Saturday, February 28, 2009


Digitized from the original vinyl, released in 1972 on Columbia Records.
Format: Mp3
Bit Rate: 320 kbps
Produced By: Paul Leka
Recorded At: Columbia Studios, New York, New York & Columbia Studios, Los Angeles, California

Engineers: Tim Geelan, Stan Tonkel, Phil Cross, Jack Ashkinazy
Cover Art: Monte Luna

The Nest
For Roach
Monte Luna
Seeds Of Spring
I Am The Mercury
Long Way Down
Let It Flow
Seven Virgins

Come Back
Jimmie Spheeris - Vocals, Guitars, Keyboards
Geoff Levin - Guitar
David Campbell - Viola, Violin
Lee Calvin Nicoli - Flute, Bass, Guitar, Background Vocals
David Harowitz - Keyboards

Emil Latimer - Conga
Buddy Salzman - Drums
Strings arranged and conducted by: David Campbell
By Yours Truly
Another classic album from 1972. This one however has little to nothing to do with Bloodrock's Passage lp, other than the fact their both wonderful pieces of originality from a time that is long gone, along with the optimism that that generation was trying to maintain by '72.
I'm painfully aware the longer that I do this blog and search for info that hearing this music for the first time in today's world is an entirely different experience than hearing it when it was new and fresh and not tainted with the cynisism of the younger generation of today. This album was released before anybody knew what Gay Pride was, or AID's, or cell phones, or personal almost doesn't seem possible to me but it is......
I remember a girl friend at the time giving me this album. It certainly set the mood for a nice, quiet romantic evening, but there's more here than candles and incense. Jimmie's lyrics were poetry and the music on this album is rife with beautiful melodies and orchestration.
This record is a one of a kind effort. Jimmie produced 4 albums that I know of and although they were all listenable the first one was never surpassed. Jimmie's life was cut short on July 4th 1984 while riding his bike he was hit and killed by a drunken driver. Some of us get our earthly work done quicker than others I suppose......still, it'd been nice to hear more from him.
A rare treasure, July 13, 2002
Andy Agree "jackrabbit79" (Omaha, NE) - (Amazon Customer Review)
I am sad but not surprised to see that on this date there are only seven copies of this CD available on Amazon and that they are selling for $136. Yes, Jimmie's works were finally made available on CD a few years ago, but now due to legal complications they are no longer being issued. I encourage you to check out the "Jimmie Spheeris Online Forum" for lots of information about this artist and funding efforts to get his music newly re-released. If you have $136 to spend, I encourage you to get the CD if you want, but also contribute an equal amount to this fund to help make this special and important music available to everyone at a normal price.
I assume that you are already familiar with this music or you would not be scanning reviews for an obscure 1971 album selling for $136, so there is no need for description. You love it, so do I, but you might be interested in my own personal "Jimmie story", to add the stories listed here. I was first introduced to Jimmie, and this album in particular, in the mid-70s, living in a large "group house" in Palo Alto, CA when I was 21. It was a house favorite and "spun" many times during the year I lived there, but I never heard or even heard of Jimmie again, until this spring. While shopping at the legendary "Plan 9" music store in Richmond, VA, I found an old vinyl copy for $1. It was a "wait a minute, I KNOW this!" moment, and I have been enjoying it ever since. There is some "crackling fire" in the old grooves, but I consider myself extremely lucky to have it in any form. Curious about Jimmie, I discovered the above-referenced website, learned of his commercial "failure" as an artist through the early 80s, his fatal motorcycle accident in 1984, the current legal issues complicating the distribution of his music, and the dedication of his fan base. If he were alive today, it would certainly please him to see what has been written about him here and elsewhere. This is the kind of success every artist should wish for.
READ THIS for more information on this album.

Wednesday, February 25, 2009


Digitized from the original vinyl, released in 1972 on Capitol Records.
Format: Mp3
Bit Rate: 320 kbps
Produced By: Peter Granet & Bloodrock
Recorded At: Capitol Tower, Hollywood California

Remixed At: Wally Heider Recording Studios
Engineers:John Wilson, Cecil Jones
Cover Art: John Hoernle

Help Is On The Way
The Power
Days And Nights
Lost Fame
Thank You Daniel Ellsberg
Warren Ham - Vocals, Flute, Sax, Harmonica
Nick Taylor - Guitar, Vocals
Ed Grundy - Bass, Vocals
Stevie Hill - Keyboards, Vocals
Rick Cobb III - Drums, Percussion
By Yours Truly

This is one of those albums that I truly love, even to this day. Every bass note, every drum fill resonates in me when I play this album. If life was fair these boys would've scored a major impact with this release, but as we all know, life is far from fair.
I had this lp the day it was released, being a diehard Bloodrock fan already, but when I got it home and saw that Lee Pickens was gone I was distressed, but I put it on the turntable and by the time side two finished I was stunned. I didn't know who these guys were but they weren't the bloodrock I knew. They had made a 90° turn and produced a masterpiece that didn't sound a bit like everything they'd put out up to that point.
Gone were Lee Pickens distinctive guitar licks and James Rutledge's gritty voice. In their place was Warren Ham. I didn't know a thing about this cat, but I loved his voice and he played a mean sax and wrote some great tunes for this album.
For me, this was one of the top albums of 1972, if not for all time at this point. I played it constantly and turned as many people onto it as I possibly could. Tunes like Help Is On The Way, Lifeblood, Days and Nights & Fantasy were my favorites and to this day I can sing them acappela from memory...."Is it a matter of what you are wanting but you can't have, I cannot see where the answer is lying, you want so bad" Almost 37 years later this album still has an emotional effect on me that not many albums have been able to maintain.
I sometimes think they did themselves a disservice by keeping the Bloodrock name. If they'd have shed the media's preconceived notions of the Bloodrock name with a new band name they might have had a better chance of success with this release. at any rate this is the best Bloodrock album ever released and one of my very all time favorites.
PASSAGE ( from the lyric sheet)
From the ocean, an unchartered mass, we came.
Haggard and sleepless, wet to our souls,
needing rest and gentle land.
The ship's reflection glistened in the water,
as we stood starboard.
In despondent gesture,
Scouring the coastline
for an inlet of safe anchorage.
As night desended it uncovered an opening in the wall
of rock which had been hidden during the days' glare.
Steering into the night wind, we approached
the passage with it's beautiful reefs that surrounded the entrance,
and entered those jagged cliffs of stone that hung in sheets of
luminous array on each of our sides.
In a deep, mysterious vacuum were we suspended.
A misty haze of a reality, until at the end of the breezeway
there rest a cove. A peaceful cove where day is night &
night is day and all things are one.
Where we decided to lay bare our spirit and dwell within.
READ THIS for more information on this album.

Saturday, February 21, 2009


Digitized from the original vinyl, released in 1971 on Bearsville / Ampex Records.
Format: Mp3
Bit Rate: 192 kbps
Produced By: Todd Rundgren

Recorded At: I.D. Sound Studios, L.A. Ca.
Mixed At: Bearsville Sound Studios Bearsville, N.Y.
Engineer: James Lowe

Cover: Milton Glaser & Carl Fisher
Long Flowing Robe
The Ballad ( Denny & Jean)
Wailing Wall
The Range War

Chain Letter
A Long Time, A Long Way To Go
Boat On The Charles
Be Nice To Me
Hope I'm Around
Remember Me
Todd Rundgren - Production, Arrangements, Mixdown, and all Voices and Instruments except where indicated

Tony Sales - Bass, Percussion
Jerry Sheff - Bass
N.D. Smart - Drums, Timbales
John Guerin - Drums

Lo-fi, but very intimate and rich, January 27, 2000
By Frank Lynch "frank_lynch" (Brooklyn, NY USA) - (Amazon Customer Review)
It is a commonplace for music critics to talk about Todd Rundgren's "Something/Anything?" as one of the finest albums of all time. They are justified in doing that, because the music is very inventive, and it truly is splendid. Once someone buys "Something/Anything?" and digests it, they find themselves at a fork in the road (what to listen to next?). Often, they will proceed with later material, starting with "A Wizard, A True Star" (not that there's anything wrong with that!) and not look back (something wrong with that!)
"Ballad of Todd Rundgren" is the album which immediately preceeded Something/Anything, and it is worth more attention than it gets. I believe that you can hear the inventiveness of "Something/Anything" in development on this album, and with a great clarity due to the smaller forces which Rundgren has employed. Many of the songs are just as melodic and infectious as those found on Something/Anything. I also find the music inventive (IIRC "Chain Letter" is in mixed meter; "Boat on the Charles" has the right hand working in a blues scale while the bass remains standard diatonic). Instrumentation is great (a very early talk box -- earlier than Frampton or Jeff Beck [maybe even earlier than Joe Walsh]). Lyrics are sweet, hilarious ("The Range War" is a Romeo and Juliet waltz about the son and daughter of feuding families -- "If I haaaad my way, we would be together back in Pittsburgh; it's the only town east of the river I know..."; "Boat on the Charles" is a poignant song of unrequited love, filled with great images about pending departure, and ultimately suicide).
I think there are songs on this album which Todd never surpassed in his career.
All those who take the later fork in the road and never hear this earlier effort are making a big mistake.
READ THIS for more information on this album.

Wednesday, February 18, 2009


Digitized from the original vinyl, released in 1980 on Atlantic Records.
Format: Mp3
Bit Rate: 320 kbps
Produced By: Henry Paul & David Thoener

Recorded At: Criteria Recording Studios, Miami, Florida
Mixed At: Record Plant Studios, N.Y.C.
Engineer:David Thoener

Assistant Engineers: Jerry Masters, Mike Guerra & Jon Mathias
Cover: Chris Callis

Feel The Heat
Whiskey Talkin'
Running Away
Turn It Up
Go Down Rockin'
Night City
I Can See It
Shot To Hell

Henry Paul: Guitars, Vocals
Billy Crain - Guitars

David Fiester - Guitars, Vocals
Barry Rapp - Keyboards, Vocals
Wally Dentz - Bass, Harmonica, Vocals
Bill Hoffman - Drums

Monte Yoho - Drums
Joe Lala - Percussion
Joe Vitale - Synthesizers
Jon Mathias - Synthesizers
Jim Fish & Valerie Wilson - Background Vocals
Worthy Follow up, September 5, 2003
By Peter Franks (Pittsburgh PA) - (Amazon Customer Review)

The Henry Paul Band's second release is as good as their debut CD, but slightly different. "Feel The Heat" is a bit heavier, a bit less country influenced CD than "Grey Ghost". This is not to say this is not a great CD, it is just a bit different than "Grey Ghost". It seems to me "Feel The Heat" is truly "Southern Rock". My personal favorite tracks are "Go Down Rockin'" and "Long Shot". Only drawback to this CD vs the HPB's first effort is the lack of a killer jam song. (Grey Ghost, So Long)
Feel The Heat - Henry Paul Band, June 2, 2003
By Thomas Daneke (Woodbridge, New Jersey United States) - (Amazon Customer Review)
A great follow up to "Grey Ghost", "Feel the Heat"is Henry Pauls's second solo record after leaving theOutlaws. No acoustic guitars on this one, it's allelectric. Listen to this one loud! "Feel The Heat","Turn It Up", & "Go Down Rocking", are the best cuts.
READ THIS for more information on this album.

Tuesday, February 17, 2009


Digitized from the original vinyl, released in 1979 on Atlantic Records.
Format: Mp3
Bit Rate: 320 kbps
Produced By: Ron & Howard Albert for Fat Albert Productions Inc.

Recorded & Mixed At: Criteria Recording Studios, Miami, Florida
Engineer:Don Gehman

Assistant Engineer: Sam Taylor
Cover: Don Bratigam, Jim Houghton

So Long
Wood Wind
Grey Ghost
I Don't Need You No More
Lonely Dreamer
One Night Stands
You Really Know (What I Mean)

All I Need
Henry Paul: Guitars, Vocals
Jim Fish - Guitars, Vocals
Bill Crain - Guitars
Barry Rapp - Keyboards, Vocals
Wally Dentz - Bass, Harmonica, Vocals
Bill Hoffman - Drums

Joe Lala - Percussion
On CD at last, September 5, 2003
By Peter Franks (Pittsburgh PA) - (Amazon Customer Review)
I've waited a long time for the Henry Paul Band's catalog to become available on CD. The wait is over. The debut release from the HPB is a one of the best Southern Rock efforts ever. This release could easily be called "Henry Paul's Outlaws" as it is very much like an Outlaws album. It seems to me Henry wanted the security of other singers to share the load, much like the Outlaws did. This album does not have a bad track on it. It does have, however, 2 of the all time best Southern Rock anthems on it, "Grey Ghost" and "So Long".
A Must Have, August 26, 2004
By P. Dahl - (Amazon Customer Review)
If you enjoy the Southern Rock of The Outlaws, then this is the disc for you. Former Outlaw's guitarist, Henry Paul, has assembled a group of top notch musicians to create an album that is truly a classic. From track 1 to track 10 every song is solid. Songs of note are "So Long" (melodic intro to a explosion of guitar licks, tasteful harmonies and various beat changes). "Lonely Dreamer" (where bluegrass and rock merge into one). "I Don't Need You No More" (blues style rock with excellent vocals). And of course the title track "Grey Ghost" the anthem of The Henry Paul Band. This album has been a mainstay in my collection since 1979. You cannot consider your collection complete without this disc.
READ THIS for more information on this album.

Thursday, February 12, 2009


Digitized from the original vinyl, released in 1978 on Chrysalis Records.
Format: Mp3
Bit Rate: 320 kbps
Produced By: John Acock & Steve Hackett
Recorded At: Cherokee, Kingsway, Record Plant, De Lane Lea
Engineer:John Acock
Assistant Engineers:Chip, Rob, Mark & Rafe
Cover Art:Kim Poor
All Songs Composed & Arranged By Steve Hackett
Carry On Up The Vicarage
Racing In A
How Can I
Hoping Love Will Last
Land Of A Thousand Autumns
Please Don't Touch
The Voice Of Necam
Icarus Ascending
Steve Hackett - Guitars, Keyboards, Vocals, Percussion
Vocals - Steve Walsh, Richie Havens, Randy Crawford
Keyboards - Dave LeBolt, John Acock, John Hackett
Drums - Chester Thompson, Phil Ehart
Percussion - Chester Thompson, Phil Ehart, James Bradley, Richie Havens
Flutes - John Hackett
Piccolos - John Hackett
Bass Pedals - John Hackett
Bass - Tom Fowler
Violin - Graham Smith
Cello - Hugh Malloy
By Yours Truly

I was never what you'd call a fan of Genesis. I just didn't get 'em and I was more into Southern Rock in the 70's. I saw them once live about the time "The Lamb Lies Down On Broadway" came out and was completely bored. In my defense I wasn't very familiar with the album at the time of the concert so that more than likely had something to do with it.
This is Steve's second album after leaving Genesis to make his own music and this is another one of those albums that I'd take to the deserted Island with me. It's simply stunning from beginning to end in it's originality, musicianship & production. Truth be told I bought this album at the time because I'd heard the tune Narnia on the radio (remember when you could hear good music on the radio?) and being a huge Steve Walsh fan I bought it based on that tune alone. So, imagine my surprise when I get this album on the turntable and these beautiful, wonderful sounds start pouring forth from the speakers. By the time the first play was over I was a Steve Hackett fan for life, although over the years I've bought other albums by him though none have impressed me nearly as much as this one.
The ensemble cast for this album is also marvelous. Never having been a big Richie Havens fan either I was very impressed by his two vocals on How Can I & Icarus Ascending. Both wonderful songs and his voice is the perfect vehicle for them. Steve's vocals on Narnia & Racing In A are both great and Randy Crawfords Hoping Love Will Last is painfully beautiful. Her pure voice and her range are simply amazing. Why she's not a major act herself I dunno......
Steve has created with this release a very unique and impressive album that for me at least has stood the test of time or at least the last 31 years.
**As a side note, today is Steve's 59th birthday. I wish him many more. ***
Please DO Touch This Album!, February 5, 2006
Alan Caylow (USA) (Amazon Customer Review)
1978's "Please Don't Touch" is Steve Hackett's 2nd solo album, and the first one the guitarist recorded after he left Genesis. Steve gets a lot of big name help on this collection, such as singers Richie Havens, Steve Walsh of Kansas, and Randy Crawford, as well as his brother John Hackett on flute and Genesis touring drummer Chester Thompson.
This is an excellent album with shades of progressive rock here & there, but also some pop & straightforward guitar rock as well. The music is awesome, Steve's guitarwork throughout fantastic. Steve also takes musical inspiration from classic fictional books for some of the songs: "Narnia" (sung by Walsh) is a fun, lighthearted number based on C.S. Lewis' childrens' classic "The Lion The Witch & The Wardrobe," the strange little tune "Carry On Up The Vicarage" is a musical tribute to mystery writer Agatha Christie, and the breathtaking finale "Icarus Ascending" (sung by Havens) is inspired by the classic Greek tale of the doomed flight of Icarus. With the exception of "Vicarage," Steve mostly sings backup or harmony vocals, leaving most of the singing duties to Havens, Walsh and Crawford, who all give great performances. Other standout tracks include the catchy rock of "Racing In A," the wonderful acoustic number "How Can I?" (sung by Havens), the stunningly beautiful instrumental "Kim" (dedicated to Hackett's wife, Kim Poor, who also paints his album covers), the lovely ballad "Hoping Love Will Last" (sung by Crawford), and, of course, the monstrous title track, a menacing rock instrumental featuring some of Steve's most scorching guitar licks ever recorded (originally, Steve submitted "Please Don't Touch" to be recorded by Genesis, but for some reason, the band turned it down. Thank goodness then that he kept it for himself!).
The only misstep Steve makes on the album are the lyrics to "Carry On Up The Vicarage." Musically, the song is fine (I also like the circus sound effects at the beginning), but the words to the song are pretty awkward. Stuff about pharmaceuticals, missing floorboards, and screaming from the belfry...they don't quite gel together. Also, Steve's vocals on this track are mostly distorted through a vocoder, which doesn't help. But other than that, there's nothing else to criticize on this very impressive album. With "Please Don't Touch," Steve Hackett stepped out from the shadow of Genesis, and established himself as a solo artist in his own right. "Please Don't Touch" is a great album. By all means, DO touch it!
READ THIS for more information on this album.

Monday, February 09, 2009


Geez, I guess I should read a newspaper more often or listen to the news on the radio once in awhile. Just found out during some random surfing that another great R & R musician, Billy Powell of Lynyrd Skynyrd fame has passed on. Talk about a band that's had more than it's share of sorrow, man. I guess that leaves Gary Rossington as the sole remaining survivor of one of the greatest bands of the 70's.
I had tickets to see 'em live for the first time in '77 in Kalamazoo. The concert date was unfortunately about 2 weeks after the plane crash. I was bummed for weeks about missing my chance. I did finally get to see the "tribute band" live a couple years ago in Muskegon at a summer festival. Both Rossington and Billy were there with Johnny Van Zant on the vocals. Better late than never I guess.
Billy Powell, a longtime keyboard player for Lynyrd Skynyrd who survived the band's 1977 plane crash, died at his Orange Park condo early this morning (1/28/09), according to police.
Orange Park Police Chief James Boivin said Powell called 911 from his condo in Club Continental and was pronounced dead at 1:52 a.m. after rescue crews performed CPR on him. Boivin said he was told Powell had an appointment with his heart specialist Tuesday but never made it to the appointment.
Current Lynyrnd Skynyrd singer Johnny Van Zant spent 22 years with Powell in the band. He said the band took the news of Powell's death hard."You know, they say they've got one hell of a band up in heaven. My brother Ronnie up in heaven is probably saying, 'Billy, what took you so long?' I'm sure they're catching up on things in heaven."
Powell, who went to Bishop Kenny High School, joined Skynyrd in 1972 after working for the Jacksonville band for a couple of years as a roadie. He was seriously injured in the Oct. 20, 1977 plane crash that killed singer Ronnie Van Zant and five other people.
Johnny Van Zant said his brother invited Powell to join the band after he heard him playing piano during a rehearsal of "Free Bird." "Ronnie said, 'What's that?' and Billy said, 'That's the introduction to 'Free Bird.' Ronnie said, 'I like that. You're in the band.'"
The piano introduction to the song became a highly anticipated part of the band's live show, though Johnny Van Zant said Powell was sometimes relucant to jump into the spotlight with it.
"He'd say, 'I don't want to do that, I'm embarrassed to do that,'" said Van Zant. "I'd make him do it: I'd say, 'Come on, it'll make their night.' It made mine."
Earlier this month, Powell and the band took a four-day cruise, called the Simple Man Cruise, on a ship out of Miami with "4,000 crazy Skynyrd fans," said Van Zant.
The band had recorded several songs for a new album and had upcoming gigs in Lousiana, Mississippi and Orlando. They will be canceled, said Van Zant.
"We've got to lay our brother to rest," said Van Zant. "That old saying, the show must go on, always counts. Unless you die."
Guitarist Gary Rossington and Powell were the only members of the pre-crash incarnation of Skynyrd who were still playing with the band. As for the future of the band,Van Zant said, "That's really the last thought in my head. I've given 22 years to the band and hope to do it for another 22."
Van Zant he spoke with Rossington, who lives in the Atlanta area, this morning. "He's hurting," he said. "You know, he was very sad and wondering why all us brothers are leaving him, why he's still here."
Rossington's wife, Dale, reached by telephone this afternoon, said her husband was too distraught to come to the phone. "We're just lost," she said, fighting back tears.
She said band members had long been worried about Powell's health. "But he had such a big huge heart of gold, such a huge abiding faith in God and his savior Jesus," she said.
Powell was married to Ellen Vera Powell and had four children.
"For me," said Van Zant, "if anybody reading your article wants to do something, say a prayer for Billy and his family. That would be greatly appreciated."

Sunday, February 08, 2009


Digitized from the original vinyl, released in 1971 on Capitol Records.
Format: Mp3
Bit Rate: 256 kbps
Produced By: Bloodrock & John Palladino
Recorded At: Capitol Records Studios, Hollywood, California
Engineers:John Wilson, Cecil Jones
Cover Art: Lockart
It's A Sad World
Don't Eat The Children
Crazy 'Bout You Babe
Hangman's Dance
American Burn
Rock & Roll Candy Man
Magic Man
Jim Rutledge - Vocals
Lee Pickens - Lead Guitar
Nick Taylor - Guitar
Ed Grundy - Bass
Stevie Hill - Keyboards
Rick Cobb - Drums
By Yours Truly
U.S.A. was the last album with the original line-up. They'd finally gotten away from Terry Knight and with the help of John Palladino, produced this album by themselves.
This is an album with a voice and something to say. When listening to this record you have to keep in mind that it's 1971 and most of the country was pretty damn sick of the Viet-nam war and all that it entailed. It's A Sad World, the first cut, sadly still applies today, maybe more today than back in the 70's. That would indicate folks that we're going in the wrong direction!
The production on this record is strong and makes it easy to listen to even almost 40 years later (my god, how time does fly!). In amongst the socially relevant songs there are a couple excellent rockers that will get your feet movin' and over half the material on this album was written by the band itself along with a couple continued contributions by John Nitzenger. All good stuff
This band was unfairly maligned back in the day for a variety of reasons, none of which meant a damn back then or today. If you could see the entire artwork you'd see on the back cover the devil with his right arm wrapped around the Capitol building, Which is shown in a shadow/translucent outline (a shadow of it's former self?). That's the devil's left hand on the front cover shooting a large hole into a civilians head. A very graphic illustration that says tons about the message on the vinyl. I'm surprised looking at this now that it ever made it to the record bins of America back then. On The CD release, that is now out of print, the back cover is nonexistent, covered up by a grey background that just lists the tunes and credits. Obviously more offensive in recent times to the policitally correct asses than it was back then......that in itself says volumes about the state of the union.
Historically and musically this is an excellent album, best played at 9 on the volume dial for full effect.

UPDATE 2/9/09: found a pic of both front and back cover so I thought I'd share.

Another Amazing Adventure..., December 7, 2005
Mark Gatzke (Plant City, FL USA) - (Amazon Customer Review)
I remember the first time I listened to USA as a teenager, scratching my head over the subtle yet undeniable departure from the fierce bludgeoning of their first three albums. I liked it just the same, but didn't really appreciate its beauty until many years later. From that perspective, USA stands as the successful culmination of Bloodrock's first incarnation and as a harbinger of their transition from proto-metal to progressive/jazz rock. Given their perceived status as a poor man's Grand Funk (an unfair and perplexing notion considering the complexity of some of their songs was something GFR could only dream of), Bloodrock responded with an album that demonstrated what a little pressure and a lot of determination and skill could produce. The song writing continued to improve, and, with some additional material from the Ham brothers and John Nitzinger, laid the foundation for a collaborative effort that gleamed with energy and depth. Two favorites of mine, Hangman's Dance and Magic Man, illustrate the sometimes confusing dichotomy of their work. The former is a heavy handed tune that embodies what most people remember them for. The latter is an understated masterpiece that takes the listener on an exquisite mystical journey. It also serves as a vehicle for some of Steve Hill's most hauntingly beautiful keyboard work and an incredible guitar solo by Lee Pickens that still gives me shivers when I hear it. As the final album with Jim Rutledge and Lee Pickens, USA brings the first chapter of Bloodrock's story to a close in fine style, and gives an overdue middle finger to critics who never really got what they were about or gave them proper credit for what they did.
Un-freakin' believable rock from the 70's. Nothing compares to it !, March 28, 2008
Misha Bendavid (Austin, Texas United States) - (Amazon Customer Review)
Bloodrock's first four records received regular, almost daily, play in my bedroom in the early 70's. My girlfriend came to hate them, because she liked "happy" music. When I worked in FM radio, I wedged them in every time I thought the PD was asleep. Forget the gory hit single "D.O.A", these mofos could rock ! These guys are really jazz musicians; you can hear the incredible swing in their rhythms and drummer Rick Cobb knew how to throw offbeat fills in that made their songs really fun and gave them incredible groove. Indeed, their songs were darker than anything Sabbath or Blue Oyster Cult were dishing out, because you had the sense that they knew what they were talking about. But their clever writing style, relentless sonic punch; crisp, well timed guitar solos and genuinely spooky lyrics made this band one of a kind. How I wish musicians were half as ambitious, now.
READ THIS for more information on this album.

Saturday, February 07, 2009


Digitized from the original vinyl, released in 1978 on Capitol Records.
Format: Mp3
Bit Rate: 320 kbps
Produced By: CARTER
Engineered By: Warren Dewey
Assistant Engineers: Paul Black, Barbara Issak
Recorded At: Sunset Sound, Hollywood Sound Recorders, Westlake Audio, Village Recorder
Remixed By: Warren Dewey & CARTER
Mastered By: Ken Perry
Cover Art: Total Graphics
Runaround Girl
I Can't Ask For Anymore Than You
Desert Lady
Long Lonely Nights
Get Into The Music
Real Love
Secrets Of Your Soul
Got No Shadow
Your Warm Love
Richard Torrance - Vocals, Guitars, Keyboards, Percussion
Terry Lee Lick - Vocals, Guitars
David White - Vocals, Bass
Dennis Mansfield - Drums, Percussion, Vocals
Melody Jean Horney - Keyboards, Vocals
Billy Payne - Keyboards
Vander Lockett - Percussion
Gene Page - String arrangements
This is Richards 1978 effort that followed his Bareback album. To be honest this isn't one that I played alot but that doesn't mean its not a good album or not worth taking a listen to.....I've always tended to get hooked on certain albums as time went on and so others suffered from a lack of attention.
I guess simply said, if you've downloaded or own other Richard Torrance albums then you'll find this one another quality recording worth owning or at least listening to.......
READ THIS for more information on this album.

Thursday, February 05, 2009


Digitized from the original vinyl, released between 1970 - 1973 on ABC Records.
Format: Mp3
Bit Rate: 320 kbps
Warm Self Sacrifice
See No Evil
Really Wanted You
Nights Are Lonely

Bad Man
Birthday Lady
My Love Is Strong
Blue Horizon
In Desperate Need

Bubblegum The Blues / I'm A Cruiser
Long Time, No See
Better Side Of Life
Shoot The Moon
Trust Once More
Side We Seldom Show
Drawn To You
Those That Die
Love Will Stone You
Only Lovers Decide
Farewell To Paradise
Emitt Rhodes - Vocals, Keyboards, Guitars, Drums, Bass and assorted other instruments
By Yours Truly,
Emitt Rhodes was a man ahead of his time. After a series of bands that he either joined or started himself, including the last one, The Merry-Go-Round, he decided that he needed total control of his music so he went solo and literally produced albums where he played and sang everything himself. Todd Rundgren was famous for this same tactic, but he also had a band for his other output. Emitt however didn't. Between 1970 and 1974 he produced 4 or 5 albums, depending on how you count, that got better with each suceeding release. At some point after Farewell to Paradise was released he became disenchanted with the music industry and walked away. This was surely a loss for any music lover. He hasn't released an album since 1974 although he still has a garage studio and produces the occasional record for someone else.
Even though these songs might sound a bit dated at times, we're talking early 70's fercryinoutloud......the words, melodies and song structure are timeless. He was definitely ahead of his time. I put this "Best Of" together back in 2002 after I purchased a CD burner and wanted a CD to share with friends who weren't aware of his music. Now here it is, 2009, and I'm still trying to spread the word. This CD collection has basically all my personal favorites on it, but that's not to say there aren't other songs on the albums that someone else might like more. If you've never heard his music before and are the least bit curious I'd download this one to get a taste and once you've heard it you'll probably want to shop the blogs to find the individual albums.
Listen to Warm self-sacrifice, My love is strong, Bubblegum the Blues/I'm a Cruiser, Shoot the Moon, Drawn to You, or one of my all time favorite songs, Love Will Stone still gets a reaction out of me even this evening.......
Trust me, you need to hear this one.
READ THIS for more information on this album.

Wednesday, February 04, 2009


Digitized from the original vinyl, released in 1968 on Columbia Records.
Format: Mp3
Bit Rate: 320 kbps
Produced By: David Rubinson
Engineers: David Diller, Glen Kolotkin, Authur Kendy
The American Metaphysical Circus
Hard Coming Love
Cloud Song
The Garden Of Earthly Delights
I Wouldn't Leave My Wooden Wife For You, Sugar
Where Is Yesterday
Coming Down

Love Song For The Dead Che
Stranded In Time
The American Way Of Love
Joesph Byrd - Vocals, Keyboards
Dorothy Moskowitz - Vocals

Gordon Marron - Violin, Ring Modulator
Rand Forbes - Bass

Craig Woodson - Drums, Percussion
This is THE Underground classic of the 60's., August 20, 2004
By rash67 (USA) - (Amazon Customer Review)
This review is from: The United States of America (Audio CD) This is THE Underground classic of the 60's. The United States of America was, along with the Doors and Jimi Hendrix, one of the most played "alternative" rock albums when alternative rock meant something. After the 60's, some of these albums made it into the classic pantheon, others, just as good, like USA, are obscure. In 1968, 99% of the rock stations refused to play this because it was too good, too topical, too loud, too literate, too weird and, well, too psychedelic. Only low power college stations would dare to played it and boy, did they ever! Over and over all night! Dorothy Moskowitz had (has?) a voice with the beauty and power of the Jefferson Airplane's Grace Slick. Dorothy, it's good to hear from you. You were great, Dorothy, why did you stop?
USA, with their synthesizer and distortion violin and without lead guitar goes where no album had gone before and few since. The first rock album to make extensive use of synthesizer as a lead instrument. This was the first and as far as I know the ONLY rock album ever released on the prestigeous classical Columbia Masterworks label. Commander America said, "The US of A was...the most successful attempt to simulate the mental and bodily sensations of certain popular intoxicants of the Sixties". To be appreciated it MUST BE HEARD THROUGH HEADPHONES. "Hard Coming Love" hops around your head like a rattlesnake on a skillet in an attempt to simulate an orgasm between your ears! Full of musical and literary references, Byrd often sounds like late Charles Ives repeatedly quoting "Columbia the Gem of the Ocean". "Steppenwolf" (the book by Hesse, not the band) "the cost of one admission is your mind". "Winnie the Pooh". The visions of Hironymous Bosch's, "Garden of Earthly Delight" where Bryd descibes what he sees inside his girlfriends eyes. "Song for Dead Che" a beautiful ballad, "Agnus Dei" which compares the aftermath of love and memory to a nuclear blast "shadows on the pavement but no bodies do you find". "Coming Down". Don't be scared by Byrd's lead-off vehement anti-war diatribe about the military industrial complex, the "American Metaphysical Circus". I still can't listen to American Metaphysical Circus without a feeling of fear and loathing. From beginning to end a lost classic of the sixties.
Alternately lyrical, thought provoking, excessive, paranoid, beautiful, raucous, US of A is a classic with a short half-life which repeatedly appears and disappears from the marketplace. This is the real sixties, not the "Peace and Love - Flower Power" you usually hear about. USofA was a statment against all that was violent, trivial and puerile in America. There was a war on. Students hated this war and the draft with a anger 1000% higher than war opposition today. Kids were being drafted and sent to die in a war they violently opposed. In the midst of this war, blacks were rioting everywhere. It was a violent angry, dangerous, time. The DC, Detriot, Chicago, Watts were in flames. People were dying everywhere.
Today the 60's were viewed as flower-power and silly clothes and drugs, but in reality, these were escapist reactions to the ongoing madness over which they had little control. This album was definitely NOT viewed as a gimmick. It was the leading edge. The avant garde. Synthesizers were brand new inventions, there were only 3 very obscure Pop albums on the market that used them (Gershon Kingsly), no rock bands. This was the direction not taken in music because no one else had the wits and talent to pull it off. And no other record company had the guts to release it. get it while you can. five stars, my highest rating. a classic.
READ THIS for more information on this album.