Ritchie Blackmore's Rainbow - Selftitled (1975)

(U.S / U.K 1975-1984, 1993-1977, 2015-Present)

Rainbow was formed in 1975 by Deep Purple's guitarist - Ritchie Blackmore. The band lasted from 1975-1984 and then 1994-1997. The reason there was a sizeable gap between the years is because in 1984 Deep Purple had reunited to record Perfect Strangers and The House of Blue Light. Unfortunately, old tensions never die. Ritchie Blackmore and singer Ian Gillan once again started fighting. This went on until about the early 1990s.

In 1974, Ritchie Blackmore publicly announced his dislike of the funk/soul (or as Blackmore called it, "shoeshine music") elements being introduced to Deep Purple by David Coverdale and Glenn Hughes, as well as the disappointing Stormbringer album where his favourite musical style wasn't adequately captured. Blackmore originally intended to release a solo single, the Steve Hammond-penned "Black Sheep of the Family", with "Sixteenth Century Greensleeves" on the B-side.

He recorded these during a studio session in Tampa Bay, Florida on 12th December 1974 with singer/lyricist Ronnie James Dio and drummer Gary Driscoll from the blues-rock band Elf, former Procol Harum keyboardist Matthew Fisher, and cellist Hugh McDowell of ELO. Satisfied with the two tracks, Blackmore decided to make a solo album, replacing the keyboardist and bassist with Elf members Mickey Lee Soule and Craig Gruber, respectively.

 A full album was recorded in Musicland Studios, Munich, Germany in about 3 weeks in February 1975. And, of course, Blackmore got his cover song "Black Sheep of the Family" on this album. Though it was originally thought to be a solo album, the record was billed as Ritchie Blackmore's R-A-I-N-B-O-W. Blackmore finally decided to leave Deep Purple and form his own band 'Rainbow'. The name of the band was inspired by the Rainbow Bar and Grill in Hollywood that catered to rock stars, groupies and rock enthusiasts.

Rainbow's debut album also featured the minor hit "Man on the Silver Mountain". This first line-up never performed live. Blackmore and Dio did all the promotional work for the album.

Ritchie Blackmore (Guitar)

Rainbow's music was partly inspired by classical music since Blackmore started playing cello to help him construct interesting chord progressions, and Dio wrote lyrics about medieval themes. Dio possessed a versatile vocal range capable of singing both hard rock and lighter ballads. Although Dio never played a musical instrument on any Rainbow album, he is credited with writing and arranging the music with Blackmore, in addition to writing all the lyrics himself.

Ritchie Blackmore’s R-A-I-N-B-O-W entered the US chart at No.79 on September 6, and went as high as No.30 in a 15-week run. Two weeks after that debut, the album peaked at No.11 in the UK, on its way to silver certification from trade body the BPI. By the autumn, the new band were on the road with Blackmore at the helm, as they grew into one of the big new rock names of 1975.

Ronnie James Dio (Vocals)

Album Review
(by Christian Collins at Metal-Archives.com)

Ritchie Blackmore's Rainbow is an instant classic, as they say. The opener "Man on the Silver Mountain"', is a catchy song with a crunching Blackmore riff reminiscent of 'Smoke on the Water.' This song will always be a favorite of mine. Even near the beginning of Dio's career, his voice is so strong, developed, and articulate. You can tell Blackmore is having fun with this album because it's just so enjoyable. The union of Dio's voice and Blackmore's riffs and neoclassical style is just magical. The next track, "Self Portrait", is another great song. The way Dio shouts, 'DOWN!' and leads into the guitar solo is amazing. Next comes the cover, "Black Sheep of the Family" It's a shame Blackmore's idea was rejected by Deep Purple, I can totally picture Coverdale and Hughes harmonizing the lyrics to this song. However, I am ever grateful for the Rainbow project, and the Blackmore-Dio union. This is a great song, and Rainbow does it justice.

Craig Gruber (Bass)

Next comes, "Catch the Rainbow". This track is the softest on the album, but it's one of the best, maybe the best. Nope, it is the best. Especially listening to this song more than a decade since Dio's passing... almost brings a tear to my eye.

And sail away on ships of wonder
But life's not a wheel
With chains made of steel
So bless me, oh, bless me, bless me
Come the dawn...

Mickey Lee Soule

Such a beautiful song. Just pure bliss for me. Slow and melodic guitar parts, and Dio matches it well. Some may think it goes on a little too long towards the end and kind of peters out, but I love that part. It just adds to the song's beauty. Moving on to "Snake Charmer" (which was by the way the B-side to the single "Man On The Silver Maountain".  This song is a great example of Blackmore's eastern playing style. This would fit right in on the "Long Live Rock 'N' Roll" album that would come three years later. Very upbeat song, similar to "Black Sheep of the Family", but I don't like this one as much. Still a great song in my opinion. The next song "The Temple of the King", seems to appeal to a lot of fans. I tend to agree, but a bit overrated I'd say. It's another slow song, and it's acoustic. Very stripped down, and displays the fantasy/medieval lyrics of Dio, which will continue to be ever present in Dio's career. The song builds up very nicely, and is well crafted overall.

Then comes "If You Don't Like Rock N Roll". This is a very short piano rock tune, that seems like they pulled from an Elf album, but they didn't. I'd prefer a lot of Elf's music over this song. This hurts the album slightly as it's the only song that isn't up to scratch. It can still be enjoyable, but it kind of goes against the mood of the album. Next is "Sixteenth Century Greensleeves".  This is definitely one of my favorites in Rainbow's discography. So much emotion on Dio's voice, the guitars riffs are haunting, and the solo is magical and fits the mood of the song so well. This songs builds up so well, however, I wish it didn't fade out. It deserves a proper ending.

No more night
We have seen the light
Let it shine on bright
Hang him HIGHER, HIGHER
Put a man on the fire

Drawbridge down
Cut it to the ground
We're going to dance around the fire
The FIRE, FIRE

Gary Driscoll

The last song, "Still I'm Sad" is an instrumental and is a Yardbirds cover. It's a great tune. Not much to say, but Blackmore does a great job of making it very epic with his unique playing. When Blackmore revived the project in 1995 and released "Stranger in Us All", he rereleased the song, but with lyrics. I recommend that version.

Well that's it, a review of one of my favorite albums of one of my favorite bands. The Blackmore-Dio combo is truly amazing, and the other musicians from Elf did an adequate job of supporting, but they are no Cozy Powell or Jimmy Bain. Just listen to their next album "Rising". Truly a masterpiece. 

The artwork for this album is very cool and fitting for the music, but it's so vintage, it hurts my eyes. The album marks the birth of Dio's career. I don't quite count Elf or his previous bands, though I do enjoy the three albums they released, particularly their first. What an amazing start.

R.I.P. Ronnie James Dio (1942-2010)

Man On The Silver Mountain '45' Anomaly

It was my intention to include a recording of Rainbow's first single as a 'bonus track', because the 45 label indicates the track length to be 3:54min long, and shorter than the album version which is 4:33min. (see label scan left)

However, after ripping the single I discovered that the length of the single is in fact the same as the album release - so there is no difference. 

Perhaps a typo mistake during the pressing process OR maybe it was done on purpose, to trick the radio stations into thinking it was shorter, so they would be more likely to play it. 

I've had this single for nearly 50 years and never noticed this discrepancy !

This post consists of FLACS ripped from my gatefold vinyl (U.S pressing) and includes full album artwork for CD and vinyl and label scans. Sadly my copy was released on the Polydor label and not the 'cooler' Oyster label (shown below).  But I'm still happy to own this album. I have most of the Rainbow collection on vinyl and it is my intention to post these in the future, especially 'Rising' and 'On Stage'.

Tracklisting:

01 Man On The Silver Mountain 4:33

02 Self Portrait 3:16

03 Black Sheep Of The Family   3:20

04 Catch The Rainbow 6:40

05 Snake Charmer 4:30

06 Temple Of The King 4:46

07 If You Don't Like Rock n' Roll 2:36

08 Sixteenth Century Greensleeves 3:35

09 Still I'm Sad    3:53

Band Members:

Ritchie Blackmore - Guitar

Ronnie James Dio - Vocals

Gary Driscoll - Drums

Craig Gruber - Bass

Mickey Lee Soule - Paino, Mellotron, Clavinet & Organ

Ritchie Blackmore's Rainbow Link (205Mb)

Ralph McTell - Not 'Till Tomorrow (1972)

(U.K 1968 - Present)

One of the great storytellers, Ralph McTell, is now celebrating more than 50 years on the road. Known for his virtuoso guitar style, he is primarily a prolific and gifted songwriter. With a style that invites you into a unique world, he weaves a narrative that is both significant and poignant.

Ralph made his debut in 1968 with the album ‘Eight Frames a Second’ and in 1974 the release of ‘Streets of London’ earned him an Ivor Novello Award.

'Not till Tomorrow' (1972) was McTell's fifth album to be released (aside from the remixed compilation Revisited) – and first album to chart – in the UK; and his third album to be released in the U.S. 

Ralph had been phoned and asked if he had decided on a title for the album and, wishing to give himself another day to come up with a title, responded "Not till tomorrow" which was misunderstood to be the name he had given to the album. By the time the mistake was found it was too late.

Reprise Album Release Notes:

Ralph McTell's first album for Reprise is the one his English following critics and civilians, alike-has been waiting for, and the one his soon-to-be American fans will one day realize they had been waiting for.

Producer Tony Visconti has triumphed in reconciling the recorded McTell with the live McTell. Not 'till Tomorrow has the former done credit to the latter.

Visconti (who produces T. Rex in his spare time, yet not without ministering tastefully to Tom Paxton in that same role) has used the minimum of personnel to fullest effect.

Ralph sings, plays acoustic guitar, keyboards and harmonica-just as he would on stage. Danny Thompson (borrowed from Pentangle), plays double bass, and Laurie Allan, percussion Tony Visconti and wife (nee Mary Hopkin) supply backing vocals.

Mary & Tony Visconti

There are a couple of themes that dominate his lyrics-specific personalities (often misfits), rovers and outcasts in general, and, of course, autobiographical things (making it clear why he's attracted to rovers and talented misfits).

Danny Thompson

The album leads off with "Zimmerman Blues," a not too disguised reference to Bob Dylan, sung in the first person by Ralph. His voice ripples hypnotically as he recounts the hazards of success, the nostalgia for bare beginnings.

On the same side he includes a terribly, terribly sad but lovely tribute to American-born poetess Sylvia Plath, who took her own life a number of years ago.

The song "Birdman." though it mentions no names. concerns George Jackson. It is a rebellious and gritty Delta-style blues, with some hairy slide playing, The vocal is subtly echoed, as if to reinforce the sense of a jail cell The integration of a verse from the traditional "John Henry" is an especially good touch.

Singing of more random anti-heroes, Ralph lives out his Wild West fantasy in "When I Was a Cowboy" (of the drug-store or midnight variety?)  It has a jaunty, if somewhat crippled, gait and the lonesomest harmonica this side of the Rio Grande (...er, the Thames?)

Ralph McTell UK Tour 1972

Taking this theme more seriously is the lengthy last track, "Gypsy," a spirited, if bitter, summary of the gypsies' right to be, calling on their magic. ("We fit in your landscape as the sixth to the five senses. ")

"Barges" and "Nettle Wine" are auto-biographical country reveries, one from childhood, the other from now. The barges and leather-skilled boatmen that absorbed a younger Ralph still ply England's network of inland canals. Older, he gives concise instructions for brewing nettle wine and stalking sunsets. A less inviting scene is conjured by "Standing Down in New York Town," suggesting it's not even a nice place to visit any more

Some James Taylor-type guitar picking leads into an altogether personally McTell tale, "First Song." A love song to a song, and to whoever caused him to write it Judging from "First Song's" companions on Not 'Till Tomorrow, it was the start of something big.

This post consists of FLACs ripped from my super clean vinyl and as usual includes full album artwork and label scans. It is interesting to note that my copy has a release date of 1972 on the back cover while the Reprise vinyl labels state 1973.  I wonder whether this discrepancy is somehow related to the delayed date of the album because Ralph couldn't decide on the album title !   

I quite like this album - especially the catchy track "When I Was A Cowboy", however for some reason I don't really like the last track "Gypsy", as the riff really annoys me and it drags on for ever. But I'll let you be the judge..... it's probably just me !

Side One

1. ZIMMERMAN BLUES 3:50

2. FIRST SONG 2 39

3. WHEN I WAS A COWBOY 4:00

4. NETTLE WINE 2:28

5. SYLVIA 3:40

6. BIRDMAN 6 10

Side Two

1. BARGES 4:28

2. STANDING DOWN IN NEW YORK

TOWN ONE DAY 3:58

3. ANOTHER RAIN HAS FALLEN 3:57

4. THIS TIME OF NIGHT 4:27

5. GYPSY 6:14

The Band:

Ralph McTell - Vocals, Acoustic Guitar, Piano, Harmonica, Organ

Danny Thompson - Double Bass

Laurie Allan - Percussion

Tony Visconti - Sitar, Recorders, Organ, Backing Vocals, Producer

Mary Visconti - Backing Vocals

Ralph McTell Link (247Mb)

Billy Thorpe - Stimulation (1981)

(Australian 1956 - 2007)

In 1981, things began to slow down again for Thorpie. In March, Billy Thorpe turned thirty-five and it seemed to give him pause. He returned to Australia to play shows for the first time in two years, and was more than a little taken aback at the number of ‘old’ people who recognised him in the street. While the always youthful lad, Billy sometimes appeared to live in a ‘Peter Pan’ world, his audience was ageing in real time.

[Billy]  'It’s frightening. Because when you’ve been around so long people tend to think you are much older. I mean, I’m thirty-five but people think I’m fifty-five!

‘I realised America was a challenge, that there were no challenges left for me here, and people were taking me for granted because I’d been around so long. But in America if people didn’t like me it was just that. It wasn’t because of something they’d read or heard about me or something I’d done in the past . . . I’m established in America now. I’ve reached that level where I automatically get airplay. I’m over the first hurdle and off and running.’

However confident Billy sounded to Australian reporters, 'Stimulation', his third US album, hadn’t exactly delivered more hits. On this album, the ‘sci-fi androgyny’ even carried over to several incredibly high-pitched, almost feminine vocals. Billy was of course simply breaking out of his comfort zone and it was no more than any other artist of the period would have done. Disco and country music were the two most popular music forms among the wider listening audience that year, even though in the cooler parts of town, the young people were listening to the so-called New Wave bands, punk and post-punk artists and singer-songwriters who had something to say and a new—or at least interesting—way of saying it. 

[Billy] ‘With the second side [of Stimulation] . . . I tried a slightly different approach. We open up the second side with a track called “Syndrome DOA”, which is an acoustic . . . Well, it’s got an African flavour to it.’

Gil Matthews (drums), Billy Thorpe, Leland Sklar (bass)

Billy had been inspired by a documentary he’d seen about Ethiopia, and the North African motif was one that would surface again later. 

[Billy] ‘We used a couple of African drummers on it. It’s very “chanty”. Lots of voices singing the chorus and there’s a big percussion breakdown in the middle of it.’

[Cotton Bowl, Texas, 1980] With Leland Sklaar and Gil Matthews

As always, it made sense to Billy to keep developing his songwriting and image collectively as an artist, no matter what the consequences. Without the safety net of his faithful Australian audience, he had to keep pushing himself to renew his approach to music each time he made an album. This time, he’d gone as far as to record nearly every instrument on the album himself. He played bass, guitar and keyboards and programmed the ‘drums’ on some of the songs. 

[Billy] ‘On a couple of tracks on the second side, we used a drum machine and a drummer together. And it’s very effective.’ 

L to R-Billy Thorpe, Lauren Brown, Spencer Proffer

Making records that allowed him to experiment kept him interested, and he took the crowds with him. That desire to innovate is what allowed him to succeed as he did in America.

As the eighties progressed, Australian bands had really started competing for radio play in the US market. Little River Band was so big in the late seventies in the US that audiences were often surprised that Glenn Shorrock didn’t have an American accent.

Billy with wife Lynn

Olivia Newton John, with whom Billy and Lynn were close, was likewise huge there not only as a singer but as an actress; her innate charm and success in Grease had made her immensely bankable in Hollywood. AC/DC was also becoming enormous in America’s South, where their unreconstructed Rock’n’Roll was becoming as much a part of teenage culture as it was in the Australian suburbs.

There can be absolutely no doubt that Billy wanted that same success, and he tore after it with his usual flair. He had had years of insecurity in Australia, followed by years when the money rolled in and out in disproportionate amounts. Mushroom took a punt on Billy’s US songs in 1981, releasing the single "In My Room"/"She’s Alive" in February and another, "Just the Way I Like It"/ "Rock Until You Drop", in October. Neither single even registered on the Australian charts, but Thorpe went back to Australia to promote them in October, culminating that tour with an appearance at Tanelorn Festival which is still talked about today. 

The Australian reviews for 'Stimulation' weren’t quite as dire as has been hinted at since; rather, the reception was simply subdued, and no one could figure out why Billy was working so hard to break America when he could have been pushing the Rock’n’Roll barrow here, making a living and keeping the audiences happy. 

The Telegraph in Sydney cited the ‘heavily instrumented . . . breath-grabbing number’ ‘Rock Until You Drop’ as being the sort of approach Billy should continue to take, saying that the title track, with its echoing vocals and slightly reggae-ish instrumentation, was ‘an area that perhaps he should leave alone’.

While touring Australia in 1981, Billy was interviewed by Donnie Sutherland for the T.V music show 'Sounds' and talks about his then current album Simulation and his time in the states, in the YouTube clip below. Sadly, the clip does not feature a track from his Stimulation album, but rather his earlier single from 1976 "Almost Summer".

Rolling Stone’s Toby Creswell was less kind to Billy’s new album, describing side one as ‘watered down heavy metal and boogie’ and accusing Billy of writing lyrics that ‘rarely rise above trite’, although he praised the more contemporary sounds of side two. 

Bruce Elder reviewed the album for the short-lived magazine 'Record', and suggested awkwardly that now Johnny O’Keefe was dead, Billy was the heir apparent, even though he then dismissed the album as ‘half-masticated . . . boring . . . heavy metal schlock’. He rather unkindly used the title of the song ‘Syndrome DOA’ as being something of a prophetic metaphor for Billy’s music and career.

I think Billy had the last laugh - don't you?  [extract from 'Billy Thorpe's Time On Earth' by Jason Walker, 2009. p212-216]

Billy and his family - RIP Thorpie

This post consists of FLACS ripped from my newly acquired vinyl, which I recently purchased while visiting New Zealand.  The album is in mint condition and was sold a old 'new' stock - not bad for a mere $8 (NZ).  Full album artwork and label scans are also included.

I'm sure the wait has been worth it (if you saw my previous WOCK on vinyl 'Teaser' post) - so don't waste anymore time and grab this gem now!

Track Listing:

01  Just The Way I Like It  3:48

02  No Rules On The Road  4:50

03  Rock Until You Drop  4:49

04  You Touched Me  3:45

05  Let Me Outta Here  3:57

06  Syndrome D.O.A.  5:48

07  T.K.O.  3:40

08  Face In The Mirror  3:28

09  Stimulation  5:15

Musicians:

Drums - Gil Matthews / Alvin Taylor

Guitar - Billy Thorpe

Keyboards - Randy Kerber

Synthesizer - Billy Thorpe

Percussion - Geoffrey Hales

Background Vocals - Devin Payne

Background Vocals - Randy Bishop

Vocals - Billy Thorpe

Stimulation Link (243Mb)

W.O.C.K On Vinyl: Billy Thorpe - Retail Teaser for Stimulation LP (1981)

 

Before things get too serious at Rock On Vinyl, I thought it might be fun to post a song at the end of each month, that could be considered to be either Weird, Obscure, Crazy or just plain Korny.

It was 1976, and at the age thirty, Billy Thorpe felt he was being hampered by his past, roped in with guitar leads, hemmed in by walls of amplifiers and the anticipation of a crowd wanting more of the same old pisssucking bullshit. But any artist who is content to stagnate in the past would never take the opportunities Billy was preparing to take. And so, he left Australia in December 1976, bound for America, and ready for anything.

In 1979, he released the highly successful solo space opera concept album entitled ‘Children of the Sun’ on Capricorn Records. The album was very successful at the time. After alot of prodding and promotional work, the 'Children Of The Sun' album got to number one on rock radio across America. It went to number one on request because of Billy's unique voice, his guitar playing ability and the efforts made by his producer.

He then went on to release three more studio albums while living in the States, with his next release on Electra/Asylum records titled '21st Century Man' (1980) peaking on the Billboard Pop Album chart top 200. The single "In My Room" from 21st Century Man had top ten chart success in Canada. His next two US-based releases 'Stimulation' (1981) and 'East of Eden's Gate' (1982), were recorded on the Pasha label, but didn't chart as well as the first two.

By 1986, he owned a recording and production studio in Los Angeles, where he worked on musical scoring for television series, including: War of the Worlds, Star Trek: The Next Generation, Columbo, Eight Is Enough and Hard Time on Planet Earth. He also collaborated with Mick Fleetwood and Bekka Bramlett in Fleetwood’s side project, a band called The Zoo.

In 1994, Billy finally returned to Australia as a conquering hero, and issued the three-CD box set 'Lock Up Your Mothers' and relaunched himself on the Australian pub and concert circuit.

During his time in America, Billy worked with Spencer Proffer, a renowned and accomplished record producer and manager. Having moved record companies for his last 2 albums (recording on Spencer's new CBS offshoot label 'Pasha'), it was decided that promotional material should be sent to the American radio stations and record stores, before the release of these albums.
And so the idea of using 'Teasers' in the form of single sided 45's, containing snippets of tracks on the pending releases, was born.

Billy Thorpe with Spencer Proffer

The retail teaser included for this month's W.O.C.K on Vinyl post was used for his 1981 'Stimulation' album and because of its 'Not For Sale' status and rarity, it absolutely ticks the box for Obscurity.  And in the spirit of what these 'Teaser' releases were used for, it is my intention to post Thorpie's 'Stimulation' album next month. And folks, in my opinion it's a cracker and well worth the short wait. 

Billy Thorpe - Retail Teaser (1981)

Demonstration 45 (Single Sided)

Released on Pasha Records in 1981

Track samples taken from The Pasha LP: "Stimulation" ARZ 37499

Track Samples:  "Just The Way I Like It", "Rock Until You Drop", "Syndrome D.O.A, "No Rules On The Road", "Let Me Outta Here", "Stimulation"

REPOST: The Gun - Selftitled (1968) + Bonus Tracks

(U.K 1967-70)
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The Gun were a little-known 60s British acid rock band who evolved into the 70s progressive hard rock trio Baker Gurvitz Army. The Gun began as The Knack, formed in 1963 by guitarist/vocalist Paul Gurvitz (born Paul Anthony Curtis, 6 July 1947, High Wycombe, Buckinghamshire; he was known by the surname Curtis until the early 1970s. Thereafter he adopted his family's actual surname, Gurvitz. The Knack changed its name with the development of a psychedelic style in the spring/summer of 1967, performing] at the final UFO Club concerts with bands such as Pink Floyd. In November, 1967 they made recordings for the BBC's newest flagship alternative music radio programme, Top Gear and twice played in the air.


Soon to expand into a sextet, with Paul's younger brother Adrian, then they were consisting as a power trio of Paul Curtis as bassist, Adrian Curtis (Adrian Gurvitz) as guitarist/vocalist (he also wrote all music and lyrics of The Gun), and drummer Louie Farrell (born Brian John Farrell, 8 December 1947, Goodmayes, Essex; he joined The Knack in mid 1966) to release two albums after being signed to CBS Records in early 1968.
In early 1968 the band scored a hit with the opening track from their self-titled album (1968), "Race With The Devil". Issued as a single in October 1968 it reached the top 10 in its native UK and #35 on the Australian Singles Chart (Go-Set) in March 1969. Jimi Hendrix quoted the song's riff during his song "Machine Gun" at the Isle of Wight Festival in 1970. "Race With The Devil" has been covered by Judas Priest (on the remastered CD version of Sin After Sin), Black Oak Arkansas (on their album Race With The Devil), and Girlschool (on their album Demolition)

Their debut album's cover is noteworthy as an early example of the work of Roger Dean, who was later responsible for producing trademark covers for super bands such as Yes, Greenslade and Asia. Allmusic describes it as having a "distinctive psych-flavored proto-metal" sound [Extracts from wikipedia].
The Gun also released a second single from their first album called "Drives You Made / Rupert's Travels" with the A side sounding similar to their previous hit single - but it failed to chart with the same success.

"Race With The Devil" (2006 French exclusive limited edition 4-track CD) was issued as part of the 'EP Collection Original Versions' series, remastered in high definition 24-bit, originally released in France in 1968. It featured four tracks: - "Race With Devil / Sunshine / Drives You Mad / Rupert's Travels".

For your enjoyment, I have posted a rip of the Gun's first release ripped from vinyl to FLAC (320kps) and includes full album artwork.  Three bonus tracks are also included, taken from non-album singles (sourced from the internet)

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Track Listing 
01 - Race With the Devil
02 - The Sad Saga of the Boy and the Bee
03 - Rupert's Travels
04 - Yellow Cab Man
05 - It Won't Be Long (Heartbeat)
06 - Sunshine 
07 - Rat Race
08 - Take Off

[Bonus Tracks]
09 - Drives you Mad 
10 - Don't Look Back 
11 - Runnin' Wild

Band Members:
Adrian Curtis (Guitar and Vocals)
Paul Curtis (Bass and Vocals)
Louie Farrell (Drums)
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The Gun Link (302Mb) New Improved RIP  26/04/2024

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Eric Clapton - Selftitled (1970)

(U.K 1962 - Present)

By the time Eric Clapton launched his solo career with the release of his self-titled debut album in August 1970, he was long established as one of the world's major rock stars due to his group affiliations -- the Yardbirds, John Mayall's Bluesbreakers, Cream, and Blind Faith -- which had demonstrated his claim to being the best rock guitarist of his generation. That it took Clapton so long to go out on his own, however, was evidence of a degree of reticence unusual for one of his stature. And his debut album, though it spawned the Top 40 hit "After Midnight," was typical of his self-effacing approach: it was, in effect, an album by the group he had lately been featured in, Delaney & Bonnie & Friends.

Not surprisingly, before his solo debut had even been released, Clapton had retreated from his solo stance, assembling from the Delaney & Bonnie & Friends ranks the personnel for a group, Derek & the Dominos, with which he played for most of 1970. Clapton was largely inactive in 1971 and 1972, due to heroin addiction, but he performed a comeback concert at the Rainbow Theatre in London on January 13, 1973, resulting in the album Eric Clapton's Rainbow Concert (September 1973). But Clapton did not launch a 'sustained solo' career until July 1974, when he released 461 Ocean Boulevard, which topped the charts and spawned the number one single "I Shot the Sheriff."

Delaney, Bonnie and Clapton On Stage 1970

But back to his first solo album.

When Delaney and Bonnie's tour of England ended, the two men went into the studio in Los Angeles and began work on Clapton's first solo album, 'Eric Clapton'. Delaney's influence on the record was considerable. He produced the album - which includes the joyful "Blues Power" and the fiery "Let It Rain" - and supplied most of the players from his own band, alongside Bonnie. His hand is especially evident on the alternative version of J.J Cale's "After Midnight" - which Delaney mixed and which features a horn section that does not appear on the L.P track. With Delaney's encouragement - Clapton emerged as a front man for the first time since he had been propelled into superstardom with Cream earlier. Clapton wrote or co-wrote eight of the eleven tunes on the record, sang all the lead vocals and played crisply and spiritedly.

In Philip Norman's recent biography of Clapton entitled 'Slowhand' (2018), he notes - "The cover showed him in a fancy western-style white suit, slumped in a chair with his Fender Stratocaster 'Brownie' beside him, the same guitar he used to record Layla. (On a side note, Eric sold this guitar at a charity auction held at Christie's for $497,000 in 1998). He was back to being bearded yet again, and had a wary, reluctant look as if not totally convinced this was such a good idea.

Clapton playing 'Brownie'

It was not easy to change the deep-rooted perception of him as a brilliant contributor to albums as a session player rather than somebody able to carry a whole one on his own. And, although purchased in large quantities by his 'God' constituency, Eric Clapton failed to make either the British or US Top 10 with this one.

The music press, which had always been so kind to him, was almost unanimously dismissive: Melody Maker found 'depressing monotony' in 'a forced white version of soul and gospel as performed originally by Ike and Tina Turner and the Stax label artists', while Fusion magazine called it 'warmed-over Delaney and Bonnie with a little leftover Leon Russell'. A few tracks were singled out for praise, like 'Easy Now' and 'Let It Rain', a staple of his live shows ever afterwards.

Nor did it help that, at this moment of bidding for solo recognition, he was back in a band (Derek and The Dominos) that didn't even mention his name and, instead of promoting himself on the international stage, was playing venues specially chosen for their smallness and obscurity. His way of launching Derek and the Dominos, that same month, was a club tour of the UK on which, at his insistence, all tickets cost only 1 pound.

In London, rather than the Albert Hall or the Lyceum, they played the Speakeasy and his long-ago stomping-ground, the Marquee. If any club-owner slyly slipped his name onto a poster, he was furious.

To interviewers, he insisted that in Bobby Whitlock, Carl Radle and Jim Gordon he'd finally found his true soulmates, and that Derek and the Dominos could never go the way of Cream, Blind Faith or Delaney & Bonnie." [Page 238, Eric Clapton 'Slowhand', by Philip Norman, 2018]

Album Reviews

(i) Well, to tell you the truth, Eric, we had begun to wonder. What with all the running around you've been doing of late, we'd begun to worry that you'd become just another studio musician, hobnobbing with the rich and famous. After all, overexposure to Leon Russell has been known to turn some people into wind-up tambourine-beating rocknroll dolls.

But no. Even though it's a "supersession," even though the personnel is liberally salted with old Delaney and Bonnie Friends, it comes off as a warm, friendly record of the kind that I haven't heard since the first Delaney and Bonnie album. Of the tunes, we have some good old tambourine beaters, one beautiful all-acoustic piece authored entirely by Clapton (most of the rest are by him and Delaney Bramlett, who produced), and a bunch of simply delightful D'n'B-styled gospel-type numbers, which, unlike a lot of the recent attempts in this genre, succeed because they build sensibly to a climax rather than indulging in the type of excess that spoiled Leon Russell's album, at least for me.

Clapton's voice is a revelation. He'd been scared to use it before because he thought it was terrible, but Delaney told him that his voice was a gift from God, and if he didn't use it, maybe God would take it away from him. Which, I thought, is maybe a nice way of saying "Well, maybe it ain't too hot, but you should sing along anyway." But Clapton's voice is just fine; rough and unfinished, maybe, but it adds to the rustic quality of the music. [by Ed Ward, September 3, 1970]

(ii) Eric Clapton's eponymous solo debut was recorded after he completed a tour with Delaney and Bonnie. Clapton used the core of the duo's backing band and co-wrote the majority of the songs with Delaney Bramlett -- accordingly, Eric Clapton sounds more laid-back and straightforward than any of the guitarist's previous recordings. There are still elements of blues and rock 'n' roll, but they're hidden beneath layers of gospel, R'n'B, country, and pop flourishes. And the pop element of the record is the strongest of the album's many elements -- "Blues Power" isn't really a blues song and only "Let It Rain," the album's closer, features extended solos.

Throughout the album, Clapton turns out concise solos that de-emphasize his status as guitar god, even when they display astonishing musicality and technique. That is both a good and a bad thing -- it's encouraging to hear him grow and become a more fully rounded musician, but too often the album needs the spark that some long guitar solos would have given it. In short, it needs a little more of Clapton's personality. [Review by Stephen Thomas Erlewine]

This post consists of FLACS ripped from my vintage vinyl (yes, it's more than 50 years old folks) and includes full album artwork for both vinyl and CD formats, along with label scans.  As a bonus, I thought it appropriate to add Clapton's remake of  J.J Cale's hit "After Midnight" from 1987, as a sweetener.   If you get a chance, read his biography by Philip Norman entitled 'Slowhand' which for me provided a wonderful insight into the life and tribulations of this amazing and resilient artist.

Track List:

01. Slunky - 3:33

02. Bad Boy - 3:33

03. Lonesome And A Long Way From Home - 3:29

04. After Midnight - 2:51

05. Easy Now  - 2:57

06. Blues Power  - 3:08

07. Bottle Of Red Wine - 3:06

08. Lovin' You Lovin' Me - 5:02

09. I've Told You For The Last Time  - 3:06

10.Don't Know Why - 3:10

11.Let It Rain - 5:02

12. After Midnight (Bonus 1987 Version) - 4:07

Musicians

*Eric Clapton  - Guitar, Vocals

*J.I. Allison - Vocals

*Bonnie Bramlett  - Vocals

*Delaney Bramlett  -  Rhythm  Guitar, Vocals

*Rita Coolidge - Vocals

*Sonny Curtis -  Vocals

*Jim Gordon - Drums

*Bobby Keys - Saxophone

*Jim Price - Trumpet

*Carl Radle - Bass

*Leon Russell  - Piano

*John Simon - Piano

*Bobby Whitlock - Organ, Vocals

Eric Clapton Link (239Mb)

Bette Midler - The Best Of Bette (1978) + Bonus Track

(U.S 1965 - Present)

Bette Midler (born December 1, 1945, Honolulu, Hawaiian Islands) American actress and singer who was known for her dynamic energy, comedic wit, and campy humour.

Midler was raised in rural Aiea, Oahu, the third of four children of a house painter and his wife. She began singing as a child, and her mother encouraged an interest in theatre. By the time she graduated from high school, Midler had performed in several amateur shows. She studied for a year at the University of Hawaii but dropped out in order to pursue acting. In 1965 she landed her first professional role, a bit part in the film Hawaii (1966). She accompanied the film crew back to Hollywood, where she worked and saved money in order to move to New York City.

Bathroom Betty

In New York, Midler gave her first major performance at the La MaMa Experimental Theatre in 1965. The following year she joined the chorus of Broadway’s Fiddler on the Roof, in which she was subsequently given the role of Tzeitel. After leaving the musical in 1970, Midler spent time honing her craft, taking singing and acting lessons, and she began performing at the Continental Baths, a bathhouse catering to gay men.  That same year she also made the first of several appearances on The Tonight Show Starring Johnny Carson. It was during her time at the Continental Baths that Midler began to develop her bawdy stage persona, The Divine Miss M, performing songs from a variety of genres and appearing in sometimes outrageous costumes while telling off-colour jokes between songs. Those performances thrust Midler into the spotlight, along with her then-unknown accompanist and music director, Barry Manilow.

Her stage name even became 'Bathroom Betty'. 

In 1972, Midler released her first album, 'The Divine Miss M', produced by Manilow. The following year she received her first Grammy Award, for best new artist, and in 1974 she was given a special Tony Award for “adding lustre to the Broadway season.” She continued to release songs and albums throughout the 1970s, making frequent appearances on television and performing in nightclubs. In 1979 she appeared in her first starring role on the big screen, playing a rock star loosely based on Janis Joplin in The Rose. The film was a success with critics, and the title song, performed by Midler, earned her a second Grammy Award. Despite the acclaim, Midler was not immediately offered more film roles, and she struggled to establish a film career. After a strenuous concert tour in the early 1980s, she sank into a depression and suffered a nervous breakdown.

In the mid-1980s,  Midler turned to comedy, releasing the stand-up comedy album Mud Will Be Flung Tonight! (1985). About the same time, she signed a film contract with Walt Disney Productions’ new Touchstone Pictures, appearing in a series of successful comedies, including Down and Out in Beverly Hills (1986), Ruthless People (1986), and Outrageous Fortune (1987). Taking a break from comedy, in 1988 she starred in the melodrama Beaches, which was produced by a company Midler had cofounded, All Girl Productions. Though the film was met with a lukewarm reception, its song “Wind Beneath My Wings ” (sung by Midler) became a smash hit, topping the Billboard Hot 100; it also won Midler a third Grammy, for record of the year.

Midler pursued her multifaceted career through the end of the 20th century and into the 21st, continuing to release albums and to act. Midler’s albums from this time included 'It’s the Girls!' (2014), a collection of pop classics by such female groups as the Supremes and the Shirelles. Midler was the recipient of a lifetime achievement award (2012) from the Songwriters Hall of Fame and a Kennedy Center Honor (2021)   [Extract from Britannica.com]

The 'Best of Bette' is the first compilation album by American female vocalist Bette Midler, released in 1978. This greatest hits album was issued in the UK, Continental Europe, Scandinavia and Australia to coincide with Midler's first world tour. Later editions released in 1979 also came with a free poster promoting her then upcoming movie The Rose. 

'The Best of Bette', confusingly released with near identical cover art to 1973's Bette Midler, featured songs from Midler's first four studio albums with the addition of one track from 1977's Live at Last, the studio recording "You're Moving Out Today". The version included on The Best of Bette is the rare single mix which features an extra verse that is not found on the Live at Last album or on many of the single releases worldwide.

This post consists of FLACs ripped from my pristine vinyl and includes full album artwork for both vinyl and CD, along with label scans. One track that is sadly missing from this great compilation (because it was released one year later), is the title track from her brilliant 1979 Soundtrack 'The Rose'.  I have therefore decided to add it here as a bonus track for your indulgence. Enjoy.

Track Listing

01 Friends 2:49

02 In The Mood 2:37

03 Superstar 5:00

04 Say Goodbye To Hollywood 3:02

05 Do You Want To Dance 2:56

06 Buckets Of Rain 3:54

07 Boogie Woogie Bugle Boy (Mono) 2:26

08 You're Moving Out Today 3:18

09 Delta Dawn 5:16

10 Uptown / Da Doo Ron Ron 3:2

11 Hello In There 4:15

12 Higher And Higher (Your Love Keeps Lifting Me) 4:08

13 La Vie En Rose 2:59

14 I Shall Be Released 4:55

15 The Rose (Bonus Track)   3:49

Best Of Bette Midler (286Mb)