherford 06:29
04. "Mad Man Moon" Banks 07:35
05. "Robbery, Assault and Battery" Banks, Collins 06:16
06. "Ripples..." Banks, Rutherford 08:08
07. "A Trick of the Tail" Banks 04:34
08. "Los Endos" Banks, Collins, Hackett, Rutherford 05:46
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Earl Hooker's Two Bugs and a Roach is a varied lot, with vocals from Hooker, Andrew Odom, and Carey Bell in between the instrumentals, all cut in 1968. All in all, it's one of the must-haves in this artist's very small discography -- a nice representative sample from Chicago's unsung master of the electric guitar, including the title track, "Anna Lee," and the atmospheric instrumental, "Off the Hook."
For a compact disc reissue, Arhoolie added some tracks to the original lineup, including two tracks from stray sessions in late 1968 and July, 1969, along with four very early sides probably recorded in Memphis in the company of Pinetop Perkins, Willie Nix, and an unknown bass player. Of these, "Guitar Rag" is the least together, hampered by a bass player who can't find the changes, but "I'm Going Down the Line" and "Earl's Boogie Woogie" are both top-notch uptempo boogies full of fleet fingered soloing. "Sweet Black Angel" was the A-side of a stray single from the early '50s and appears to be from another session, although it's an excellent example of Hooker playing in the Robert Night Hawk style.
Earl Hooker (January 15, 1929 – April 21, 1970) was an American Chicago blues guitarist, perhaps best known for his slide guitar playing. Considered a "musician's musician", Hooker performed with blues artists such as Sonny Boy Williamson II, Junior Wells, and John Lee Hooker (a cousin) as well as fronting his own bands. An early player of the electric guitar, Hooker was influenced by the modern urban styles of T-Bone Walker and Robert Nighthawk. As a band leader, he recorded several singles and albums, in addition to recording with well-known artists. His "Blue Guitar", a popular Chicago area slide-guitar instrumental single, was later overdubbed with vocals by Muddy Waters and became the popular "You Shook Me".
In the late 1960s, Hooker began performing on the college and concert circuit and had several recording contracts. Just as his career was on an upswing, Earl Hooker died in 1970 at age 41 after a lifelong struggle with tuberculosis. His guitar playing has been acknowledged by many of his peers, including B.B. King, who commented: "to me he is the best of modern guitarists. Period. With the slide he was the best. It was nobody else like him, he was just one of a kind".
Around 1946, Earl Hooker traveled to Helena, Arkansas where he performed with Robert Nighthawk. While not booked with Nighthawk, Hooker performed with Sonny Boy Williamson II, including on his popular Helena KFFA radio program King Biscuit Time. Hooker then toured the South as a member of Nighthawk's band for the next couple of years. This was his introduction to life as an itinerant blues musician (although he had earlier run away from home and spent time in the Mississippi Delta). In 1949, Hooker tried to establish himself in the Memphis, Tennessee music scene, but was soon back on the road fronting his own band. By the early 1950s he returned to Chicago and performed regularly in the local clubs. This set the pattern that he repeated for most of his life: extensive touring with various musicians interspersed with establishing himself in various cities before returning to the Chicago club scene.
In 1952, Earl Hooker began recording for several independent record companies. His early singles were often credited to the vocalist he recorded with, although some instrumentals (and his occasional vocal) were issued in Hooker's name. Songs by Hooker and with blues and R&B artists, including Johnny O'Neal, Little Sam Davis, Boyd Gilmore, Pinetop Perkins, The Dells, Arbee Stidham, Lorenzo Smith, and Harold Tidwell were recorded by such labels as King, Rockin', Sun, Argo, Veejay, States, United, and C.J. (several of these recordings, including all of the Sun material, were unissued at the time). The harmonica player, Little Arthur Duncan, often accompanied Hooker over this period.
Among these early singles was Hooker's first recorded vocal performance on an interpretation of the blues classic "Black Angel Blues". Although his vocals were more than adequate, they lacked the power usually associated with blues singers. Hooker's "Sweet Angel" (1953 Rockin' 513) was based on Robert Nighthawk's 1949 "Black Angel Blues" and showed that "Hooker had by now transcended his teacher". (B.B. King later had a hit in 1956 with his interpretation, "Sweet Little Angel".) One of Hooker's most successful singles during this period was "Frog Hop", recorded in 1956 (Argo 5265). The song, an upbeat instrumental, showed some of his T-Bone Walker swing-blues and chording influences, as well as his own style.
Hooker continued touring and began recording for Cuca Records, Jim-Ko, C.J., Duplex, and Globe. Several songs recorded for Cuca between 1964 and 1967 were released on his first album The Genius of Earl Hooker. The album was composed of instrumentals, including the slow blues "The End of the Blues" and some songs which incorporated recent popular music trends, such as the early funk-influenced "Two Bugs in a Rug" (an allusion to his tuberculosis or "TB"). Hooker experienced a major tuberculosis attack in late summer 1967 and was hospitalized for nearly a year.
When Hooker was released from the hospital in 1968, he assembled a new band and began performing in the Chicago clubs and touring, against his doctor's advice. The band, with pianist Pinetop Perkins, harmonica player Carey Bell, bassist Geno Skaggs, vocalist Andrew Odom, and steel-guitar player Freddie Roulette, was "widely acclaimed" and "considered [as] one of the best Earl had ever carried with him". Based on a recommendation by Buddy Guy, Arhoolie Records recorded an album by Hooker and his new band. Two Bugs and a Roach was released in spring 1969 and included a mix of instrumentals and vocals by Odom, Bell, and Hooker. For one of his vocals, Hooker chose "Anna Lee", a song based on Robert Nighthawk's 1949 "Annie Lee Blues". As he had done earlier with "Sweet Angel", Hooker acknowledged his mentor's influence, but extended beyond Nighthawk's version to create his own interpretation. The "brilliant bebop[-influenced]" instrumental "Off the Hook" showed his jazzier leanings. Two Bugs and a Roach was "extremely well-received by critics and the public" and "stands today as [part of] Hooker's finest musical legacy."
Recorded November 12, 14 & 15, 1968 in Chicago, Illinois
01. Anna Lee 06:30
02. Off the Hook 03:54
03. Love Ain't a Plaything 04:58
04. You Don't Want Me 05:16
05. Two Bugs and a Roach 04:19
06. Wah Wah Blues 04:36
07. You Don't Love Me 05:37
08. Earl Hooker Blues 05:14
Bonus Tracks
09. Take Me Back To East St. Louis [1968] 04:13
10. New Sweet Black Angel [1968] 05:14
11. Little Carey's Jump [1968] 03:52
12. Original Sweet Black Angel [1953] 03:11
13. Earl's Boogie Woogie [1953] 02:37
14. Guitar Rag 02:55 [1953]
15. Going On Down The Line [1953] 02:21
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It took Columbia Records two years after signing Paul Revere & the Raiders to release this label-debut LP. In the interim, the group had released a string of singles that were only regional successes in the Northwest. Producer Bob Johnston had taken them into the studio to try to recreate their dynamic live show before an invited audience, but Columbia sat on the results until the group's coming residency on ABC-TV's Where the Action Is prompted this release. The first side of the album displays the Raiders as the raucous club band they were, grinding through R&B dance tunes like "You Can't Sit Down" and "Oo Poo Pah Doo." The second side previews their evolution into more of a pop group in the mid-'60s, although with songs like "Fever," it still retains something of their early R&B flavor.
Paul Revere & the Raiders are an American rock band that saw considerable U.S. mainstream success in the second half of the 1960s and early 1970s with hits such as "Kicks" (1966; ranked number 400 on Rolling Stone magazine's list of The 500 Greatest Songs of All Time), "Hungry" (1966), "Him Or Me - What's It Gonna Be?" (1967) and the 1971 No. 1 single "Indian Reservation (The Lament of the Cherokee Reservation Indian)".
Initially based in Boise, Idaho, the Raiders began as an instrumental rock outfit led by organist Paul Revere (born Paul Revere Dick in Harvard, Nebraska, on January 7, 1938). In his early 20s, Revere owned several restaurants in Caldwell, Idaho and first met singer Mark Lindsay (born March 9, 1942, Eugene, Oregon) while picking up hamburger buns from the bakery where Lindsay worked (this circumstance was later referred to in the tongue-in-cheek song "Legend of Paul Revere"). Lindsay joined Revere's band in 1958. Originally called The Downbeats, they changed their name to Paul Revere & The Raiders in 1960 on the eve of their first record release for Gardena Records. The band scored their first Pacific Northwest hit in 1961, with the instrumental "Like, Long Hair". The record had enough national appeal that it peaked at No. 38 on the Billboard charts on April 17, 1961. When Revere was drafted for military service, he became a conscientious objector and worked as a cook at a mental institution for a year and a half of deferred service, while Lindsay pumped gas in Wilsonville, Oregon. Lindsay, on the strength of their Top 40 single, toured the U.S. in summer 1961 with a band that featured Leon Russell filling in for Revere on piano.
By summer 1962, Revere and Lindsay were working together again in Oregon with a version of The Raiders that featured drummer Mike "Smitty" Smith (not to be confused with The Dave Clark Five's late lead vocalist and keyboardist Mike Smith), who would spend two long periods with the band. Around this time, KISN DJ Roger Hart, who was producing teen dances, was looking for a band to hire. Hart had a casual conversation with a bank teller who told him about a band called "Paul Revere-something". Hart obtained Revere's phone number and they met for lunch. Hart hired the band for one of his teen dances. Soon afterwards, Hart became the group's personal manager. It was Hart who suggested they record "Louie Louie", for which Hart paid them about $50, producing the song and placing it on his Sande label, ultimately attracting the attention of Columbia Records. According to Lindsay, the Northwest Raiders were a "bunch of white-bread kids doing their best to sound black. We got signed to Columbia (Records) on the strength of sounding like this". Whether the Raiders or The Kingsmen recorded "Louie Louie" first is a matter of some controversy. However, both groups recorded it in the same studio in Portland, Oregon on Northwest 10th Avenue. By then, Raiders included Revere, Lindsay, Smith, guitarist Drake Levin and bassist Mike "Doc" Holliday, who was replaced in early 1965 by Phil Volk.
In 1965, The Raiders began recording a string of garage rock classics. Under the guidance of producer Terry Melcher, the group relocated to Los Angeles and increasingly emulated the sounds of British Invasion bands such as The Beatles, The Rolling Stones, The Dave Clark Five, and The Animals, albeit with an American, R&B feel. Their second major national hit, "Just Like Me" (No. 11, 1965) was one of the first rock records to feature a distinctive, double-tracked guitar solo (by guitarist Drake Levin).
The band appeared regularly on national television, most notably on Dick Clark's Where the Action Is, Happening '68, and It's Happening, the latter two of which were co-hosted by Revere and Lindsay. Here they were presented as an American response to the British Invasion. Playing on Revere's name, the group wore American Revolutionary War soldier uniforms, and performed slapstick comedy and synchronized dance steps while the ponytailed Lindsay lip synched to their music. This farcical, cartoonish image obscured the proto-hard rock sound that their music often took.
In November 1966, the band also appeared as themselves performing one song on the popular Batman television series (episode title: "Hizzonner the Penguin").
The Raiders were endorsed by the Vox Amplifier Company (Revere used their Vox Continental combo organ, while Volk was seen on television playing their Phantom IV bass (nicknamed "the coffin bass" due to the shape of its body) —with "FANG" in masking tape letters on the backside—and everyone played through Vox Super Beatle amplifiers).
Levin left the group in 1966 to join the National Guard, and was replaced by Jim Valley, another Northwest musician the Raiders had met and come to admire during their days playing the Portland and Seattle circuit. Valley was dubbed "Harpo" by the other Raiders due to a vague resemblance to the famous Marx brother (his trademark shtick on Where The Action Is was his horn, which would either bring good luck or bad luck).
Their hits from the mid-60s included "Kicks" (Billboard Pop Chart No. 4), "Hungry" (No. 6), "The Great Airplane Strike" (No. 20), "Good Thing" (No. 4), and "Him or Me - What's It Gonna Be?" (No. 5). Of these, "Kicks" became their best-known song, an anti-drug message written by Barry Mann and Cynthia Weil that was originally earmarked for The Animals. (Mann later revealed in interviews that the song was written about their friend, fellow 1960s songwriter Gerry Goffin, whose on-going drug problems were interfering with his career with then-wife Carole King.)
In mid-1967, with three gold albums to their credit, The Raiders were Columbia's top-selling rock group; their Greatest Hits was one of two releases selected by Clive Davis to test a higher list price for albums expected to be particularly popular, along with Bob Dylan's Greatest Hits.
At the height of the band's popularity, the trio of Valley, Volk and Smith left, disenchanted that the group was prevented from evolving into a more egalitarian creative team, miffed at being replaced by studio musicians on recordings, and unhappy with a continued teen-oriented direction while a more serious rock 'n' roll style was emerging. The first to leave was Valley, who embarked on a solo career. Drake Levin rejoined the band on guitar to finish the spring 1967 tour. Levin, Volk, and Smith flew to New York together and the Raiders were set to perform on The Ed Sullivan Show. However, Revere was upset about the trio leaving the group and blamed Levin for influencing Volk and Smith's pending departure. Levin showed up at the Ed Sullivan Theater to perform with Volk and Smith for the very last time, but Revere refused to allow Levin to play. Unbeknownst to the group, Revere had hired a new guitar player, Freddy Weller, to perform that night. Levin graciously stepped aside and even showed Weller the chords to the songs. Levin was forced to watch the performance from the wings as the Raiders made their one and only appearance on Sullivan's show, on April 30, 1967. It was the only time that the lineup of Revere, Lindsay, Smith, Volk and Weller performed together. The following month, Volk and Smith left, subsequently rejoining Levin to form a band called Brotherhood. Charlie Coe, who had played guitar for The Raiders in 1963, rejoined the group on bass and Joe Correro, Jr. became the new drummer.
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| US Single 1965 |
Changing tastes in the late 1960s rendered the group unfashionable, but they still continued to have modest hits through the rest of the decade, including "Ups And Downs," "I Had A Dream," "Too Much Talk," "Don't Take it So Hard," "Cinderella Sunshine," "Mr. Sun, Mr. Moon," and "Let Me." On January 6, 1968, just four months after the cancellation of Where The Action Is, Revere and Lindsay returned to the air as hosts of a new Dick Clark-produced show in which the Raiders made several appearances, Happening '68 (later shortened to Happening). This weekly series was joined from July to September that year by a Clark-produced daily series It's Happening, also hosted by Revere and Lindsay. In August 1968, bassist Coe left the group again and was replaced by former Action heartthrob Keith Allison. According to author Derek Taylor, the Raiders were seen as "irrelevances. . . . Nervous citizens felt reassured that some good safe things never changed".
Mark Lindsay took more control of the band during this time. He produced all records beginning with Too Much Talk in 1968, and the psychedelic album Something Happening. Lindsay's vision was represented on songs such as "Let Me" (a 1969 gold single), and the albums Hard 'N' Heavy (with marshmallow) and Alias Pink Puzz. (According to allmusic.com, Pink Puzz was the identity under which the Raiders first tried to get the album played on FM radio, a gambit that failed though the band kept the joke name for the album title.) The success of "Let Me" allowed Paul Revere and the Raiders to tour Europe with the Beach Boys in the spring of 1969 (they also recorded two songs for the long running German music program Beat-Club at this time). Later that autumn, Happening ended its run.
Also in 1969, the band performed a specially written song, and appeared on camera, in a television commercial for Pontiac's GTO sports car.
01. You Can't Sit Down
02. Money (That's What I Want)
03. Louie, Louie
04. Do You Love Me
05. Big Boy Pete
06. Oo Poo Pah Doo
07. Sometimes
08. Gone
09. Bad Times
10. Fever
11. Time Is On My Side
12. A Kiss To Remember You By
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A minor classic of progressive rock, this album ranks with Gracious' second album and King Crimson's debut as an exemplar of the use of the Mellotron. Although Mellotrons and the organ (along with some charmingly plonkety piano)provide the foundation of the band's sound, the drums and guitar lay down rocky grooves that keep the washes of keyboards from swamping the whole affair. The lyrics are contemplative, a quality emphasized by Pat Moran's smoky and often wistful vocal style, particularly on the mournful piano piece "Song to Absent Friends." "Shipwrecked Soldier" has wonderfully martial rhythms applied to the Mellotron and drums, and the soaring "Golden Fleece" really lets the multiple keyboards shine. The production is airy and live sounding, with the result that this album has aged surprisingly well.
Spring were a Leicester-based British progressive rock band that represented the early 1970s progressive rock movement. A one-shot band, it recorded only one album in its career, a self-titled LP released in 1971. Spring's music is notable for the use of the mellotron, with three of the its five members credited with playing that instrument on the album.
Spring originally consisted of Pat Moran (vocals), Ray Martinez (guitars), Kips Brown (keyboards), Pick Withers (drums) and Adrian Maloney (bass), all of whom had previously played in various local Leicester bands.
A turning point in Spring's fortunes happened after a gig in Cardiff, when the band's van broke down somewhere in the Welsh countryside, coincidentally very near where producer/engineer Kingsley Ward had recently set up Rockfield Studios. Ward would later marvel at the "coincidence of meeting a group with a broken down truck in your own home town when you have previously spent months tyrapsing around the country in search of talent".
He was particularly intrigued by the fact that they owned a Mellotron, and "invited them down the following week for an audition with my brother Charles and myself", the outcome of which was "good enough for us to want to be involved with them". Several demo sessions followed. The band were rehearsing at Rockfield when producer Gus Dudgeon (of David Bowie and Elton John fame) dropped by to check the studio out, heard them play and expressed interest in producing them. A few months later, sessions took place at both Rockfield and London's Trident Studios, and the resulting album was released on the RCA/Neon label in 1971.
In spite of supporting Velvet Underground on a UK tour, plus Keith Christmas and The Sutherland Brothers on various dates, the band broke up in 1972 following aborted attempts at recording a second album. Two previously unreleased songs from these sessions (featuring new bassist Peter Decindis) appeared on The Laser's Edge's 1992 CD reissue of the album, along with "Fool's Gold" from the first album sessions. Moran later worked as sound engineer at Rockfield Studios, notably for Van der Graaf Generator and Robert Plant; he died in early 2011. Martinez became an in-demand session guitarist, working with the likes of Alkatraz, Michael Chapman, Gypsy, Tim Rose and Robert Plant. Pick Withers later became the drummer for Dire Straits, playing on their first four records.
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| Neon Label 1971 |
Spring has a legendary status among keyboard wonks; while many bands bubbled up from the creative ferment of the English progressive scene in 1970, only Spring was cheeky enough to employ three mellotronists in its lineup. To anyone familiar with the exasperating unreliability of the Mellotron, particularly when on the road, it's staggering that this band managed to record and tour for two years without either murdering each other or their instruments.
The band formed in Leicester in 1970, and their unusual lineup was soon noticed by others. After touring the UK as an opening act for the Velvet Underground, in 1971 the band released its first and only eponymous release. Featuring a combination of massed Mellotrons, melodic guitar and smoky vocals, it's comparable in some ways to the Moody Blues or the more pastoral moments of King Crimson. The album's dramatic trifold cover of a fallen redcoat trailing blood into a stream quickly made it a favorite among vinyl collectors.
Although a second album was nearly completed, the band split apart before it could be released. The band members drifted into careers in production and session work; guitarist Ray Martinez went on to play in Airwaves; drummer Pique Withers, after a slight change of name to the more suitably twangy Pick Withers, surfaced as a member of the newly formed Dire Straits in 1978. [AMG + Wikipedia]
Formed: 1970 in Leicester, England
Personnel
♣ Pat Moran - vocals, Mellotron
♣ Ray Martinez - guitars, Mellotron
♣ Kipps Brown - keyboards
♣ Pick Withers - Drums
♣ Adrian 'Bone' Maloney - Bass Guitar
01. The Prisoner (Eight By Ten) (5:34)
02. Grail (6:44)
03. Boats (1:53)
04. Shipwrecked Soldier (5:08)
05. Golden Fleece (6:59)
06. Inside Out (4:49)
07. Song To Absent Friends (The Island) (2:47)
08. Gazing (5:54)
Bonus Tracks
09. Fools Gold (1st album outtake)
10. Hendre Mews (from unreleased 2nd LP)
11. A World Full Of Whispers (from unreleased 2nd LP)
+ Bonus CD with Unreleased Material
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