Friday, November 27, 2015


Rhinoceros was a well-planned but poorly executed supergroup whose roots were based in a set of musicians collected by Elektra Records and called Project Supergroup. The record company wanted to mold the highly talented lineup of artists into the next big recording coup of the late '60s. Despite the fact that the band could not live up to the expectations that were raised by Elektra Records' publicity machine, Rhinoceros' contributions to rock still deserve more credit than subsequent rock histories give it. It didn't help matters any that the band's manager declined an invitation for Rhinoceros to appear at Woodstock several years after the group formed. The band's self-titled debut was impressive, thanks in part to the producer at the helm, Paul Rothchild, who also worked with the Doors. The band was the brainchild of Rothchild and Frazier Mohawk, a producer who helped craft supergroup Buffalo Springfield. Rothchild and Mohawk first auditioned about a dozen musicians in the autumn of 1967, including pianist Alan Gerber and former Daily Flash and Buffalo Springfield guitarist Doug Hastings. Two months later, an audition of almost two-dozen musicians brought into the lineup vocalist John Finley, who had worked previously with Jon & Lee & the Checkmates, and former Iron Butterfly guitarist Danny Weis. Before the year rolled to a close, the producers rounded out the band with the additions of keyboard player Michael Fonfara, who had been a bandmate of Finley's in Jon & Lee & the Checkmates, and bassist Jerry "the Bear" Penrod, who was one of Weis' buddies from Iron Butterfly. Several members of the group contributed to David Ackles' first solo release, entering the studio early in 1968. The band, by now calling itself Rhinoceros, went to work on its own debut album about four months later. By this time, the band had added former Mothers of Invention drummer Billy Mundi. That June, the group played live for the first time on the stage of the West Hollywood nightspot Whiskey A Go-Go. Rhinoceros played New York City's Café Au-Go-Go three months later. In between the band's East and West Coast debuts, Rhinoceros also toured with several different acts, including Taj Mahal and Love. While in New York, the band also performed during a free Central Park concert that drew an audience numbering approximately 12,000 and featured Wind in the Willows, Traffic, and Spooky Tooth. Remaining in the city for several months, Rhinoceros had the opportunity to share the stage at different venues with Muddy Waters, John Mayall & the Bluesbreakers, and the Moody Blues. Penrod dropped out in 1969 and Steve Weis, the brother of Rhinoceros' guitarist, joined the band. Not long after, Peter Hodgson took Steve Weis' place. Hodgson, who formerly performed with Jon & Lee & the Checkmates, was vocalist Finley's cousin. Tours followed with the Grateful Dead, Blood, Sweat & Tears, Tommy James & the Shondells, and Johnny Winter, among others. Hastings dropped out that summer and the band brought aboard Larry Leishman, whose career also included a stint with Jon & Lee & the Checkmates. At this time, the band was being managed by Sid Bernstein and Billy Fields. Fields made a disastrous decision for the band when he declined an invitation to appear at Woodstock in favor of sending Rhinoceros to play the Boston Tea Party. Unhappy with the Woodstock decision, Gerber left the band. Mundi left not long after, and the band brought in Eddie "Duke" Edwards. Rhinoceros headed to New York to perform and record in 1970. While in the city, the band played the Fillmore East, as it did on other visits to town, and shared a bill with Seals & Crofts and Procol Harum. Not long after the Fillmore East show, Richard Crooks of Dr. John stepped in to take over for Edwards. By the end of the year, Malcolm Tomlinson took over on drums for the departing Crooks. Performances followed in Canada, but before 1971 was halfway over, the band called it quits. Hodgson, Weis, Finley, Leishman, and Fonfara reunited early in 1972 as Blackstone Rangers, a band that evolved into simply Blackstone and disbanded in 1973.

Rhinoceros on Stage (1968)

Left to right: Michael Fonfara(organ), Danny Weis(gtr), John Finley(vcl), 
Alan Gerber(vcl), Billy Mundi (drms), Jerry Penrod(bass), Doug Hastings (gtr). 

In 1972, John Finley joined four ex-Rhinoceros members to launch the new band Blackstone Rangers (which was later shortened to Blackstone after a dispute with a motorcycle gang of the same name). Finley invited his old friend Paul Rothchild to Toronto to produce the album, which ultimately resulted in GRT Records album On The Line. Shortly after, the group disbanded.


John Finley (vocals)
Michael Fonfara (keyboards)
Peter Hodgson (bass)
Larry Leishman (vocals,guitar,harp)
Frank "Zeke" Sheppard (vocals,harp)
Richard Steinberg (drums)
Danny Weis (guitar)

Tracks 1-8   from the Rhinoceros LP 

Tracks 9-12  from the Satin Chickens LP

Tracks 13-19 from the Better Times Are Coming LP

Tracks 20-24 from the Blackstone LP

Tuesday, November 24, 2015


Just a quick Hello and to wish all who celebrate Thanksgiving a wonderful day
Eat, Drink, and be Merry and spend time with your family. If you do not celebrate this holiday have a great weekend in whatever you do. Keep the music on and be thankful for what you got!

Bill @24hrdejavu  

Friday, November 20, 2015


The Grateful Dead had a gig at Palmer Auditorium the night before Thanksgiving and they worked up a deal with the nearby Armadillo to cater the pre-show meal for band and crew. As Jerry Garcia looked around the 1,500-capacity hall, which had re-opened after months of renovations just six weeks earlier, he said, “I’d love to play this place.” In earshot was owner Eddie Wilson, who said to tell him when. “Well, we’re not doing anything tomorrow,” said Garcia. The Dead had a day off, but only Garcia and bassist Phil Lesh were gonna be in Austin, as the rest of the band was headed to Corpus after the show with Frances Carr, who owned Manor Downs. Garcia’s good friend Doug Sahm said, “let’s have a jam session, man, and let everyone in for free!” Later that night, Leon Russell was backstage at the Grateful Dead show when Garcia asked if he wanted to stop by the ‘Dillo and play some piano. It would be an “Orphans Thanksgiving” to beat ‘em all.

The next morning, Eddie Wilson called up radio station KRMH (“Good Karma Radio”) and said that the ‘Dillo, which was scheduled to be closed on Thanksgiving, would be open after all for a free show. “A bunch of friends got nowhere else to go today, so they’re gonna be jamming,” Wilson said. Since the Dead had played the night before, it didn’t take most folks long to figure out they’d be involved. The special surprise was Leon Russell, who had the number two album in the country in ‘72 with Carney. Wilson was tight-lipped about his appearance because they didn’t want a bunch of people showing up and yelling out requests for “Tight Rope.”

Garcia, Lesh and Russell got there early, at about 3 p.m., but wouldn’t start until Sahm arrived about half an hour later. “Doug knows a thousand songs,” Jerry told Leon, who admitted later to Wilson that he was not much of a jam guy so “it was one of the worst days of my musical life.” Leon was on hand a month earlier when the Armadillo re-opened with a Freddie King show, after renovations doubled capacity from 750 to 1,500 and moved the stage from the south end of the building to the north end. “Freddie always called the Armadillo ‘The House That Freddie Built’ because that reopening show really got things going for us,” says Wilson.

Soon after the jam started, a torrential downpour bore down, so one of the first songs they played was “Stormy Monday” by T-Bone Walker. “It was my first realization of what a leader- an instigator- Doug Sahm was,” says Lissa Hattersley of Greezy Wheels. “They all played great, of course, but Doug was clearly the band leader of the night.” Garcia played pedal steel all night, with Sweet May Egan from Greezy Wheels a standout on fiddle on the first set, which concentrated on country songs, while the second set was more blues and rock. Russell played both guitar and piano and several local drummers sat in, including Jerry Barnett of Shiva’s Head Band. Hank Alrich, who would co-own the venue late in its run, had loaned his Stratocaster to various jammers and during a lull a cohort said, “Why don’t you go up and play your guitar? Everybody else has.” Alrich recalled his first number onstage: “As Leon kicked in to ‘A Hard Rain’s a Gonna Fall,’ rain began to fall on that old, big metal roof. This was before we’d gotten the underside insulated with spray-on paper foam, and the sound of the rain was the perfect touch to the intro.”

Twas a magical day and night, ending with an all-hands-on-deck medley of Chuck Berry’s “Roll Over Beethoven and Little Richard’s “Good Golly Miss Molly.” About 1,000 lucky fans had reason to be thankful that night.

Article by Micheal Corcoran

Armadillo World Headquarters 
Austin, TX  

Set One:  (10 songs)
Disc 1 
Hi-Heel Sneakers 
Honky Tonk Angel 
Closin' Time 
Me & Bobby McGee 
Stormy Monday 
That's All Right, Mama 
Come On Into My Kitchen 
T for Texas 
Mr. Tamborine Man 
San Antone ; 

 Set Two:  (7 songs) 
Sugar Foot Rag 
I'm So Lonesome I Could Cry 
Today I Started Loving You Again 
Columbus Stockade > 
Honky Tonkin'

Disc 2 
Orange Blossom Special 
Kentucky Waltz

Set Three:  (13 songs) 
Lonely Lonely Nights > 
Shake A Hand 
Hey Bo Diddley 
It Takes A Lot To Laugh, It Takes A Train To Cry 
Hard Rain 
Wild Horses 
Slippin' Into Christmas 
Money Honey 
Chug A Lug 
Roll Over Beethoven > 
Good Golly Miss Molly > 
Roll Over Beethoven 

 PT 1
PT 2

Wednesday, November 18, 2015


The Cryan' Shames are an American garage rock band from Hinsdale, Illinois. They originally formed as The Travelers, with founding members Tom Doody ("Toad"), Gerry Stone ("Stonehenge"), Dave Purple ("Grape") of The Prowlers, Denny Conroy and Jim Fairs from The Roosters, Jim Pilster ("J.C. Hooke", so named because he was born without a left hand and wore a hook), and Bill Hughes. The band's most successful moment came with their cover of The Searchers song, "Sugar and Spice".

In 1966, upon learning that another band already had the name The Travelers, they needed to find another name; J.C. Hooke remarked that their difficulty in doing so was "a cryan' shame," and thus named the band. After signing with Bob Monaco, the promotion manager for Destination Music, their first single was supposed to be George Harrison's song, "If I Needed Someone", but was not released in the US (but included on their debut album) due to publication issues. It was soon followed by "Sugar and Spice," a Tony Hatch song that was a hit in 1963 (everywhere but in the US) for the English group The Searchers. The Shames' version reached number 49 in the USA (while reaching number four on local radio WLS). Another single was released just before the end of 1966 called "I Wanna Meet You" b/w "We Could Be Happy". That record made it to number one in Chicago and number 85 nationally. Both songs on the single were Jim Fairs compositions and further spotlighted the harmony capabilities of the band's singers.

They signed to Columbia in 1966, and while they never were to become a national success, their singles and three albums continued to sell well in the Chicago area. The band focused on their first album release, which was heavily influenced by The Byrds. Their album, Sugar and Spice was recorded in just two days, but strengthened by cover versions of popular songs of the period like "We Gotta Get Out of This Place" and "Hey Joe". Overall, the album, upon its October 1966 release, became a hit in Chicago and charted at number 192 nationally.

More singles followed their debut which were met with lesser success. Before the development of their second album, the band lost the services of Stone. Stone was drafted to fight in the Vietnam War and lineup changes followed. The second release proved to be more successful when it charted at number 156. The Shames were experimenting with a combination of psychedelic rock and studio arrangements. Productions and vocal harmonies showed signs in improvement, reflecting positively on album sales.

In 1968 several key members began to depart from band activities, most notably Jim Fairs. Despite the losses, the group formed a new lineup and released their final album, Synthesis. The album marked attempts at delving into progressive rock and jazz influences. Still, compared to their previous effort, the album charted lower and was considered a disappointment. The group disbanded in December 1969, but reunited again and continues to tour. Jim "J.C. Hooke" Pilster and Tom Doody (Toad) are the only remaining original members in the current lineup. Two members of The Cryan' Shames have since died: bassist Dave Purple in June 2001, and his replacement Isaac Guillory, on December 31, 2000  

Tracks 1-9   from the Sugar and Spice LP

tracks 10-14  non lp singles

Tracks 15-19 from the A Scratch In The Sky LP

Tracks 20-24 from the Synthesis LP

Tuesday, November 17, 2015


It's almost Thanksgiving again. This the most traveled holiday of the year for many people. People go to great extremes to make it home to Grandma's house for that day.I thought I would put together a batch of tunes focusing on the Home theme. I know these are not your typical Holiday songs but you should all know  me by now that I like to be different.Maybe you can hum a few a few bars of these on the way to your family gathering. And as Alvin Lee says "I'm Going helicopter!.

01 fly away home - ozark mountain daredevils
02 can't find my way home - blind faith
03 gone back home - brunning hall sunflower blues band
04 i'm coming home - nigel olsson's drum orchestra & chorus
05 go back home - stephen stills
06 cheryl's going home - blues project
07 she's coming home - blues magoos
08 bring it on home to me - animals
09 on the way home - buffalo springfield
10 from home - troggs
11 please go home - rolling stones
12 home home on the range - neil young
13 down home again - humble pie
14 old kentucky home - beau brummels
15 a long way from home - kinks
16 she's leaving home - beatles
17 homeward bound - simon & garfunkel
18 bring it on home - led zeppelin
19 when i get home- spooky tooth
20 down home girl - old crow medicine show
21 i will take you home - grateful dead
22 darlin' be home soon - lovin' spoonful
23 goin' home - rolling stones
24 i'm going home - ten years after

Sunday, November 15, 2015


01 pet sounds - beach boys
02 first movement - electric light orchestra
03 yellow bird - arthur lyman
04 free wheelin' - bachman turner overdrive
05 baby batter - harvey mandel
06 chainsaw - edgar winter group
07 beatnik sticks - paul revere & the raiders
08 journey of the sorcerer - eagles
09 psichedelic journey - mystic tide
10 mujo22 - electric prunes
11 the mexican - fentones
12 rockin' goose - johnny & the hurricanes
13 emotions - peter principle
14 better git it in your soul - davy graham
15 image ( pt 1) - hank Levine orchestra
16 outa - space - billy preston
17 the streetbeater - quincy jones
18 asia minor - kokomo
19 focus - hocus pocus
20 sail on sailor - steve hunter
21 sprach zarathustra - neil norman
22 black star - yngwie malmsteen
23 overture - who
24 instrumental illness - allman brothers band 

Friday, November 13, 2015


The two women and three man combo known as Joy of Cooking
(JOC) traced their beginnings to 1967 in Berkeley, California. JOC
played a kind of generally laid-back folk-rock with various traces of
jazz, country, gospel, blues, Latin and even a little R&B funk. This
critically acclaimed rock band released three solid studio albums for
Capitol Records in the early '70s, and launched the careers of two
greatly respected music women, Terry Garthwaite (b. Berkeley, CA,
July 11, 1938) and Toni Brown (b. Madison, WI, November 16, 1938).
Toni and Terry were the leaders of JOC, as well as pioneers in defining
the role of serious women musicians.

Toni Brown (keyboards/guitar/vocals)
Fritz Kasten (drums)
Ron Wilson ( percussion)
David Garthwaite (bass)
Terry Garthwaite (guitar/vocals)

Pepperland, San Rafael, CA, November 13 or 14

1 tuning/intro
2 Bad Luck Blues
3 First Time, Last Time
4 Pilot
5 If Some God
6 Brownsville/Mockingbird
7 The Last Move
8 Too Late But Not Forgotten
9 Only Time Will Tell Me
10 Hush
11 Laugh, Don't Laugh

Winterland November 13, 1969

12 Too Late But Not Forgotten
13 A Thousand Miles

Wednesday, November 11, 2015


 The Blues Maggos formed in the Bronx, New York, USA, in 1964 and initially known as The Trenchcoats, the founding line-up consisted of Emil "Peppy" Thielhelm, vocals, guitar, Dennis LaPore, lead guitar, Ralph Scala, organ and vocals, Ronnie Gilbert, bass and John Finnegan, drums . The group quickly became an important part of the emergent Greenwich Village rock scene and in 1966 secured a residency at the fabled Night Owl club. Near the end of '66, the band was calling itself "Bloos Magoos" and Mike Esposito was brought in as their new lead guitarist. Esposito had at one time been in a college band with Lou Reed, and his inventive guitar playing, utilizing controlled feedback and tape-echo devices, added a new dimension to the group's sound. Having recorded flop singles for Ganim and Verve Records, the band was signed to Mercury Records, where they became the subject of intense grooming. Drummer Geoff Daking replaced LaPore in time to record their debut album, "Psychedelic Lollipop", which was released in November 1966. The band was now using a more traditional spelling of their name, "Blues Magoos".
In February of 1967, Mercury released a single called "We Ain't Got Nothin' Yet", written by band members, Gilbert, Scala and Esposito. The song was a Top Twenty hit for the 'Magoos' in America and finished at number 72 for the entire year, but failed to achieve the same success in the UK.

A follow up hit was even harder to come by for the Magoos and their next effort, "There's A Chance We Can Make It" was mostly ignored. Subsequent efforts, "One By One" , "I Wanna Be There" and "Life is Just a Cher O'Bowlies" also failed to gain any attention. One last single release on Mercury called "I Can Hear The Grass Grow", issued in 1968, also missed the charts. By now, tensions were growing among the members of the band and the original line up split.

On November 9th, 2000, The Blues Magoos, featuring Emil "Peppy" Thielhelm and Ralph Scala played at a garage band revival show called "Cavestomp". In July 2008, Blues Magoos, with original members Ralph Scala, Castro and Geoff Daking, reunited for the first time in years for two concerts, including one with The Zombies at the Fillmore New York. In December 2009 they traveled to Spain for the Purple Weekend festival.

In 2014, The Blues Magoos  released their first new album in over 40 years, titled "Psychedelic Resurrection". A Nationwide tour was scheduled to follow.

Although they were only "one hit wonders", Blues Magoos, with their electric suits and giant, onstage lava lamps, are fondly remembered as a classic example of the "psychedelic" music era. 

The Blues Magoos were famed for their Diana Dew-designed electric suits; the lights grew brighter as the music’s intensity increased.

tracks 1-7   from the  Psychedelic Lollipop LP

tracks 8-12  from the  Electric Comic BooK LP

tracks 13-19 from the Basic Blues Magoos LP

tracks 20-21 non Lp singles releases

tracks 22-24 from the Psychedelic Resurrection LP

Monday, November 9, 2015


"7 and 7 Is" is a song written by Arthur Lee and recorded by his band Love on June 20, 1966, at Sunset Sound Recorders in Hollywood. It was produced by Jac Holzman and engineered by Bruce Botnick.

The song was released as the A-side of Elektra single 45605 in July, 1966. The B-side was "No. Fourteen", an out-take from the band's earlier recordings. "7 and 7 Is" made the Billboard Pop Singles chart on July 30, 1966, peaking at number 33 during a ten-week chart run and becoming the band's highest-charting hit single. The recording also featured on the band's second album, Da Capo.

The song drew inspiration from a high school sweetheart of Arthur Lee's, Anita "Pretty" Billings,who shared his birthday, March 7. It also describes Lee's frustration at teenage life - the reference to "in my lonely room I'd sit, my mind in an ice cream cone" being to wearing (in reality or metaphorically) a dunce's cap. Describing how the song came to him, Lee stated: "I was living on Sunset and woke up early one morning. The whole band was asleep. I went in the bathroom, and I wrote those words. My songs used to come to me just before dawn, I would hear them in dreams, but if I didn't get up and write them down, or if I didn't have a tape recorder to hum into, I was through. If I took for granted that I could remember it the next day—boink, it was gone."

It took a great deal of work to record, with Love's drummer, Alban "Snoopy" Pfisterer, being challenged with its frantic demands after 30 takes or so, and being replaced on drums, intermittently, by Arthur Lee himself. In an interview for John Einarson's book Forever Changes , lead guitarist Johnny Echols credits the drumming on the released record to Pfisterer. In a 1989 interview, Arthur Lee stated that he himself taught Pfisterer how to play the part, and that the final record featured Pfisterer. In what has been described as a "flirtation" with musique concrète, the song climaxes in an apocalyptic explosion - the supposed sound of an atom bomb - before a peaceful conclusion, in a blues form, which then fades out.Although many listeners thought that the explosion at the end of the song was a reverb unit being kicked or dropped, it was (according to the engineer Bruce Botnick in "Forever Changes" book, , in actuality, taken from a sound effects record. He speculated that it was a recording of a gunshot slowed down (for live performances, the explosion was reproduced by kicking a reverb unit).

7 and 7 is 

When I was a boy I thought about the times I'd be a man
I'd sit inside a bottle and pretend that I was in a can
In my lonely room I'd sit my mind in an ice cream cone
You can throw me if you want to 'cause I'm a bone and I go
Oop-ip-ip oop-ip-ip yeah!
If I don't start cryin' it's because that I have got no eyes
My father's in the fireplace and my dog lies hypnotized
Through a crack of light I was unable to find my way
Trapped inside a night but I'm a day and I go
Oop-ip-ip oop-ip-ip, yeah!


Wake up in the morning
Don't know what to do
Wake up in the morning
Feelin' kind of blue

Going down to Virginia
Going down the fairway
Going down to Virginia
Virginia gets me straight

Went to bed last night, babe
Couldn't sleep a wink
Went to bed last night, babe
Didn't sleep a wink

Going down to Virginia

Going down the fairway
Going down to Virginia
Virginia gets me straight

Going to see my doctor
To see what he can do
Give me some of those capsules
Either red or blue

If they don't make it
If they don't help me
Going down to Virginia
Virginia gets me straight

The artists....

01 soul of the slain
02 district six
03 five by five
04 standells
05 soulbenders
06 tomorrow's love
07 blues inc.
08 arthur lee (solo)
09 rush
10 alice cooper
11 ramones
12 electric prunes
13 liquid jesus
14 love (original)
15 love (no.14)

Sunday, November 8, 2015


The late-'60s/early-'70s blues-rock outfit Mother Earth was led by singer Tracy Nelson and issued several somewhat underappreciated releases during their time span. Nelson was originally from Madison, WI, and it was while attending the University of Wisconsin that the singer was discovered by producer Sam Charters and was eventually signed to a recording contract with the Prestige label. 1965 saw the release of Nelson's solo debut, the folk-based Deep Are the Roots, and when it didn't exactly burn up the charts, Nelson decided to relocate to San Francisco, with the hopes of forming a more conventional rock outfit. Shortly after arriving on the West Coast, Mother Earth was formed, which led to performances at the famed Fillmore West, opening for the likes of Janis Joplin, Jimi Hendrix, and Eric Burdon. After an appearance on the soundtrack to the 1968 motion picture Revolution (which also featured the Quicksilver Messenger Service and the Steve Miller Band), Mother Earth signed with Mercury Records and issued a steady stream of releases until the early '70s.
 These albums included 1968's Living with the Animals 1969's Tracy Nelson Country and Make a Joyful Noise, 1970's Satisfied, 1971's Bring Me Home, 1972's Tracy Nelson/Mother Earth, and 1973's Poor Man's Paradise, before Nelson pursued a solo career. Subsequently, Nelson earned a Grammy nomination in 1974 for the track "After the Fire Is Gone" (a duet with Willie Nelson) and continued to issue solo albums until the early '80s, when she became disillusioned with the direction that popular music was going in (although she did sing backup for Neil Young for a spell in the mid-'80s, including appearing with Young at the mammoth Live Aid concert in 1985). Nelson returned to music in the '90s, beginning with 1993's In the Here and Now, continuing to issue solo recordings (and in 1998, earned another Grammy nomination for the release Sing It!, a collaboration with Marcia Ball and Irma Thomas).

Ludlows Garage 1970

Track 01. Take Me In Your Arms 3:40 (6.2MB)
Track 02. Groovy Way 3:52 (6.5MB)
Track 03. Down So Low 4:25 (7.4MB)
Track 04. It’s Real 3:19 (5.6MB)
Track 05. I Can’t Go On Loving You 3:54 (6.6MB)
Track 06. Satisfied 4:24 (7.4MB)
Track 07. I Need Your Love So Bad 6:28 (10.9MB)

Track 08. Instrumental 8:47 (14.7MB)
Track 09. I Know (You Don’t Love Me No More)/So Fine 6:12 (10.4MB)
Track 10. This Feeling (cut) 2:23 (4.0MB)
48 mins