Tommy Bolin - Teaser (1975) & Private Eyes (1976)

(U.S 1968 - 1976)

Tommy Bolin died in a Miami hotel of 4th December 1976 due to multiple drug intoxications. He is buried in Sioux City, Iowa, where he was born just 25 years earlier. The death of one so young is always a tragedy, but that it happened to a talent as unique as Tommy was somehow worse.

Most people know Tommy as the guy who replaced Ritchie Blackmore on the final incarnation (before the 1984 reformation) of Deep Purple.

Although some Purple fans felt uncomfortable with Bolin's style, many more seem to have hunted backwards from his one studio LP with Purple - 1975's 'Come Taste The Band' - for an all too small collection of works that make him one the world's finest exponents of the electric guitar, not to mention a first-rate singer and songwriter.

Tommy Bolin LP's with Zephyr, Billy Cobham and the James Gang

After being expelled from school for refusing to cut his hair, he moved to Denver, Colorado, and built a reputation with Zephyr (1968-72), the jazz-rock sexet Energy (who did not record), and his first foray into the limelight with the James Gang (1973-74). During this time, he guested on many records, notably jazz-rock drummer Billy Cobham's 'Spectrum' (1973). In just two days, Bolin laid down the kind of guitar leads that have rarely been equalled.

Deep Purple (feat. Tommy Bolin)

Among the fans of the record was one David Coverdale, who, two years on in his capacity as singer for Deep Purple, suggested Tommy's name as a likely Blackmore replacement. In April 197, as Blackmore bowed out, Tommy signed a recording deal which led to his first solo record, 'Teaser', then bravely took the job with 1974's biggest selling act in the US. It was a busy month by any standards. 'Teaser' was released almost simultaneously with Purple's 'Come Taste The Band', and together they enabled the name and music of Tommy Bolin to reach the wide audience it so richly deserved.

Come Taste The Band

Come the spring of 1976, Purple had split, he was finally free to play his own solo tour and took to the road premiering material he would record in July for his second LP 'Private Eyes'

On drums was Bobby Berge (ex-Zephyr and Energy) and Stevie Wonder/Frank Zappa sidekick Norma Jean Bell played saxophone. One-time Vanilla Fudge member Mark Stein played keyboards, while Reggie McBride played Bass and provided backup vocals.

Reggie McBribe, Tommy Bolin, Norma Jean Bell

Together they turned in something of a classic, spanning the full range of Tommy's enormous songwriting styles from lilting ballads like "Sweet Burgundy", through the bold-as-brass funk of "Shake The Devil" to the heavy fuzzed riffing of the epic "Post Toastee" (reputed to be an edit of a take, twice the length of the final album cut).

Ironically, the longer cut was an attack on the very lifestyle that was to kill him - and, without wishing to dwell on Tommy's excessive use of recreational chemicals, his indulgences did have some effect on his recording sessions, cutting them back and preventing 'Private Eyes' from being a double album. Nevertheless, it remains a stunning if unintentional 'farewell' tribute. One can only speculate about what might have been. Tommy Bolin is sadly missed.... [by Neil Jefferies, Kerrang Magazine 1991]

Bolin continued working at a breakneck pace, guesting on the self-titled debut by Canadian Led Zeppelin clones Moxy. Sadly, Bolin was found dead from a heroin overdose on December 4, 1976, in Miami, FL (the day after opening a show for Jeff Beck), at the age of 25.

This post consists of FLACs ripped from Vinyl (Teaser) and CD (Private Eyes) and includes full album artwork for each, along with label scans and associated photos displayed above.

Like many others, my first introduction to Tommy Bolin was through his brief involvement with Deep Purple, and once I got over 'that exit' by Blackmore, I began to appreciate Bolin's talent for what it was. I purchased both of his solo albums (and was flawed by his musicianship) and then undertook to find his past recordings with the bands as listed above. To this day, I think Bolin was a freak of nature and one can only imagine what he may have produced if he had not fallen victim to drug abuse.

It's hard to say what tracks I like the most on these two albums, as they are all GREAT, so I'm gonna pass and let you decide. If you haven't heard these albums yet then you are in for a real treat folks.

Teaser

Side 1
01 The Grind (3:26)
02 Homeward Strut (3:55)
03 Dreamer (5:08)
04 Savannah Woman (2:45)
05 Teaser (4:27)
Side 2
06 People, People (4:55)
07 Marching Powder (4:14)
08 Wild Dogs (4:40)
09 Lotus (3:57)
Bonus Tracks (MP3 / 320)
10 Dreamer (Early L.A. Demo 1974)
11 Teaser (Acoustic Home Demo 1973)

12 Wild Dogs (Early L.A. Demo 1974)

Band Members:
Tommy Bolin - Guitar, Synthesizer, Vocals
Stanley Sheldon, Paul Stallworth, Bob Berge - Bass
Jeff Porcaro, Pairie Prince, Michael Walden - Drums
Phil Collins, Sammy Figueroa, Rafael Cruz - Percussion
David Foster, Jan Hammer, Ron Fransen - Keyboards
Dave Sanborn - Saxophone
The Sniffetes - Backing Vocals

Teaser Link (307Mb)

Private Eyes

Track Listing
01. Bustin' Out For Rosey
02. Sweet Burgundy
03. Post Toastee
04. Shake The Devil
05. Gypsy Soul
06. Someday Will Bring Our Love Home
07. Hello Again
08. You Told Me That You Loved Me
Bonus Tracks
09. Post Toastee (Acoustic Demo)
10. Gypsy Soul (Acoustic Demo)

11. Sweet Burgundy (Acoustic Demo Naked)

Band Members:
Tommy Bolin - Guitar, Lead Vocals
Reggie McBride - Bass, Vocals
Mark Stein - Keyboards, Vocals
Bobby Berge - Drums, Percussion
Bobbye Hall - Percussion
Norma Jean Bell - Saxophone, Vocals

Private Eyes Link (290Mb)

Deep Purple - Live In London (1982) FLAC

(U.K 1968 - 1976, 1984 - Present)

As Deep Purple Mk 2 ended their Japanese tour in June of 1973 and news of Gillan and Glover's departure reached fans around the world, it looked to many of us like the end. Yet even as papers printed details the remaining trio of Ritchie Blackmore, Jon Lord and lan Paice were already looking for new members. Ex-Trapeze bassist Glenn Hughes was recruited almost at once and the line-up was completed in August with David Coverdale, whose vocals had stood out amidst a deluge of demo tapes the others had waded through that summer.

So almost exactly a year after the upheaval, Deep Purple - hot on the heels of their new studio album - were back in Britain for their long awaited homecoming tour. Kicking off up in Scotland, pausing only for a flying visit to Holland, they wound their way across the rest of the country during May, concluding the visit with an isolated replacement show at Southend in late June. This previously unreleased live set comes from that tour, taped before a capacity crowd at the Kilburn State Gaumont in London on May 22nd 1974 for an In Concert programme by the BBC; who found it easier to record a concert from the tour rather than get the band into the studio as in previous years.

Deep Purple's set kicked off with a sizeable chunk of the new album and from the title track BURN which opened the show, they were clearly not going to rest on laurels laid down by earlier lineups. It was followed by the then current single "Might Just Take Your Life", the influence of new blood clearly showing in the band's shift towards a heavy blues based sound; a shift in which however they didn't neglect the hard rock for which they were known and loved. Jon's gentle keyboard introduction
to "Lay Down Stay Down" precedes some excellent work from the whole band, the energy and enthusiasm which all but disappeared just a year before had returned in earnest. 

"Mistreated" climaxes the opening quartet of numbers, more than fulfilling the promise shown by the studio version. Ritchie rips into a magnificent opening barrage before settling into the riff as Coverdale's deep heartfelt vocals weigh in. Together they dominate the performance of what was for many people the highpoint of the show.

On to the second side and with Jon's introduction over, Ritchie leads the crowd into a brief song (and dance) before switching pick-ups, boosting the volume, and hitting the riff which conquered America - "Smoke On The Water", to their credit one of only two oldies they retained. 

The band then took the show to a close with two lengthy numbers of which "You Fool No One" is included here in full. One of their most adventurous numbers, it made good use of the dual vocal capabilities of Coverdale and Hughes adds some excellent bass work to back up Paice's phenomenal drumming. Ritchie belts out the tune like a demon, lets fly with a mammoth tremolo arm blitz and then contrasts it nicely with a gentle blues solo; underneath it all Jon's Hammond adds the final touches to a classic track.

Since it was first broadcast, this recording has remained an (officially) unheard but much demanded item amongst MK 3 Deep Purple fans. Rather hastily mixed at the time for an experimental broadcast in quadra phonic on June 6th, 1974 the tapes have here been completely remixed, whilst special cutting had enabled us to include almost an hour of unedited music in its original running order - only the rather over-long set closer "Space Truckin" being omitted. The material captures well the line-up's energetic performance at the height of their popularity and provides a worthy souvenir of their only British tour. Less than a year later Ritchie himself was bowing out, and the group's live form never fully recovered. [Liner notes by Simon Robinson]

An account from the Deep Purple Appreciation Society

In May of 1974, Deep Purple were on tour in England and Wales (having played Scotland the previous month), for the first (and last) time with the new Mk3 line-up, singer David Coverdale and bassist Glenn Hughes having replaced Gillan and Glover.

The shows were tremendous, with Blackmore, having gained more control over the musical direction, in particularly awesome form - effortlessly ranging from quiet blues to hard riffing. Although following Mk 2 wasn't an easy task, the band pulled it off and while some people missed the older material, few could deny the new set - already honed by a big American tour - was extremely powerful.

The band played the larger theatres and town halls right across the country, with a set list firmly based around the new Burn album issued just three months before. Only "Smoke on the Water" and a lengthy much revamped "Space Truckin'" remained from Mk 2 days, with "Highway Star" as part of the encore. London did well, with three shows at different venues; Hammersmith Odeon, Lewisham Odeon and the Gaumont in Kilburn. This last show was recorded officially and broadcast by the BBC (and later issued on vinyl as "Live In London"). The opening number "Burn" at Hammersmith was also filmed (see below). The tour, which was supported by Ronnie Dio's band Elf, ended in Coventry on the 28th.[extract from deep-purple.net]

Deep Purple - Burn ( Hammersmith Odeon 1974 )

This post consists of FLACs ripped from my recently purchased vinyl from a record store in Athens, while holidaying in Europe last year. Full album artwork and label scans are also included, along with all post photos. The condition of the vinyl and album cover are almost mint and this is definately one of my prized additions in my record collection. Like many Deep Purple fans, it took me some time to adjust to the new lineup when Gillian and Glover left the band, however Coverdale's voice and the funky sound of the MK3 outfit soon grew on me and their LP Burn has remained high on my playlist over the years.

Recorded live on 22nd May 1974 at Kilburn State Gaumont in London, the album features over 57 minutes of  Heavy Rockin' Music.  Due to the lengthy running times of both vinyl sides, the recording is lacking in the low register, so I have taken the liberty of enhancing the bass line during the riping process.

It should be noted that the Side 2 record label incorrectly lists a third track "The Mule", although there is a brief interlude (maybe 1 min) within "You Fool No One" where the main riff from The Mule is played, but quickly returns back to chorus for You Fool No One.

The track listing on the back cover of the album only lists two tracks on the second side.

Track List:

01 Burn   

02 Might Just Take Your Life

03 Lay Down Stay Down

04 Mistreated

05 Smoke On The Water

06 You Fool No One

Deep Purple MK3:

Lead Vocals – David Coverdale

Bass Guitar, Vocals – Glenn Hughes

Drums – Ian Paice

Electric Guitar – Ritchie Blackmore

Keyboards – Jon Lord 

Live In London Link  (342Mb)

REPOST: Loverboy - Big Ones (1989)

(Canadian 1979-1989, 1991 - Present)
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If you partied at all in the 80s, chances are your soundtrack included Loverboy. The band captivated legions of loyal fans and helped define the original party rock era of the 1980s. They have sold more than 20 million records worldwide and touched generations of music fans.

Formed in 1979 in Calgary, Canada, Loverboy signed their first deal with Columbia Records Canada in 1980 and immediately went into the studio with producer Bruce Fairbairn and Canadian Music Hall of Fame member Bob Rock to record their self-titled debut album. The band’s music was driven by the powerful vocals of Mike Reno, the relentless rock groove of lead guitarist Paul Dean, the bass stylings of Scott Smith, the melodies of keyboardist Doug Johnson and the heavy rhythms of drummer Matt Frenette. They turned their collective talent into hits such as “Turn Me Loose” and “The Kid Is Hot Tonite.” Loverboy flew off the shelves, setting record sales for a debut album at the time with over 700,000 albums sold in Canada.

Soon after its U.S. release, the album surpassed two million copies sold in North America and four million worldwide. At the 1982 JUNO Awards, Loverboy’s debut garnered an unprecedented six wins in one night.

The band struck platinum yet again with their sophomore release, Get Lucky (1981). It featured the mega-party anthem, “Everybody’s Working For The Weekend,” a song entrenched in popular culture and a mantra for the working masses. The band subsequently garnered two more consecutive wins for Group of the Year (1983, 1984) and another JUNO Award for Album of the Year in 1983.

From 1980 through 1987, the band released four multi-platinum bestsellers featuring such classics as “Hot Girls in Love,” “When It’s Over,” and “This Could Be The Night,” as well as the smash hit “Heaven In Your Eyes,” recorded for the movie Top Gun.

On stage, Loverboy delivered energy, skill, style and showmanship, establishing themselves as a major live act and building a reputation as one of the hardest working bands in rock. They played more than 200 shows in 1980, embarked on an eight-month world tour in 1983 to promote their third album Keep it Up, and hit 100 cities across North America with the release of their fourth album, Lovin’ Every Minute of It (1985).

The band filled arena after arena, becoming one of the top five grossing touring acts and the first Canadian group to be awarded Columbia Records’ Crystal Globe Award for selling over five million records outside their native country.

The release of Wildside, their fifth album, followed in September 1987. While the band scored a minor hit with "Notorious", co-written by Jon Bon Jovi and Richie Sambora, the album sold relatively poorly and the band broke up in 1988 due to tensions between Dean and Reno.

Dean released a solo album, Hardcore, in May 1989 and a Loverboy greatest-hits album, Big Ones, was released later that same year, in October, to fulfill Loverboy's obligation to Columbia Records. The group briefly reunited in late 1989 to tour to promote it, but broke up again at the tour's conclusion.

The band finally returned to the stage for a benefit concert in 1992 for friend and fellow recording artist Brian “Too Loud” MacLeod. The reception to their performance from music fans and industry professionals was over whelming and prompted the band to go back on tour.

In November 2000, the band suffered a tragic loss when founding bassist Scott Smith lost his life in a boating accident. The surviving members came together and, with the introduction of new bassist Ken “Spider” Sinnaeve, dedicated their next album, a live greatest hits collection called Live, Loud & Loose, to Smith’s memory.

Reno & Smith

In 2005, Loverboy marked their silver anniversary by embarking on a North American summer tour to perform their greatest hits over the previous 25 years, along with some new songs. After a decade away from the studio, the band next recorded the tough-rocking 2007 release, Just Getting Started, starting a creative new chapter in the long history of Loverboy.

The band continues to tour with an average of 60 to 80 shows a year across North America – a testament to their lasting popularity and impressive longevity in the music business. That’s right: they’re still working for your weekend. [extract from the Canadian Music Hall Of Fame Website]

This post consists of  FLACs ripped from my CD and comes with full album artwork for both CD and Vinyl formats, along with label scans.  I must admit that I had always thought of Loverboy as being a one hit band, but when I heard this compilation it became immediately evident that Loverboy had produced a string of hits that easily measured up "Turn me Loose".  The CD release, featured here contains 14 tracks whereas the vinyl release only has 10.  "Working For The Weekend", "The Kid Is Hot Tonite" and "Notorious" (all top 10 hits) are all there along with a string of other catchy tunes, proving that this Canadian band were a force to be reckoned with. So, let me 'turn you loose' and encourage you to grab a copy while it stays Hot Tonite"

                               

                 +++++ New Improved Rip +++++

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Track Listing

01 Working For The Weekend 3:43

02 For You 5:56

03 The Kid Is Hot Tonite 4:29

04 Lovin' Every Minute Of It 3:34

05 Lucky Ones 3:52

06 Hot Girls In Love 4:01

07 This Could Be Night 5:00

08 Ain't Looking For Love 4:42

09 Turn Me Loose 5:38

10 Notorious 4:42

11 When It´s Over 5:09

12 Too Hot 4:26

13 Take Me To The Top 6:13

14 Heaven In Your Eyes 4:03

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Loverboy were:

Mike Reno (Vocals)
Paul Dean (Guitar)
Scott Smith (Bass)
Doug Johnson (Keyboards)
Matt Frenette (Drums)

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Loverboy Big Ones (447Mb)
  New Link 03/09/2026

W.O.C.K on Vinyl: John Vincent and Celsius '69 Present Ken Noath and the Ocker Rockers - Almost Live at the Findon [EP] (1974)

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

Disc Jockey John Vincent was one of Adelaide’s most-loved radio personalities in the ’60s, ’70s and ’80s Heard on air, seen on TV, compering dances or performing musically under the pseudonym Ken Noath (sometimes Ken Oath *) & The Ocker Rockers. Having originally started in country radio, Moved to Hobart's 7HO in early sixties. John moved to Adelaide and Radio 5AD sometime in the mid 60s.

In the early 70s he moved to Radio Earth Station 5KA and started recording with Adelaide Band Celsius 69 (AKA Fahrenheit 451), The In-Sect, and others.

He started releasing the odd single in 1967. And they were truly odd. 'Owyagoing' was the first, followed by "classics" like Madge's Charity Badges, 'Owyagoing Santa Claus etc etc. In the early 70s he was a regular guest on Barry Ion's TV chat show and to differentiate between his radio & performing personas, Vincent adopted the moniker "Ken Noath", apparently inspired by expletives heard at his concerts.

John Vicent was also known for live performances of his comic turns, with bands like Celsius 69, Fahrenheit 451 and The Ken Noath Ockestra.

After his stint in Adelaide, he moved east to commence work as the breakfast announcer at 2GB. John Vincent had been plagued with serious health problems for most of his life and he found the pace of radio affecting his wellbeing, eventually retiring from the airwaves in the 90s. He died in 2009.

This live EP is a good example of his great Ocker satire and musical proness.

RCA lifted these tracks from an LP on the totally obscure Slack label. Slack Records was a one-off pressed by the optimistic Nationwide/EMS outfit who never achieved distribution much beyond Adelaide, although in the mid ‘70s they released a bewildering number of singles and LPs sourced locally and from overseas.

Ken says 'Owyagoing'

These tracks are very local, featuring Adelaide radio person John Vincent belting out his tongue-in-cheek “ocker rock” live at the Findon Hotel in 1974. Suburban Aussie rock at it’s very worst/best, depending on your attitude. Celsius 69 were a good rock band with an excellent lead guitarist (Jimmy Jonas) and bass player John Bywaters (best known as a longtime member of The Twilights).

*  "Bloody oath" (often colloquially intensified or misheard as "blood oath" or "Ken Oath") is an iconic Australian slang phrase meaning "absolutely," "you bet," or "it's the absolute truth"

So, this month's WOCK post ticks most boxes, Crazy, Korny, even Obscure [Ken Oath !] and are some of the funniest satirical recordings I've ever heard.  Ripped to FLAC, this post also includes artwork and label scans.  Well, that's it from me until next month folks...... I'm off to put a snag on me barbie - blood oath! 

Track Listing:

01 - (Thump Thump, Bash Bash) Jungle Music

02 - The Flasher

03 - I Forgive You

04 - Watermelon Song

Ken Oath's EP  (64Mb)

REPOST: Jon Stevens - Are U Satisfied (1993)

(Australian 1979-Present)
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Jon Stevens was born Jon Rangi Stevenson in 1963, and originated from the Upper Hutt, north of Wellington, New Zealand. He is the younger brother by 13 years of Frankie Stevens. After leaving school, Jon had a job, along with his sister at the EMI record plant, pressing vinyl. While working, he used to sing with his sister, and they decided to enter a talent quest. At the Upper Hutt talent quest was an EMI representative and liking what he saw, signed Jon up to a contract.
In October 1979, Jon entered Marmalade Studios to record his first single. It was "Jezebel"/"Rest Your Love On Me". When released, "Jezebel" raced up the charts, reaching the number one spot on December 2. It stayed in that spot until January 20, 1980, when it was knocked from that position by his own second single, "Montego Bay"/"Sha La La". "Montego Bay" was a cover of the Bobby Bloom song. These two hits were included on his first album released in 1980, called "Jezebel".

.In 1981 Jon relocated to Sydney where he signed a deal with the Big Time label. He recorded his second, self-titled album in Los Angeles with American session players. It yielded two singles in 1982, a reworking of "Jezebel" and "Lover My Love", but neither was successful.
Jon Stevens then formed The Change with guitarist Stuart Fraser (ex Feather and Smith). They played the occasional Sydney pub gig, and with the help of bass player Steve Balbi (on loan from the Kevin Borich Express), recorded an independent single "Forever Young"/"Out There" in 1984. By 1985, drummer Kevin Nicol (ex Dial X) had joined Stevens and Fraser, and they began to lay plans for a new band. They recruited Balbi as a permanent member, and added newcomer Justin Stanley on keyboards. He had been writing songs with Balbi. This new line-up, completed in 1986, was known as Noiseworks.
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Noiseworks built up a strong following on the Australian pub-rock circuit, and in 1987 were signed by CBS. Their self-titled debut album was released in July 1987 and peaked at number 2 on the Australian Albums chart, producing no less than 5 singles.
Noiseworks went on to release two more albums, while Jon commenced his stage career when he joined the Australian cast of the revived stage musical "Jesus Christ Superstar" in the role of Judas. Jon appeared alongside the rest of the cast on a CD and single from the show. The show ran for 84 nights and was performed across Australia to more than a million people, making Jon a household name.
This stint with the show basically put an end to Noiseworks. The band played its last gig at Selinas in Sydney during March 1992. That gig produced the band's final single, a cover of the Beatles "Let It Be" (Live). This song appeared on the Greatest Hits CD released in October 1992.
When the "Superstar" tour ended, Jon recorded his third solo album, "Are U Satisfied". Most people were unaware of his previous recording history and believed this to be his debut solo album. This was issued in October 1993 and three singles were released from it.

.During the 2000 Olympic Games in Sydney,Jon worked with INXS's Jon Farriss to record and release the single "Carry The Flame", which became the official theme for the Olympic Torch relay. It was through this work with Jon Farriss and previous backing vocal sessions with INXS that led to Jon joining INXS as a replacement singer for frontman Michael Hutchence. He toured with them for three years as their lead singer and in 2003 he quit the band, without recording a new album. There was only one song, "I Get Up" that was ever recorded with Jon and INXS.
In 2005, Jon released his much anticipated acoustic album titled. "The Works". The album comprises of an eclectic mix of Noiseworks favourites and some of his more recent releases.(extract from Sergent.com.au)
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REVIEW -
ARE U SATISFIED?
(Rolling Stones Magazine, #489, Nov 1993, p81)
This is actually former Noiseworks' frontman Jon Stevens's third solo album. Back in the early 1980s, Jon Stevens was a promising young New Zealand funk/rock vocalist. He had released two solo albums by the time he was 19. Then, of course, Jon Stevens became an integral part of Noiseworks and helped.
shoot the band and its three albums (Noiseworks, Touch, Love vs Money) to enormous Australian success. In the process, Noiseworks blew apart the Oz-pub rock traditions of just-rock-and-nothing-else, by lashing their tunes with layers of keyboards, tinges of Seventies cheesy disco and fat doses of funk.
You get the feeling Are U Satisfied? is the sort of album Jon Stevens has long wanted to make, and almost did with Love vs Money; both albums share some obvious musical similarities. Produced by Stevens and Noiseworks' guitarist Stuart Fraser and recorded in just a few weeks with a bunch of good friends (including guitarists Nick Barker and Jed Starr), Are U Satisfied? could well have been cluttered and self-indulgent. But Jon Stevens understands Australia's rock-loving crowds (and what they expect to hear from him) and, on these levels, Are U Satisfied? does not disappoint.

The record is thick with good, strong songs, mostly about love and relationships, but the music is almost stripped to its bare bones. It smells pleasantly of Seventies-retro — the kind that artists like Lenny Kravitz are now exploring — funky, riff-driven numbers with peaking swirls of keyboards and boppin' stomp rhythms. A number of the songs also sound so familiar that you'd swear they're obscure covers ("Going Down", "Love Makes No Sense", "Say What You Mean").
One of the most pleasantly surprising aspects of Are U Satisfied? is the lack of radio-friendly ballads. "Burn So Bright" is about the closest this album comes to a ballad, and even so, this song's quiet moments are impaled on hooking, gritty riffs.
With Noiseworks and Jesus Christ Superstar fading in the distance, Are U Satisfied? marks the beginning of a new phase in Jon Stevens's career, and while it is not overly experimental or innovative, it will satisfy those who dig their rock straight up, tight, honest and unpolished. [review by Darryl Mason]
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This post consists of a FLAC rip from CD, and includes full album artwork. Although never released on vinyl, it was released on cassette and so still deserves a place on the blog.

My favourite tracks are "Love Makes No Sense" and "Say What Ya Mean", and the single "Going Down" which has a distinct 'Lenny Kravitz' feel about it with some soaring guitar riffs that really rock ya socks off. Although Jon has been a successful solo artist in his own right, his time as the frontman for Noiseworks was definitely the peak of his career in my opinion. If you are looking for more recent material from Jon, why not visit his website.
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                       *  New Improved Rip *

Track Listing
01 - Hard As Stone
02 - Goin' Down
03 - Love Makes No Sense
04 - All I Need is You
05 - Stay
06 - Say What Ya Mean
07 - I'll be There
08 - Change Your Mind
09 - Burn So Bright
10 - Reflections
11 - Are U Satisfied?
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Band Members:

Jon Stevens (vocals)
Stuart Fraser (bass, guitar)
Nick Barker (guitar)
Virgil Donati (drums)
Paul Gray (keyboards)
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Jon Stevens Link (302Mb) 

New Link 28/08/2026
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Jimi Hendrix Experience - Radio One (1988)

(U.S 1967 - 1970)

Radio One is a posthumous psychedelic rock album by The Jimi Hendrix Experience , released in the United States in November 1988 by Rykodisc. Later released in the United Kingdom on February 1, 1989, the album features songs recorded live during a series of BBC sessions in 1967. It reached number 30 on the UK Albums Chart and number 119 on the Billboard 200. All tracks were later released on the compilation album BBC Sessions in 1998.

Radio has always been the primary medium for bringing music to people's ears. The BBC (British Broadcasting Corporation) has broadcast countless rock artists since the 1960s. From the 1980s onward, these recordings began to surface, either through bootlegs or official releases. The Beatles, the Rolling Stones, Led Zeppelin, The Who, and, in the case that interests us in this blog, Jimi Hendrix, have all appeared on the BBC.

Born in Seattle, USA, and discovered by Englishman Chass Chandler, Jimi Hendrix achieved commercial success in England. Hendrix arrived in the UK in 1966. The following year, at the height of the psychedelic movement, The Jimi Hendrix Experience—that is, Jimi and his trio, consisting of Noel Redding on bass and Mitch Mitchell on drums—played on various Radio One programs and shows, as well as a live performance at the Playhouse Theatre in London. In 1988, these recordings were compiled and released under the original title "Radio One." 

Hendrix's studio albums are generally characterized by their highly produced sound, featuring multiple layers of instruments and effects. Whether it was more guitars, acoustic or electric, keyboards, percussion, vocals, or effects like reversed tapes, all these elements contributed to the atmosphere of the albums, which is why Hendrix's music has earned the label of psychedelic rock. The tracks recorded at the radio station possess an extreme rawness, where the "power trio" concept, which had emerged shortly before with Cream (Clapton, Baker, and Bruce), was explored to its fullest potential. [extract from asturguiri.blogspot.com]

BBC Recording Sessions

Like most hungry London-based performers, The Jimi Hendrix Experience made multiple appearances on the BBC’s handful of radio shows that focused on current pop music. And like most people who went on to be world-famous, many of those performances were spread around via bootlegs until legitimate releases happened.

The first such release came courtesy of Rykodisc. Radio One presented 17 tracks, split between hits and more unique performances. As with most BBC collections, fanatics had lots to pick apart, while the more casual fan could gravitate towards markedly alternate versions of songs they knew from the albums, along with those that were, well, new. “Killin’ Floor” was constant in his setlists, and cooks here. The blues chestnut “Catfish Blues” appears in its then-first known performance (complete with a nod to “Rollin’ And Tumblin’”), as does “Hear My Train A-Comin’”, with unfortunate “party” noises, which also mar “Spanish Castle Magic”. “Driving South” was an excuse to jam, and comes from a show hosted by British blues legend Alexis Korner, who also plays slide with the band on “Hoochie Koochie [sic] Man”. Jimi even composed a “Radio One Theme” for one show.

These performances took place throughout a very busy 1967, when the band played a lot of shows and had the tightness to prove their worth. Save the occasional handclap or vocal overdub, these are live performances, and prove Jimi was able to create his own pyrotechnics without the multitracking that would soon dominate his regular studio work. Thus “Burning Of The Midnight Lamp” is a simpler trio version, without all the decorations the single/album track got. Of course, one must take the good with the bad, so while his funky arrangement of “Hound Dog” has merit, the overdubbed barking makes it one to skip. Better backing vocals are on their cover of “Day Tripper”, which does not include John Lennon, no matter what anybody tells you.

Because the BBC never saved anything, the sound quality on both is a little muddy, and the tweaking modern-day producers took to make the new set less mono doesn’t help. But as a companion to the three true Experience albums, and in balance with some of the other post-Experience recordings we’ll get to soon enough, 'Radio One' is a worthy addition to anyones Hendrix pile.

BBC Sessions - Top Of The Pops 1967

Another similar release worth a hearing is the high quality bootleg by K & S Records called 'Guitar Hero' [previously posted HERE] 

Note: Ten years later, once the “family” gained control of the masters, an expanded double-disc set more directly titled 'BBC Sessions' presented virtually everything he recorded for the station, including alternate takes from the same shows, presented in a not-quite-chronological order to cut down on repetition. [extract from everybodysdummy.blogspot.com]

This post was ripped from CD (released in Australia in 1992) and includes full album artwork for both Vinyl and CD.  I never purchased the vinyl release of Radio One, as I already owned the bootleg release (Guitar Hero) which was a high quality knock off.  Of course, I've regretted this over time, as it does leave a significant hole in my extensive Hendrix vinyl collection. Of course, the hunt still continues to find a decent copy of this '3 sided set' at a reasonable price.

Track Listing:

1-A1 Stone Free 3:26

2-A2 Radio One Theme 1:34

3-A3 Day Tripper 3:16

4-A4 Killing Floor 2:28

5-A5 Love Or Confusion 2:53

6-A6 Catfish Blues 5:29

7-B1 Drivin' South 4:49

8-B2 Wait Until Tomorrow 2:55

9-B3 Hear My Train A Comin' 4:58

10-B4 Hound Dog 2:43

11-B5 Fire 2:41

12-C1 Hoochie Koochie Man 5:29

13-C2 Purple Haze 3:04

14-C3 Spanish Castle Magic 3:08

15-C4 Hey Joe 4:02

16-C5 Foxy Lady 3:00

17-C6 Burning Of The Midnight Lamp 3:43

Personal

· Jimi Hendrix - guitar, lead vocals

· Noel Redding - bass, backing vocals on track 3

· Mitch Mitchell - drums, backing vocals

· Jimmy Leverton - backing vocals on track 11

· Trevor Burton - backing vocals on track 11

Recording details

• Tracks 1, 5, 15 and 16 recorded at 

the BBC Broadcasting House inLondon, England on February 13, 1967

• Tracks 2, 3, 8, 9 and 14 record the BBC Playhouse Theatre in London, England on December 15, 1967

• Tracks 4, 11 and 13 recorded at the BBC Broadcasting House on March 28, 1967

• Tracks 6, 7, 10 and 17 recorded at the BBC Playhouse Theatre on October 6, 1967

• Track 12 recorded at the BBC Playhouse Theatre on October 17, 1967

Radio One Link (417Mb)

Status Quo - Ma Kelly's Greasy Spoon (1970)

(U.K 1962 - Present)

If ever there was a turning point in Status Quo's career it must have occurred just prior to the recording of this album with the release of "Down The Dustpipe". The change of direction the single presented as a recording was radical to say the least, especially when compared to the efforts from the two previous albums, "Spare Parts" and "Picturesque Matchstickable". 

Both of these earlier albums were 'poppy' albums with at least a flavour of psychedelia, although they did deliver some quite wonderful singles, "Pictures Of Matchstick Men" becoming not only one of the most famous but also one of the most recognisable. "Down The Dustpipe" although becoming a successful single was a million miles from these previous poppy efforts. It has to be said that in the opinion of a large number of fans the output from "Down The Dustpipe" onwards was not only more indicative of what Quo were about but was also substantially better as well.

Status Quo 1970

The "Ma Kelly's Greasy Spoon" album was the follow up to the single "Dustpipe". Largely blues and boogie based it was the start of a highly successful formula that was going to bring Quo world-wide fame and riches a few years later. This formula was built on with the next (and final) PYE album "Dog Of Two Head", a hard rocking album that left record company, fans and all concerned with Quo in no doubt about the direction they had decided to take.

Track by Track

l. Spinning Wheel Blues
First track of the new album and what a change from previous efforts. Written by Francis Rossi and Bob Young this track really did set the trend for (many many) years to come!

2. Daughter
Again fairly typical of things to come. Written by Alan Lancaster the track had the plodding bass and repeated guitar riffs that were to become a (highly successful) trademark of the new Quo. The album even features a short Deep Purplesque keyboard break. Something that would not be seen after this album for a good many years.

3. Everything
Third album track and one of the few to be lifted as a single (PYE 7N 452291 B-side to the "Mean Girl" single which was released March 1973, long after Quo had departed from PYE. "Mean Girl" was released to capitalise on the newly found success Quo had gained with the Piledriver album.

4. Shy Fly

A song that was to show fairly typical boogie traits that were to make Quo so famous in years to come' The only thing untypical is the keyboard in the song.

5. (Apil) Spring, Summer and Wednesdays
A song that is fit for an album. This one really comes across as being a bit of a filler. OK in the context of the album though.

Rossi and Parfitt 1970

6. Juniors Wailing

This was definitely one of the best racks from the new Quo, if not one of the best tracks they ever recorded!

7. Lakky Lady
This track was becoming a good example of typical Quo. Not only was it an album track but it was also used as a B-side for the single (PYE 7N45253) The A side being "Gerdundala", which itself was previously released as the B-side to "My Chair" in Ictober 1970, PYE's reasoning in releasing Gurdundala as an A side in July 1973 was an obvious one, the track was featured heavily in the bands live set at the time.

8. Need Your Love
A bit of a plodder, "Need Your Love" contained some musical signatures that were to crop up often in later Quo records.

9. Lazy Poker Blues
Another great little boogie number with a piano style that was to frequent some of the songs from the band's middle period. Check out "Break The Rules" of the 'Quo' album from 1974.

10. a) Is It Really Me b) Gotta Go Home
This was the start of the long songs for Quo. "Is It Really Me" starts as plodding introduction for 2 mins 50 secs then blasts into "Gotta Go Home", a good boogie number that was going to become quite typical for Quo in later years. The major difference here from later songs was the use of the organ in the track. There are things you will hear in the song that definately re-appear in longer versions of songs from the band's live sets during the mid-seventies. Great material here for those drunken party nights. Turn it up VERY loud and enjoy.

Bonus Tracks:

11. In My Chair
This version is an alternate mix to the original single release (PYE 7N 17998), and is previously unreleased. Another non-LP track that was released the same month as the 'Ma Kelly's Greasy Spoon' album. This single was also a strong indication of the change of direction the band was taking. A trackl that was sometimes p-layed live later in the seventies, it was definitely not out of place with some of their later material. The single charted on the 7th November, 1970 climbing to number 21 and completing 14 weeks in the BBC listings.

12. Gerdundula
Released originally in October 1970 on the Pye label as the B-side of "In My Chair" - in England and Germany, the original song runs to around 3 minutes 16 seconds. "Gerdundula" was re-released in July 1973 when it failed to chart. It also appears on the 1971 'Dog Of Two Head' album where it runs to 3 minutes 49 seconds, but this alternate mix from the original (previously unreleased), is the longest version running for 4 minutes 10 seconds.

13. Down The Dustpipe
The version is an alternate previously ureleased mix of the original single (PYE 7N 17907). Now we are talking Quo!  This was the song that not only returned Status Quo to the charts but it was also an indication of the radical direction that Rossi and co. wished to take. "Down The Dustpipe" had been written by an Australian, Carl Grossman [spelt Groszmann on PYE labels) who played rhythm guitar for Australian R&B band 'Steve and The Board' in the late 60's, under the alias of Carl Keats.

When the original single charted on 2nd may, 1970 it began an unbroken run of 17 weeks in the charts! It reached a peak at number 12, and although it did not achieve as high a position as some of the earlier singles it's stay in the charts was significantly longer. "Down The Dustpipe" was not incorporated on the third Status Quo album and it did not secure an album release until PYE later put together a compilation to capitalise on the sucess of Status Quo in the 70's. [See earlier  'Best Of ' Post]

14. Juniors Wailing
An alternate mix, and previously unreleased.

This post consists of FLACs ripped from the 1998 CD release and includes full album artwork for both vinyl and CD media, along with label scans for both Australian (ASTOR) and UK (PYE) releases.  

This CD release includes 4 bonus tracks (alternate mixes), including their hit single "Down The Dustpipe".

Track List:

01 Spinning Wheel Blues  3:21

02 Daughter  3:01

03 Everything  2:36

04 Shy Fly  3:49

05 (April) Spring, Summer And Wednesdays  4:12

06 Junior's Wailing  3:33

07 Lakky Lady  3:14

08 Need Your Love  4:46

09 Lazy Poker Blues  3:37

10 Is It Really Me / Gotta Go Home  9:34

Bonus Tracks

11 In My Chair (Alternate Mix)  3:34

12 Gerdundula (Alternate Mix)  4:10

13 Down The Dustpipe (Alternate Mix)  2:08

14 Junior's Wailing (Alternate Mix)  3:35

Status Quo were:
Francis Rossi - Guitar, Vocals
Rick Parfitt - Guitar, Vocals
Alan Lancaster - Bass, Vocals
John Coghlan - Drums
Roy Lynes - Keyboards
Bob Young - Harmonica

Status Quo's Greasy Link (361Mb)