Pig Iron “Pig Iron” 1970 US Psych Jazz Blues Rock

Pig Iron “Pig Iron” 1970 US Psych Jazz Blues Rock

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The only self-titled album from New York. A highly professional and talented team, unfairly pushed into oblivion. Headed “Pig Iron” was drummer Alan Abrahams. He was also lead vocalist and main songwriter and musical director of the group. 
In 1970, “Pig Iron” recorded an album which was well received by critics, but somehow went bad on sale. 
Firm and publisher, as usual, did not renew the contract, and by 1971 the band broke up. Alan Abrahams went on to become a professional producer, worked at RCA, Capitol and Columbia Records, recorded by Miles Davis, BB King and many others … As for the fate of the other musicians: keyboardist-trumpeter Adam Ippolito and bassist Gary Van Scyoc trumpeter joined a group of “Plastic Ono Band”, when John Lennon finally settled in New York. Saxophonist Marty Fogel made ??a career in a group of Lou Reed. Unknown only to the further fate of no less talented members “Pig Iron”: guitarist Bill Peters and leading trumpeter Paul Squire. 
Album “Pig Iron” is half of foreign things, half of your own original material written by Alan Abrahams co-authored with his colleagues, not the band. The group is very different from whales jazz-rock “Chicago” and “Blood, Sweat & Tears” by the fact that they play a more hard rock, heavily involved on the blues and rhythm and blues. This blues-rock with the active participation of the wind instruments. The album cover used the same technique of “introduction”, and that on the cover of “Led Zeppelin II”, but here the band “Pig Iron” infiltrated “the picture, taken from the collection of the museum railway” Union Pacific. “In the photo was captured historical time of the merger of two "crutches” construction of this important route to the United States, will connect the central states to the Pacific coast. band’s name, though it is in the word “Pig”, has nothing to do with pigs, but refers to the steel industry. “Pig Iron” (if literally - “pig iron”) means “pig iron” - the first pig iron smelting, intended for conversion into steel. pity that this short-term “pig iron” is not brought to a durable steel …~

Αυτό είναι το μοναδικό album που κυκλοφόρησαν εν έτη 1970, οι Hard Rockers Pig Iron από την New York (USA). Τα μέλη της μπάντας, Van Scyoc και Adam Ippolito θα συμμετάσχουν αργότερα στο σχήμα Elephant’s Memory και ο Marty Fogel αργότερα θα εμφανίζετε με το σχήμα του Lou Reed. 
Ένα μεγάλο Hard Rock LP με πολλά στοιχεία από Blues και Jazz Rock, δυστυχώς ένα album που έχει σε μεγάλο βαθμό αγνοηθεί, λίγοι έως ελάχιστοι το γνωρίζουν και σίγουρα αξίζει την προσοχή σας, αν ακούτε όμως Heavy Metal με τη στενή έννοια του όρου τότε αυτό το LP, πολύ απλά δεν είναι για εσάς. 
Το album αυτό από τους Pig Iron προσφέρει ένα μπρούτζινο Hard Rock ήχο στο στυλ των Chicago και των Blood, Sweat & Tears. Η μπάντα περιόδευσε στην Αμερική παίζοντας σε μεγάλα υπαίθρια φεστιβάλ, όπου headliners ήταν οι Rascals, οι Blodwyn Pig, ο Bob Seger και οι Chicago, αλλά αυτό δεν κράτησε πολύ και Pig Iron δυστυχώς διαλύθηκαν το 1971. 
Ο ταλαντούχος τραγουδιστής Alan Abrahams κάνει αργότερα επιτυχία και εκτενή καριέρα με τους Pure Prairie League, την Joan Baez και τον David Cassidy μεταξύ άλλων. 
Ο πληκτράς Adam Ippolito και ο μπασίστας Gary Van Scyoc θα ενταχθούν στους Elephant’s Memory τη μπάντα των John Lennon και Yoko Ono, ένα σχήμα που ήταν για το δικό τους προσωπικό μουσικό όραμα. Τελευταίος αλλά όχι λιγότερο σημαντικός, ο σαξοφωνίστας Marty Vogel είχε μια καριέρα στην μπάντα του Lou Reed, ενώ η μετέπειτα τύχη του κιθαρίστα Bill Peters και του τρομπετίστα Paul Squire, είναι ένα μυστήριο αφού κανείς δεν γνωρίζει τι έκαναν και που πήγαν. 
Ο δίσκος των Pig Iron είχε πολλά θετικά στοιχεία γι’ αυτούς που αρέσκονται στο καλό ’70s Hard και Blues Rock, εξαιρετική μουσικότητα ενώ σε όλο το δίσκο και μια ικανότητα για έξυπνες, ωραίες συνθέσεις. 
Η διασκευή στο τραγούδι του Screamin’ Jay Hawkins “I Put A Spell On You” είναι απολύτως μοναδική και ευχάριστη ένα μείγμα Blues με Hard Rock στοιχεία, είναι καλύτερη από το πρωτότυπο (κατά τη γνώμη μου) και οποιαδήποτε άλλη διασκευή έχετε ακούσει. Το ‘’I Can’t Make It Alone'’ είναι ένα άλλο αγαπημένο τραγούδι με μια μελωδία που ακόμα ηχεί φρέσκο και πρωτότυπο μετά από σχεδόν 45 χρόνια. Η δεύτερη πλευρά του δίσκου έχει περισσότερες μουσικές απολαύσεις, το ευχάριστο “Easy Time Now”, το “Abe’s Blues” με πολλά gospel στοιχεία και το “Top Of The World” το οποίο δεν είναι τίποτα λιγότερο από μια εκπληκτική Hard Rock και Jazzy σύνθεση. Ένας δίσκος που δεν θέλει κόπο για να ακουστεί αλλά ευχάριστη διάθεση και τρόπο….Αντώνης Δριβελόπουλος -….~

Credits 
Bass [Fender], Trumpet [3rd], Vocals – Gary Van Scyoc 
Lead Guitar, Vocals – Bill Peters (2) 
Saxophone – Marty Fogel 
Trumpet, Brass [Misc] – Paul Squire 
Vocals [Lead], Drums – Alan Abrahams (2) 
Vocals, Keyboards, Trumpet [2nd] – Adam Ippolito

Tracklist 
A1 People Gonna Talk 3:01 
A2 I Put A Spell On You 4:45 
A3 Neighbor, Neighbor 2:48 
A4 I Can’t Make It Alone 4:58 
B1 Easy Time Now 3:18 
B2 Abe’s Blues 5:20 
B3 Wake Up Mr. Charlie 2:49 
B4 Out Of Town 1:34 
B5 Top Of The World 2:43 

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Born Again “Born Again Pagan” 2011 (Recorded in 1969-1972) US Heavy Psych Blues Rock

Born Again “Born Again Pagan” 2011 (Recorded in 1969-1972) US Heavy Psych Blues Rock

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The group was formed in Marin County (Northern California) under the name “Red Mountain”. They went to Los Angeles in the hope of finding success there and glory. Local producer Roger Dollarhide took the guys under his wing and recorded with them several tracks in late 1969 and early 70s in “Sun West Studios” in Hollywood, which first appeared on the album “Born Again Pagan” in 2002. In addition, guitarist Larry Otis participated in the recording of the soundtrack for the film “The Velvet Vampire”, and these entries were also included in the collection. In 2005, it was reissued by the Shadoks Music company with the addition of seven bonus tracks….~

This release is primarily a mix of heavy blues/psych hard rock, with fuzz guitar, and some more conventional country rock and blues rock with psych influences, harmonica, and guitar. The major portion of this album (and best part, to my ears) was recorded between 1969~72. Five of the seven bonus tracks were recorded between 1999~2004 and are, for the most part, off the pace of the earlier tracks. Still, two of them: “Om Namah Shivaya” and “Milk & Honey”, are good. Of the other two, the alt. mix of “Sandcastle” is also good, but not so much as the released version. But it’s the ‘69~'72 stuff that really hits the spot, particularly “Boiling Point”, “Barnyard Blues”, “No Good reason”, and “Sandcastle”, all of which are superb. Also included is a nice 4 page booklet with lots of band history and some pics - unusual for a Shadoks release. But if your thinking about this for the bonus mat'l, you could do worse things with your money, but better things too….by…tymeshifter ….~

This once elusive CD, pressed in very finite units as it were, was a surprise for me to find at a reasonable price. As expected, and as described by the seller, this release by Pagan does not disappoint. That precious era of 1969-71, psych fading to progressive heavy rock, is represented here in their 1970-71 recording of this album. There may be one or two lesser tracks on the disc, but it is 90% heavy-blues psych, a satisfying mix of the two with plenty of fuzzy bass and guitar, similar to Blueberry Pancake (heavy fuzz-bass). Don’t hesitate to buy this gem, and recommend it to all collectors you know of the specified era….~

It seems to confuse, Born Again is the band name and Pagan (Born Again Pagan) is the album title. 7 bonus tracks were added to the analog board (released in 2002) from Rockadelic by the unexploded sound source of 69 to 70 years and it was made into a CD. 
Basically it is a heavyweight with keynote blues, but it can be said that it was a band that had a wealth of talent with a wide range of expressive power, from acoustic psychedelic tone to high acid value instincts, Marine County in California). There are vocals and guitars, and the songs themselves are glossy and sexy, so you can feel the majestic style. Especially Larry Otis’ expressive guitar work looks like Paul Kozov was improved….~

Personnel: 
Brice Sullivan — vocals, harmonica, keyboards 
Larry Otis — guitar 
Steve Avery — guitar 
Stuart Ramsay — bass 
Rod Moxie — bass, guitar 
Lloyd Wick — drums

Tracklist 
A1 Barnyard Blues
A2 Radio X
A3 No Good Reason
A4a Boiling Point
A4b Three Pipers
A5 Laurie Waltzing
B1 Sand Castle
B2 Good Blues
B3 She’s Gone
B4 Comin’ Back Strong
B5 Lie Me Down 

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Bob Weir And RatDog “Evening Moods” 2000 US Classic Rock Blues Rock

Bob Weir And RatDog “Evening Moods” 2000 US Classic Rock Blues Rock

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Ratdog - a solo project of Grateful Dead rhythm guitarist Bob Weir - recorded this studio album in 2000. Weir and his cohorts (Jeff Chimenti on keyboards, Mark Karan on lead guitar, Rob Wasserman on bass, and Jay Lane on drums) are on solid footing here as they lay down a sturdy groove-rock base, and the album features a guest appearance by Grateful Dead drummer Mickey Hart…..~

The long-awaited release from former Grateful Dead icon Bob Weir’s jam band Ratdog shouldn’t disappoint hungry Deadheads. The bluesy/folky/country/jazz feel of the Dead’s live sets have been reborn in this incarnation as well, accented by guest Mickey Hart’s loose percussion on a couple of tracks (notably the cover of “Corinna”). Weir’s friend and frequent collaborator, bassist Rob Wasserman, anchors the tracks and allows for plenty of bluesy jamming, and the band opens up to make room for gritty keyboard solos and even a bright horn section. After five years of touring without a single album for rabid fans to take home with them in their VW vans and BMW convertibles, the inevitable question is “When does the tour start?”… by Zac Johnson…~

Former Grateful Dead guitarist Bob Weir eases into the 10 tracks on “Evening Moods,” a series of rambling-man tales told from hotel rooms, dusty detours and the inevitable crossroads. The relaxed atmosphere plays to Weir’s strengths – the interplay of a jazz band built on bluesy vocal inflections and chord progressions – without challenging him. The production is awfully slick, the tempos never break a sweat, and Fans will have to wait for the concerts when Ratdog can kick these promising but rather tepidly performed originals up a notch in urgency….~

This is an excellent album if you are a fan of Bob or the Dead. It’s up there with Blues for Allah in terms of recreating the live feel in a studio setting. Many of the songs flow into each other like a good Dead show. I had to bump my rating because I don’t know why this is so underrated here and in general. 

One thing I’ve always enjoyed about Ratdog is the addition of the saxophone. I think it goes really well with this type of music. It’s like if you took the show in 1990 where the Dead jammed with Branford Marsalis (generally a fan favorite) and extended it for a whole album or show. I’m also a fan of Jeff Chimenti who plays keyboards here as well as in Dead and Company. 

I think some of these songs rank up there with Bob’s best. Sometimes it seems like he’s gotten even better with age. Two Djinn especially is a favorite. Even So, Ashes and Glass and Lucky Enough stand out as well. If you are a fan or just interested you should check this out or give it another chance. I’d say it’s as good or better than most of the Dead’s studio albums. The sound is more organic and not overproduced. Also, check out Ratdog or Dead and Company live if you get the chance. Of course it’s a bummer that Jerry is gone but it’s still an awesome experience…PlaceInTheSun …..~

“Evening Moods” is the first solo recording in 17 years by former Grateful Dead guitarist and vocalist Bob Weir. The album features strong songwriting and lively improvisations in a band led by Weir and accomplished bassist Bob Wasserman. Weir spent the past five years cycling through supporting musicians to find Ratdog’s current lineup and it shows: the ensemble has its own voice – reminiscent, but not derivative, of a jazzier Grateful Dead….~

Credits 

Bass – Rob Wasserman 
Drums, Backing Vocals – Jay Lane 
Guitar, Lead Vocals – Bob Weir 
Keyboards, Backing Vocals – Jeff Chimenti 
Lead Guitar, Backing Vocals – Mark Karan 

Tracklist
1 Bury Me Standing 9:03 
2 Lucky Enough 5:10 
3 Odessa 6:13 
4 Ashes And Glass 5:55 
5 Welcome To The World 6:51 
6 Two Djinn 9:04 
7 Corrina 8:50 
8 October Queen 7:45 
9 The Deep End 5:17 
10 Even So 9:41 

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Brownstone Inc. “Mind Tricks” 2018 Austria Hard Rock Blues Rock

Brownstone Inc. “Mind Tricks” 2018 Austria Hard Rock Blues Rock 

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Austria Hard Rock / Blues Rock / Alternative from Bruck. Powerful soul voice surrounded by two bluesy-scratchy guitars, mesmerizing bass riffs and drifty drums….~

Julia Schubatzky - Vocals 
Christian Spanring - Lead/Rhythm Guitars 
Angelo Hoier - Lead/Rhythm Guitars 
Konstantin Fellner - Bass 
Thomas Tempfer - Drums

01. Chains 
02. Ghost (In the Machine) 
03. Blues 
04. No Composition of Linearity 
05. Stumble, Fall, Realign 
06. Embers 
07. Labels 
08. Some Scars 
09. Let’s Play with Open Cards 

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Cuero “Tiempo Despues"1973 + "Crecimiento” 1974 +‎ “Tiempo Despues” 1973 EP- Argentina Heavy Prog Latin Jazz Fusion,Blues Rock

Cuero “Tiempo Despues"1973 + "Crecimiento” 1974 +‎ “Tiempo Despues” 1973 EP- Argentina Heavy Prog Latin Jazz Fusion,Blues Rock

Cuero “Tiempo Despues"1973 full dailymotion

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Cuero "Crecimiento” 1974 full spotify

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Cuero ‎ “Tiempo Despues” 1973 EP full spotify

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This trio was formed in 1973, after the dissolution of Piel de Pueblo. Carlos Calabró and Nacho Smilari, members of that band, joined Quique Masllorens, founder of La Joven Guardia and without having performed any show they recorded their debut album, “Tiempo después”, in the middle of ‘73. The band developed in this album an excellent rock and hard blues with psychedelic allegories. 
Carlos Piña replaced Masllorens just after the recording of the plaque, which was presented live on very few occasions, before the dissolution. 
Smilari tried to reunite the original musicians for a second album, but was unsuccessful. That is why he summoned Adalberto Cevasco (bass), Osvaldo López (drums), Bernardo Baraj (saxophones), Parentella (piano) and Joe Coco (percussion) and with this group he published “Crecimiento”. Without even presenting it live, the band was dissolved again. 
The leather material was never reissued by the Music Hall label in any format, although there is an “unofficial” reissue (without a license from the broken Music Hall label) on CD made in Mexico of its first two works on a single CD….~

After the break up of Piel de Pueblo, outstanding guitarist Nacho Smilari and drummer Carlos Calabró joined Masllorens (ex-La Joven Guardia) and formed Cuero. 
The debut album was a hard rock effort lead by Nacho’s brilliant guitar. The instrumental “Tiempo después”, “Nuevamente el momento”, “No sé si voy a enloquecer”, the blues “Escucha mi voz”, and the long psycho “Paula acurrucada en un color” are the remarkable tunes. This is a recommended album for those who like Piel de Pueblo, Montes, Rockal y La Cría and Pappo’s Blues. 
Cuero soon split after Smilari’s departure to the USA. But later Nacho returned and the group recorded a very good album with the help of excellent musicians such as Bernardo Baraj (ex-Alma y Vida) on sax and flute, Osvaldo López (ex Los In) on drums, Adalberto Cevasco on bass, Raúl Parentella on electric piano and Joe Coco on percussion. 
This second LP was almost Latin jazz-rock instrumental music with good guitar playing. It is obvious that his trip to the USA had influenced him quite a bit. 
Both records went unnoticed (especially the second one) and had never been reissued on any format. The first one is harder to get….~

Cuero “Tiempo Despues"1973 Argentina 

Credits
Bass, Vocals – Enrique Masllorens
Drums – Carlos Calabro*
Guitar, Vocals, Piano – Nacho Smilari

Tracklist
A1 Tiempo Despues
A2 Jungla De Neon
A3 Nuevamente El Momento
A4 No Se Si Voy A Enloquecer
B1 Parientes Del Mundo Interior
B2 Escucha Mi Voz
B3 Paula Acurrucada En Un Color 

Cuero "Crecimiento” 1974 Argentina Prog Jazz Afro Fusion

Personnel:
- Nacho Smilari - vocals, guitar
- Bernardo Baraj - tenor saxophone, soprano saxophone, flute
- Raul Parentella - pianos
- Adalberto Cevasco - bass
- Osvaldo Lopez - drums
- Joe Coco - percussion
- Jorge Zorry - alto saxophone

Tracklist
Crecimiento 3:30
Forrado De Cueros I 1:15
Viendome A Trasluz 7:40
Nuevas Caras 3:17
Silenciosos Negros 2:45
Forrado De Cueros II 1:15
Pisando El Suelo 3:15
Fantasias De Cristal 3:45
Golpeando Las Piedras 2:07

Cuero ‎ “Tiempo Despues” 1973 EP

Tracklist 
A1 Tiempo Despues 3:30 
A2 Nuevamente El Momento 3:50 
B1 No Se Si Voy A Enloquecer 4:07 
B2 Excucha Mi Voz 4:47 

Albums 
1973 - Tiempo después (Music Hall 2405) A 
1974 - Crecimiento (Music Hall 13072) B 
1973 - “Tiempo Despues”  EP

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Electric Flag “An American Music Band” 1968 US Psych, Blues Soul Jazz Rock.R & B masterpiece

Electric Flag “An American Music Band” 1968 US Psych, Blues Soul Jazz Rock.R & B masterpiece …highly recommended..!

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Electric Flag Discography 

http://www.deaddisc.com/GDFD_Electric_Flag.htm

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The Electric Flag Michael Bloomfield “Over Lovin’ You” Live at Monterey 1967  with Buddy Miles on google+

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Electric Flag  "Wine “ 1967 Monterey Live on google+

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Although this rather dubious collection hints that original Electric Flag members Mike Bloomfield, Harvey Brooks, Barry Goldberg, Nick Gravenites, and Buddy Miles are involved in all of these nine tracks, it seems doubtful, as is the claim that these are live archival cuts. "I Should Have Left Her” (which is really a version of Howlin’ Wolf’s “Killing Floor”) is definitely live, but most of these tracks appear to have been drawn from the band’s rather lifeless mid-‘70s reunion. Versions of this set have appeared under various titles over the years, including An American Music Band, Groovin’ Is Easy, Small Town Blues, I Found Out, and even under the title Great Hits (Electric Flag never even came close to having a hit). Starved Flag fans might find it worth a few bucks, but truthfully, Electric Flag were a one-album act, 1968’s A Long Time Comin’. The band fell apart as soon as it left the station, and although it managed a couple more albums in various combinations, it was the Flag in name only……by Steve Leggett….~

The original Electric Flag album, “A Long Time Comin’” was such a shot of fresh air and creativity that some of the cuts from this still send a charge up my spine: Killing Floor, Texas, Easy Rider are all wild rides that stimulate the relational centers of my brain. Mike Bloomfield was in razor-sharp form on these cuts - his guitar sound was and is Unparalleled. Yes, oh yes this is an uneven production - by this time, Bloomfield was on his way out - it was weighing him down, man. 
The second one, The Electric Flag, An American Music Band is just doggone good right through, psychedelic sould as put across by a ridiculously talented band headed by Buddy Miles. Wow! This is a rare album, for sure, but one that deserves to be heard. I particularly like Buddy’s song “Qualified”. The ballads are all spot-on and the instrumentation is ENERGIZED. Too bad this little experiment of Michael’s didn’t pan out. They started as the hit of the Monterrey Pop Festival and then sort of faded quickly away. 
Oh, I remember when and this CD sort of flashes me back to my wonderment at the excellent playing here when I was a lad. I appreciate all of this still, after 46 or so years. Impressive music!…. John F. Browning….~

For those who grew up in the 60s and 70s the Electric Flag was still an obscure band. However, there were two legendary bluesmen who featured on their album, A Long Time Coming. The late Michael Bloomfield on lead guitar was one of the greatest blues guitarist of his era. Featured on other albums such as Super Session with Stephen Stills and Al Kooper, he was a brilliant blues guitarists whose smooth soulful playing is still as good today as it was then. Buddy Miles and Bloomfield team up for Texas which, in this reviewer’s opinion, is one of the best blues songs ever written. Similarly, You Don’t Realize is one of the most beautiful blues ballads ever written. Richie Havens makes a surprise appearance on the original album as well. Killing Floor becomes Led Zeppelin’s The Lemon Song a few years later. The Electric Flag was the first major group to bring a brass sound to blues (before Chicago did). This is a great American album that you can’t go wrong with…..~

Out of the two 1968-9 Electric Flag studio albums, the second, self titled one is the better. True, it does not have Mike Bloomfield, but the sound is far superior, the arrangements are tighter, and the band seems more sure of itself. 

The album is less ambitous, but the execution is better, and there are creative flurishes: listen to the segue from Sonny into With Time There Is Change, using the flute for transition. It is all part of the dark, smokey vibe, which focuses the album more than Long Time Commin, which is great, but never quite acheives an overall mood.( I wonder what would have happened if they had started with a basic blues album like this, then tackled the more lofty work of Long Time Commin'0 
It is a shame this band broke up so soon. Both records show they had plenty of potental. Buy this twofer, and you’ll see the many ways they could have gone……~

When guitarist Mike Bloomfield left the Paul Butterfield Blues Band in 1967, he wanted to form a band that combined blues, rock, soul, psychedelia, and jazz into something new. The ambitious concept didn’t come off, despite some interesting moments; maybe it was too ambitious to hold all that weight. Bloomfield knew for sure that he wanted a horn section in the band, which he began forming with a couple of friends, keyboardist Barry Goldberg and singer Nick Gravenites. Although the three were all veterans of the Chicago music scene, the group based itself in the San Francisco area. Bloomfield, Goldberg, and Gravenites were in turn bolstered by a rhythm section of bassist Harvey Brooks (who had played on some of Bob Dylan’s mid-'60s records) and drummer Buddy Miles; on top of them came a horn section. 

Oddly, before even playing any live concerts, Electric Flag recorded the soundtrack for the 1967 psychedelic exploitation movie The Trip, which afforded them the opportunity to experiment with some of their ideas without much pressure. Their live debut was at the 1967 Monterey Pop Festival (although they didn’t make it into the documentary film of the event; they do appear in the bonus footage on the DVD version), but their first proper studio album didn’t come out until the spring of 1968. 

A Long Time Comin’ was an erratic affair, predating Blood, Sweat & Tears and Chicago as a sort of attempt at a big-band rock sound. Calling it an early jazz-rock outing is not exactly accurate; it was more like late-'60s soul-rock-psychedelia that sometimes (but not always) employed prominent horns. Indeed, it sometimes didn’t always sound like the work of the same band – or, at least, you could say that it seemed torn between blues-rock, soul-rock, and California psychedelic influences. The album’s success is even harder to judge in light of the facts that Gravenites really wasn’t a top-notch vocalist, and that the bandmembers’ instrumental skills outshone their songwriting ones. 

There was enough promise on the album to merit further exploration, but it had hardly been released before the Flag began to droop. Goldberg left, followed shortly by Bloomfield, the most important component of the group’s vision. A fragmented band recorded an inferior follow-up, but by 1969 Electric Flag had split up. They did reunite (with Bloomfield) in 1974 for a Jerry Wexler-produced album that got little notice. ~ Richie Unterberger…..~

Mike Bloomfield left the Electric Flag shortly after the release of their debut album, as exhaustion and his heroin addiction got the better of him. The band went on without him, with drummer Buddy Miles now in control, and they found a replacement lead guitarist in Horshal Wright. Their second album was thus recorded with the lineup of Buddy Miles (drums/vocals), Nick Gravenites (vocals/rhythm guitar), Herbie Rich (keyboards/sax/vocals), Harvey Brooks (bass), Horshal Wright (lead guitar), Stemzie Hunter (sax/vocals), Peter Strazza (sax) and Marcus Doubleday (trumpet). It was produced by John Simon (who also played some keyboards), and was released in late 1968. 
Without the presence of Bloomfield interest in this second album has never been high, which is a shame as its a truly great mix of rock, blues, soul and jazz, and arguably just as good (if not better!) than the band’s better-known debut, featuring strong original material (plus Dr John’s “Qualified), great arrangements, talented musicianship, and vocals shared between the different members. However this version of the band did not last, and before long they had split. Buddy Miles went on to form his own group (Buddy Miles Express), which Herbie Rich also joined, and he later worked with Jimi Hendrix. Nick Gravenites went on to work as a producer and briefly joined Big Brother & The Holding Company, whilst Harvey Brooks returned to session work…..~

Mike Bloomfield didn’t play on the album as he had left in May 1968.Herbie Rich now played a more active part on the album. His organ solos can be heard on "Hey, Little Girl”, and their rendition of Bobby Hebb’s “Sunny” with Buddy Miles on vocals. Rich also did the sax solo and sang lead on a song called “Qualified”. He also did the sax solo for “ My Woman That Hangs Around The House” and took care of the horn arrangements for “ Mystery”. Buddy Miles also was now more prominent and he was the only member featured on the album’s cover….~

The short-lived but successful Electric Flag was formed in 1967 by guitarist Mike Bloomfield after he’d left The Paul Butterfield Blues Band, ostensibly to give original guitarist Elvin Bishop, in Mike’s words, “A little space.” Undoubtedly he had also become uncomfortable with Paul Butterfield’s position as bandleader and was anxious to lead his own band. When Bloomfield left, he brought vocalist Nick Gravenites with him. The rest of the original group was a collection of seasoned professionals from some of America’s most successful bands. Drummer Buddy Miles had done session work with Otis Redding and Wilson Pickett, bassist Harvey Brooks had been with Bob Dylan, Phil Ochs and Judy Collins. Keyboard player Barry Goldberg had previously played with Steve Miller and Mitch Ryder, Peter Strazza on tenor saxophone had also played for Miller. Trumpeter Marcus Doubleday had backed The Drifters, Jan And Dean as well as Bobby Vinton. Herbie Rich, a well seasoned session man, completed the ensemble on baritone sax . 
Oddly, before even playing any live concerts, the group recorded the soundtrack for the 1967 psychedelic exploitation movie, The Trip, which afforded them the opportunity to experiment with some of their ideas without much pressure. Their live debut was at the 1967 Monterey Pop Festival, although they didn’t make it into the documentary film of the event. Their first album, “A Long Time Comin’” was released in the Spring of 1968 with additional members Stemziel (Stemsy) Hunter and Mike Fonfara. It was an erratic collection, predating Blood, Sweat And Tears and Chicago as an attempt to fuse the Big Band sound with Hard Rock. The album’s success is difficult to judge, in light of the facts that Gravenites really wasn’t a top-notch vocalist, and that the band’s instrumental skills outshone their songwriting. It did manage to reach # 31 in the U.S. album charts. 

There was enough promise on the album to merit further exploration, but it had hardly been released before The Flag began to droop. Drugs, egos, and poor management started to take their toll. Goldberg left, followed shortly by Bloomfield, the most important component of the group’s vision. Buddy Miles, however, was determined to keep the band together and recorded a second album titled simply, “The Electric Flag”. Despite climbing to number 76, the record failed to mask the internal turmoil that hard drug abuse and internal stresses had created and which led to the band’s disintegration in 1969. They did reunite for a studio project with Mama Cass shortly after, which was completed, then promptly shelved. 

Miles went on to form The Buddy Miles Express and later joined Jimi Hendrix’s Band Of Gypsies, while Gravenites worked briefly for Big Brother And The Holding Company before becoming a songwriting legend in San Francisco. He would later produce Brewer And Shipley’s US Top Ten hit, “One Toke Over The Line”. Brooks, following years of session work that included the Bloomfield/ Al Kooper / Stephen Stills Super Session, reappeared as a member of Sky. 

Bloomfield, weary of the road, suffering from insomnia, and uncomfortable in the role of guitar superstar, returned to San Francisco to score movies, produce other artists, and play studio sessions. One of those sessions was a day of jamming in the studio with keyboardist Al Kooper, who had previously worked with Bloomfield on the 1965 Dylan sessions. “Super Session”, the resultant release, with Bloomfield on side one and guitarist Stephen Stills on side two, once again thrust Bloomfield into the spotlight. Kooper’s production and the improvisational nature of the recording session captured the quintessential Bloomfield sound: the fast flurries of notes, the incredible string bending, the precise attack, and his masterful use of tension and release. Although “Super Session” was the most successful recording of his career, Bloomfield considered it to be a scam, more of an excuse to sell records than a pursuit of musical goals. After a follow-up 'live’ album, he retired to San Francisco and lowered his visibility. 

In the seventies Bloomfield played gigs in the San Francisco area and infrequently toured as Bloomfield And Friends, a group which usually included Mark Naftalin and Nick Gravenites. Bloomfield also occasionally helped out friends by lending his name to recording projects and business propositions, such as the ill-fated Electric Flag reunion in 1974. In the mid-seventies Bloomfield recorded a number of albums with a more Traditional Blues focus for smaller record labels. He also recorded an instructional album of various Blues styles for Guitar Player magazine. 

By the late seventies Bloomfield’s continuing drug and health problems caused erratic behavior and missed gigs, alienating a number of his old associates. In the Summer of 1980 he toured Italy with classical guitarist Woody Harris and cellist Maggie Edmondson. On November 15, 1980, he joined Bob Dylan on stage at the Warfield Theater in San Francisco and jammed on “Like A Rolling Stone”, the song they had recorded together 15 years earlier. Sadly, Michael Bloomfield was found dead in his car of a drug overdose in San Francisco, California on February 15th, 1981. 

On July 28th and 29th, 2007, a one-time reunion of The Electric Flag, anchored by original members Gravenites, Goldberg and Hunter, took place at a show at the Monterey County Fairgrounds, commemorating the 40th Anniversary of the Monterey Pop Festival. The original members were backed by members of the Tower Of Power and The Blues Project. They played a one hour set featuring material from the first album, as well as several Blues covers. 
Drummer Buddy Miles passed away on February 26th, 2008 at the age of 60…….~

Credits 
Alto Saxophone, Vocals – Stemsy Hunter 
Baritone Saxophone, Soprano Saxophone, Flute – Virgil Gonsalves 
Bass, Guitar, Vocals, Producer, Liner Notes – Harvey Brooks 
Drums, Vocals – Buddy Miles 
Guitar – Hoshal Wright 
Organ, Tenor Saxophone, Vocals – Herbie Rich 
Piano, Producer – John Simon 
Tenor Saxophone – Terry Clements (2) 
Trumpet – Marcus Doubleday 
Vocals, Rhythm Guitar, Percussion, Liner Notes – Nick Gravenites

Tracklist 
A1 Soul Searchin’ 2:58 
A2 Sunny 3:43 
A3 With Time There Is Change 3:30 
A4 Nothing To Do 4:50 
A5 See To Your Neighbor 2:42 
B1 Qualified 7:08 
B2 Hey, Little Girl 2:55 
B3 Mystery 3:53 
B4 My Woman That Hangs Around The House 3:15

Former members 
Mike Bloomfield — lead guitars, vocals (1967–1968, 1974; died 1981) 
Barry Goldberg — keyboards (1967, 1974, 2007) 
Harvey Brooks — bass (1967–1969) 
Stemzie Hunter - saxophone (1967–1969, 2007) 
Buddy Miles — drums, vocals (1967–1969, 1974; died 2008) 
Nick Gravenites — rhythm guitars, vocals (1967–1969, 1974, 2007) 
Peter Strazza — saxophone (1967–1969) 
Marcus Doubleday — trumpet (1967–1969) 
Michael Fonfara — keyboards (1967) 
Herb Rich — keyboards, saxophone (1967–1969; died 2004) 
Roger Troy — bass, vocals (1974) 
John Simon - keyboards, arranger (1969) 

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