Plain and Fancy

1968 Michael Chapman - Rainmaker
1970 Michael Chapman - Fully Qualified Survivor
1970-71 Michael Chapman - Window / Wrecked Again
1973 Michael Chapman - Millstone Grit (2006 remaster)
1974 Michael Chapman - Deal Gone Down (2015 bonus tracks edition)

Saturday, January 2, 2021

Michael Chapman - The Man Who Hated Mornings (1977 uk, crispy clean sharp jazz inflected folk rock, 2015 remaster with bonus tracks)

On an evident high after the previous year’s Savage Amusement had brought him to Memphis, The Man Who Hated Mornings brings it back home with sessions in Cornwall and Hull. Chapman’s sour, bleak and funny observations, shot through with moments of pure musical transcendence, are heavy on the ground.

The title track’s clangour reminds us of the bandleader’s skill on guitar, and from there, his playing cuts an elegant, purposeful swathe through mordant blues, cabaret jazz and a screaming early cut of Dogs Got More Sense. A supremely sullen recast of Bob Dylan’s Ballad In Plain D is another highlight.

The excellently recorded band features guitar from Mick Ronson, BJ Cole and Andy Latimer, but Chapman’s ruggedly defined, inimitably detailed voice and individuality (which continues to endure and multiply) shines throughout.

by Gavin Martin, December 01, 2015

Michael Chapman's The Man Who Hated Mornings might be seen as comparable to Eric Clapton's Slowhand release of the same year, and the presence of guitarist Mick Ronson (reunited with Chapman after six years spent elsewhere) does ensure that the frets get a fair workout as the album goes on. The comparison, however, has more in common with the mood of the record than any virtuoso concerns -- it is Chapman at his most laid-back, and only occasionally stirring himself into first gear.

A cover of Dylan's "Ballad in Plain D" is a triumphant highlight, seguing into Chapmans own "Steel Bonnets" instrumental to emerge a shoo-in for any "best-of" Chapman anthology. Elsewhere, there's much to be said for the wryly salacious "Why Do You Bob Your Hair, Girls," and a title track that completely eschews Chapman's folk-rock reputation for a taste of nightclub jazz. "Dogs Got More Sense," meanwhile, is a joyous slice of pop melody that could be compared to Phillip Goodhand-Tait's "Jewel," but the song that most sums up this album is a delightfully disdainful take on Danny O'Keefe's "I'm Sober Now." That may or may not be true, but Chapman has a wonderful time keeping listeners guessing.

by Dave Thompson

Tracks

1. Northern Lights - 7:23

2. I'm Sober Now (Danny O'Keefe) - 3:44

3. The Man Who Hated Mornings - 4:07

4. Ballad in Plain D (Bob Dylan) - 4:42

5. Steel Bonnets - 2:58

6. Dogs Got More Sense - 4:03

7. Falling Apart - 3:34

8. While Dancing the Pride of Erin - 2:55

9. Dreams Are Dangerous Things - 4:46

10.Why Do You Bob Your Hair Girls? (Blind Alfred Reed) - 2:50

11.Dogs Got More Sense - 3:43

Lyrics and Music by Michael Chapman except where stated

Personnel

*Michael Chapman - Guitar, Vocals

*Rod Clements - Bass

*B.J. Cole - Guitar Steel Guitar

*Keef Hartley - Drums

*Andy Latimer - Electric Guitar

*Vivienne McAuliffe - Vocals

*John McBurnie - Vocals

*Mick Ronson - Guitar

*Johnny Van Derek - Violin

*Pete Wingfield - Organ, Piano, Synthesizer

1976 Michael Chapman - Savage Amusement (2015 remaster expanded)

Thursday, December 31, 2020

Marsha Hunt ‎– Walk On Gilded Splinters (1969-71 us, gorgeous soul funk blues swinging psychedelia)

Born 1946, Philadelphia, USA. Singer Hunt arrived in the UK during the mid-60s and emerged as a solo act following a spell in the chorus of the London production of Hair. A series of powerful live performances ensued, including the 1969 Isle Of Wight Festival, on which she was backed by Scottish group (White) Trash.

Her subsequent career included a period hosting a chat show on Capital Radio, and Hunt later drew publicity during a successful paternity suit against Mick Jagger. The artist’s thespian ambitions were furthered as a member of both the Royal Shakespeare Company and the Royal National Theatre and in 1985 she published her autobiography, Real Life. Hunt’s first novel, Joy, followed in 1990 and she has subsequently become established as a writer.

The term ‘multi-talented’ can’t be thrown around lightly, but for Marsha Hunt, it’s worth mentioning the fact. Aside from being a singer, she’s acted in a few known cult and horror flicks plus theatre, modelled, written novels, been an activist and at one point dated Mick Jagger. I know the latter isn’t a talent, but unfortunately that factor crops up way too much in any articles about her so let’s get it out of the way.

Yeah, she’s the huge-haired lady in Dracula A.D. 1972 (see review of Dracula A.D. 1972 here) as well as having roles in Britannia Hospital (the last of the If… trilogy), The Sender, and The Howling II. Balanced well into the mix is her debut LP, Woman Child. So late ‘60s and early ‘70s in sound, it is perfect and quite diverse in musical styles for that period. It deserves a listen because many of the sassy hot rock tunes will be the ideal backing for a smoke-filled living room sway with you and your friends in low light.

There’s a mish mash of remakes and Marc Bolan material (according to her autobiography he actually contributed musically to the album as well), all given a funked-up tempo with Marsha’s sexual vocals probably exciting a lot of young listeners at the time (her performances were supposed to be very erotic, showing breasts as lifting her arms, that kind of thing).

Starting with an Indian vibe spliced remake of Dr. John’s, Walk on Guilded Splinters off his Gris-Gris album. Martha does it proud adding more eerie magic to proceedings. She yells out some lyrics sounding like Tina Turner and makes it her own. After a brief and quickie interlude kind of spoofing her time in the infamous stage production of Hair, Hot Rod Pappa is up-tempo head-nodding and written by Marc Bolan, as is the following mellow almost late Beatles sounding, Stacey Grove.

One of the stronger moments on the album comes as No Face, No Name, No Number, a remake of a Traffic classic, and gives Martha time to really hit some strong notes, showing she can throw out a ballad and give you goosebumps. We just go pure big sound on, My World is Empty Without You. This one could have been a lead soundtrack tune, so of its time and filled with random choices of screams and instruments.

The album has blues, funk, a bit of psychedelic, ballads, country, and overall is a satisfying album. Her acting comes into her voice, she changes her delivery along with the ever-changing styles of music presented here.

by Jay Creepy, September 24 2020

Tracks

1. Walk On Gilded Splinters (Dr. John) - 3:30

2. Facing A Dying Nation (Galt MacDermot, Gerome Ragni, James Rado) - 0:27

3. Hot Rod Pappa (Marc Bolan) - 3:18

4. Stacey Grove (Marc Bolan) - 2:19

5. No Face, No Name, No Number (Jim Capaldi, Steve Winwood) - 3:42

6. My World Is Empty Without You (Brian Holland, Edward Holland Jr, Lamont Dozier) - 3:01

7. Moan You Moaners (Spencer Williams) - 3:00

8. Keep The Customer Satisfied (Paul Simon) - 3:01

9. Long Black Veil (Danny Dill, Marijohn Wilkin) - 2:37

10.You Ain't Going Nowhere (Bob Dylan) - 3:06

11.Woman Child (Bobby Goldsboro) - 3:56

12.Desdemona (Marc Bolan) - 3:13

13.Wild Thing (Chip Taylor) - 4:47

14.Hippy Gumbo (Marc Bolan) - 2:57

Musicians

*Marsha Hunt - Vocals

*Ian McLagan - Keyboards

*Kenny Jones - Drums

*Marc Bolan - Guitar, Vocals

*Pete Townshend - Guitar

*Ron Wood - Bass

1969-73 Mountain ‎- Setlist The Very Best Of Mountain Live (2011 release)

Wednesday, December 30, 2020

Mountain - Twin Peaks (1974 us, powerful hard rock, 2005 digi pak remaster)

Now this is more like it! Recorded in Osaka, Japan, in 1973, Twin Peaks was Mountain's second consecutive live album (with The Best of Mountain compilation between them), albeit featuring the re-formed, somewhat reconfigured version of the group, consisting of Leslie West (guitar, vocals), Felix Pappalardi (bass, vocals), Bob Mann (guitar, keyboards), and Allan Schwartzberg (drums). It overlaps with its predecessor, Mountain Live (The Road Goes Ever On) on only two cuts, "Crossroader" and "Nantucket Sleighride," and the latter is stretched out even further here than it was on the earlier album, to 32 minutes.

The content ends up showing off the best attributes of Mountain such as "Theme from an Imaginary Western," "Mississippi Queen," "Never in My Life," "Roll Over Beethoven" and a long version of "Nantucket Sleighride." But even the latter, at over half-an-hour, was precisely what audiences of the period were paying to see and hear, and captures the band's music in all of its excessive glory. Additionally, "Nantucket Sleighride" doesn't seem that long in the actual listening, mostly because it's difficult not to be impressed with the playing, especially the guitar dialogue between West and Mann. A worthy document of a Mountain concert at their summit.

by James Chrispell

Tracks

1. Never In My Life (Leslie West, Felix Pappalardi, Gail Collins, Corky Laing) - 4:15

2. Theme For An Imaginary Western (Jack Bruce, Pete Brown) - 5:01

3. Blood On The Sun (Leslie West, Felix Pappalardi, Gail Collins) - 3:07

4. Guitar Solo (Leslie West) - 5:34

5. Crossroader (Felix Pappalardi, Gail Collins) - 5:57

6. Mississippi Queen (Leslie West, Felix Pappalardi, Corky Laing, David Rea) - 4:16

7. Silver Paper (Leslie West, Felix Pappalardi, Gail Collins, George Gardos, Steve Knight, Corky Laing) - 6:15

8. Roll Over Beethoven (Chuck Berry) - 2:23

9. Nantucket Sleigh Ride (Part I) (Felix Pappalardi, Gail Collins) - 15:51

10.Nantucket Sleigh Ride (Conclusion) (Felix Pappalardi, Gail Collins) - 16:01

Recorded Live on August 30th 1973 at Koseinenkin Hall in Osaka Japan

Mountain

*Leslie West - Guitar, Vocals

*Felix Pappalardi - Bass, Vocals, Production

*Bob Mann - Guitar, Keyboards

*Allan Schwartzberg - Drums

1970 Mountain - Climbing! (2013 blu spec edition)
1971 Mountain - Nantucket Sleighride (2013 japan blu spec remaster)

1975 The Leslie West Band - The Leslie West Band (2008 reissue)

1973 Back Door - 8th Street Nites

1976 The (Blues) Creation With Felix Pappalardi - Live At Budokan (rare double disc japan issue)

Tuesday, December 29, 2020

The Leslie West Band - The Leslie West Band (1975 us, exceptional hard blues rock, 2008 reissue)

Where Leslie West's The Great Fatsby touched upon different themes and showed the guitar hero able to handle Free-style blues-pop, Foreigner guitarist Mick Jones comes to the party to bring a different focus. Outside of a couple of covers and Mick Jones' composition "Singapore Sling," all the material is by West, Jones, and Laing -- a progression from West, Bruce & Laing, which was a progression from Cream producer Felix Pappalardi's work with the guitarist/drummer combo in the original Mountain. Not as heavy as those other two groups,

The Leslie West Band on record has more bite than The Great Fatsby, and as with the previous project, some big name players. John Lennon/Buzzy Linhart/Jim Croce keyboardist Ken Ascher is onboard, as is bassist Don Kretmer from the Blues Project. Leslie is in good company, and makes the most of it. Where he performed Rolling Stones material on Fatsby, here we have a dark and lovely rendition of the Beatles' "Dear Prudence" -- Ascher getting a chance to work on Lennon material again as he did on Mind Games. And as Fatsby had "The House of the Rising Sun," Mann and Weil's "We Gotta Get Out of this Place" gets revised by the Leslie West Band.

It's a methodical version, Led Zeppelin lite, and is a decent album track, though the music without vocals seems to be the key to this album's real magic. "Singapore Sling" has beautiful Leslie West guitarwork on the Mick Jones set of riffs, while "Sea of Heartache" is a real gem that just stuns. It's a three-minute-33-second sort of ode to Black Sabbath where the musicians bring it up another notch. "By the River" and "Get It Up" aren't bad; it's just that they don't offer much new to the Leslie West repertoire. "By the River" ends much too fast as well, like someone just decided to turn down the sound as the side concludes prematurely. The Leslie West Band has our hero slugging it out in the trenches, and he gets a "B" for effort, which isn't a bad thing. One just would've hoped he kept from sliding back to the tried and true. It's the experimenting here that really shows what could have been, and this was the perfect time for the artist to reinvent himself.

Leslie West, died on Tuesday December 23rd 2020 at the age of 75, following a cardiac arrest, according to his brother.

by Joe Viglione

Tracks

1. Money (Whatcha Gonna Do) - 3:37

2. Dear Prudence (John Lennon, Paul McCartney) - 4:47

3. Get It Up (No Bass - Whatsoever) - 2:59

4. Singapore Sling (Mick Jones) - 1:44

5. By The River - 2:53

6. The Twister - 2:27

7. Setting Sun - 3:41

8. Sea Of Heartache - 3:35

9. We'll Find A Way - 3:14

10.We Gotta Get out Of This Place (Barry Mann, Cynthia Weil) - 4:42

All songs by Leslie West, Corky Laing, Mick Jones, except where indicated

Musicians

*Leslie West - Guitar, Lead Vocals

*Mick Jones - Guitar

*Corky Laing - Drums

*Ken Ascher - Piano

*Sredni Vollmer - Harp

*Frank Vicari - Horns

*Don Kretmar - Bass

*Bill Gelber - Bass

*Carl Hall - Background Vocals

*Hilda Harris - Background Vocals

*Sharon Redd - Background Vocals

*Tasha Thomas - Background Vocals

Wednesday, December 23, 2020

Gypsy - Antithesis (1972 us, fine prog rock)

Co-produced by Jack Richardson and Jim Mason, 1972's "Antithesis" found the Gypsy signed to RCA Victor. Along with a new label, the band sported a new bass player in Randy Cates (having replaced Willie Weeks, who had replaced David Larson). With the first two albums having vanished with little recognition, new label RCA apparently insisted on some musical changes. Accordingly, the third all original set found the band tinkering with their patented UK-progressive influenced sound. As before, the album's underpinnings remained firmly planted in a progressive mode, but this time around the band turned in a series of compositions with shorter and more focused song structures. While tracks such as 'Crusader', 'Facing Time', and 'So Many Promises' weren't quite top-40 pop, they were surprisingly commercial and would have sounded quite good on FM radio - in fact two of the more commercial numbers 'Day After Day' b/w 'Lean On Me' were released as a single. Exemplified by tracks such as 'Young Gypsy' and 'Don't Bother Me' the set was full of strong melodies and some interesting arrangements. Not meant as an insult, but on tracks such as 'Travelin' Minnesota Blues (Go Gophers)' and 'So Many Promises' the album reminded me of early David Pack and Ambrosia, or a strong Guess Who LP.

Needless to say, longstanding progressive fans were appalled by the change in direction, while the album simply wasn't commercial enough for top-40 fans to pick up on it. Initially I was in the former category. My stance probably wasn't helped by the fact the band's legal team had recently sent me a letter threatening court action if I didn't stop selling Gypsy materials online. (Those lawyers apparently didn't understand the difference between someone selling used albums and someone pressing and selling bootlegs. They disappeared after I sent them an email explaining the differences.) Having listened to the album dozens of times over the years (the fact I've kept a copy tells you something), I'll readily admit I was wrong and this was an excellent collection full of melodic and memorable performances.

by Scott R.Blackerby March, 2024

Tracks

1. Crusader (Enrico Rosenbaum, James C. Johnson) - 3:10

2. Day After Day (James Walsh, Randall Cates) - 3:15

3. The Creeper - 3:10

4. Facing Time - 4:11

5. Lean On Me - 3:15

6. Young Gypsy - 3:06

7. Don't Bother Me (James Walsh, Enrico Rosenbaum) - 3:15

8. Travelin' Minnesota Blues - 2:33

9. So Many Promises - 2:25

10.Antithesis (Keep Your Faith) - 3:22

11.Edgar (Don't Hoover Over Me) (James C. Johnson) - 3:26

12.Money - 4:53

All compositions by Enrico Rosenbaum except where stated

Gypsy

*Enrico Rosenbaum - Guitar, Vocals

*James Walsh - Keyboards, Vocals

*James Johnson - Guitar, Vocals

*Bill Lordan - Drums

*Randall Cates - Bass, Vocals

1970 Gypsy - Gypsy

1971 Gypsy - In The Garden

Sunday, December 13, 2020

Indescribably Delicious - Good Enough to Eat! (1969 us, great garage rhythm 'n' blues, digi pak edition)

Another one of Bill Holme's All American Releases, Indescribably Delicious was formed in the Bay Area of California in the early 60's. The band became local favorites and by the mid 1960's was opening for such acts as Steppenwolf, The Turtles, The Yardbirds and many more. The band consisted of Jim Conroy on vocals, Gary Solomon on vocals and sax, Greg Munford played guitar, keyboards and sang, Art Johnson was on rhythm guitar and Mark Cohen the drummer.

The band recorded singles for the All American label and in 1969 completed their first album that was never released. The music of the band ranges from an r&b beat style similar to the Animals (with vocals remarkably sounding like Eric Burdon) to pop and even garage sounds. This album contains a dozen songs mostly written by band members except for a fantastic poppy cover of Pete Townsend's (The Who) classic, The Kids Are Alright, and two other obscure blues numbers. In the same vein as the more "popular" bands of the day such as Shadows Of Night, Every Mother's Son, The Monkees or the Outsiders, The Indescribably Delicious is one of those long lost gems that are waiting to be discovered. The only downside to this album is that it clocks in at under 30 minutes and leaves the listener wanting more.

by Keith Pettipas

The group was formed in the Bay Area in the early sixties. By the mid 1960's the group was opening for such acts as Steppenwolf, The Turtles, The Yardbirds, and several other popular acts of the day. After recording a bunch of singles for the All American label they released this first complete recording in 1969. The album cover is quite provocative and colorful, when one considers when this was released. Today people would not bat an eyelash or give it a second glance.

This is another one of those lost treasures that Akarma has uncovered and brought to the listener's attention, once again giving us a bit of history and counting in those bands that never got a fair chance. No band is insignificant enough not to be counted. Indescribably Delicious contributed a solid album's worth of material and more that is well worth giving your time and attention. The pleasure of course… will be all yours.

by Keith Hannaleck

Tracks

1. It's Been A Hard Hard Day (Bill Holmes, Gary Solomon) - 1:55

2. Big Ben (Bill Holmes, Gary Solomon, Bob Feldman) - 2:38

3. Is It Love (Greg Munford) - 2:43

4. The Kids Are Alright (Pete Townshend) - 2:05

5. Baby I Love You (Jerry Ragovoy) - 2:14

6. Brother Where Are You (Nat Adderley, Oscar Brown Jr.) - 2:40

7. I Gotta Love You Again (Bill Holmes, Gary Solomon) - 1:54

8. Take A Little Bit Of Lovin' (Bill Holmes, Gary Solomon) - 1:53

9. The Rest Of My Life (Bill Holmes, Gary Solomon) - 2:14

10.Take Me For One Last Ride (Bill Holmes, Gary Solomon) - 2:33

11.In Too Deep (Greg Munford, Ruth Batchelor) - 1:45

12.The World Is Ended Right Now (Bill Holmes, Gary Solomon) - 2:27

Indescribably Delicious

*Jim Conroy - Vocals

*Bruce Turner - Guitar

*Mark Cohen - Drums

*Steve Senchia - Bass

*Art Johnson - Guitar

*Gary Solomon - Vocals, Saxophone

*Greg Munford - Guitar, Keyboards, Vocals

Thursday, December 10, 2020

John Hiatt - Hangin' Around The Observatory • Overcoats (1974-75 us, unique sound of a tinge country funky classic rock mixed with sharp lyrics, 2006 remaster)

At 10 songs each, Hiatt’s debut and sophomore solo sets confused the critics with their variegated musical styles and delivery. In retrospect, however, they have an air of foresight about them. The likes of Space and The Divine Comedy would meld similarly disparate elements, providing a rich, if sometimes gloopy, sonic mix, which is by turns captivating and jolting.

The astronomically-titled set mixes countrified piano and slide guitar with honky-tonk, glam-claps and some audacious humming, no less. Hiatt’s dulcet tones are Joe Cocker-esque on the Traffic-like Full Moon, while the upbeat title track throws everything in.

The follow-up saw Hiatt plough further down the Randy-Newman-on-the-rocks path, slurring his way through the likes of One More Time. Saxophone should usually be used in excessive moderation, but not so here. The horn section shines on the porn-vibe I’m Tired Of Your Stuff, while Distance could be Roy Harper in full-blown lucidity. The oddly-named title track is as jolly as you like, and while the critics hated I Killed An Ant With My Guitar, it was a way ahead of its time whistling lounge-yodel. The gospel of Motorboat To Heaven also stands up, there’s much to please.

by Tim Jones

Tracks

Hangin' Around The Observatory 1974

1. Maybe Baby Say You Do - 2:37

2. Whistles In My Hears - 3:25

3. Sure As I'm Sittin'Here - 3:19

4. Rose - 3:06

5. Hangin'Around The Observatory - 3:02

6. Full Moon - 5:16

7. Wild Eyed Gypsies - 4:45

8. It's All Right With Me - 3:46

9. Little Blue Song For You - 3:14

10.Ocean - 5:27

Overcoats 1975

11.One More Time - 3:36

12.Smiling In The Rain - 4:16

13.I'm Tired Of Your Stuff - 3:35

14.Distance - 3:32

15.Down Home - 3:08

16.Overcoats - 6:52

17.I Want Your Love Inside Of Me - 3:10

18.I Killed An Ant Witch My Guitar - 3:24

19.Motorboat To Heaven - 5:24

20.The Lady Of The Night - 3:12

All compositions by John Hiatt

Musicians

*John Hiatt - Acoustic, Electric, Twelve-String Guitar, Percussion, Piano, Vocals

Hangin' Around The Observatory 1974

*Debbie Friedman - Guitar, Vocals

*Marsha Routh - Vocals

*Pam Clarke - Vocals

*Doug Yankus - Guitar, Vocals

*Hayward Bishop - Drums, Percussion

*Shane Keister - Synthesizer, Piano, Hammond B3

*Ted Reynolds - Bass

*Charles Myers - Drums

*James Clemmons - Vocals

*James Moon - Vocals

*Paul Easley - Vocals

Overcoats 1975

*Ted Reynolds - Bass Guitar

*Larrie Londin - Drums

*Shane Keister - Piano, Electric Piano, Moog Synthesizer, Fender Rhodes

*John Huey - Steel Guitar

*Josh Graves - Dobro

*Bobby Emmons - Organ

*Gene Estes - Marimba

*Tracy Nelson, Anita Baugh, Dianne Davidson, Sadie - Background Vocals

*Samuel Boghossian - Viola

*Allan Harshman - Viola

*Jesse Ehrlich - Cello

*Billy Puett - Clarinet, Flute, Recorder, Soprano Saxophone, Tenor Saxophone

*Norman Ray - Baritone Saxophone

*Irving Kane - Trombone

*George Tidwell - Trumpet, Horn Arrangements

1969-74 Johnny Winter - Original Album Classics (2010 editions)

Monday, December 7, 2020

Johnny Winter - Captured Live! (1976 us, superb hard funky blues rock, 2011 japan remaster)

Here's another classic from the archives. Recorded in 1976, this is one of my all time favorite live recordings. Johnny is simply smokin' on this CD. The audio quality is very good and really captures the powerful sound of a live performance in a large outdoor venue. The four member band of two guitars, bass and drums features Floyd Rradford on second guitar. Floyd is an excellent guitarist, although his style is more technical than emotional, especially when compared to Johnny. Yeah, I know, Johnny is about as technically proficient as they come, but he still has a very strong emotional quality to his playing.

OK, I'll admit that as a blues-rock CD, this disc is heavy on 70's rock 'n roll. But Johnny plays some awesome blues leads and rhythm riffs throughout. And the set's closer, "Sweet Papa John", is slow power blues at it's best, featuring some very strong slide guitar work and classic Johnny Winter vocals. This is one of those CDs on which it is difficult for me to choose favorite songs. The CD overall is a continual transition from one hard-rockin' song to the next. Every song in the set is killer and filled with animated guitar playing. And even though the set's slow blues closer starts off at a bit of a relaxed paced, it builds to a high intensity barrage of guitar licks.

"Highway 61 Revisited" showcases Johnny's abilty on slide guitar, as it gets down to just him and the drummer for a long lead break for a good portion of the song. This song provides all the argument I ever need when I get into discussions with others about slide guitar players. Johnny is certainly not the only great slide player around, but he is definitely among the best.

Captured Live gives a great sense of what a Johnny Winter show was like in the 70's, when his music was very popular and drew huge crowds. While Johnny has recorded many excellent CDs, both before and after Captured Live, this one gives the listener a large, high quality dose of Johnny Winter style hard driving rock 'n roll and blues-rock. This is another "must have" for every lover of blues-rock guitar, and at a typical price of $10 at local music stores, is a real bargain.

Electric Blues

Tracks

1. Bony Moronie (Larry Williams) - 6:50

2. Roll With Me (Rick Derringer) - 4:46

3. Rock 'n' Roll People (John Lennon) - 5:39

4. It's All Over Now (Bobby Womack, Shirley Womack) - 6:15

5. Highway 61 Revisited (Bob Dylan) - 10:38

6. Sweet Papa John (Johnny Winter) - 12:37

Musicians

*Johnny Winter - Guitar, Slide Guitar, Vocals

*Randy Jo Hobbs - Bass, Vocals

*Richard Hughes - Drums

*Floyd Radford - Guitar

1969 Johnny Winter - The Progressive Blues Experiment (2000 digi pak and 2005 remaster)