Easy now (Hot Tuna) (LP 773 - 776)

Hot Tuna  The Phosphorescent Rat (Vinyl, Grunt Records, 1973) **** 

Hot Tuna  America's Choice (Vinyl and CD, Grunt Records, 1975/1996) ****

Hot Tuna  Yellow Fever (Vinyl, Grunt Records, 1975) *** 

Hot Tuna  Hoppkorv (Vinyl and CD, Grunt Records, 1976/1996) **** 

Genre: Grunt Records 

Places I remember: Marbecks Records (America's Choice, Hoppkorv and the Hot Tuna In A Can CD collection); Amoeba Records (San Francisco) - Yellow Fever; Real Groovy Records - The Phosphorescent Rat.

Fab, and all the other pimply hyperboles: Bowlegged Woman Knock-Kneed Man (Hoppkorv)

Gear costume: Living Just For You (TPR), Hit Single #1 (AC); Invitation (America's Choice); Baby, What You Want Me To Do (YF)

Active compensatory factors: Hot Tuna in the seventies evolved into a more hard rocking outfit than it had been when Jorma and Jack were concurrent members to parent band - The Jefferson Airplane.

The Phosphorescent Rat is something of a transitional record - still featuring a great acoustic number (Seeweed Strut) and some strings on a few tunes, as well as the big and beaty stuff.

America's Choice is a great album - it's high quality musicianship (Hot Tuna was now a trio) and songs are consistent throughout the album. Tough to find a standout as they all stand out for me.

Yellow Fever was a tough one for me to find - I eventually tracked one down in Amoeba Records in San Francisco. I'm not sure what to make of the cover - hopefully the band had a good reason to approve it, but still - not cool dudes.

This was their second album of 1975! Although quality remains high, this set isn't as strong as America's Choice. 

Hoppkorv is another awesome Hot Tuna album. The star here is Jorma Kaukonen - his singing and guitar playing is next level! 

Where do they all belong? Some live albums yet to come on vinyl and some studio albums to come on CD.

Deal (Jerry Garcia) (LP 771 - 772)

Jerry Garcia  Garcia (Vinyl, Warner Bros. Records, 1972) ****

Jerry Garcia Band  Cats Under The Stars (Vinyl, Arista, 1978) ***

Genre: San Francisco pop/rock

Places I remember: Real Groovy Records/ Slow Boat Records

Fab, and all the other pimply hyperboles: Deal (Garcia)

Gear costume: Sugaree, To Lay Me Down (Garcia); Gomorrah (CUTS)

Active compensatory factors: These are both debut albums of a sort - Garcia is Jerry's debut solo album (he plays pretty much everything too) and Cats Under The Stars is the debut (and sole) album by the Jerry Garcia Band (they remained intact as a live only band).

Robert Hunter remains the lyricist - so the thematic unity with The Grateful Dead is maintained. 

I prefer the more Dead sounding Garcia than the Jerry Garcia Band, although I may be in the minority on that one. He gets credit though for in each case trying something different.

Where do they all belong? Next up in this genre is Jerry's real band - The Grateful Dead.

All rise again (Blackberry Smoke) (LP 770)

Blackberry Smoke  You Hear Georgia (Vinyl, 3 Legged Records, 2021) *** 

Genre: Southern rock 

Places I remember: JB Hi Fi (Palmerston North)

Fab, and all the other pimply hyperboles: All Over The Road

Gear costume: Live It Down

Active compensatory factors: The boys do another good job on this their seventh album. I have the other six on CD and so it's nice to finally get one on vinyl.

The songs aim for a lot more variety this time around - Ain't The Same leans towards country-rock, Lonesome For A Living embraces country and Hey Delilah owes a debt to Little Feat and clearly Oh Atlanta was the blueprint. These guys aren't Little Feat though so it doesn't quite work for me.

The familiar southern rock style of Blackberry Smoke is also present and correct (Live It Down).

Where do they all belong? That's it for Blackberry Smoke. Will I buy any more of their albums? I'm not sure, to tell the truth. I feel they are moving slowly towards all round entertainer status or Zac Brown country style pop/rock  but if they do another song like Let It Burn, then you betcha - I'll get back onboard.

Staring at the embers (Tim Finn) (LP 768 -769)

Tim Finn  Escapade (Vinyl, Mushroom Records, 1983) ***

Tim Finn  Big Canoe (Vinyl, Virgin Records, 1986) ***

Genre: NZ Music 

Places I remember: Vinyl Countdown

Fab, and all the other pimply hyperboles: Fraction Too Much Friction

Gear costume: Staring At The Embers 

Active compensatory factors: Escapade and Big Canoe are Tim's first two solo albums, made after leaving his group - Split Enz.

At the time - early to mid eighties I was overwise engaged, working and raising two children, so these albums weren't on my radar, even though they were big sellers in NZ. Fraction Too Much Friction was all over the radio!

It's only recently that I have rediscovered their 'charms'. Because it was the eighties and Tim was a hip young dude his early albums are awash in the production methods of the day, i.e. approach with caution.

Nevertheless, the man is a great NZ singer/song-writer and there are glimpses of his talent on these early solo albums. Hence the three star ratings.

Where do they all belong? Much more Tim Finn to come on CD.

Rock me on the water (Jackson Browne) (LP 762 - 767)

Jackson Browne  Jackson Browne (Vinyl, Asylum Records, 1972) **** 

Jackson Browne  For Everyman (Vinyl, Asylum Records, 1973) **** 

Jackson Browne  Late For The Sky (Vinyl, Asylum Records, 1974) *****

Jackson Browne  The Pretender (Vinyl, Asylum Records, 1976) **** 

Jackson Browne with David Lindley  Where The Shadows Fall - The classic 1972 broadcast (Vinyl, Let The Eat Vinyl, 2013) *** 

Jackson Browne with David Lindley  Live at The Main Point 15th August 1973 (Vinyl, Echoes, 2015) *** 

Genre: Pop/rock (I've collapsed most of the nationalities and sub genres into one now - makes it far easier to find things! Exceptions are New Zealand pop/rock, Southern pop/rock, San Francisco pop/rock) 

Places I remember: Marbecks Records for the studio albums, the two live broadcasts come from The Warehouse and JB Hi Fi.

Fab, and all the other pimply hyperboles: For Everyman

Gear costume: Redneck Friend (For Everyman); The Road And The Sky, Before The Deluge (Late For The Sky); The Pretender.

Active compensatory factors: I've written about these albums a little in the past - the song For Everyman, and my favourite Jackson Browne albums, but I haven't included them in my collection countdown as yet.

The first two albums, Jackson Browne (a.k.a. Saturate Before Using) and For Everyman are like a double album. He had built up so many songs that it feels like his debut album - Volume 1 and 2.

Each album has its share of outstanding songs:

• Jackson Browne - Jamaica Say You Will, Doctor My Eyes, Rock Me On The Water, My Opening Farewell
• For Everyman - Take It easy, These Days, Red Neck Friend, Ready Or Not, For Everyman

Stunning songs!

By Late For The Sky, Jackson's first masterpiece, he sounds fully in command and the songs are of a piece - as in, it feels like a complete album, rather than a collection of brilliant songs.

The Pretender completes the first four albums in his canon. It's another excellent album - albeit a sad one - following his wife's suicide in 1976.

The songs take on the weight of that event, obviously. Here Come Those Tears Again, and Sleep's Dark and Silent Gate are tough to listen to. The Pretender is another outstanding song. He was on fire!

I've included two radio broadcasts from these early days. David Lindley and Jackson Browne make a great team live. They did a broadcast like this in NZ which I taped and listened to a lot. It included a few Warren Zevon songs and the interplay between Jackson and David was hilarious.

Where The Shadows Fall is from 1972 but includes songs from the first two albums. There is a lot of studio chat from Jackson and he rambles too much, but hey, he was a confident young guy!

Live at The Main Point is from 1973 and covers the same ground, and has a similar amount of chat, but with a lot of other cover songs as well. 

Both albums sound really good - it's often hit or miss with radio broadcast albums but these are crisp and clear sounding - especially the 1973 set, which also sounds better rehearsed.

Where do they all belong? More to come on vinyl and CD.

Touchdown (Bob James) (LP 761)

Bob James  Touchdown (Vinyl, CBS Records, 1978) ****

Genre: Modern jazz 

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles: Angela (Theme from 'Taxi')

Gear costume: Caribbean Nights

Active compensatory factors: I used to have a copy of this but stupidly sold it thinking that all I needed was the double Live LP - All Around The Town (in my defense this is a great album).

Stupid! Touchdown is superb and perfect for summer holidays (like now in New Zealand).

Bob's arrangements and electric piano are very distinctive. Once he gets a cool groove going it all feels effortless to listen to. 

Some great musicians on this album too, including Steve Gadd, Ron Carter, Mongo Santamaria, David Sanborn, and Hubert Laws.

Where do they all belong? The Retrospective double CD called Restoration: The Best of Bob James is an excellent place to start and that double live album is fierce.

Colors/dance (George Winston) (LP 760)

George Winston  Autumn (Vinyl and CD, Windham Hill Records, 1980) *** 

Genre: Piano jazz 

Places I remember: Real Groovy for the vinyl and Kings Recording (Abu Dhabi) for the 20th anniversary edition on CD.

Fab, and all the other pimply hyperboles/ Gear costume: The whole album needs to be experienced rather than individual tracks. 

Active compensatory factors: I really enjoy solo piano albums - whether they are by Monk, Jarrett, or George Winston.

Admittedly George is at the more populist end of the spectrum and he's not as challenging as the other two genius pianists I've listed. That just means it can wash over you and you can drift away into your personal autumnal world.

I love autumn - my favourite season and this music suits that mood wonderfully.

Where do they all belong? More George Winston to come on CD.

Yesterday's music (Blood Sweat & Tears) (LP 755 - 759)

Blood Sweat & Tears  New City (Vinyl, CBS/Sony Records, 1975) *** 

Blood Sweat & Tears  More Than Ever (Vinyl, CBS, 1976) ***

Blood Sweat & Tears  In Concert (Vinyl, CBS/Sony Records, 1976) ****

Blood Sweat & Tears  Brand New Day  (Vinyl, ABC Records, 1977) *** 

Blood Sweat & Tears  Nuclear Blues (Vinyl, MCA Records, 1980) ****

Genre: Jazz rock/Jazz fusion 

Places I remember: Mixture of Real Groovy Records, Slow Boat Records, Vinyl Countdown.

Fab, and all the other pimply hyperboles: I'll Love You More Than You'll Ever Know (In Concert)

Gear costume:  Unit Seven (In Concert); Agitato (Nuclear Blues)

Active compensatory factors: The strap line on the cover of New City tells you that BS&T now features David Clayton-Thomas. Yes - he was back in the group and features on each of these albums.

New City is a funky/ disco oriented BS&T - which may or may not be your thing. It's not really mine. I do like electric piano though and this album has quite a lot of keyboards, as well as the BS&T horn ensemble.

Their version of McCartney's Got To Get You Into My Life is on this one.

The new pop/RnB direction solidified on More Than Ever with Bob James producing/ arranging and playing on the album along with a stellar group of jazz/rock musicians like Richard Tee, Eric Gale, Hugh McCracken, Eric Weissberg, Jon Faddis, and Patti Austen on some vocals (I Love You More Than Ever is their attempt at a power ballad - doesn't quite come off but at least they gave it a college try). 

I like it, but then I like Bob James. So this one is modern jazz cool fused with a funky beat. David Clayton-Thomas' vocals tie the sound to the BS&T past which works for me as well. A one off!

The live BS&T experience is a lottery - as I've indicated with a 2 star rating for their 1977 release - Live in New York 1977. In Concert has songs taken from a variety of sources during 1976, but it manages to maintain quality and intensity pretty well over four sides. It opens with a dynamic Spinning Wheel and the version of I Love You...from their debut album just builds into a beast of a blues song.

Although that intensity is at times disrupted by various solos (Dave Bargeron's tuba solo does nothing for me), they stop just short of self-indulgencies. Just.

Brand New Day is an okay album - I can't remember them doing a completely terrible album - apart from that Live in New York one I linked to above. I don't recall them ever using strings before as they do on Don't Explain - there's a reason for that guys!

By Nuclear Blues I was buying their albums to complete the set. The omens weren't good - no original members and that cover. But...against the odds this turns into the most enjoyable album of the reunited Clayton-Thomas years.

Helps that it's brilliantly produced and played throughout. The almost side long Spanish Wine suite really flies!

Where do they all belong? All things come to an end. What I like about collecting BS&T is that I can trace their evolution from their debut album to their last - which doesn't feature any original members!

My favourite things (John Coltrane) (LP 754)

John Coltrane  Birdland 1962 (Vinyl, Vinyl Passion, 2019) ***

Genre: Jazz 

Places I remember: Spellbound Wax Company (Gisborne)

Fab, and all the other pimply hyperboles: My Favourite Things

Gear costume: Mr PC.

Active compensatory factors: Not for the faint hearted this one as Eric Dolphy and John Coltrane spar over the white heat noises fashioned by McCoy Tyner, Jimmy Garrison and Elvin Jones (credited hilariously as Elvis Jones on the sleeve). Intense!

This is a truncated version of the concert with a 'bonus' track tacked on - Impressions from a concert in Berlin. Weird.

As I say - not for the faint hearted - this is intense music played by giants of jazz. Eric Dolphy's flute playing, for instance, is beautiful, challenging, engaging and scary - all often at the same time!

Once you're in, the music takes you places - some places you never thought you'd go.

Have a go, if you think you're brave enough.

Where do they all belong? That's it for now but I keep buying Coltrane albums so this statement is of the tbc variety.

Keep on lightin' my fire (The Four Tops) (LP 753)

The Four Tops  One More Mountain (Vinyl, Casablanca Records, 1982) ** 

Genre: Soul 

Places I remember: Chaldon Books and Records

Fab, and all the other pimply hyperboles: Keep On Lightin' My Fire

Gear costume: Dream On

Active compensatory factors: Deep breath! That eighties sound, one of two Four Top releases on Casablanca, the air-brushed cover, the songs that don't actually have any hooks that I can remember, the back credits including the synth player. 

Oh dear. A lost cause?

Nar-har. Not when you have the Levi Stubbs weapon in your arsenal. That's why there are two stars attached to this post.

It's a close run thing though - the slick eighties production does its best to throw the fight. And that thing about the songs is true - nothing here that would have got a look in back in the day.

Where do they all belong? And that's it for The Four Tops on record.  

Interestingly, somewhere along the way, someone has put this record in an old Motown sleeve - the type that lists all the current catalogue of Motown records. Doesn't do any favours seeing all those Holland-Dozier-Holland hits listed.

Best value, then, is still a Motown compilation - won't matter which one - those songs are the motherlode. 

Blues you can't lose (Jack Bruce) (LP 750 - 752)

The Jack Bruce Band  How's Tricks (Vinyl, RSO, 1977) ***

Jack Bruce and Friends: Clem Clempson, Billy Cobham, David Sancious  I've Always Wanted To Do This (Vinyl, Epic Records, 1980) *** 

Jack Bruce  A Question Of Time (Vinyl, CBS, 1989) ***

Genre: Blues rock 

Places I remember: Chaldon Books and Records, Real Groovy Records

Fab, and all the other pimply hyperboles: Flying 

Gear costume: How's Tricks

Active compensatory factors: I picked up How's Tricks from Chaldon Books and Records - a great little shop in Caterham-on-the-hill when we lived in Caterham. I miss walking up that hill and thinking about what records I'd buy this time. I managed to get some Ginger Baker and Jack Bruce records at various times. 

The other two are promo copies that came from Real Groovy.

All three have their respective charms, but they wouldn't be considered essential purchases in the canon. Nice to haves, not must haves.

How's Tricks (sic) is a transitional record. It was Jack's last record for RSO as the company refused to release the next album - citing it as not commercial. Hello! Did they listen to the back catalogue? I think not.

Jack and the band sound good (Tony Hymas, Simon Phillips, and Hughie Burns round out The Jack Bruce Band) but it's fairly restrained and doesn't quite fire on all cylinders. Maybe they were trying to be too commercial?

Jack Bruce and Friends is commercial on Jack's terms. It sounds amazing - again, with musicians of this calibre it's hard not to make a great sounding record. Jack and Billy Cobham fuse together particularly well, his singing is terrific and the songs are quirkily Jack sounding songs. Unfortunately they don't linger long in the memory but this album isn't as bad as critics would have you believe.

A Question Of Time is another quality effort. Jack surrounds himself with a large number of musician (even including Ginger on a couple of tracks - Obsession is noteworthy). I like the album - it's pretty heavy in places (No Surrender) but poetic and delicate in others (Flying).

Where do they all belong? A lot more to come from the greatest bassist of all time.

Don't Let Me Down (Lennon/McCartney) (LP 749)

Dillard & Clark  Through The Morning, Through The Night (Vinyl, A&M Records, 1969) ***

Genre: Country rock

Places I remember: Spellbound Wax Company (Gisborne)

Fab, and all the other pimply hyperboles: Rocky Top (with Donna Washburn featuring on vocals)

Gear costume: Polly 

Active compensatory factors: I picked this from the used sale bins at Spellbound on a recent visit to Gisborne. Country rock is a genre that I am particularly drawn to. There's not the purist authenticity issues centred around country or bluegrass. Instead there's a yee har - let's have fun with blurring the genres aspect to country rock.

Having said that, there is a purist whiff around this album as both the principles enjoy immersing themselves in traditional forms.

The music is great - the players are great - Sneaky Pete on steel guitar, Chris Hillman on Mandolin, Dillard on banjo and guitars - what could go wrong?

The songs? Well they are inconsistent but Polly is a sublime Clark song, and the covers create a lot of variety of approach.

Don't Let Me Down is my favourite Beatle song. If you are going to cover a Beatle song you need to approach it from a whole different genre. So a country/bluegrass version? Yep - works! 

Where do they all belong? Next album up in this genre (vinyl edition) is The Eagles featuring Bernie Leadon who is one of the players featured on this album.

Don't fence me in (Willie Nelson, Leon Russell) (LP 748)

Willie Nelson and Leon Russell  One For The Road (Vinyl, CBS Records, 1979) ** 

Genre: Country

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles: Heartbreak Hotel

Gear costume: Trouble In Mind 

Active compensatory factors: I had no idea what to expect when I bought this. I've been on a Leon Russell kick for a while and his albums can be hit and miss but I wasn't prepared for Willie Nelson to dominate these four sides so much.

I'm surprised Leon even gets a co-billing. The second album is all Willie, doing songs arranged by Leon (trust me for not reading the fine print).

Sides one and two are the two together (but not live as I'd assumed) with Willie pretty much singing everything so it's not quite what it says on the tin.

Where do they all belong? In my very small country section. I can't see myself listening to this ever again but you never know.

To sing for you (Donovan) (LP 745 - 747)

Donovan  What's Bin Did And What's Bin Hid (Vinyl, Marble Arch Records, 1965, this copy is a 1968 reissue) **** 

Donovan  Cosmic Wheels (Vinyl, Epic Records, 1973) ***

Donovan  Essence To Essence (Vinyl, Epic Records, 1973) ****

Genre: Folk/ Folk-rock 

Places I remember: Spellbound Wax Company (Gisborne); Second hand shop in Havelock North.

Fab, and all the other pimply hyperboles: Catch The Wind, Lazy Daze

Gear costume: Cosmic Wheels 

Active compensatory factors: What's Bin Did etc was Donovan's first album. This reissue on the budget Marble Arch label removed two tracks - Car Car and Donna Donna were both removed removed (sorry) from the album, possibly because they were not written by Donovan.

It's a remarkably polished album for a debut, and given that Donovan was only 19 years old it makes it all the more impressive. 

Yes there are echoes of Dylan and Woody Guthrie but Donovan's voice is still a very distinctive sound all of his own, even then.

Cosmic Wheels and Essence To Essence were eight years later but the Donovan of 1973 was a very different proposition - one embracing an almost glam sensibility on Cosmic Wheels. No wonder Alice Cooper used him on Billion Dollar Babies.

Essence To Essence is an excellent album. Brilliant musicians like the members of Derek and The Dominos and Peter Frampton obviously helped. They provided the base for Donovan's confident songs to shine. The only remotely embarrassing moment is the cod reggae Yellow Star.

Where do they all belong? He enjoys a singular place in the music world in general and the folk world in particular. Chuck 'Donovan' into Google and you only get links to one person.

Winter wine (Caravan) (LP 744)

Caravan  In The Land Of Grey And Pink (Vinyl, Deram, 1971) *****

Genre: Progressive rock

Places I remember: About 20 years ago, a colleague at Cambridge High School gave me his copy.

Fab, and all the other pimply hyperboles: In The Land Of Grey And Pink

Gear costume: Golf Girl

Active compensatory factors: The space and light in these songs is unique to time and place - the early seventies Canterbury prog scene (kind of debunked as a 'scene' in Mike Barnes' A New Day Yesterday but a handy way of positioning bands like Caravan).

First track Golf Girl sets out the band's 1971 wares brilliantly as a whimsical story and sounds float and curl around a gentle beat. The rest of the album builds on that start and if these medieval folk/jazzy /rock sounds don't do it for you you don't like prog.

Me? I really love this stuff. Caravan never really sounded like this again as this was their last album with this particular lineup, so it is an ideal snapshot.

Where do they all belong? A cornerstone of my prog collection.

Don't be sad (Jiva) (LP 743)

Jiva  Jiva (Vinyl, Dark Horse Records, 1975) **  

Genre: Dark Horse Records/ pop-rock

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles/ Gear costume: It pretty much all sounds the same. Something's Goin On Inside LA was the single and lead track on their sole album so let's go with that. 

Active compensatory factors: I'm sure they look back at that cover and cringe. Four American guys with their shirts off saying, "please take us seriously".

Jiva, from California, comprised: Michael Lanning, Guitar, Vocals; James Strauss, Bass, Vocals; Thomas Hilton, Guitar, Vocals; and Michael Reed, Drums, Percussion.

The music I've summed up before when writing about Dark Horse label product. I was a tad harsh then, but listening to it again made me think of a descriptor I've heard used in my English teacher role while marking essays - competent stodge.

It's reasonably well played and competently sung but there is nothing out of the ordinary happening here. Lord knows what George heard from this first American band to get a Dark Horse spot that made him think - I've got to put that out!

Where do they all belong? Alongside the other Dark Horse albums that are, on the whole, not a patch on the Apple Records roster.

Raga Manj Khamaj (Ravi Shankar) (LP 742)

Ravi Shankar & Ali Akbar Khan  In Concert 1972 (Vinyl, Apple Records, 1972) ***** 

Genre: Apple Records 

Places I remember: Marbecks Records

Fab, and all the other pimply hyperboles/ Gear costume: Raga Manj Khamaj  (it's split over two sides - sides 3 and 4 but it's drone effect is very hipnotic and very rewarding if you've had a tough week)

Active compensatory factors: I don't play this album often but every time I do it affects me deeply - very soothing and contemplative.

Ravi's spirituality and calmness was a great inspiration to George Harrison and countless others. I don't pretend to understand this music or the meanings behind it, but I do really enjoy allowing it into my life from time to time.

Where do they all belong? Prominent position in my Apple Records collection.

Behind that locked door (George Harrison) (LP 741)

George Harrison  All Things Must Pass (Vinyl, Apple Records, 1970) ***** 

Genre: Apple Records/ pop-rock

Places I remember: DJ Records (Otahuhu). This is one of those albums I saved up for and dad got for me on his way home from work in Otahuhu while I was at school.

Fab, and all the other pimply hyperboles: Awaiting On You All

Gear costume: Ballad Of Sir Frankie Crisp (Let It Roll)

Active compensatory factors: For three sides this is peerless, brilliant music from George and friends. The fourth side is, quite frankly, filler. I Dig Love and a reworked Isn't It A Pity don't cut it really, but by side 4 you are past caring because the quality is so consistently high on sides 1 to 3.

The jam album (sides 5 and 6) I can do without - it's jamming after all, and I don't really think about it as part of ATMP, but it's nice to have all the same. 

It's those first 3 sides that do it. All killer! 

Beginning with the Dylan co-written I'd Have You Anytime, through the pop master classes of What Is Life?, My Sweet Lord (regardless of subsequent baggage this is a GH song - end of), Isn't It A Pity, Apple Scruffs and on to the other worldly Hear Me Lord, Beware Of Darkness and, always my favourite track - Awaiting On You All.

The variety and consistency is outstanding - the tracks I haven't mentioned already would be another artist's greatest moments. 

Obviously, there were hints in The Beatles (Something, Here Comes The Sun) that George was special, but clearly this amount of stunning songs in one place was a major surprise. Lennon/McCartney were the genius Beatles weren't they? Ringo and George were the lucky ones weren't they? Well, that was the received wisdom for a while.

Haha!! No way - George and, yes, Ringo, have unique talents as musicians and writers. All Things Must Pass is just the first outstanding example of that in George's case.

Where do they all belong? I haven't bothered with the reissue editions - I don't want to detract from the original experience of this classic album. Don't want to see behind the curtain for this one.

Hesitation blues (Hot Tuna) (LP 738 - 740)

Hot Tuna  Hot Tuna (CD and vinyl, RCA Records, 1970) ***

Hot Tuna  First Pull Up, Then Pull Down (CD and vinyl, RCA Records, 1971) ****

Hot Tuna  Burgers (CD and vinyl, RCA/Grunt Records, 1972) *****

Genre: Grunt Records; pop/rock from San Francisco

Places I remember: Marbecks Records

Fab, and all the other pimply hyperboles: Keep Your Lights Trimmed and Burning (appears on both first 2  albums)

Gear costume: John's Other (FPUTPD); Highway Song (Burgers) has David Crosby on harmony vocals; Keep On Truckin' and Water Song (Burgers)

Active compensatory factors: The yin and the yang of Hot Tuna are on display in these first two live albums. The debut is acoustic folk/blues material. Their second outing (First Pull Up etc) is an electric blues album.

Both are good but FPUTPD is a blistering live set with Papa John Creech on board and duking it out with Jorma and Jack to magnificent effect! Side note- the CD sets are good to have for the extended tracks not originally on the first two vinyl albums.

Papa John's fiddle really jells with the Hot Tuna blues style and he and Jorma mesh brilliantly. Jack Casady's fluid, melodic bass is a standout, always. The man is cool personified!

The combo was intact for the third featured album here - Burgers - their first studio album and their first for Grunt Records. A five star classic album all the way.

The sound on Burgers is another development over the live albums with the band captured at an early peak with this lineup.

Where do they all belong? A lot more Tuna to be served up.