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Back To The Roots
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To buy this recording from Amazon.com, click here: Back to the Roots
_____________________________________________________________________
JOHN MAYALL
BACK TO THE ROOTS
Original 1971 double album liner notes
A Very Special Double Album By John Mayall And Some Memorable Men
_____________________________________________________________________
RECORD ONE
SIDE 1
PRISONS ON THE ROAD 4:16
Sugarcane Harris: violin
Eric Clapton: lead guitar
Larry Taylor: bass guitar
Paul Lagos: drums
John Mayall: piano and vocal
MY CHILDREN 5:08
Johnny Almond: tenor saxophone and bass flute
Harvey Mandel: lead guitar
Larry Taylor: bass guitar
Keef Hartley: drums
John Mayall: organ and vocal
ACCIDENTAL SUICIDE 6:15
Mick Taylor, Eric Clapton, Harvey Mandel: lead guitars
Sugarcane Harris: violin
Larry Taylor: bass guitar
John Mayall: rhythm guitar, harmonica and vocal
GROUPIE GIRL 3:52
Sugarcane Harris: violin
Johnny Almond: tenor saxophone
Harvey Mandel: guitar
Larry Taylor: bass guitar
Keef Hartley: drums
John Mayall: piano and vocal
BLUE FOX 3:41
Sugarcane Harris: violin
Jerry McGee: guitar
Larry Taylor: bass guitar
Paul Lagos: drums
John Mayall: harmonica
_____________________________________________________________________
SIDE 2
HOME AGAIN 4:55
Eric Clapton: guitar
Larry Taylor: bass guitar
John Mayall: piano, harmonica and vocal
TELEVISION EYE 7:31
Johnny Almond: tenor saxophone
Harvey Mandel: lead guitar
Larry Taylor: bass guitar
Keef Hartley: drums
John Mayall: rhythm guitar, harmonica and vocal
MARRIAGE MADNESS 3:34
Mick Taylor: lead guitar
Larry Taylor: bass guitar
Johnny Almond: tenor and alto saxophones
Keef Hartley: drums
John Mayall: organ and vocal
LOOKING AT TOMORROW 6:53
Sugarcane Harris: violin
Eric Clapton: lead guitar
Larry Taylor: bass guitar
Paul Lagos: drums
John Mayall: piano, rhythm guitar and vocal _____________________________________________________________________
RECORD TWO
SIDE 3
DREAM WITH ME 5:19
Johnny Almond: flute
Harvey Mandel: guitar
Larry Taylor: bass guitar
Keef Hartley: drums
John Mayall: guitar and vocal
FULL SPEED AHEAD 5:20
Sugarcane Harris: violin
Mick Taylor: guitar
Steve Thompson: bass guitar
Keef Hartley: drums
John Mayall: harmonica and vocal
MR. CENSOR MAN 4:42
Mick Taylor: lead guitar
Johnny Almond: tenor saxophone
Larry Taylor: bass guitar
Keef Hartley: drums
John Mayall: piano and vocal
FORCE OF NATURE 6:32
Eric Clapton, Harvey Mandel: lead guitars
Mick Taylor: slide guitar
Larry Taylor: bass guitar
John Mayall: tambourine, drums and vocals
BOOGIE ALBERT 2:16
John Mayall: piano solo
_____________________________________________________________________
SIDE 4
GOODBYE DECEMBER 5:23
Eric Clapton: lead guitar
Harvey Mandel: rhythm guitar
Larry Taylor: bass guitar
Keef Hartley: drums
John Mayall: rhythm guitar, harmonica and vocal
UNANSWERED QUESTIONS 4:40
Harvey Mandel: lead guitar
Sugarcane Harris: violin
Larry Taylor: bass guitar
Keef Hartley: drums
John Mayall: organ and vocal
DEVIL’S TRICKS 7:45
Sugarcane Harris: violin
Mick Taylor, Jerry McGee: guitars
Larry Taylor: bass guitar
Paul Lagos: drums
John Mayall: piano and vocal
TRAVELLING 4:38
Johnny Almond: flute
Sugarcane Harris: violin
Larry Taylor: bass guitar
Paul Lagos: drums
John Mayall: slide guitar and vocal _____________________________________________________________________
The initial idea behind this double album was to gather together all the major musicians who have played in the bands throughout my career, but the immensity of this task overwhelmed putting it fully into effect. Many of the so-called ‘graduates of the Mayall School’ unfortunately were either working in distant countries on tours, or else were impossible to track down in time for the recording dates I planned on. It goes without saying that their absence from these tracks is regretted; there are many old faces I’d have enjoyed playing with again… However, on the positive side just cast your eyes to the right and look who we got here! I’m amazed now that it all actually happened and that the guys who were able to participate, projected their talents so well. I appreciate their wholehearted enthusiasm and cooperation at such short notice and with no time to rehearse. During all these sessions I’m sure I wasn’t the only one who felt a sense of history being revisited and, though we all have our natural quota of rough edges and goofs here and there, I think that the feeling of spontaneity and the pooling of creative ideas was well captured on this album. _____________________________________________________________________
CREDITS
This album was recorded between the 15th and 25th of November 1970. John Judnich was the engineer for the Los Angeles sessions which were held at Larrabee Studios. Damon Lyon-Shaw engineered the London sessions which were recorded at IBC Studios. Words and music by John Mayall and are published by St. George Music Limited. Artwork, illustration and design by John Mayall Photography by Nancy Throckmorton, John Mayall, Gered Mankowitz, Dominique Tarle, Barry Wendell and one or two others whose pictures appear anonymously. Individual credits can be found in the right-hand corners of each print, where known.
_____________________________________________________________________
THE MAYALL TREE
This genealogical tree purports to show, by way of its branches, the musicians who played in the various Mayall bands over a period of seven years. Below is a list of their names and where their individual careers led them. Due to the ever-changing movement of musicians from group to group, this tree is only up-to-date as of the beginning of 1971. The roots and the tree remain stable, but the branches will always be growing and spreading to produce new offshoots.
Larry Taylor & Harvey Mandel (1971) – with the current Mayall band
Sugarcane Harris (1971) – Solo career
Jon Mark & Johnny Almond (1970) – a band called Mark-Almond
Steve Thompson (1970) – open for business at this time
Alex Dmochowsky (1970) – with Peter Green
Colin Allen (1969) – Stone The Crows
Mick Taylor (1969) – The Rolling Stones
Jon Hiseman (1968) – leader of Collosseum
Tony Reeves (1968) – Collosseum
Dick Heckstall-Smith (1968) – Collosseum
Andy Fraser (1968) – The Free
Keef Hartley (1968) – leader of the Keef Hartley Band
Henry Lowther (1968) – Keef Hartley Band
Chris Mercer (1968) – Juicy Lucy
Peter Green (1967) – a wandering minstrel
John McVie (1967) – Fleetwood Mac
Mick Fleetwood (1967) – Fleetwood Mac
Aynsley Dunbar (1966) – The Mothers Of Invention
Eric Clapton (1965) – Derek And The Dominos
Jack Bruce (1965) – Tony Williams’ Lifetime
Roger Dean (1965) – Whereabouts unknown
Hughie Flint (1964) – McGuinness-Flint
Musicians who played in the earlier bands during the pre-1964 period included Bernie Watson, John Werder, Jeff Kirbit, Martin Hart, Peter Ward, Brian Myall… _____________________________________________________________________
A Photographic Portfolio Of The Musicians Who Were Able To Contribute Their Services In The Making Of This Album. To each of them go my thanks and appreciation – John Mayall
_____________________________________________________________________
HARVEY MANDEL
There’s not much I can tell you about Harvey that hasn’t been said before in the usual biography stuff that promotion men sling around to the press boys. Suffice it to say that he is the first American lead guitarist I’ve used in a ‘permanent’ band lineup; currently with me and going from strength to funky strength and in the process of evolvement, amazing budding guitarists all over the world. His style is well represented throughout the album and his tracks were all recorded when we went to England to play a concert in London in November 1970. With regard to brief background, prior to him joining my 70/71 band, he gained a wealth of blues experience from playing with Chicago/Detroit blues men, countless recording sessions with various artistes, made four albums under his own name and leadership, played a stint with Canned Heat during the reign of Al Wilson, and most recently the now notoriously successful USA Union project. In these days of similar sounding guitarists each playing the same tired old riffs and licks, Harvey stands out in my ears as someone with a really individual sound and style. Good ol’ Harvey!
_____________________________________________________________________
JERRY McGEE
Jerry, being an old-time friend of Larry Taylor, happened to call into Larrabee Studios on the night of the first recording session of this album. Larry introduced us and said, “Oh, this is Jerry McGee – we used to play together years ago. He’s playing guitar for the Ventures now. You don’t mind him falling by, huh brother (pronounced bruh)?” So I said, “Course not – do we have a spare guitar handy, seeing as he’s here he might as well join in…” So he took my guitar which I wasn’t using, seeing as I was playing harmonica and piano at the time, and that was how that happened. Listening back to the great work he does on Blue Fox and Devil’s Tricks, I think it’s a shame now that he didn’t get a solo outing. But his rhythm guitar work adds a great deal to the flavor of the above tracks. Maybe next time I should check him out again for a different role if and when circumstances permit. _____________________________________________________________________
ERIC CLAPTON
What can anyone say about Eric? Everybody in the world of guitar players has to know his name and his startling contributions to good music. Through his career with the Yardbirds – then me – then Cream – then Blind Faith – then Delaney and Bonnie – then Derek and the Dominos then who knows… For someone so young he has certainly been around and accomplished so much. Ever since he left me in 1966, people have plagued me with stupid questions about who’s better – Peter, Mick or Eric? What crap! The answer of course is that all are great musicians and one shouldn’t compare… Yet still the questions are asked. “Would you and him play together again?” Answer is ‘yes’ due to the making of this album and perhaps you can hear at last with your own ears, the futility of comparisons. No matter what you’ve heard Eric play before, the mark of his greatness is that in any environment, he responds to what is being played by others and on this album he runs the full spectrum of style, good taste, savagery and exquisite projection of emotion. As far as I’m concerned, no one’s ever going to knock Eric as a guitarist while I’m around! _____________________________________________________________________
MICK TAYLOR
Mick, as everyone knows, is still THE guitarist of The Rolling Stones. At the age of eighteen, he had the hard job of replacing Peter Green in my band, and over a period of 2 years made the grade to the point where people who played the guitar used to crowd every concert or club date and stand in awe and amazement at what he played. The great thing about Mick is that he is still unspoilt by the perils and pitfalls of success and is still as great a guitarist as he ever was. When I called on him in England with this proposed ‘get-together’ idea, he was so enthusiastic that he dropped everything to take part in it, and is heard playing both slide and lead guitars adding his own earthy flavor to all the tracks he appears on. Listen carefully to the way he constructs and builds his extended solo on Mr. Censor Man and more particularly, enjoy the strength and sensitivity of his solo on Marriage Madness, saying everything that can be said with his instrument on that hardest of all things to play – The Slow Blues. _____________________________________________________________________
JOHNNY ALMOND
There are not many horn men around today with the versatility of Johnny, and, having worked with him on a steady basis from The Turning Point album to upwards of a year, I should have reasons enough to know. He was even a studio sideman with me as far back as the Bluesbreakers Clapton LP of 1966 at a time when he was already well known in England through his work in the modern jazz clubs and his roaring tenor and baritone sax sounds were a feature of the rocking Zoot Money Big Roll Band. In addition to making his own albums, since he left my ranks he joined forces with fellow Turning Point musician Jon Mark and so now there is a fine group operating and recording under Mr. Mark’s leadership called – Mark-Almond. Although Johnny plays numerous instruments with comfort and style, he is heard on this album mainly playing tenor sax and flute, but is also heard on alto sax and bass flute. During the week in London when we were in the studios, he was also doing an evening gig in a club, and I will always remember the hectic rush of him doing his bit on this album with one eye on the clock, and then finally we had to rush him into a fast car for a breakneck drive across town to the club where Mark-Almond were due on stage.
_____________________________________________________________________
SUGARCANE HARRIS
Of all the men on this rather large album, Sugarcane has got to be the most legendary. Now 32 years old, he was instrumental in bringing the electric violin to blues on a larger scale than anyone else I can think of. Remember those old Don and Dewey records? That was Don Harris who now prefers the name of Sugarcane… Since those days he worked with Little Richard, Johnny Otis and Frank Zappa and then last year came to play on the USA Union thing with me. Such agonizingly naked emotion has seldom ever been expressed on a musical instrument, and so it is no wonder that he is represented here on so many tracks and showing so many facets of his artistry. Bear in mind also that, due to him being in the USA when the English guys were laying down their tracks, he had to overdub half of his work on this album. Yet one would never realize it judging by how well he settles down to wail with musicians he’s never personally met let alone played with! Currently working clubs with a band of his own and recording, he occasionally shows up for my gigs whenever he is able. Suffice to say that his phenomenal musical excursions leave everyone breathless… _____________________________________________________________________
LARRY TAYLOR
Apart from my own musical offerings, no one performs on as many tracks as the fallible Larry on bass guitar. His previous work includes hard years of work on the road with artistes including Jerry Lee Lewis and Canned Heat. As you know, half of these tracks were recorded in Los Angeles and half in London, so Larry put in a lot of miles and a lot of effort into the varied selection of music in this project. I’ve always thought of the bass as the most important element in any piece of music and in my opinion, Larry ranks as a master of his instrument. It was originally intended that he would have at least one bass solo on the album, but when it came to the point of recording, it seemed that there were so many lead musicians to be fitted in and featured, that we somehow never got around to a solo number for him. However, who can complain about not hearing what he can do when he is shown playing such a variety of roles accompanying every musician on the double album package (with the exception of Steve who he played with on the Empty Rooms LP). _____________________________________________________________________
STEVE THOMPSON
As soon as I got to London, I put phone call through to Steve, but unfortunately, due to him being away from home at the time, he got my message rather late in the week. That is the story of why Steve (co-author of Don’t Waste My Time and the much requested California) is only heard on one number. Since Steve left me in the early part of 1970, it is a shame to report that Steve has so far been unable to find another job with enough creative potential to satisfy his needs. I was therefore very glad that he turned up in time for at least one track and that it was such a dynamic one at that. His constantly shifting bass patterns on a simple one chord theme give Sugarcane and myself enough freedom to really take off on an extended improvisation that bears the appropriate title of Full Speed Ahead.
_____________________________________________________________________
KEEF HARTLEY
Keef, the English Indian Chief of all time, and noted and respected bandleader, was first to report for duty to the English recording studio when Larry, Harvey and I arrived. He entrenched himself in a screened off corner of the room for the 3 nights we were there and played valiantly from thenceforth. A man of excellent wit and good humor, he became a fountainhead of cheerful spirit and the freedom and relaxation of the music was largely due to his presence. I’ve known Keef for a really long time, and ever since we met in a transport café on the road when he was just about ready to leave his seat in the Artwoods, we’ve had a long lasting friendship. He came to work for me whilst Peter Green was the guitar spearhead, and I believe he holds the record as the musician who worked with me for the longest straight period of time. Since 1968 he has struggled through the welter of rock groups competing with him and is now firmly established on the music scene as the leader of the band appropriately known as Keef Hartley. So far he has three albums to his credit and is even now doing special concert appearances with his own big band. _____________________________________________________________________
PAUL LAGOS
I had never met Paul before these recording sessions started. He was at the studios in Los Angeles merely because he had kindly transported Sugarcane and his amplifier into our midst on the first night of work. So I said he might as well play while he was there anyway. A drum kit was already waiting in the studio lying idle and immediately we had a rhythm section partner for Larry. They had played together many times before and the accidental coincidence ‘bore fruit’ as they say. I called on Paul once more for the final USA sessions after the return from England and so he was able to add his exuberant drumming style to the last session which included Eric and Sugarcane. He has previously played with so many bands, groups and musicians that I wouldn’t even try to add them all up… it seems like every one you mention he will say, “Oh yeah, I used to play with him!” We’ll very likely be working together again soon but meanwhile he’s working the local clubs and still paying his dues. _____________________________________________________________________
The following personnel appear through the courtesy of the company shown: Johnny Almond/ Blue Thumb Records Eric Clapton/ Robert Stigwood Organization, Ltd. and Atlantic Records, Inc. Sugarcane Harris/ Epic Records Keef Hartley/ Decca Records – England Harvey Mandel/ Janus Records Jerry McGee/ Liberty Records Larry Taylor/ Liberty Records
A JOHN MAYALL PRODUCTION
STEREO
Polydor Incorporated, 1700 Broadway, N.Y., N.Y.
25-3002
2683 003
To buy this recording from Amazon.com, click here: Back to the Roots
_____________________________________________________________________
JOHN MAYALL
BACK TO THE ROOTS
Original 1971 double album liner notes
A Very Special Double Album By John Mayall And Some Memorable Men
_____________________________________________________________________
RECORD ONE
SIDE 1
PRISONS ON THE ROAD 4:16
Sugarcane Harris: violin
Eric Clapton: lead guitar
Larry Taylor: bass guitar
Paul Lagos: drums
John Mayall: piano and vocal
MY CHILDREN 5:08
Johnny Almond: tenor saxophone and bass flute
Harvey Mandel: lead guitar
Larry Taylor: bass guitar
Keef Hartley: drums
John Mayall: organ and vocal
ACCIDENTAL SUICIDE 6:15
Mick Taylor, Eric Clapton, Harvey Mandel: lead guitars
Sugarcane Harris: violin
Larry Taylor: bass guitar
John Mayall: rhythm guitar, harmonica and vocal
GROUPIE GIRL 3:52
Sugarcane Harris: violin
Johnny Almond: tenor saxophone
Harvey Mandel: guitar
Larry Taylor: bass guitar
Keef Hartley: drums
John Mayall: piano and vocal
BLUE FOX 3:41
Sugarcane Harris: violin
Jerry McGee: guitar
Larry Taylor: bass guitar
Paul Lagos: drums
John Mayall: harmonica
_____________________________________________________________________
SIDE 2
HOME AGAIN 4:55
Eric Clapton: guitar
Larry Taylor: bass guitar
John Mayall: piano, harmonica and vocal
TELEVISION EYE 7:31
Johnny Almond: tenor saxophone
Harvey Mandel: lead guitar
Larry Taylor: bass guitar
Keef Hartley: drums
John Mayall: rhythm guitar, harmonica and vocal
MARRIAGE MADNESS 3:34
Mick Taylor: lead guitar
Larry Taylor: bass guitar
Johnny Almond: tenor and alto saxophones
Keef Hartley: drums
John Mayall: organ and vocal
LOOKING AT TOMORROW 6:53
Sugarcane Harris: violin
Eric Clapton: lead guitar
Larry Taylor: bass guitar
Paul Lagos: drums
John Mayall: piano, rhythm guitar and vocal _____________________________________________________________________
RECORD TWO
SIDE 3
DREAM WITH ME 5:19
Johnny Almond: flute
Harvey Mandel: guitar
Larry Taylor: bass guitar
Keef Hartley: drums
John Mayall: guitar and vocal
FULL SPEED AHEAD 5:20
Sugarcane Harris: violin
Mick Taylor: guitar
Steve Thompson: bass guitar
Keef Hartley: drums
John Mayall: harmonica and vocal
MR. CENSOR MAN 4:42
Mick Taylor: lead guitar
Johnny Almond: tenor saxophone
Larry Taylor: bass guitar
Keef Hartley: drums
John Mayall: piano and vocal
FORCE OF NATURE 6:32
Eric Clapton, Harvey Mandel: lead guitars
Mick Taylor: slide guitar
Larry Taylor: bass guitar
John Mayall: tambourine, drums and vocals
BOOGIE ALBERT 2:16
John Mayall: piano solo
_____________________________________________________________________
SIDE 4
GOODBYE DECEMBER 5:23
Eric Clapton: lead guitar
Harvey Mandel: rhythm guitar
Larry Taylor: bass guitar
Keef Hartley: drums
John Mayall: rhythm guitar, harmonica and vocal
UNANSWERED QUESTIONS 4:40
Harvey Mandel: lead guitar
Sugarcane Harris: violin
Larry Taylor: bass guitar
Keef Hartley: drums
John Mayall: organ and vocal
DEVIL’S TRICKS 7:45
Sugarcane Harris: violin
Mick Taylor, Jerry McGee: guitars
Larry Taylor: bass guitar
Paul Lagos: drums
John Mayall: piano and vocal
TRAVELLING 4:38
Johnny Almond: flute
Sugarcane Harris: violin
Larry Taylor: bass guitar
Paul Lagos: drums
John Mayall: slide guitar and vocal _____________________________________________________________________
The initial idea behind this double album was to gather together all the major musicians who have played in the bands throughout my career, but the immensity of this task overwhelmed putting it fully into effect. Many of the so-called ‘graduates of the Mayall School’ unfortunately were either working in distant countries on tours, or else were impossible to track down in time for the recording dates I planned on. It goes without saying that their absence from these tracks is regretted; there are many old faces I’d have enjoyed playing with again… However, on the positive side just cast your eyes to the right and look who we got here! I’m amazed now that it all actually happened and that the guys who were able to participate, projected their talents so well. I appreciate their wholehearted enthusiasm and cooperation at such short notice and with no time to rehearse. During all these sessions I’m sure I wasn’t the only one who felt a sense of history being revisited and, though we all have our natural quota of rough edges and goofs here and there, I think that the feeling of spontaneity and the pooling of creative ideas was well captured on this album. _____________________________________________________________________
CREDITS
This album was recorded between the 15th and 25th of November 1970. John Judnich was the engineer for the Los Angeles sessions which were held at Larrabee Studios. Damon Lyon-Shaw engineered the London sessions which were recorded at IBC Studios. Words and music by John Mayall and are published by St. George Music Limited. Artwork, illustration and design by John Mayall Photography by Nancy Throckmorton, John Mayall, Gered Mankowitz, Dominique Tarle, Barry Wendell and one or two others whose pictures appear anonymously. Individual credits can be found in the right-hand corners of each print, where known.
_____________________________________________________________________
THE MAYALL TREE
This genealogical tree purports to show, by way of its branches, the musicians who played in the various Mayall bands over a period of seven years. Below is a list of their names and where their individual careers led them. Due to the ever-changing movement of musicians from group to group, this tree is only up-to-date as of the beginning of 1971. The roots and the tree remain stable, but the branches will always be growing and spreading to produce new offshoots.
Larry Taylor & Harvey Mandel (1971) – with the current Mayall band
Sugarcane Harris (1971) – Solo career
Jon Mark & Johnny Almond (1970) – a band called Mark-Almond
Steve Thompson (1970) – open for business at this time
Alex Dmochowsky (1970) – with Peter Green
Colin Allen (1969) – Stone The Crows
Mick Taylor (1969) – The Rolling Stones
Jon Hiseman (1968) – leader of Collosseum
Tony Reeves (1968) – Collosseum
Dick Heckstall-Smith (1968) – Collosseum
Andy Fraser (1968) – The Free
Keef Hartley (1968) – leader of the Keef Hartley Band
Henry Lowther (1968) – Keef Hartley Band
Chris Mercer (1968) – Juicy Lucy
Peter Green (1967) – a wandering minstrel
John McVie (1967) – Fleetwood Mac
Mick Fleetwood (1967) – Fleetwood Mac
Aynsley Dunbar (1966) – The Mothers Of Invention
Eric Clapton (1965) – Derek And The Dominos
Jack Bruce (1965) – Tony Williams’ Lifetime
Roger Dean (1965) – Whereabouts unknown
Hughie Flint (1964) – McGuinness-Flint
Musicians who played in the earlier bands during the pre-1964 period included Bernie Watson, John Werder, Jeff Kirbit, Martin Hart, Peter Ward, Brian Myall… _____________________________________________________________________
A Photographic Portfolio Of The Musicians Who Were Able To Contribute Their Services In The Making Of This Album. To each of them go my thanks and appreciation – John Mayall
_____________________________________________________________________
HARVEY MANDEL
There’s not much I can tell you about Harvey that hasn’t been said before in the usual biography stuff that promotion men sling around to the press boys. Suffice it to say that he is the first American lead guitarist I’ve used in a ‘permanent’ band lineup; currently with me and going from strength to funky strength and in the process of evolvement, amazing budding guitarists all over the world. His style is well represented throughout the album and his tracks were all recorded when we went to England to play a concert in London in November 1970. With regard to brief background, prior to him joining my 70/71 band, he gained a wealth of blues experience from playing with Chicago/Detroit blues men, countless recording sessions with various artistes, made four albums under his own name and leadership, played a stint with Canned Heat during the reign of Al Wilson, and most recently the now notoriously successful USA Union project. In these days of similar sounding guitarists each playing the same tired old riffs and licks, Harvey stands out in my ears as someone with a really individual sound and style. Good ol’ Harvey!
_____________________________________________________________________
JERRY McGEE
Jerry, being an old-time friend of Larry Taylor, happened to call into Larrabee Studios on the night of the first recording session of this album. Larry introduced us and said, “Oh, this is Jerry McGee – we used to play together years ago. He’s playing guitar for the Ventures now. You don’t mind him falling by, huh brother (pronounced bruh)?” So I said, “Course not – do we have a spare guitar handy, seeing as he’s here he might as well join in…” So he took my guitar which I wasn’t using, seeing as I was playing harmonica and piano at the time, and that was how that happened. Listening back to the great work he does on Blue Fox and Devil’s Tricks, I think it’s a shame now that he didn’t get a solo outing. But his rhythm guitar work adds a great deal to the flavor of the above tracks. Maybe next time I should check him out again for a different role if and when circumstances permit. _____________________________________________________________________
ERIC CLAPTON
What can anyone say about Eric? Everybody in the world of guitar players has to know his name and his startling contributions to good music. Through his career with the Yardbirds – then me – then Cream – then Blind Faith – then Delaney and Bonnie – then Derek and the Dominos then who knows… For someone so young he has certainly been around and accomplished so much. Ever since he left me in 1966, people have plagued me with stupid questions about who’s better – Peter, Mick or Eric? What crap! The answer of course is that all are great musicians and one shouldn’t compare… Yet still the questions are asked. “Would you and him play together again?” Answer is ‘yes’ due to the making of this album and perhaps you can hear at last with your own ears, the futility of comparisons. No matter what you’ve heard Eric play before, the mark of his greatness is that in any environment, he responds to what is being played by others and on this album he runs the full spectrum of style, good taste, savagery and exquisite projection of emotion. As far as I’m concerned, no one’s ever going to knock Eric as a guitarist while I’m around! _____________________________________________________________________
MICK TAYLOR
Mick, as everyone knows, is still THE guitarist of The Rolling Stones. At the age of eighteen, he had the hard job of replacing Peter Green in my band, and over a period of 2 years made the grade to the point where people who played the guitar used to crowd every concert or club date and stand in awe and amazement at what he played. The great thing about Mick is that he is still unspoilt by the perils and pitfalls of success and is still as great a guitarist as he ever was. When I called on him in England with this proposed ‘get-together’ idea, he was so enthusiastic that he dropped everything to take part in it, and is heard playing both slide and lead guitars adding his own earthy flavor to all the tracks he appears on. Listen carefully to the way he constructs and builds his extended solo on Mr. Censor Man and more particularly, enjoy the strength and sensitivity of his solo on Marriage Madness, saying everything that can be said with his instrument on that hardest of all things to play – The Slow Blues. _____________________________________________________________________
JOHNNY ALMOND
There are not many horn men around today with the versatility of Johnny, and, having worked with him on a steady basis from The Turning Point album to upwards of a year, I should have reasons enough to know. He was even a studio sideman with me as far back as the Bluesbreakers Clapton LP of 1966 at a time when he was already well known in England through his work in the modern jazz clubs and his roaring tenor and baritone sax sounds were a feature of the rocking Zoot Money Big Roll Band. In addition to making his own albums, since he left my ranks he joined forces with fellow Turning Point musician Jon Mark and so now there is a fine group operating and recording under Mr. Mark’s leadership called – Mark-Almond. Although Johnny plays numerous instruments with comfort and style, he is heard on this album mainly playing tenor sax and flute, but is also heard on alto sax and bass flute. During the week in London when we were in the studios, he was also doing an evening gig in a club, and I will always remember the hectic rush of him doing his bit on this album with one eye on the clock, and then finally we had to rush him into a fast car for a breakneck drive across town to the club where Mark-Almond were due on stage.
_____________________________________________________________________
SUGARCANE HARRIS
Of all the men on this rather large album, Sugarcane has got to be the most legendary. Now 32 years old, he was instrumental in bringing the electric violin to blues on a larger scale than anyone else I can think of. Remember those old Don and Dewey records? That was Don Harris who now prefers the name of Sugarcane… Since those days he worked with Little Richard, Johnny Otis and Frank Zappa and then last year came to play on the USA Union thing with me. Such agonizingly naked emotion has seldom ever been expressed on a musical instrument, and so it is no wonder that he is represented here on so many tracks and showing so many facets of his artistry. Bear in mind also that, due to him being in the USA when the English guys were laying down their tracks, he had to overdub half of his work on this album. Yet one would never realize it judging by how well he settles down to wail with musicians he’s never personally met let alone played with! Currently working clubs with a band of his own and recording, he occasionally shows up for my gigs whenever he is able. Suffice to say that his phenomenal musical excursions leave everyone breathless… _____________________________________________________________________
LARRY TAYLOR
Apart from my own musical offerings, no one performs on as many tracks as the fallible Larry on bass guitar. His previous work includes hard years of work on the road with artistes including Jerry Lee Lewis and Canned Heat. As you know, half of these tracks were recorded in Los Angeles and half in London, so Larry put in a lot of miles and a lot of effort into the varied selection of music in this project. I’ve always thought of the bass as the most important element in any piece of music and in my opinion, Larry ranks as a master of his instrument. It was originally intended that he would have at least one bass solo on the album, but when it came to the point of recording, it seemed that there were so many lead musicians to be fitted in and featured, that we somehow never got around to a solo number for him. However, who can complain about not hearing what he can do when he is shown playing such a variety of roles accompanying every musician on the double album package (with the exception of Steve who he played with on the Empty Rooms LP). _____________________________________________________________________
STEVE THOMPSON
As soon as I got to London, I put phone call through to Steve, but unfortunately, due to him being away from home at the time, he got my message rather late in the week. That is the story of why Steve (co-author of Don’t Waste My Time and the much requested California) is only heard on one number. Since Steve left me in the early part of 1970, it is a shame to report that Steve has so far been unable to find another job with enough creative potential to satisfy his needs. I was therefore very glad that he turned up in time for at least one track and that it was such a dynamic one at that. His constantly shifting bass patterns on a simple one chord theme give Sugarcane and myself enough freedom to really take off on an extended improvisation that bears the appropriate title of Full Speed Ahead.
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KEEF HARTLEY
Keef, the English Indian Chief of all time, and noted and respected bandleader, was first to report for duty to the English recording studio when Larry, Harvey and I arrived. He entrenched himself in a screened off corner of the room for the 3 nights we were there and played valiantly from thenceforth. A man of excellent wit and good humor, he became a fountainhead of cheerful spirit and the freedom and relaxation of the music was largely due to his presence. I’ve known Keef for a really long time, and ever since we met in a transport café on the road when he was just about ready to leave his seat in the Artwoods, we’ve had a long lasting friendship. He came to work for me whilst Peter Green was the guitar spearhead, and I believe he holds the record as the musician who worked with me for the longest straight period of time. Since 1968 he has struggled through the welter of rock groups competing with him and is now firmly established on the music scene as the leader of the band appropriately known as Keef Hartley. So far he has three albums to his credit and is even now doing special concert appearances with his own big band. _____________________________________________________________________
PAUL LAGOS
I had never met Paul before these recording sessions started. He was at the studios in Los Angeles merely because he had kindly transported Sugarcane and his amplifier into our midst on the first night of work. So I said he might as well play while he was there anyway. A drum kit was already waiting in the studio lying idle and immediately we had a rhythm section partner for Larry. They had played together many times before and the accidental coincidence ‘bore fruit’ as they say. I called on Paul once more for the final USA sessions after the return from England and so he was able to add his exuberant drumming style to the last session which included Eric and Sugarcane. He has previously played with so many bands, groups and musicians that I wouldn’t even try to add them all up… it seems like every one you mention he will say, “Oh yeah, I used to play with him!” We’ll very likely be working together again soon but meanwhile he’s working the local clubs and still paying his dues. _____________________________________________________________________
The following personnel appear through the courtesy of the company shown: Johnny Almond/ Blue Thumb Records Eric Clapton/ Robert Stigwood Organization, Ltd. and Atlantic Records, Inc. Sugarcane Harris/ Epic Records Keef Hartley/ Decca Records – England Harvey Mandel/ Janus Records Jerry McGee/ Liberty Records Larry Taylor/ Liberty Records
A JOHN MAYALL PRODUCTION
STEREO
Polydor Incorporated, 1700 Broadway, N.Y., N.Y.
25-3002
2683 003
