Foghat - Rock And Roll Outlaws (1974 uk, 4th album, tough boogie 'n' roll, japan remaster)

Though "Energized" had reached gold status in the U.S., the band wasn't exactly happy with its production. "Tom Dawes was really talented, but his musical tastes differed from ours," Peverett says. "We wanted someone who understood the feeling of our music a little more."

The band found such a studio partner in Nick Jameson. Hailing from Philadelphia, Jameson had become part of the Bearsville family when Todd Rundgren worked with Nick's band "American Dream." From there, Jameson became an engineer, remixing some tracks on the "Foghat" album. He returned to produce and engineer the group's "Rock And Roll Outlaws" LP (1974), from which comes the melancholy midtempo track "Dreamer."

Foghat-history

Tracks
1. Eight Days On the Road - 6:08
2. Hate to See You Go - 4:39
3. Dreamer - 6:39
4. Trouble In My Way - 3:32
5. Rock and Roll Outlaw - 3:53
6. Shirley Jean - 3:46
7. Blue Spruce Woman - 4:08
8. Chateau Lafitte '59 Boogie - 6:17

Foghat
*Roger Earl - Drums
*Rod Price - Lead Guitar, Vocal
*Tony Stevens - Bass
*Lonesome Dave - Lead Vocal, Guitar

Foghat
1972  Foghat (1st Album, Japan remaster)
1973  Rock And Roll (Japan remaster)
1974  Energized (Japan remaster)
Related Acts
1967-68  Savoy Brown - Shake Down / Getting To The Point
1969-70  Savoy Brown - Raw Sienna / Looking In

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Jacob's Creek - Jacob's Creek (1969 us, essential folk psych bluesy rock, 2011 reissue)

This Trenton New Jersey band was lead by brothers Lon and Derrek Van Eaton, who previousle played with local garage band The Tree, along with drummer Tim Case and are best-known for the subsequent music they made for The Beatles’ Apple label. 

They added guitarist Steve Burgh and singer guitarist Bruce Foster to form Elisium in 1968, which morhed into Jacobs Creek. Basing themselves in New York, they played at Andy Warhole's Factory, opened the Doors and soon signed to Columbia, who placed them with producer  Al Lawrence (perhaps best known for his work with Santana).

The quintet's resulting album was issued in August 1969 complete with a lyric insert and touched on pop, rock, country, blues, psychedelia and Folk. With arrangements encompassing electric guitars, horns and sitar, unfortunately the label didn't promote it, and (despite encouranging radio play) didn't sell. The band continue to play around New Jersey

finally splitting in March 1971. Brothers Lon and Derrek Van Eaton put together some home recorded demos as a duo, Apple's manager Tony King liked what he heard and recommended the duo  to George Harrisson who arranged for them to singed to Apple in September 1971 and went on to produce their album, Brother, released next year.

Tracks
1. Colors - 5:20
2. Anonymous Verdict Suite (Jesus' Return / Christian Man) - 7:18
3. Everything's Gonna Be Alright - 2:26
4. Coming… The River - 5:04
5. Do You Understand? - 3:09
6. What's Around - 3:02
7. A Love Song - 2:08
8. Behind The Door - 4:06
9. What You Hear (Lon Van Eaton, Bruce Foster) - 2:53
10.Lonely Fire - 4:10
11.The Circle - 6:10
12.Katharine - 1:01
All songs written by Lon Van Eaton, except where noted.

Jacob's Creek
*Lon Van Eaton - Keyboards, Guitars, Vocals
*Steve Burgh - Guitars, Organ, Vocals
*Derrek Van Eaton - Vocals
*Tim Case - Drums
*Bruce Foster - Guitar, Banjo, Organ
*Steve Mosley -  Drums
Guest Musician
*Denny Storley - Congas

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Louie And The Lovers - The Complete Recordings (1970-72 us, impressive guitar folk psych roots 'n' roll)

 

In 1970, I worked at Rolling Stone magazine and got to know Doug Sahm, the eccentric Texas rocker and leader of the Sir Douglas Quintet. He was living in Marin County, Calif., but was uneasy living in what he considered the big city. One day, he vanished, and I was told he'd gone to Vancouver. But it wasn't true: He called me out of the blue and told me he'd discovered a great band out where he was living now: Prunedale. This turned out to be about five miles north of Salinas, smack in the middle of what was then violence-ridden agricultural country, where Cesar Chavez was organizing the farmworkers and meeting resistance from the big growers.

Doug wasn't telling the strict truth. In fact, it had been his wife Violet who'd discovered Country Fresh, as its members were calling themselves, a band that had formed in high school around Louie Ortega's songwriting talents, Frank Paredes' guitar, Steve Vargas' bass and Albert Parr's drums. Vargas knew someone who knew Violet Sahm, and so she got a copy of a tape the band had made to help it get gigs. After one listen, she knew she had to get Doug to listen to it, which wasn't easy. Once he did, though, he flipped, and started agitating to get them a deal. Epic Records took the bait, and Doug told the band that he'd rechristened them Louie and the Lovers in the course of contract negotiations. He hustled them up to Columbus Studios in San Francisco, where he was also recording the Sir Douglas Quintet, and he produced a mammoth 18-hour session that resulted in Louie and the Lovers' first album, Rise.

Doug saw to it that Epic didn't release the album until the four boys graduated from high school, but then nothing happened. Two singles, "Rise" and "I Know That You Know," were released, and the latter was praised by Greil Marcus in Rolling Stone. There was no tour, but I saw the band play at Keystone Berkeley one night, and it was a magnificent show until Doug decided he could make it even better by jumping onstage, plugging in and turning up to 11, drowning out the band.

But Epic believed in the guys enough to fund another album, which Glen Kolotkin co-produced with the band. A single, "Tomorrow Just Might Change," has survived from this, and it's pretty good.

Two other tracks, "Little Georgie Baker" and "Tomorrow Just Might Change," show that Louie Perez was still writing memorable melodies. Doug had disappeared back to Texas, but since Louie and the Lovers were a big deal in and around Salinas, they worked a lot.

Then the legendary producer and co-owner of Atlantic Records, Jerry Wexler, came on the scene. He was crazy about Doug and signed him to Atlantic, and Doug raved about this band he knew in Prunedale. Wexler sent his private jet to fly them to Florida to record — the first time any of them had flown — and when they got there, they found not only Doug, but the Memphis Horns and another friend of Doug's, the legendary San Antonio accordionist Flaco Jimenez on his first trip out of Texas.

To my ears, the song "Ya No Llores" was about the best thing on the session. The rock stuff sounds crowded, what with all the talent in the room, and even though the vocals for the entire album were re-recorded in Hollywood, Atlantic shelved it after spending tons of money on it. Back in Prunedale, two of the guys left for day jobs, and Louie Perez and Frank Paredes soldiered on playing around Salinas and making a living at it.

One day in the early '80s, Perez found himself at a Doug Sahm show at the Whiskey a Go-Go in Los Angeles, and Doug called him on stage to sing "I Know That You Know." Shortly thereafter, Perez got a call from Doug asking if he could go on tour. The next day, he was on a plane to the Midwest. From then until Doug died in 1999, Louie Perez played, not only in the various versions of the Sir Douglas Quintet, but later in the Texas Tornados, the supergroup Doug formed with keyboardist Augie Meyers, Freddie Fender and Flaco Jimenez. He's still writing and recording songs, living in San Luis Obispo. As he told me a few years ago, he can work seven days a week if he wants to. Cesar Rojas of Los Lobos is a fan. Me, too. 

by Ed Ward

Tracks
1. Rise - 3:59
2. I've Always Got You on My Mind - 3:05
3. Sittin' by Your River - 3:50
4. Driver Go Slow - 3:11
5. I Know You Know - 2:51
6. Royal Oakie - 2:46
7. I Don't Want to Be Seen with You - 3:18
8. I Just Met You - 2:03
9. Rock Me Baby (Joe Josea, Riley King) - 3:21
10.If the Night (Chris Darrow) - 3:32
11.It's the Morning - 2:43
12.Four-Time Loser - 2:17
13.Little Georgie Baker - 3:07
14.Tomorrow Just Might Change - 1:48
15.Out of Jail (Steve's Tune) (Steve Vargas) - 4:05
16.My Belief in You - 2:45
17.Caribbean (Mitchell Torok) - 2:15
18.We Don't Have to Change - 2:49
19.Spread Some Love Around (Doug Sahm) - 3:08
20.Forgive Me This Time - 2:57
21.Ya No Llores - 2:11
22.Please Wake Up - 2:40
23.Down Around Salinas (Jackie DeShannon) - 3:35
24.La Paloma (Sebastián Yradier) - 2:26
25.If You Ever Say You Love Me (Doug Sahm) - 3:42
26.El Paso (Marty Robbins)- 4:40
27.Never Be a Saint - 4:17
All songs by Louie Ortega except where noted

Louie And The Lovers
*Louie Ortega - Guitar, Vocals
*Steve Vargas - Bass, Keyboards, Organ
*Albert Parra - Drums
*Frank Paredes - Bass, Guitar, Vocals
Guest Musicians
*John Rendon - Vocal Guitar
*Flaco Jiménez - Accordian
*Joe Lala - Timbales
*David "Fathead" Newman - Memphis Horns, Saxophone
*Dr. John - Keyboards
*Charlie Owens - Steel Guitar
*Doug Sahm - Guitar, Producer

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Peter Green's Fleetwood Mac - Live At The BBC (1967-71 uk, classic blues rock, double disc issue)

After many years of wailing I am proud to be able to present to you an incredible selection of Fleetwood Mac songs found deep from within the archives of the BBC. I searched tor a way in this first release to portray the magic of those early Fleetwood Mac days and to also show a very different side of the hand that many of 'you may not have even known existed.

This journey into my past was one that has not only reconnected me with main personal memories, hut one that has given me insight; a reminder of why the passion of playing has stayed with me for all these years. Now you may be asking who all these young players are? We are Peter Green. John Mc-Vie. Jeremy Spencer. Danny Kirwan and Mick Fleetwood. In simple language, we were a group of young Englishmen who assembled themselves around one person - Peter Green.

Even looking back now it amazes me how Peter's vision came through his music, and how that vision helped to create, and to leave behind an incredible feast of work. These BBC recordings may for the first time allow many of you an insight into Peter's live performances with Fleetwood Mac. Peter was a player with passion, a special touch and incredible talent. He was a player I am proud to say I was able to play drums with!

Jeremy Spencer, now how does one describe this tiny man of 5 feet 3 inches with the power of a giant. As you will hear on these recordings. Jeremy brought not only his love of the blues (which is demonstrated with his passion for Elmore .lames), but also his obsession for rock and roll, a side of him that in many ways would leave its imprint on the band's history. While performing live Jeremy always had a sense of f u n with the music.

I only wish that some of these sessions had been caught on film, for seeing was believing this crazy man on stage, Lest we not forget, he was also one hell of a slide guitar player. John Mc-Vie and myself I put together, for we are still just that - together. Musically he is a Bass player that has an innate ability to be there always in the right amounts and at the right time.  His sense of knowing is still very- often my guiding light.

Danny Kirwan was to join the original four members of Fleetwood Mac and to add a freedom to our music. This freedom of having 3 guitars was something especially Peter had found the need to explore. On these tapes you will certainly hear that musical magic between Peter and Danny. I believe there was an innocence in Danny that lent itself to the bands journey into the world of harmonies and melody.

In the end I think it is fair to say that all five original members contributed their own musical steps to the dance that was Fleetwood Mac.
I hope you like myself, enjoy the spirit of these BBC recordings.
by Mick Fleetwood

Tracks
Disc one
1. Rattlesnake Shake (Green) - 7:37
2. Sandy Mary (Green) - 4:58
3. I Believe My Time Ain't Long (Johnson arr. Spencer) - 2:58
4. Although the Sun Is Shining (Kirwan) - 2:30
5. Only You (Kirwan) - 2:49
6. You Never Know What You're Missing (Spencer) - 2:50
7. Oh Well (Green) - 2:24
8. Can't Believe You Wanna Leave (Price) - 3:25
9. Jenny Lee (Spencer) - 2:19
10.Heavenly (Unknown) - 2:35
11.When Will I Be Loved (Everly) - 2:11
12.When I See My Baby (Kirwan) - 2:09
13.Buddy's Song (Holly) - 2:07
14.Honey Hush (Turner) - 3:08
15.Preachin' (Unknown) - 3:03
16.Jumping at Shadows (Bennett) - 3:33
17.Preachin' Blues (Johnson) - 1:56
18.Need Your Love So Bad (Mertis John Jr.) - 3:48

Disc two
1. Long Grey Mare (Green) - 2:52
2. Sweet Home Chicago (Johnson) - 3:08
3. Baby Please Set a Date (McCoy) - 2:58
4. Blues with a Feeling (Jacobs) - 2:54
5. Stop Messin' Round (Green) - 2:14
6. Tallahassee Lassie (Slay, Picariello, Crewe) - 3:22
7. Hang on to a Dream (Hardin) - 2:56
8. Linda (Spencer) - 2:02
9. Mean Mistreatin' Mama (Carr) - 4:01
10.World Keeps Turning (Green) - 2:37
11.I Can't Hold Out (James) - 2:25
12.Early Morning Come (Kirwan) - 2:27
13.Albatross (Green) - 2:46
14.Looking for Somebody (Green) - 2:39
15.A Fool No More (Green) - 3:38
16.Got To Move (James, Seahorn) - 2:55
17.Like Crying Like Dying (Kirwan) - 2:32
18.Man of the World (Green) - 2:49

Fleetwood Mac
*Peter Green – Guitar, Vocals
*Jeremy Spencer – Guitar, Vocals, Piano
*Danny Kirwan – Guitar, Vocals
*John McVie – Bass
*Mick Fleetwood – Drums, Percussion

1968-71  The Best Of Peter Green's Fleetwood Mac
1969  Shrine '69

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Gift - Gift (1972 germany, excellent heavy prog rock)

 Gift were one of those "no compromise" heavy progressive bands, who've now achieved a considerable cult status. They started up in 1969 as the school band Phallus Dei. Three years later Uwe Patzke (bass, vocals), Helmut Treichel (vocals), Rainer Baur (guitar) and Hermann Lanze (drums, percussion) recorded the first Gift album at Union Studios in Munich, produced by Otto B. Hartmann.

Nick Woodland (guitar) was listed on the sleeve of their first album, but he had quit Gift before the recording session began, to join Subject Esq., later Sahara. The album comprised eight songs with no flutes, no woodwinds and no keyboards, just plain hard guitar riffs, to be compared to Hairy Chapter. Some of the lyrics had clear anti-drugs messages.

by Dag Erik Asbjornsen

Tracks
1. Drugs - 05:21
2. You'll Never Be Accepted - 06:43
3. Groupie - 03:17
4. Time Machine - 03:16
5. Game Of Skill - 05:35
6. Don't Hurry - 05:13
7. Your Life - 04:39
8. Bad Vibrations - 03:38

Gift
*Rainer Baur - Lead Guitar
*Hermann Lange - Drums, Percussion
*Uwe Patzke - Bass, Vocals
*Helmut Treichel - Lead Vocal
*Nick Woodland - Lead Guitar, Vocals

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Aphrodite’s Child - End of the World (1968 greece, debut album, splendid melodic psychedelia, 2010 esoteric remaster)

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Their 1968 debut, End of the World, is a splendid piece of often eerie psychedelia, which hints at the progressive road down which they’d soon be travelling.

The title track immediately lets you know what they’re all about. Expect lightly accented (though completely English) vocals, delivered in a near-operatic warble by Roussos. Expect psychedelic effects to be heavily interwoven throughout, giving it an altogether eerier edge. And expect a very faint, but slightly disconcerting, feel of 1970?s Eurovision.

‘Mister Thomas’ is the Aphrodite’s Child take on the very English sub-genre of baroque Toytown-psych, and a fine one at that. If it wasn’t for the Eurovision accent it could easily pass for a lost recording from the likes of the Idle Race or Tomorrow.

‘Rain and Tears’, the band’s biggest success, becoming a hit in a host of countries across Europe, is a bit of a sappy ballad, but one that’s lifted by the Vangelis sonic arrangement, which excuses the insipid lyrics and hoists what could’ve been a painful listen out of the murky trough of mundanity.

And so it goes on. Some great, some good. There’s a certain darkness entwined along the seam of End of the World, as demonstrated on songs such as the aforementioned title-track, ‘The Grass is no Green’ and the histrionically enhanced, near-terrifying ‘Day of the Fool’, which, incidentally, features the bizarre couplet “… she knows what’s up in my mind, she smells like a tree …”

Very much so. It’s more common than you think. But enough of that. From top to tail End of the World is good stuff. Slightly off-kilter, creepy psychedelic rock, with a hint of the continental thrown in for good measure.This reissue of End of the World offers two bonus tracks, the single ‘Plastics Nevermore’ and its B-side ‘The Other People’.
Nick James

Tracks
1. End of the World - 3:14
2. Don't Try to Catch a River - 3:39
3. Mister Thomas - 2:50
4. Rain and Tears - 3:12
5. The Grass Is No Green - 6:05
6. Valley of Sadness - 3:13
7. You Always Stand in My Way - 3:55
8. The Shepherd and the Moon - 3:03
9. Day of the Fool - 5:56
10.Plastics Nevermore (Bonus Track) - 2:30
11.The Other People (Bonus Track ) - 3:08
Music by Vangelis Papathanassiou, lyrics by Boris Bergman except track 4, lyrics co-written by Johann Pachelbel.

Aphrodite’s Child
*Demis Roussos - Vocals, Acoustic, Electric Guitars, Bass, Bouzouki
*Vangelis - Keyboards, Percussion, Vibes, Flute, Vocals
*Loukas Sideras - Drums, Percussion, Guitar, Vocals.
*Claude Chauvet - Additional Vocals on "End Of The World" & "Rain And Tears"

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Woodbine - Roots (1971 us, nice blended folk with slight country flavor, 2010 korean remaster)

Woodbine was a Milwaukee local folk rock band fromed by Bill Camplin early 70's. "Roots" is a live album recorded at a coffee house and the entire perfomance was captured live. The album contains eight excellent tracks. An obscured American Folk Rock album at its top. 

Tracks
1. Jezebel 03:29
2. Jesse's Mountain Range 06:28
3. Old Man 05:17
4. The Harvest 07:50
5. Red Velvet 03:16
6. Save The Life Of A Simple Child 05:24
7. Hold On 04:59
8. Can A Star Disappear 09:51

Woodbine
*Bill Camplin – Guitar, vocals
*Bob Mueller – Drums
*Ken Pfaff – Bas, vocals
*Bruce Riddiough - Guitar

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Country Funk - Country Funk (1969-71 us, beautiful psych country folk rock)

Country Funk was a folk-rock/country-rock group whose members at one point played in earlier psych pop combo Adam. The group materialized in Los Angeles but then moved out to Boston where they played all the well known venues of the day. Country Funk shared the stage with many of rock’s biggest names and because of their affiliation with Beantown, the group are usually remembered (unfairly so) as part of the Bosstown Sound.

From 1968 to 1970/1971 they recorded quite a bit of studio material, enough to fill out two albums. In 1970, Polydor would release Country Funk’s only album in a generic blue sleeve with a black and white photo of the band. While no classic, Country Funk is still a very good album (kind of a mini gem) thats appeal lies in its consistency (no weak tracks) and timeless sound – think Buffalo Springfield, The Byrds, CSN&Y and Poco. The group clearly had a knack for blending the blues, country, hard rock, folk, and psych into something that’s refreshing. The members of Country Funk could also play and write with the best of them, never overextending their songs or falling prey to dated 60s cliches.

The album opens with “Apart of Me,” a track that was issued as a single in 1970 and some years down the line, sampled by alternative pop star Beck Hansen. Clearly one of the LP’s highlights, this excellent track begins as a care-free country folk-rocker, exploding midway through into a soulful fuzz guitar rave-up. The vocals are a dead ringer for Stephen Stills circa Buffalo Springfield Again - definitely a compliment here. Other winners are the trippy folk-rock of “Phoebe,” a track that recalls David Crosby’s work on the Byrds’ Younger Than Yesterday and the spritely country-rock of “A Way To Settle Down.”

Country Funk tempers the album’s softer moments with hard edged fuzz tone guitar workouts such as “Another Miss” and “When I’m Without You.” These cuts give Country Funk an attractive classic rock/psychedelic edge. Also, songs like “Poor Boy,” “For Me,” and “Really My Friend” deliver the classic West Coast style folk-rock goods with aching melodies and harmonies to spare – not to mention tambourines and fine, world weary vocals. Given the quality of Country Funk, one wishes the group had stuck around long enough to record a follow up to this very promising LP.

Solid songs and thoughtful songwriting, succinct guitar solos, good use of fuzzbox and spirited vocals make Country Funk one of the finer, unsung American LPs of it’s time. Its been reissued no less than three times but our nod goes to British label Slipstream, who is now offering a group authorized version of Country Funk, which includes the single sides by precursor group Adam.
by Jason Nardelli

Tracks
1. Apart of Me - 3:36
2. Phoebe (Mourning Pink) - 2:10
3. Really My Friend - 4:05
4. Not This Time - 2:03
5. For Me - 2:59
6. Poor Boy - 4:46
7. A Way to Settle Down - 2:24
8. When I'm Without You - 4:54
9. Comin' In - 3:06
10.If I Find a Way (Song of Love) - 3:05
11.Another Miss - 2:52
12.Want - 4:40
All songs by Hal Paris, Adam Taylor

Country Funk
*Adam Taylor - Lead Guitar,
*Hal Paris - Rhythm Guitar, Piano
*Jeff Lockwood - Bass
*Verne Johnson - Percussion, Vocals
*Joe Pfeifer - Drums, Vocals (Tracks 4,5,7,12)

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Neil Merryweather, John Richardson And Robin Boers - Neil Merryweather, John Richardson And Robin Boers (1970 canada, incredible heavy psych blues rock, Vinyl edition)

After his exit from the band “Merryweather”, Neil and his manager flew to Toronto where Neil found his new band members. He recruited Robin Boers as drummer. Robin was in the “Ugly Ducklings”, a local Toronto band that had a single on the Canadian charts. For guitarist, he chose John Richardson who had played with the “Lords of London” and “Nucleus”, two popular bands on the Toronto scene. Neil and Morey Alexander flew them back to LA.

The “Merryweather, Richardson & Boers” album was recorded for Kent Records as a one-off deal to raise money to support the band, with the advance being used to rent a house to live and rehearse in. The LP was recorded in one night at Paramount Studios. Neil wrote the songs on the fly, they did a couple of cover songs, and it was done in about four hours. It was quickly mixed at Village Recorders.

Neil brought Jack Velker into the crew to play organ. He was a member of a Canadian band called the “49th Parallel” that disbanded in LA.

“Merryweather, Richardson & Boers” added Neil’s girlfriend, Lynn Carey, to the band for some more recordings at Kent Studios. They did covers of “Shop Around” and “Lucille” with Neil and Lynn singing a two-part harmony. Kent Records put the songs out as a single by “Mama & Papa Rock ‘n’ Family”.

“Merryweather, Richardson & Boers” never played a live date.
Neil Merryweather

Tracks
1. Aren't You Glad That You Know (Merryweather) - 3:08
2. City Boy (Steven Stills) - 3:00
3. Dust My Blues (Elmore James) - 2:38
4. Flat Black (Richardson, Merryweather, Boers) - 4:15
5. You Must Live It (Carey, Merryweather) - 2:48
6. Your Real Good Thing Is About To End (David Porter, Isaac Hayes) - 3:32
7. Local 149 (Velker, Richardson, Merryweather, Boers) - 10:57

Band
*Neil Merryweather – Vocals, Bass
*John Richardson – Guitar
*Robin Boers – Drums
*J.J. Velker – Organ

1969  Merryweather
1971  Neil Merryweather And Lynn Carey - Vaccum Cleaner
1973  Heavy Cruiser - Lucky Dog

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Siegel-Schwall Band - R.I.P. Siegel-Schwall (1974 us, fantastic blues rock, Vinyl issue)

Before the Siegel-Schwall Band decided to wrap things up, they released one more album, and it became one of their best. With their bountiful, down-on-the-farm blues sound led by Corky Siegel's harmonica, R.I.P. became an excellent sendoff for one of the most enjoyable groups ever to play this style of blues music.

Most of the cuts belong to the band's favorite musicians and songwriters, but are wonderfully molded in the SSB's traditional style of rollicking piano riffs and greasy mandolin. "Take Out Some Insurance" kicks things off with a wallop, followed by a respectful cover of John Prine's "Pretty Good."

Although the lyrics aren't exactly dead-on, the band's version of Little Richard's "I Can't Believe You Wanna Leave" fairs as one of the album's strongest tracks, and the background vocals on "Night Time's the Right Time" give the song its character as the band humorously tries to imitate a horn section.

Little Walter's "Tell Me Mama" and Jimmy Reed's "You Don't Have to Go" are equally impressive, right down to Sheldon Plotkin's loosely knit percussion work, and the whistles and foot-stomping that fill the album's last track are proof that these guys weren't just another blues band. 

Every one of the Siegel-Schwall Band's albums have something to offer, but they really outdid themselves on R.I.P., their farewell album.

by Mike DeGagne

Tracks
1. Take Out Some Insurance (Charles Singleton, Wadense Hall) – 3:19
2. Pretty Good (John Prine) – 2:53
3. (I) Can't Believe You Wanna Leave (Leo Price, Richard Penniman) – 2:54
4. Wild About My Lovin' (Traditional) – 4:07
5. Night Time's The Right Time (Nappy Brown, Ozzie Cadena, Lew Herman) – 4:52
6. I'm A Hog For You Baby (Jerry Leiber, Mike Stoller) – 4:38
7. Tell Me Mama (Walter Jacobs) – 1:52
8. You Don't Have To Go (Jimmy Reed) – 3:31
9. Long Distance Call (McKinley Morganfield) – 4:51
10.It's Too Short (W. R. Calaway, Clarence Williams) – 2:46
11.Women Make A Fool Out Of Me (Johnny Bond) – 3:20

The Siegel-Schwall Band
*Corky Siegel – Piano, Harmonica, Vocals
*Jim Schwall – Guitar, Mandolin, Vocals
*Rollo Radford – Bass, Vocals
*Shelly Plotkin – Drums, Percussion

The Siegel Schwall tales
1971  The Siegel-Schwall Band
1972 Sleepy Hollow

1973 953 West

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