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Malcolm John "Mac" Rebennack, Jr. (born November 21, 1940), better known by the stage name Dr. John (also Dr. John Creaux), is an American singer/songwriter, pianist and guitarist, whose music combines blues, pop, jazz as well as Zydeco, boogie woogie and rock and roll.
Early life and career
Born in New Orleans, Louisiana, his professional musical career began there in the 1950s. He originally concentrated on guitar and he gigged with local bands including Mac Rebennack and the Skyliners, (Paul Staele, drums; Earl Stanley, bass; Charlie Miller, trumpet; Charlie Maduell, sax; Roland "Stone" LeBlanc, vocals), Frankie Ford and the Thunderbirds, and Jerry Byrne and the Loafers. He had a regional hit with a Bo Diddley-influenced instrumental called "Storm Warning" on Rex Records in 1959. During these days he was an A&R man producing, with Charlie Miller, monophonic singles on 45's for Johnny Vincent and Joe Corona for such local labels as ACE, RON, RIC and others. For these sessions he oversaw A&R and rhythm section while Miller wrote the horn arrangements and headed up the horns. It was a productive team until Miller decided to move to New York and to study music formally.
Rebennack's career as a guitarist came to an end when his left ring finger was injured by a gunshot while he was defending singer/keyboardist Ronnie Barron, his bandmate, Jesuit High School classmate, and longtime friend. After the injury, Rebennack concentrated on bass guitar before making piano his main instrument; pianist Professor Longhair was an important influence on Rebennack's piano stylings.
He moved to Los Angeles in 1963 where he became a "first call" session musician on the booming Los Angeles studio scene in the 1960s and 1970s, providing backing for Sonny & Cher, and for Canned Heat on their albums Living the Blues (1968) and Future Blues (1970), and many other acts.
1968-1971: Dr. John, the Night Tripper
Rebennack gained fame as a solo artist, beginning in the late 1960s, with music that combined New Orleans-style rhythm and blues with psychedelic rock and elaborate stage shows that bordered on voodoo religious ceremonies, including elaborate costumes and headdress (reflecting and presumably inspired by Screamin' Jay Hawkins's stage act). For a time he was billed as "Doctor John, the Night Tripper". The name "Dr. John" came from a legendary Louisiana voodoo practitioner of the early 1800s.
Gris-Gris, his 1968 debut album combining voodoo rhythms and chants with the New Orleans music tradition, was ranked 143rd on Rolling Stone's 500 Greatest Albums of All Time. Three more albums, 1969's Babylon, 1970's Remedies, and 1971's The Sun, Moon, And Herbs were released in the same vein of Gris-Gris, but none of them have enjoyed the popularity of his first album.
During early to mid-1969, Dr. John toured extensively, backed by supporting musicians Richard "Didymus" Washington (congas), Richard Crooks (drums), David Leonard Johnson (bass), Gary Carino (guitar), and singers Eleanor Barooshian, Jeanette Jacobs from the Cake, and Sherry Graddie. A second lineup formed later in the year for an extensive tour of the East Coast with Crooks and Johnson joined by Doug Hastings (guitar) and Don MacAllister (mandolin). Also in 1969, Dr. John contributed to the Music From Free Creek "supersession" project, playing on three tracks with Eric Clapton. Washington and Crooks also contributed to the project.
By the time The Sun, Moon, and Herbs was released, he had gained a notable cult following, including artists such as Eric Clapton and Mick Jagger, who both took part in the sessions for that album. This album would serve as a transition from his Night Tripper voodoo, psychedelic persona to one more closely associated with traditional New Orleans R&B and funk. His next album, Dr. John's Gumbo, proved to be a landmark recording which is one of his most popular to this day; with drummer Fred Staehle serving as the band's backbone.
1972-1974: Gumbo, In the Right Place, and Desitively Bonnaroo
Along with Gris-Gris, Dr. John is perhaps best known for his recordings during 1972-1974. 1972's Dr. John's Gumbo, an album covering several New Orleans R&B standards with only one original, is considered a cornerstone in New Orleans music. In his 1994 autobiography, Under a Hoodoo Moon, Dr. John writes, "In 1972, I recorded Gumbo, an album that was both a tribute to and my interpretation of the music I had grown up with in New Orleans in the 1940s and 1950s. I tried to keep a lot of the little changes that were characteristic of New Orleans, while working my own funknology on piano and guitar." The lead single from the album, "Iko Iko", broke into the Billboard top 40 singles chart. In 2003, Dr. John's Gumbo was ranked number 402 on Rolling Stone magazine's list of the 500 greatest albums of all time. It also earned a place on Offbeat magazine's 1999 listing of the Top 100 Louisiana CDs.
With Gumbo, Dr. John expanded his career beyond the psychedelic voodoo music and theatrics that had driven his career since he took on the Dr. John persona, although it has always remained an integral part of his music and identity. It wasn't until 1998's Anutha Zone that he would again concentrate on this aspect of his music wholly for a full album. "After we cut the new record," he writes, "I decided I'd had enough of the mighty-coo-de-fiyo hoodoo show, so I dumped the Gris-Gris routine we had been touring with since 1967 and worked up a new act—a Mardi Gras revue featuring the New Orleans standards we had covered in Gumbo."
In early 1973 Thomas Jefferson Kaye produced an album featuring a collaboration with Dr John, Mike Bloomfield and John Hammond. This album, Triumvirate, was recorded in Columbia Studios, San Francisco, and Village Recorders, Los Angeles.
In 1973, with Allen Toussaint producing and The Meters backing, Dr. John released the seminal New Orleans funk album, In the Right Place. In the same way that Gris-Gris introduced the world to the voodoo-influenced side of his music, and in the manner that Dr. John's Gumbo began his career-long reputation as an esteemed interpreter of New Orleans standards, In the Right Place established Dr. John as one of the main ambassadors of New Orleans funk. In describing the album, Dr. John states, "The album had more of a straight-ahead dance feel than ones I had done in the past, although it was still anchored solid in R&B." It rose to #24 on the Billboard album charts, while the single "Right Place Wrong Time" landed at #9 on the Billboard Hot 100 singles chart. A second single, "Such a Night," peaked at #42. Still in heavy rotation on most classic rock stations, "Right Place Wrong Time" remains his single most recognized song. Artists such as Bob Dylan, Bette Midler, and Doug Sahm contributed single lines to the lyrics, which lists several instances of ironic bad luck and failure.
Dr. John attempted to capitalize on In the Right Place's successful formula, again collaborating with Allen Toussaint and The Meters for his next album, Desitively Bonnaroo, released in 1974. Although similar in feel to In the Right Place, it failed to catch hold in the mainstream like its predecessor. It would be his last pure funk album until 1994 with Television, although like his voodoo and traditional New Orleans R&B influences, funk has continued to heavily influence most of his work to the present day, especially in his concerts. While Dr. John stated in an interview during 1990s that he'd like to work with Toussaint again for a full album, this has yet to come to fruition.
In the mid-1970s Dr. John began an almost twenty-year-long collaboration with the R&R Hall of Fame/Songwriters Hall of Fame writer Doc Pomus to create songs for Dr. John's releases City Lights and Tango Palace and for B. B. King's Stuart Levine-produced There Must Be a Better World Somewhere, which won a Grammy for Best Ethnic or Traditional Recording in 1982. Dr. John also recorded "I'm On a Roll," the last song written with Pomus prior to Pomus' death in 1991, for the now out-of-print Rhino/Forward Records 1995 tribute to Pomus titled Til the Night Is Gone: A Tribute to Doc Pomus that also included covers of Pomus-penned songs by Bob Dylan, John Hiatt, Shawn Colvin, Brian Wilson, the Band, Los Lobos, Dion, Rosanne Cash, Solomon Burke and Lou Reed. According to Doc Pomus' daughter, Dr. John and her father were very close friends as well as writing partners; Dr. John delivered one of a number of eulogies and performed with singer Jimmy Scott at Pomus' funeral on March 17, 1991, in New York City.
On Thanksgiving Day 1976 he performed at the farewell concert for the Band, which was filmed and released as The Last Waltz. His bow-tie and smile confirmed him as the happiest man at the show. In 1979, he collaborated with the legendary Professor Longhair on 'Fess' last recording "Crawfish Fiesta" as a guitarist and co-producer. The album was awarded the first W.C. Handy Blues Album of the Year in 1980, and was released shortly after Longhair's death in January, 1980.
By the mid-1970s, Rebennack began focusing on a blend of music that touched on blues, New Orleans R&B, Tin Pan Alley standards and more.
In 1981 and 1983 Dr. John recorded two solo piano albums for the Baltimore-based Clean Cuts label. In these two classic recordings Dr. John plays many of his own compositions and demonstrates that he can play boogie woogie masterfully.
He has also been a prominent session musician throughout his career, playing piano on the Rolling Stones' 1972 song "Let It Loose", as well as backing Carly Simon and James Taylor in their duet of "Mockingbird" in 1974 and Neil Diamond on 1976's Beautiful Noise. He also contributed the song "More and More" to Simon's Playing Possum album. He played on three songs on Maria Muldaur's 1973 solo debut album, including his composition "Three Dollar Bill". He sang on four songs and played piano on two on Maria's 1992 "Louisiana Love Call". He was co-producer on Van Morrison's 1977 album A Period of Transition and also played keyboards and guitar. He performed on the March 19, 1977 episode of NBC's Saturday Night Live. He played keyboards on the highly successful 1979 solo debut album by Rickie Lee Jones and has toured with Willy DeVille and contributed to his Return to Magenta (1978), Victory Mixture (1990), Backstreets of Desire (1992), and Big Easy Fantasy (1995) albums. His music has been featured in many films including "Such a Night" in Colors in 1988. In 1992 Dr. John released the album "Goin' Back to New Orleans" which included many classic songs from New Orleans and many great New Orleans based musicians like Aaron Neville, the Neville brothers, Al Hirt and Pete Fountain backed up Dr. John on this album. He performed as the first American artist ever, at the Franco Follies festival '92 located in La Rochelle,France, also including a friend of the Dr. Laramy Smith.
Dr. John has also done vocals for Popeyes Chicken & Biscuits' "Luv dat chicken..." jingle, as well as the theme song ("My Opinionation") for the early-1990s television sitcom Blossom. A version of "Do You Know What It Means To Miss New Orleans" with Harry Connick, Jr. was released on Connick's album 20 and VHS Singin' & Swingin' in 1990.
His movie credits include Martin Scorsese's documentary The Last Waltz (in which he joins the Band for a performance of his song "Such a Night"), the 1978 Beatles-inspired musical "Sgt. Pepper's Lonely Hearts Club Band", and Blues Brothers 2000 (in which he joins the fictional band the Louisiana Gator Boys to perform the songs "How Blue Can You Get" and "New Orleans"). His version of the Donovan song "Season of the Witch" was also featured in this movie and on the soundtrack.
He also wrote and performed the score for the film version of John Steinbeck's "Cannery Row" released in 1982. In 1993, his hit song "Right Place Wrong Time" was used extensively in the movie Dazed and Confused.
Dr. John has also been featured in several video and audio blues and New Orleans piano lessons published by Homespun Tapes. In addition to the instructional value, there is historical context about many other blues artists. Other documentary film scores include the New Orleans dialect film Yeah You Rite! (1985) and American Tongues in 1987.
In 1997, he appeared on the charity single version of Lou Reed's "Perfect Day". In the same year, he played piano on the Spiritualized song "Cop Shoot Cop...", from their critically-acclaimed album Ladies and Gentlemen We Are Floating in Space.
He recorded the live album Trippin' Live with drummer Herman Ernest, David Barard, bass, Tommy Moran, guitar, trumpeter Charlie Miller, tenor Red Tyler, and baritone sax Ronnie Cuber.
In September 2005 he performed Fats Domino's "Walkin' to New Orleans," to close the Shelter from the Storm: A Concert for the Gulf Coast telethon. This was for the relief of Hurricane Katrina victims; following the devastation of his hometown of New Orleans.
In November 2005, he released a four-song EP, Sippiana Hericane, to benefit New Orleans Musicians Clinic, Salvation Army, and the Jazz Foundation of America. On February 5, 2006, he joined fellow New Orleans native Aaron Neville, Detroit resident Aretha Franklin and a 150-member choir for the national anthem at Super Bowl XL as part of a pre-game tribute to New Orleans. On February 8, 2006, he joined Allen Toussaint, Bonnie Raitt, The Edge, and Irma Thomas to perform "We Can Can" as the closing performance at the Grammy Awards.
On May 12, 2006, Dr. John recorded a live session at Abbey Road Studios for Live from Abbey Road. His performance was aired alongside those of LeAnn Rimes and Massive Attack on the Sundance Channel in the USA and Channel 4 in the UK.
On July 30, 2006, Dr. John performed a solo piano benefit for New Orleans composer and arranger Wardell Quezergue (King Floyd's "Groove Me") at a New Orleans Musicians Relief Fund benefit at the Black Orchid Theatre in Chicago. Special guest Mike Mills of R.E.M. was in attendance, along with an all-star funk band.
Dr. John performed the theme music to the Fox drama K-Ville. He also performed and co-produced the theme song for the PBS children's show Curious George.
In January 2008, Mac Rebennack, Dr. John, was inducted into The Louisiana Music Hall of Fame. Later, in February, he performed at All-Star Saturday Night, part of the NBA All-Star Weekend hosted by New Orleans.
In the 2009 Disney film, The Princess and the Frog, Dr. John sings the opening tune, "Down in New Orleans".
He reigned as King of the Krewe du Vieux for the 2010 New Orleans Mardi Gras season.
Cover versions
Dr. John's song "I Walk On Gilded Splinters" was covered in 1969 by Marsha Hunt and produced by Tony Visconti; and in July 1970 by Johnny Jenkins, whose supporting musicians included slide guitarist Duane Allman and drummers Butch Trucks and Jai Johanny Johanson; Allman also performed on Ton Ton Macoute, the album that contained it. Allman Brothers bass guitarist Berry Oakley also appeared on other tracks on the album). "I Walk on Gilded Splinters" was also covered in the 1970s by Humble Pie on their album Performance Rockin' the Fillmore, and is track 3 on Paul Weller's 1995 album Stanley Road. Widespread Panic also performs this song regularly.
Dr. John
February 8, 1975
St Bernard Cultural Center
(previously St Bernard Civic Auditorium)
Chalmette, Louisiana, USA
LIVE FM BROADCAST
01. Barq's Radio Ad 1
02. Right Place Wrong Time
03. Such A Night
04. Desatively Bonaroo
05. Quitters Never Win
06. Iko Iko
07. Everybody Wanna Get Rich
08. Big Chief
09. Huey Smith Medley: High Blood Pressure / Don't You Just Know It / Well I'll Be John Brown
10. I Been Hoodooed
11. Barq's Radio Ad 2
12. Interview 1973
13. Barq's Radio Ad 3
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Earth and Fire were a pop group formed in the Netherlands by brothers Chris and Gerard Koerts. Most popular in the 1970s, Earth and Fire came to produce many chart topping hits in the Dutch pop scene. Though they experienced success in the Netherlands, their music never quite made it to England or the Americas. Their biggest international hit was "Weekend", number one in Netherlands, Switzerland, Germany, Denmark and Portugal.
This top notch Dutch band from The Hague had their pinnacle during the early Seventies when they delivered some outstanding 24 carat symphonic rock albums. EARTH & FIRE was founded by the twin brothers Chris (guitar) and Gerard (keyboards) Koerts in '68. Soon bass player Hans Ziech, drummer Kees Kalis and singer Lisette joined them. Unfortunately Lisette had to give up singing because of a serious eye-disease and Kees Kalis left. They were replaced by Ton v/d Kley and the beautiful, very sexy Jerney Kaagman. She was a discovery by GOLDEN EARRING singer Barry Hay, they knew each other from the blossoming rock scene in The Hague.
When EARTH & FIRE had a hugh success with three Sixties poprock oriented singles "Seasons", "Ruby is the one" and "Wild and exciting" (in '70 all reached the Dutch Top 5), the band decided to become professionals. Gerard Koerts bought a Mellotron, this instrument changed the Dutch progrock history because EARTH & FIRE used it for a more lush symphonic keyboard sound. Eventually they developed a very unique progrock style (a bit similar to the French progrock band SANDROSE and UK band JULIAN'S TREATMENT featuring lots of organ, Mellotron, strong and sensitive electric guitar and distinctive vocals from Jerney Kaagman. And EARTH & FIRE remained successful with their single releases, the Mellotron drenched "Storm and Thunder" ('72, #6), "Memories" ('72, #1), "Maybe Tomorrow, Maybe Tonight" ('73, #3) and "Love of Life" ('74, #2) all reached the Dutch Top 10. Also the albums in that era sold very well and gained worldwide recognition: "Songs of the Marching Children" ('71, reaching #12), "Atlantis" ('73, reaching #6) and "To the World of the Future" ('75, reaching #7) are considered as 'progrock classics', especially in Japan EARTH & FIRE is even more popular than FOCUS! Gradually their sound turned into more poppy, culminating into the success of the very commercial song Weekend, reaching #1 and remaining 13 weeks in the charts! Also the following albums "Gate to Infinity" ('77), Reality Fills Fantasy" ('79, reaching #2)), "Andromeda Girl" ('81, reaching #12)) and "In a State of Flux" "82) lost most of the symhonic ingredients.
The albums "Song of the Marching Children" and "Atlantis" belong to the best of the Dutch progrock history. The epic title tracks from both albums (between 16 and 19 minutes) are recommended: the sound is very warm and melodic with lots of changing atmospheres, accelerations and surprising breaks. The one moment you hear a mellow organ, twanging acoustic guitars and a fairy-like voice from Jerney, the other moment there are bombastic eruptions with majestic Mellotron, heavy floods of organ and some fiery electric guitar work, topped by the powerful voice of Jerney. By the way, she has been married for almost 30 years with Bert Ruiter, former bass player from FOCUS...!
This Dutch band featured female vocalist Jerney Kaagman, twin brothers Chris and Gerard Koerts (Chris handled the guitars and Gerard handled the keyboards), bassist Hans Ziech, and drummer Ton v.d. Kleij. Earth & Fire had quite a few hits, like "Seasons" (1969), "Ruby is the One" (1970), "Wild & Exciting" (1970), "Invitation" (1971, released only as a single at that time), "Memories" (1972), and many more. In fact, Song of the Marching Children had a Dutch hit aswell, "Storm & Thunder" (but was edited for single release). When this album came out, the band started to include the Mellotron and synthesizers to their keyboard setup (as well as the Hammond organ, which they used from the beginning), as well as including a side length epic.
Earth & Fire were able to make some great albums in the process. The early Atlantis (1973) and Song of the Marching Children(1971), are recommended. To the World of the Future (1975) finds the band exploring more synthesizers, and Disco tendencies were starting to surface. Other albums are Gate to Infinity (1977), Reality Fills Fantasy(1979), Andromeda Girl(1981), In State of Flux(1982), and their 1989 reunion album Phoenix.
In the village Voorschoten bassplayer Hans Ziech, drummer Kees Kalis, guitarist Chris Koerts and his brother Gerard Koerts (guitar and keyboards) formed a band Opus Gainfull in 1967. Later they were joined by female singer Manuela Berloth. In 1968 they changed the name to Earth & Fire. In 1969 Berloth left the band and was replaced by another female singer, Jerney Kaagman. In the same year they went on a tour with the Golden Earring. The guitarist of the Golden Earring, George Kooymans, wrote the song Seasons for Earth & Fire. It was recorded and become their first single. And their first hit.
In 1970 a second single was released, Ruby is the One, this time written by the Koerts brother. It became another hit, and the band started recording their first album with the help of producer Fred Haayen, who was also the producer of the Golden Earring. In the mean time Kees Kalis (he died in 2006) was replaced by Ton van de Kleij. Two more singles were released, that became hits as well.
A year later a second album was released, Song Of The Marching Children. It was a concept album with a side long epic song. It is about birth, life and death. The same time the band saw King Crimson and the Moody Blues and learnt about the mellotron. Especially Gerard Koerts liked the instrument and purchased one himself. This changed the sound of Earth & Fire, and can be first heard on the single Memories released in 1971.
Their next album, Atlantis, was again a concept album. This time about the rise and fall of a lost civilization. As with their previous albums, this one sold very well.
In 1974 Hans Ziech left the band, and his follow up was Theo Hurts. Ziech, however, remained writing lyrics for the band. Hurts can be heard on the album To The World Of The Future, released in 1975. A few more singles were released, none of them became hits.
Their fifth album, Gate To Infinity, was recorded with yet another bass player. This time it was former Focus member Bert Ruiter, who had replaced Theo Hurts. At the time Bert Ruiter was the boyfriend of singer Jerney Kaagman and later became her husband. There was also a new drummer, Ab Tamboer. It became clear that their fourth album was the last in the series of interesting progressive albums by this band. When their next single, Weekend, was released there was no further argument. It was a reggae tune ! Despite this, the album Reality Fills Fantasy, became the bands best selling album in the Netherlands.
On the bands next release, Andromeda Girl, co-founder Chris Koerts had left the band and was replaced by Ron Meyjes (ex-Brainbox). This album was, just as the previous, produced by Gerrit Jan Leenders. He was also the producer of Kayak. The link between these two bands became even more stronger when the also shared the same manager. This connection also led to the inclusion of Kayak member Ton Scherpenzeel to the musicians list of their next album, In A State Of Flux. By this time the remaining Koerts brother, Gerard, had also left the band. Jerney Kaagman released two solo albums in the mid eighties and the Koerts brothers made two albums as the Earth and Fire Orchestra.
After the album had been released, Earth & Fire sort of ended. But because of a renewed interest in old bands, Earth & Fire did some reunion concerts with only Jerney Kaagman as an old time member. In 1989 there was even a new record released, Phoenix. But because it didn't sell much, this was the definitive end of Earth & Fire.
Artist: Earth & Fire
Title: Live in Cadzand 1988
Date: 30 june 1988
Type: FM
Location: Cadzand, Netherlands
FM Broadcast
Recorded by TROS Radio
Live in Cadzand, 1988, june 30
Rebroadcast by Radio 2, Zomerfestival, 12 juli 2006
THE BAND
* Jerney Kaagman - leadvocals
* Jons Pistoor - keyboards
* Ton Scherpenzeel - keyboards
* Age Kat - guitar
* Bert Ruiter - bass
* Ab Tamboer - drums
01. Don't Say
02. Fire of Love
03. Storm and Thunder
04. Is This Love
05. Band introduction
06. Wild and Exiting
07. Maybe Tomorrow, Maybe Tonight
08. Weekend
09. Love of Life
10. Memories
11. Ruthless Queen
12. DJ Outro
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East Of Eden were formed in Bristol by Dave Arbus, Ron Caines, Geoff Nicholson and Geoff Britton. They relocated to London in 1968 and were signed to Decca's progressive rock label Deram, releasing their first album "Mercator Projected" in 1969.
East Of Eden were one of a number of groups who performed at the relocated Actuel Festival (October 24-28, 1969) at Mont de I'Enclus, Amougies, Belgium.
Performances of this event, which was transmitted on French radio by disc jockey & producer Pierre Lattès and featured Frank Zappa as event MC, appear on the Jérôme Laperrousaz films Music Power and European Music Revolution. East Of Eden feature in the latter documentary with Nice & Soft Machine. East Of Eden appeared on the Tuesday, 28th concert bill, following Soft Machine and Captain Beefheart, followed by Fat Mattress and Zoo. An assortment of 'free jazz' and 'new music' acts also appeared that day.
Try writing a song with a title like Ramadhan. See how often radio will play that. But back in 1970 after the Beatles broke, there were many possibilites. East Of Eden wrote just such a song, Ramadhan, and amazingly, it made No. 2 on the French pop charts. East Of Eden also wrote a song titled Confucius. Both are on this amazing live recording.
The presence of the violin in a rock set-up often gives the music a jazz flavour. In the case of East Of Eden at this 1970 gig in Zurich, and performing tracks from their first two albums, Mercator Projected (1969) and Snafu (1970) respectively - especially the latter, their music had an Eastern tinge as well. Snafu made the top 30 in the UK and Jig-a-Jig, which was the encore number in their set, an ironic throwaway twist to the rest of their show, became a top 10 single on it's re-release in 1971.
Made up of saxophonist Ron Caines, violinist Dave Arbus and guitarist Geoff Nicholson, the band was originally formed in Bristol in 1967 but moved to London in 1968 taking on board ex-Graham Bond bass player Steve York (later with Vinegar Joe) and drummer Dave Dufort.
This is what the group's website (www.eastofedentheband.com) has to say: "If you ask anyone who inhabited the rock venues of the late '60s and early '70s, who the most memorable bands on the circuit were, the name East Of Eden will always crop up. Yet now they are largely forgotten, overshadowed by the obvious names such as King Crimson, The Nice and Yes, and their uncharacteristic hit, Jig-a-Jig, only served to confuse people as to the kind of music they were actually producing at the time.
"The original incarnation of the band was never categorised in the general mainstream of 'progressive' rock which invariably relied on guitar and keyboard pyrotechnics. Instead their front line of electric violin, played in an almost Hendrix-like mode, and saxophone bordering on free form jazz mixed with bluesy guitar gave them a unique identity."
Reviewing the Snafu album, Duncan Glenday wrote: "This music is probably the great-grand-daddy of today's avant garde progressive music. It is an eclectic blend of psychedelia, jazz, blues, folk, celtic, eastern, and various forms of world music. Instruments include bass, flute, sax and alto sax, trumpet, drums and guitar - and keyboards are largely dispensed with in favor of Dave Arbus's electric violin which provides plenty of texture and background, as well as taking the lead in many passages. There are long sections driven by a jazzy bass guitar playing with almost loop-like repetition, while solo spots are taken in turn by guitar, violin, flute and sax. Vocals are sparse, which is fortunate as Geoff Nicholson's singing isn't strong.
"With song titles like Xhorkom, In the Snow for a Blow, Nymphenburger and Leaping Beauties for Rudy, you can imagine that this is an off-the-wall piece that isn't meant to be taken too seriously. It's fun, it displays some stellar musicianship, and it's adventurous. This was originally released in 1970 when experimentation was peaking."
In March 2005, founding members Caines, Arbus and Nicholson regrouped to release the Graffito album.
A word of thanks to the seeder who shared the lossless version of this audience recording on the internet. The recording can be considered good but not excellent though the performance more than make up for it.
Biography:
East of Eden was a British progressive rock band, who had a Top 10 hit in the UK with the single, "Jig-a-Jig", in 1971. The track became something of a stylistic albatross around the band's neck, since it did not resemble their usual sound or anything else they normally played. Although some might consider this group as being a symphonic progressive band, others state that their style is mostly jazz oriented. Combining flutes, violins and tape loops to folk, gypsy and psychedelic music, the East of Eden style was always heavily supported on a pure rock base; strong and experimental.
Their professional career began back in 1967 when they were formed in Bristol as Pictures of Dorian Gray, by Dave Arbus (born David Arbus, 8 October 1941, Leicester) (violin, flute, saxophone, trumpet), Ron Caines (born Ronald Caines, 13 December 1939, Bristol) (alto saxophone), Geoff Nicholson (born Geoffrey Nicholson, 27 June 1948, near Bristol, Somerset) (guitar, vocals), Mike Price bass, and Stuart Rossister drums. Price left in Spring 1968 and was replaced by Terry Brace (born 28 September 1943, in Bristol, Somerset). Vocalist Al Read (born Alan G Read, 26 March 1942, Chelsea, South West London) at the same time. In September 1968 Brace left and was replaced by Steve York and Rossister also left and was replaced in September 1968 by Dave Dufort (born David Dufort, in 1947, in London). In 1968 they moved to London, and the group was signed to a recording contract with Decca's progressive rock imprint Deram label.
In February 1969 Dufort left and in came Bryan Appleyard, who was replaced in June 1969 by Geoff Britton (born Geoffrey Britton, 1 August 1943, Lewisham, South East London) (drums), who later joined Wings. York also left in June 1969 and in came bassist Andy Sneddon (born Andrew Sneddon, 8 May 1946, Ayrshire, Scotland).
In 1969 they released the Mercator Projected album, followed shortly after by Snafu (1970), and Jig-a-Jig, a European only compilation, released in 1971. Snafu made it into the Top 30 in Britain of the UK Albums Chart, whilst a single, "Ramadhan," got to number two in France. Caines and Nicholson left the band as the 1970s began, and Arbus kept it together. They jumped to the Harvest label, but their work there never caught on, coinciding as it did with a change in style and a veering away from Eastern music to a country-ish sound. Arbus left in the early 1970s and was replaced by future Rory Gallagher collaborator Joe O'Donnell. The band carried on as almost exclusively a European act, recording and releasing albums in Europe only.
In May 1970 original guitarist Nicholson left. Later that year, they were joined by Davey 'Crabsticks' Trotter on the Mellotron, adding a new dimension to their trademark sound. The band broke up in 1978 having undergone various changes in membership. Important members in late line-ups included vocalist Al Read; bassist Terence 'Terry' Brace; bassist Andy Sneddon; bassist/vocalist David 'Davy' Jack (born 24 January 1940, Glasgow, Strathclyde, Scotland), drummer Jeff Allen (born Jeffrey Allen, 23 April 1946, Matlock, Derbyshire) (from June 1970); keyboardist Martin Fisher (born in 1947, in Kingston-upon-Thames, Surrey); and violinist Joe O'Donnell (born Joseph O'Donnell, 26 December 1948, in Limerick, County Limerick, Ireland) (from March 1973); Alan 'Al' Perkes (born 26 May 1949, in Bow, East London); guitarist Garth Watt-Roy (born Garth Philip Watt-Roy, December 1947, in Bombay, India) (from February 1972).
The three core members (Arbus, Caines and Nicholson), reunited in 1996 and their album Kalipse was released next year. Like most of their earlier work, it was only a cult hit.
Arbus was a guest musician on The Who's track "Baba O'Riley", playing the violin solo. He was a friend of the band's drummer Keith Moon, and was also later a member of Fiddler's Dram.
* Mercator Projected (1969, Deram)
* Snafu (1970, Deram)
* Jig-A-Jig (1971, Deram, European only compilation)
* East Of Eden (1971, Harvest)
* New Leaf (1971, Harvest)
East Of Eden Hallenstadion Zurich, Switzerland 1970
* Dave Arbus, Violin,Sax, Flute
* Ron Caines, Sax
* Andy Sneddon, Bass
* Geoff Nicholson, Guitar
* Jeff Allen, Drums
Disc 1
01. Intro
02. Eight Miles High
03. Waterways
04. Nymphenburger
05. Ramadhan
Disc Two
01. Gum Arabic/ Confucius
02. Band Intro
03. Northern Hemisphere
04. Leaping Beauties For Rudy/ Marcus Junior
05. Boehm Constrictor
06. Bathers
07. Jig A Jig
08. Jig A Jig Reprise
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Elf was a Blues-rock band founded in 1967 by singer and bassist Ronnie James Dio, keyboardist Doug Thaler, drummer Gary Driscoll, and guitarists Nick Pantas and David Feinstein (Dio's cousin). The band was originally called The Electric Elves, but was shortened to The Elves and finally Elf in mid-1970. Elf disbanded in 1975, after recording three albums.
In 1970 the band was involved in an automobile accident which claimed the life of Nick Pantas, whom the band decided not to replace. After recovering from his injuries, Doug Thaler quit the band, and was replaced by Micky Lee Soule. (Upon leaving in 1972, Thaler moved to New York and got a job as a booking agent — Elf was one of the bands he booked. In 1983, he became co-manager of Mötley Crüe. Present day he works at Metropolitan Talent as an artist manager, working with artists such as Art Garfunkel, Bruce Hornsby & Ratdog).
Elf's self-titled debut album was produced by Deep Purple members Roger Glover and Ian Paice, who happened to see Elf auditioning in 1972. For the next few years, the band enjoyed mild success as an opening act for Deep Purple.
Dio both sang and played the bass guitar until, in 1973, bass player Craig Gruber was asked to join. The same year saw Feinstein quit the band, to be replaced by Steve Edwards. Feinstein formed a band called The Rods[1], which met with a moderate amount of success, touring with groups such as Judas Priest and Iron Maiden, as well as Metallica, before finally retiring from the music industry. He would not return to the music scene until 2004, when his band, Feinstein, released the album Third Wish on the Magic Circle Music label.
In 1974, Dio was asked by Glover to sing on his solo album The Butterfly Ball and the Grasshopper's Feast. Dio's rich, soulful voice gained the attention of guitarist Ritchie Blackmore who had just left Deep Purple and was looking for musicians for his first solo album, Ritchie Blackmore's Rainbow. He decided to use Elf for this album, and the band Rainbow was thus formed, with Blackmore replacing Edwards. After they finished recording the album, however, Driscoll, Gruber, and Soule were replaced by Cozy Powell, Jimmy Bain and Tony Carey, who played with Dio and Blackmore during the subsequent tour; Elf was no more.
Elf is the first album by Ronnie James Dio's blues rock band called Elf. It was released in 1972.Dio at the time still went by his birth name Ronald Padovana.
After this album, Steve Edwards replaced David Feinstein on guitar, and Craig Gruber replaced Ronnie James Dio on bass. However, Ronnie James Dio continued to sing lead vocals for the band. This future lineup, minus Feinstein, became the first incarnation of Blackmore's Rainbow when Deep Purple axeman Ritchie Blackmore left Deep Purple.
Carolina County Ball, was the second album by the rock band Elf, released as an LP in 1974 on the MGM label. It was released in the United States and Japan as L.A./59.
The song most played from this album was "Ain't It All Amusing," which became a staple in the pubs in the UK
Ronnie James Dio - vocals / bass
Gary Driscoll - Drums / Percussion
Dave "Rock" Feinstein - Guitar
Mickey Lee Soule - Keyboards
Disc 1:
01. Wake Up Sunshine (studio demo)
02. Smile For Me Lady (studio demo)
03. Rosemary (studio demo)
04. You Felt he Same Way (studio demo)
05. Driftin' (studio demo)
06. Saturday Night
07. Crosseyed Mary
08. Stay With Me
09. Little Queenie / Johnny B Good Whole Lotta Shakin'
10. Did You Ever
11. Cold Ramona
12. Black Dog
13. Lura Lura
14. Four Day Creep
Disc 2:
01. Give Me A Chance
02. Nameless Instrumental
03. Aqualung
04. Drown Me In The River
05. Simple Man
06. Pisces Apple Lady
07. Dirty Dollar Bill
08. Buckingham Blues
09. So Long
10. You Shook Me / Rock's Boogie
11. War Pigs
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Formed in 1966 as Purple Earthquake, this San Franciscan group was comprised of Gary Boykin, Ronnie Boykin, John Sargent, Mike Jones and Stan Miller (bass). The last-named subsequently retained the Earth Quake name for an act which, by 1971, was completed by John Doukas (vocals), Robbie Dunbar (lead guitar) and Steve Nelson (drums). The quartet recorded their first two albums while domiciled in Los Angeles, before returning to the Bay Area where they signed with the fledgling Berserkley label.
Several singles, including "Mr. Security", "Friday On My Mind" (Easybeats) and "Kicks" ensued, as well as a live album, all of which engendered considerable cult interest. Having accompanied Tommy James on his 1976 "comeback" album, Earth Quake were buoyed by the addition of guitarist/vocalist Gary Phillips (aka Phillipet), formerly of Copperhead. Three energetic albums followed, but the band was unable to attain a widespread appeal and its momentum faltered when Phillips opted to join Greg Kihn. Two Years In A Padded Cell featured the 1971 line-up, but Dunbar's subsequent defection signalled the end of this act. By 1983 Doukas had moved permanently to the UK, while Miller formed a new band.
Discography:
Earth Quake (Berserkley 1971)***, Why Don't You Try Me (Berserkley 1972)***, Earth Quake Live (Berserkley 1975)***, Rockin' The World (1975)***, 8.5 (1976)***, Leveled (1977)***, Two Years In A Padded Cell (1979)**.
AMG Review of their 1975 album, Rockin' The World, by Alex Henderson:
Creatively, Earth Quake had its ups and downs in the late 1970s. There were times when the obscure Northern California rockers sounded inspired, and other times when they seemed unfocused and confused. Consisting of live performances from 1975, Earth Quake's first album, Rocking the World, finds the quintet sounding like a neighborhood bar band. Think of a raw, hard-rocking bar band from 1975 — one that was into Grand Funk Railroad, Bad Company, and Bachman-Turner Overdrive, among others — and you'll get an idea where Earth Quake is coming from on covers of Bobby Troup's "Route 66," the Electric Light Orchestra's "Ma Ma Ma Belle," the Easybeats' "Friday on My Mind," and the Small Faces' "Tin Soldier" as well as original material like "Mr. Security" and "(Sitting in the Middle of) Madness." Bar bands, of course, can either go through the motions or really get into what they're doing; on this album, Earth Quake sounds like a bar band that is inspired rather than bored. Rocking the World isn't mind-blowing, but it's competent and generally fun.
Band:
Robbie Dunbar lead guitar
Gary Phillips lead & rhythm guitar
Stan Miller bass
Steve Nelson drums
John Doukas vocals
01.FRIDAY ON MY MIND
02.POWER GLIDE SLIDE
03.VARGAS GIRLS > BAND INTRO
04.RATTLESNAKE SHAKE
05.TALL ORDER FOR A SHORT GUY
06.PUTTING ON THE STYLE >
07.MA MA MA BELLE
08.HEAD HELD HIGH
09.(SITTING IN THE MIDDLE OF) MADNESS
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Elvis Presley may be the single most important figure in American 20th century popular music. Not necessarily the best, and certainly not the most consistent. But no one could argue with the fact that he was the musician most responsible for popularizing rock & roll on an international level. Viewed in cold sales figures, his impact was phenomenal. Dozens upon dozens of international smashes from the mid-'50s to the mid-'70s, as well as the steady sales of his catalog and reissues since his death in 1977, may make him the single highest-selling performer in history.
More important from a music lover's perspective, however, are his remarkable artistic achievements. Presley was not the very first white man to sing rhythm & blues; Bill Haley predated him in that regard, and there may have been others as well. Elvis was certainly the first, however, to assertively fuse country and blues music into the style known as rockabilly. While rockabilly arrangements were the foundations of his first (and possibly best) recordings, Presley could not have become a mainstream superstar without a much more varied palette that also incorporated pop, gospel, and even some bits of bluegrass and operatic schmaltz here and there. His 1950s recordings established the basic language of rock & roll; his explosive and sexual stage presence set standards for the music's visual image; his vocals were incredibly powerful and versatile.
Unfortunately, to much of the public, Elvis is more icon than artist. Innumerable bad Hollywood movies, increasingly caricatured records and mannerisms, and a personal life that became steadily more sheltered from real-world concerns (and steadily more bizarre) gave his story a somewhat mythic status. By the time of his death, he'd become more a symbol of gross Americana than of cultural innovation. The continued speculation about his incredible career has sustained interest in his life, and supported a large tourist/entertainment industry, that may last indefinitely, even if the fascination is fueled more by his celebrity than his music.
Born to a poor Mississippi family in the heart of Depression, Elvis had moved to Memphis by his teens, where he absorbed the vibrant melting pot of Southern popular music in the form of blues, country, bluegrass, and gospel. After graduating from high school, he became a truck driver, rarely if ever singing in public. Some 1953 and 1954 demos, recorded at the emerging Sun label in Memphis primarily for Elvis' own pleasure, helped stir interest on the part of Sun owner Sam Phillips. In mid-1954, Phillips, looking for a white singer with a black feel, teamed Presley with guitarist Scotty Moore and bassist Bill Black. Almost by accident, apparently, the trio hit upon a version of an Arthur Crudup blues tune, "That's All Right Mama," that became Elvis' first single.
Elvis' five Sun singles pioneered the blend of R&B and C&W that would characterize rockabilly music. For quite a few scholars, they remain not only Elvis' best singles, but the best rock & roll ever recorded. Claiming that Elvis made blues acceptable for the white market is not the whole picture; the singles usually teamed blues covers with country and pop ones, all made into rock & roll (at this point a term that barely existed) with the pulsing beat, slap-back echo, and Elvis' soaring, frenetic vocals. "That's All Right Mama," "Blue Moon of Kentucky," "Good Rockin' Tonight," "Baby Let's Play House," and "Mystery Train" remain core early rock classics.
The singles sold well in the Memphis area immediately, and by 1955 were starting to sell well to country audiences throughout the South. Presley, Moore, and Black hit the road with a stage show that grew ever wilder and more provocative, Elvis' swiveling hips causing enormous controversy. The move to all-out rock was hastened by the addition of drums. The last Sun single, "I Forgot to Remember Forget"/"Mystery Train," hit number one on the national country charts in late 1955. Presley was obviously a performer with superstar potential, attracting the interest of bigger labels and Colonel Tom Parker, who became Elvis' manager. In need of capital to expand the Sun label, Sam Phillips sold Presley's contract to RCA in late 1955 for 35,000 dollars; a bargain, when viewed in hindsight, but an astronomical sum at the time.
This is the point where musical historians start to diverge in opinion. For many, the whole of his subsequent work for RCA — encompassing over 20 years — was a steady letdown, never recapturing the pure, primal energy that was harnessed so effectively on the handful of Sun singles. Elvis, however, was not a purist. What he wanted, more than anything, was to be successful. To do that, his material needed more of a pop feel; in any case, he'd never exactly been one to disparage the mainstream, naming Dean Martin as one of his chief heroes from the get-go. At RCA, his rockabilly was leavened with enough pop flavor to make all of the charts, not just the country ones.
At the beginning, at least, the results were hardly any tamer than the Sun sessions. "Heartbreak Hotel," his first single, rose to number one and, aided by some national television appearances, helped make Elvis an instant superstar. "I Want You, I Need You, I Love You" was a number one follow-up; the double-sided monster "Hound Dog"/"Don't Be Cruel" was one of the biggest-selling singles the industry had ever experienced up to that point. Albums and EPs were also chart-toppers, not just in the U.S., but throughout the world. The 1956 RCA recordings, while a bit more sophisticated in production and a bit less rootsy in orientation than his previous work, were still often magnificent, rating among the best and most influential recordings of early rock & roll.
Elvis' (and Colonel Parker's) aspirations were too big to be limited to records and live appearances. By late 1956, his first Hollywood movie, Love Me Tender, had been released; other screen vehicles would follow in the next few years, Jailhouse Rock being the best. The hits continued unabated, several of them ("Jailhouse Rock," "All Shook Up," "Too Much") excellent, and often benefiting from the efforts of top early rock songwriter Otis Blackwell, as well as the emerging team of Jerry Leiber-Mike Stoller. The Jordanaires added both pop and gospel elements with their smooth backup vocals.
Yet worrisome signs were creeping in. The Dean Martin influence began rearing his head in smoky, sentimental ballads such as "Loving You"; the vocal swoops became more exaggerated and stereotypical, although the overall quality of his output remained high. And although Moore and Black continued to back Elvis on his early RCA recordings, within a few years the musicians had gone their own ways.
Presley's recording and movie careers were interrupted by his induction into the Army in early 1958. There was enough material in the can to flood the charts throughout his two-year absence (during which he largely served in Germany). When he re-entered civilian life in 1960, his popularity, remarkably, was at just as high a level as when he left.
One couldn't, unfortunately, say the same for the quality of his music, which was not just becoming more sedate, but was starting to either repeat itself, or opt for operatic ballads that didn't have a whole lot to do with rock. Elvis' rebellious, wild image had been tamed to a large degree as well, as he and Parker began designing a career built around Hollywood films. Shortly after leaving the Army, in fact, Presley gave up live performing altogether for nearly a decade to concentrate on movie-making. The films, in turn, would serve as vehicles to both promote his records and to generate maximum revenue with minimal effort. For the rest of the '60s, Presley ground out two or three movies a year that, while mostly profitable, had little going for them in the way of story, acting, or social value.
While there were some quality efforts on Presley's early-'60s albums, his discography was soon dominated by forgettable soundtracks, mostly featuring material that was dispensable or downright ridiculous. In time he became largely disinterested in devoting much time to his craft in the studio. The soundtrack LPs themselves were sometimes filled out with outtakes that had been in the can for years (and these, sadly, were often the highlights of the albums). There were some good singles in the early '60s, like "Return to Sender"; once in a while there was even a flash of superb, tough rock, like "Little Sister" or "(Marie's the Name) His Latest Flame." But by 1963 or so there was little to get excited about, although he continued to sell in large quantities.
The era spanning, roughly, 1962-1967 has generated a school of Elvis apologists, eager to wrestle any kernel of quality that emerged from his recordings during this period. They also point out that Presley was assigned poor material, and assert that Colonel Parker was largely responsible for Presley's emasculation. True to a point, but on the other hand it could be claimed, with some validity, that Presley himself was doing little to rouse himself from his artistic stupor, letting Parker destroy his artistic credibility without much apparent protest, and holing up in his large mansion with a retinue of yes-men that protected their benefactor from much day-to-day contact with a fast-changing world.
The Beatles, all big Elvis fans, displaced Presley as the biggest rock act in the world in 1964. What's more, they did so by writing their own material and playing their own instruments; something Elvis had never been capable of, or particularly aspired to. They, and the British and American groups the Beatles influenced, were not shy about expressing their opinions, experimenting musically, and taking the reins of their artistic direction into their own hands. The net effect was to make Elvis Presley, still churning out movies in Hollywood as psychedelia and soul music became the rage, seem irrelevant, even as he managed to squeeze out an obscure Dylan cover ("Tomorrow Is a Long Time") on a 1966 soundtrack album.
By 1967 and 1968, there were slight stirrings of an artistic reawakening by Elvis. Singles like "Guitar Man," "Big Boss Man," and "U.S. Male," though hardly classics, were at least genuine rock & roll that sounded better than much of what he'd been turning out for years. A 1968 television special gave Presley the opportunity he needed to reinvent himself as an all-out leather-coated rocker, still capable of magnetizing an audience, and eager to revisit his blues and country roots.
The 1968 album Elvis in Memphis was the first LP in nearly a decade in which Presley seemed cognizant of current trends, as he updated his sounds with contemporary compositions and touches of soul to create some reasonably gutsy late-'60s pop/rock. This material, and 1969 hits like "Suspicious Minds" and "In the Ghetto," returned him to the top of the charts. Arguably, it's been overrated by critics, who were so glad to have him singing rock again that they weren't about to carp about the slickness of some of the production, or the mediocrity of some of the songwriting.
But Elvis' voice did sound good, and he returned to live performing in 1969, breaking in with weeks of shows in Las Vegas. This was followed by national tours that proved him to still be an excellent live entertainer, even if the exercises often reeked of show-biz extravaganza. (Elvis never did play outside of North America and Hawaii, possibly because Colonel Parker, it was later revealed, was an illegal alien who could have faced serious problems if he traveled abroad.) Hollywood was history, but studio and live albums were generated at a rapid pace, usually selling reasonably well, although Presley never had a Top Ten hit after 1972's "Burning Love."
Presley's 1970s recordings, like most of his '60s work, are the focus of divergent critical opinion. Some declare them to be, when Elvis was on, the equal of anything he did, especially in terms of artistic diversity. It's true that the material was pretty eclectic, running from country to blues to all-out rock to gospel (Presley periodically recorded gospel-only releases, going all the way back to 1957). At the same time, his vocal mannerisms were often stilted, and the material — though not nearly as awful as that '60s soundtrack filler — sometimes substandard. Those who are not serious Elvis fans will usually find this late-period material to hold only a fraction of the interest of his '50s classics.
Elvis' final years have been the subject of a cottage industry of celebrity bios, tell-alls, and gossip screeds from those who knew him well, or (more likely) purported to know him well. Those activities are really beyond the scope of a mini-bio such as this, but it's enough to note that his behavior was becoming increasingly instable. His weight fluctuated wildly; his marriage broke up; he became dependent upon a variety of prescription drugs. Worst of all, he became isolated from the outside world except for professional purposes (he continued to tour until the end), rarely venturing outside of his Graceland mansion in Memphis. Colonel Parker's financial decisions on behalf of his client have also come in for much criticism.
On August 16, 1977, Presley was found dead in Graceland. The cause of death remains a subject of widespread speculation, although it seems likely that drugs played a part. An immediate cult (if cult is the way to describe millions of people) sprang up around his legacy, kept alive by the hundreds of thousands of visitors who make the pilgrimage to Graceland annually. Elvis memorabilia, much of it kitsch, is another industry in his own right. Dozens if not hundreds make a comfortable living by impersonating the King in live performance. And then there are all those Elvis sightings, reported in tabloids on a seemingly weekly basis.
Although Presley had recorded a mammoth quantity of both released and unreleased material for RCA, the label didn't show much interest in repackaging it with the respect due such a pioneer. Haphazard collections of outtakes and live performances were far rarer than budget reissues and countless repackagings of the big hits. In the CD age, RCA finally began to treat the catalog with some of the reverence it deserved, at long last assembling a box set containing nearly all of the 1950s recordings. Similar, although less exciting, box sets were documenting the 1960s, the 1970s, and his soundtrack recordings. And exploitative reissues of Elvis material continue to appear constantly, often baited with one or two rare outtakes or alternates to entice the completists (of which there are many). In death, as in life, Presley continues to be one of RCA's most consistent earners. Fortunately, with a little discretion, a good Elvis library can be built with little duplication, sticking largely to the most highly recommended selections.
01.I Got Stung (take 8 - take 20 (pre-song banter)
02.A Fool Such As I (takes 4-5)
03.Ain't That Loving You Baby (Medium tempo takes 2-4)
04.A Big Hunk O' Love (take 2)
05.A Fool Such As I (takes 6-8)
06.I Need Your Love Tonight (take 1)
07.I Got Stung (takes 15-16)
08.Lawdy Miss Clawdy (take 4)
09.I Was The One (takes 1-3)
10.One Sided Love Affair (master take 8 with count-in)
11.Ain't That Loving You Baby (fast tempo take 8)
12.I Need Your Love Tonight (takes 11-13)
13.A Big Hunk O' Love (take 3)
14.I Got Stung (takes 21-22)
15.Lawdy Miss Clawdy (take 5)
16.I Want You, I Need You, I Love You (take 14 with take 5 count-in added)
17.I Need Your Love Tonight (take 4)
18.Ain't That Loving You Baby (fast tempo takes 9-10)
19.I Got Stung (take 11)
20.I Need Your Love Tonight (take 15)
21.Lawdy Miss Clawdy (take 6)
22.I Want You, I Need You, I Love You (take 16)
23.Ain't That Loving You Baby (fast tempo take 11)
24.I Got Stung (takes 17-18)
25.I Need Your Love Tonight (takes 16-17, 8-9)
26.Lawdy Miss Clawdy (take 1)
27.A Big Hunk O' Love (take 1)
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