Tag Archives: Jazz Fusion

Classic Songs to Be Discovered, Music, My Stories

1976 – Part 5.7: Santana – Amigos

If you got into Santana on the back of “Smooth”, then this album wouldn’t please you a great deal. While “Smooth” contains flamenco style guitar leads and it has that feel, it is basically a pop song written by Rob Thomas from Matchbox Twenty.

Going back a few decades, Santana was a different beast. “Amigos” is the seventh studio album released in 1976.

New vocalist Greg Walker joined the group. It would be the last Santana album to include original bassist David Brown. Rounding out the band with Carlos Santana is also Leon Chancler on drums, Tom Coster on all things keys related and Armando Peraza on congos and bongos.

The brilliant female backing vocals are done by Ivory Stone , Julia Tillman Waters and Maxine Willard Waters.

Dance Sister Dance (Baila Mi Hermana)

Written by pianist Tom Coster along with Leon Chancler and David Rubinson. This song is a vehicle for Santana to solo over while the samba like rhythms play, as the vocals move between English and Spanish.

But the last three minutes from about the 5 minute mark is where it’s at. The change in style reminds me of the second phase of “Layla”.

Take Me with You

It’s an instrumental that borders on jazz samba blues fusion. The song is written by Leon Chancler and Tom Coster, and it provides another vehicle for Santana to solo over.

But it’s a skip for me.

Let Me

A song written by Carlos Santana and Tom Coster. This is what I like when I listen to a Santana album, the fusion of so many different styles. Jazz, rhythm and blues, fast reggae, the samba/latin feel and a whole lotta soul.

However in this case, the vocals don’t help the song at all.

Gitano

Written by Armando Peraza who plays the congas and bongos in the band, who also takes the lead vocal.

I’m always a sucker for an acoustic guitar and that whole flamenco/classical feel. Then at the minute mark it moves away from that and into a song. You know those massive pop hits from Jennifer Lopez and Ricky Martin, well they would have borrowed from this song.

And at 6 minutes long it gets a bit repetitive.

Tell Me Are You Tired

Written by Leon Chancler and Tom Coster.

Yacht music. A total skip for me.

Europa (Earth’s Cry Heaven’s Smile)

An instrumental written by Tom Coster and Carlos Santana.

A massive hit in Europe and the monster track on the album at 60 million Spotify streams. In comparison the other tracks are between 200,000 and 700,000.

Even the U.S hit, “Let It Shine” obviously wasn’t really loved as it is sitting at 296,756 streams on Spotify.

Gary Moore was definitely a fan of this because you can hear “Parisienne Walkways” and eventually his multi-platinum “Still Got The Blues”. You could say they are the same songs.

Let It Shine

Written by bassist David Brown and Ray Gardner.

It’s got this funky bass riff, with a wah like strummed pattern that reminds me of the stuff that Joe Walsh did with The Eagles and in “Life In The Fast Lane”.

The album did go good business in a lot of markets. Then again, certifications in most parts of the world back then happened based on shipment figures and not sales.

If you haven’t heard this album, just press play on “Europa” and then move on.

And that is how it would be for the band. Then from 1992, there was studio silence after the “Milargo” album,.

The best thing Carlos Santana did or what his label and management got him to do, was to work with different vocalists instead of trying to hold down a band. At 30 million plus albums sold worldwide, “Supernatural” from 1999 stands as his testament. And since then, he has tried to replicate the formula.

“Shaman” came in 2002, following the same formula but it didn’t capture the zeitgeist like “Supernatural” only moving 5 million units worldwide. “All That I Am” in 2005 did even less and a sign of the times, with peer to peer downloading and the iTunes store allowing people to cherry pick the songs they want.

But then came a totally unexpected album, and one of Santana’s best. But its forgotten. Called “Guitar heaven: The Greatest Guitar Classics Of All Time”, you will hear Carlos and his friends take on songs like “Photograph” from Def Leppard with Chris Daughtry singing, a hip hop version of “Back In Black” with Nas singing, “Whole Lotta Love” with Chris Cornell singing and other singers like Gavin Rossdale doing “Get it On” from T-Rex, Scott Weiland doing “Can’t You Hear Me Knocking” from The Rolling Stones, Scott Stapp doing “Fortunate Son” from Creedence Clearwater Revival, Jacoby Shaddix doing “Smoke On The Water”, Jonny Lang on “I Ain’t Superstitious” and Chester Bennington on “Riders On The Storm” from The Doors.

But the song to hear on this is “Little Wing” with Joe Cocker on vocals. It’s brilliant and perfect for Santana to express himself.

And in 2012, “Shape Shifter” came out with no guest singers and no sales. In 2014, “Corazon” had the guest singers back for a Latin/Reggae like album and the sales were back.

In 2016, another magical album was released in “Santana IV” which reunited most of the surviving members from the early 1970s line-up of the band (including Carlos Santana, Gregg Rolie, Neal Schon, Mike Carabello and Michael Shrieve) and was the first time that the quintet had recorded together since 1971’s Santana III.

“Africa Speaks” (produced by Rick Rubin) brought about a fusion of rock, Latin and jazz in 2019, and in 2021 the guest musicians and singers were back for “Blessings And Miracles”. Check out “Joy” with Chris Stapleton on vocals, “America For Sale” with Kirk Hammet and Death Angel vocalist Mark Osegueda) and Rob Tomas tried to re-create “Smooth” with “Move”.

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1976 – Part 5.6: Wings – Wings At The Speed Of Sound

Wings came into my life because of “Live And Let Die”.

I knew Paul and Linda McCartney were in the band but had no idea who else was.

A quick Wikipedia search showed that Denny Laine is on vocals, acoustic/electric/bass guitars, piano and harmonica, Jimmy McCulloch is also on vocals and acoustic/electric/bass guitars and Joe English is on vocals, drums and percussion.

Let Em In

A door bell like sound starts off the song before a simple drum groove with a locked in bass line rolls in with piano chords on each start of a new bar.

It’s soul noir in vibe.

The McCartney’s are welcoming you in to their house. Paul is on vocals here.

The Note You Never Wrote

Written by the McCartney’s with vocals from Denny Laine.

I like this.

It is typical of the era, with hints of blues, gospel and soul all wrapped up in a ballad like groove with various 70’s sound effects lightly playing in the background. Subtle and not overpowering.

She’s My Baby

It’s a skip for me. The feel good upbeat feel of the song and the title just don’t resonate.

Beware My Love

The acoustic riff in the intro. Press play to hear it.

And it goes through many musical movements. When you get the 2 minute mark it’s almost unrecognisable. But I like it. The 70’s acts all experimented with structures and different musical movements.

Both the McCartney’s share vocals here.

Wino Junko

Great title, it sounds like a Sammy Hagar owned pub.

Written and vocals by Jimmy McCulloch.

I like the acoustic guitar strummed riff. It rolls along nicely, giving space for the vocal melody to lead.

Silly Love Songs

It is one of the most listened songs from the album at 60.6 million streams. But its soul ballad rock just doesn’t connect.

Vocals are provided by the McCartney’s and Laine.

Cook Of The House

The sound of a frying pan starts it all off. Before a 12 bar blues riff kicks in and Linda McCartney starts singing.

Time To Hide

My second favourite just behind “Beware My Love”.

Written and sung by Laine.

The groove on this song connects immediately. Just listen to McCartney’s bass lines. It rules while the guitar just plays chords.

The lead break that kicks in after the harmonica solo is simple, more or less playing the chords with a single note on the higher strings. Yet it works so well. “Play for the song, not for the glory” comes to mind here.

Must Do Something About It

It’s a skip for me. Vocals are provided by drummer Joe English.

San Ferry Anne

It’s got this traditional sea pub groove happening with vocals from Paul.

But it’s a skip for me.

Warm And Beautiful

A piano riff starts it off, a mixture of “Hey Jude” and “Let It Be”. But it stays in that piano and vocal sound for the full 3 minutes and it does get a boring.

Vocals are provided by Paul.

I’ll finish this off with this Wikipedia entry from the Rolling Stone review which described it as a “Day with the McCartneys” concept album. The introduction, “Let ‘Em In” was perceived as an invitation to join the McCartneys on this fantasy day, with explanation of their philosophy (“Silly Love Songs”), a lunch break (“Cook of the House”), and a chance to get to know McCartney’s friends (Denny Laine in “The Note You Never Wrote”, Jimmy McCulloch in “Wino Junko”, etc.).

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1976 – Part 4.9: Genesis – Wind And Wuthering

Why wait a few years for a new album when the new version of the band became successful with its new singer?

Released in December 1976, the band of Phil Collins, Tony Banks, Mike Rutherford and Steve Hackett remained unchanged, however trouble was brewing on the horizons.

Success leads to the need to create more success. And for Genesis, they had four competent songwriters who thought they all had the songs to create more success. The question was, which songs would get chosen and which songs would be left out.

Eleventh Earl Of Mar

Written by Tony Banks, Steve Hackett and Mike Rutherford. Its progressive, competing with bands like Yes for complex time changes and yet it still sounds like foot tapping rock and roll.

That section that starts with the words “I’m fighting, gravity falling” is my favourite and while brief, the vocal melody from Collins is memorable.

It refers to the historical figure of John Erskine, Earl of Mar, a Scottish Jacobite.

One For The Vine

At 10 minutes, it’s not for everyone. Written solely by Banks, the keys dominate the track.

I like the section from about the 4.40 minute mark. It’s almost soundtrack like something which The Alan Parsons Project would do a lot with his instrumentals. And the quietened down section at 7.21 fits well after the long instrumental passage.

Your Own Special Way

Even though the song is written by Rutherford in open tuning, it’s a typical Phil Collins song. It also reminds me of Coheed and Cambria and a song from the “No World For Tomorrow” album.

Wot Gorilla

An instrumental which Collins brought to the band and one that he said is one of his favourite tracks as it brought in his influences of jazz fusion.

Meanwhile Hackett felt that the song was “good rhythmically, but underdeveloped harmonically” and didn’t want it on the album in place of his song “Please Don’t Touch” which Hackett would later use for his solo album of the same name.

All In A Mouse’s Night

Written by Banks, it’s a silly song lyrically about a 10 foot mouse with big teeth however the music reminds me of a section in Dream Theater’s “Six Degree Of Inner Turbulence” song.

Blood On The Rooftops

Written by Hackett and Collins, I like the classical/flamenco style guitar from Hackett to start off the song. Listen closely and you will hear a bit of “Dee” from Randy Rhoads there. Then again, classical is classical so everyone is borrowing from the same masters.

Banks and Rutherford have said that this was Hackett’s best song as a member of the group.

Unquiet Slumbers for the Sleepers…

Written by Hackett and Rutherford, it’s an instrumental which is in two parts. The guitar playing from Hackett is very flamenco finger picked liked and good enough to rival the masters of the genre.

In That Quiet Earth

Written by the band, this is the second part of the instrumental and Collins is playing a fast jazz fusion beat which allows the rest of the band to dance over.

The heavy metal like section from 2.50 is the reason why I press play.

Afterglow

Written by Banks, this a milestone song for the band, as it proved that they could write short songs that they all liked. And a sign of the direction they would take.

The album was another success and the tour was huge with the gigs in Brazil being attended by over 150,000 people and each member needing armed bodyguards during their stay.

But Hackett was not a happy camper.

The writing process for the album was argumentative and having his songs removed was also contentious. So once the tour ended, Hackett left the bend to pursue a solo career.

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1976 – Part 4.8: Genesis – A Trick Of The Tail

It’s their seventh studio album, released in February 1976 on Charisma Records. But Genesis didn’t exist for me until the 80s version of the band had mainstream success at the same time that Phil Collins and Peter Gabriel had super successful solo careers.

Who hasn’t played air drums to “In The Air Tonight”?

This album was the first to feature then drummer Phil Collins as the lead vocalist following Peter Gabriel’s departure in late 1974, midway through the tour for the album “The Lamb Lies Down on Broadway”. Management and Gabriel’s bandmates wanted him to stay. It was more of a business decision as they were in debt to their label and his departure could jeopardise their chances at getting funding for future recordings.

Following the end of the tour, guitarist Steve Hackett recorded a solo album, “Voyage of the Acolyte”. And the other members weren’t sure if the band would continue. But they reconvened in July 1975.

While some members contemplated calling it quits, keyboardist Tony Banks had other ideas. He took the songs he had written for a possible solo project and decided they should be used on the new Genesis album. They started writing for a new album, however without a lead singer. An anonymous ad in the music paper Melody Maker for a “Genesis type singer” received 400 plus replies. But nothing came of it and they entered the studio without any idea as to who would sing the songs on the album.

Eventually, Collins was persuaded to sing “Squonk”. The performance was so strong, that the lead singer position in the band was put to bed, with Collins singing lead on the rest of the of the album.

Phil Collins is on drums, percussion, lead and backing vocals. Steve Hackett is on all things guitar related. Mike Rutherford is on bass guitar and Tony Banks is on all things keys related.

Dance On A Volcano

Written by the band.

I like the intro, a fusion of rock and blues and it’s a touch progressive as it moves between the verse and chorus. It was also the first song written for the album.

Entangled

Written by Hackett and Banks.

It’s got this chord in the song, in which they play the G# as the root note on the low E string, and an then an F# and A# on the 4th and 3rd strings with the open B and open E strings ringing out.

The first time I heard a chord like that was in the song “Another Day” from Dream Theater on their 1992 “Images and Words” album, but then when I started to go back and listen to the influences of Dream Theater, I started to hear that chord in the music of Rush and then Genesis, to name a few.

Squonk

Written by Rutherford and Banks.

I like the music feel on this. It was pretty obvious the band was trying hard to write their own “Kashmir”.

Lyrically it is based on the North American tale of the Squonk which, when captured, dissolves in a pool of tears.

Mad Man Moon

Written by Banks, it sounds like it could be interchanged with an ELP album. Its indulgent with the piano and if that is your thing, then this song is perfect for you.

Robbery, Assault and Battery

It’s like a theatre song, mostly written by Banks, while Collins, who also contributed to the writing, sang the song in character, inspired by his earlier role as the “Artful Dodger” in “Oliver!” before he became a professional musician.

If you like theatre music, then you will like this song.

Ripples…

It’s a combination of a 12-string guitar piece composed by Rutherford and a piano-led middle section written by Banks. “Tears” from Rush comes to mind, which is more superior.

A Trick of the Tail

Written by Banks it’s the best song on the record. It took form as a song many years before the band recorded it.

He was inspired from reading the novel “The Inheritors” by William Golding and “Getting Better” by the Beatles, and wrote about an alien visiting Earth. The pop rock of what Genesis would become in the 80’s is all here, albeit a bit more quirky than the 80’s polish.

Los Endos

The closer written by the band. It pays homage to the progressive past of Genesis while bringing in enough influences of where the band would go in the later years.

Collins came up with the basic rhythmic structure, inspired by his work in the side project Brand X and the song “Promise of a Fisherman” by Santana.

Banks and Hackett wrote the main themes, including reprises of “Dance on a Volcano” and “Squonk”, and Collins sang a few lines from “Supper’s Ready” (from the 1972 album “Foxtrot”) on the fade-out, as a tribute to Gabriel. The opening piece was actually recorded for a completely different song called “It’s Yourself”, which was later released as a B-side.

The track became a live favourite, and it continued to be played throughout.

Post album release, the group went out on tour with Collins as the front man and Bill Bruford as the additional drummer, and the resulting performances in the US raised Genesis’ profile there.

Chart wise, it charted high in both the U.S and U.K markets.

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The Record Vault: Al Di Meola – Electric Rendezvous

In 1980, Di Meola released the double album “Spendido Hotel”. Keeping with the Miami Vice covers theme.

And then the subsequent tour was captured live and released at the start of 1982 as “Tour De Force – Live”.

Towards the end of 1982, “Electric Rendezvous” was released.

The band for the album is Al Di Meola on electric and acoustic guitars, Anthony Jackson on bass guitar, Jan Hammer on keyboards, Steve Gadd on drums and Mingo Lewis on percussion.

God Bird Change

Percussionist god Mingo Lewis is still writing a track per album. This is his contribution.

The bass and drum groove throughout the song is a favorite as there is so much energy.

And of course there is a percussion interlude.

Electric Rendezvous

The title track at almost 8 minutes long.

The Intro is essential listening, with a clean tone guitar playing fast arpeggios while a nice relaxing guitar melody plays over it.

From 1.12 it changes. More Jazz fusion and alot of chromatics over time signatures changes.

From 2.11, a bass riff begins which the distorted guitars then copy. This creates a foundation for Di Meola to solo over, but it’s brief as they groove on the riff.

At the 4 minute mark, a metal sounding riff is played which allows Di Meola and Hammer to solo one after each other.

Passion, Grace & Fire

Paco de Lucia appears and the title of this song would be used to promote the run of acoustic shows that Di Meola, de Lucia and John MacLaughlin would do.

So there’s a lot of acoustic playing, fast fingers and lush arpeggios.

Cruisin’

Written by Jan Hammer it’s got a keyboard hook that is addictive and catchy.

It rocks and perfect for doing exactly what the title says.

Black Cat Shuffle

Written by Philippe Saisse, who also plays keyboards on this, it’s a blues groove with Di Meola’s Lydian and Mixolydian soloing.

The last 60 seconds has some great hard rock soloing from Di Meola.

Ritmo de la Noche

Lounge Waltz music with a Flamenco flavor.

Then some fast shred and make to the Waltz music.

Somalia

A short 90 second instrumental. Arpeggios and an exotic guitar melody as it’s centerpiece.

Jewel Inside a Dream

A riff that reminds me of ELP and their song “From The Beginning” dominates the song.

And you have Hammer and Di Meola trading licks on the keyboard and guitar.

I’m the end it’s a different album from its predecessors but still worthy.

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The Record Vault: Al Di Meola – Casino

Its album number 3 for Al Di Meola, released in 1978.

This time around its more of a band with Al Di Meola on all things guitar related, Barry Miles on keyboards, Anthony Jackson on bass, Steve Gadd on drums, Mingo Lewis with Eddie Colon on percussion.

While the first two albums had a lot of rock and metal overtones to it, this one leans more in the jazz fusion domain, in which Rock and Metal is not the dominant fusion partner as it was on the first two albums.

Egyptian Danza

An exotic riff made up of single notes begins this song. If you’ve listened to the first two albums it would be familiar, however if this was your first exposure to Di Meola it would be unusual and innovative, full of time changes, Arabic like influences and unison bass/guitar riffs.

It’s progressive and the drumming from Gadd thunders throughout the song.

Chasin’ The Voodoo

Percussionist extraordinaire Mingo Lewis is back again, with another excellent composition. He is the one that wrote “The Wizard” on the debut album and “Flight Over Rio” on the second album. From the whole album, this song is the progressive rocker and a favorite.

As expected, the song begins with percussion before a progressive bass riff kicks in. The drumming is frantic. Then the guitars kick in with chords and Di Meola’s superfast machine gun alternate picking.

There is a lot to unpack here, but my favourite section is brief, between 4.15 and 4.25.

And you’ll be pressing play on this, for the very underrated bass guitar playing.

Dark Eye Tango

A slow groovy bass line begins and when the drums come in, it’s like a wedding waltz, which Di Meola solos over appropriately.

At 1.38 it goes into a Latin/Flamenco feel, as the tempo increases and the solos while repetitive are catchy like a good Chorus.

Then at 2.57, a brief distorted guitar riff begins, which reminds me of Rush and Alex Lifeson, before it moves back to the Latin Flamenco feel, 15 seconds later.

On a sidenote, the keyboard riffs are great to play on guitar as well.

Senor Mouse

It’s a Chick Corea cover from Di Meola’s days in Return To Forever before he went solo. But he slows this one down and it doesn’t have the manic interplay of the original.

Regardless it’s still a good interpretation and it feels like the start of a movie.

Some sections are atonal and some sections are locked into a mode, with some chromatic notes being used as passing notes.

I like the bass riff at the 5 minute mark which Di Meola then goes into a flamenco like lead to complement. His palm muting technique is excellent.

Fantasia Suite For Two Guitars

It has four movements, in “Viva La Danzarina”, “Guitars of the Exotic Isle”, “Rhapsody Italia” and “Bravoto Fantasia”.

While all the ingredients are there for a flamenco sounding track, it’s more classical and Tuscany, then Spanish/Portuguese.

The section which I think is “Rhapsody Italia”, has strummed major chords with sevenths and ninths added while Di Meola throws in a fast machine gun lick here and there.

Casino

The closer. 9 plus minutes.

How good is the opening riff?

This album is a lot more experimental than the previous two albums and while “Elegant Gypsy” is the jewel in the crown, “Casino” shows a style that he would carry through from the mid 80’s and into the 90’s.

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The Record Vault: Al Di Meola – Elegant Gypsy

“Elegant Gypsy” is the second album by Al Di Meola, released in 1977 by Columbia Records.

The musicians for the album are Al Di Meola on guitar, piano, synthesizer and percussion, Paco de Lucia on guitar, Jan Hammer and Barry Miles on keyboards, Anthony Jackson on bass guitar, Steve Gadd and Lenny White on drums and Mingo Lewis on congas, synthesizers, organ and percussion.

“Flight Over Rio”

Percussionist Mingo Lewis has written another 10/10 opening track.

Like “The Wizard” on the debut album, this track is loaded with great riffs.

At 7 minutes and 16 seconds, it’s the first 90 seconds which is essential listening, just for the bass riff.

Tool built a career from bass riffs like this. It also reminds me of the soundtrack work that John Carpenter would do, like in “Escape From New York”.

Then it goes into something similar to “The Wizard” with a bass groove, which allows Al Di Meola to flex his chops.

Check out the lead break from 2.48 to 3.48. After that Di Meola goes into a solo tag with the keyboardist Jan Hammer, which has Di Meola soloing on a few bars and then Hammer and they go back and forth. Like the Dream Theater guys.

“Midnight Tango”

Written by Al Di Meola and at 7 minutes and 28 seconds in length.

Press play to hear jazz rock fusion in all its glory from the 3 minute mark. It begins with some fast major key playing, however it is brief and then it goes into a Latin-esque passage. It stays within this domain, while Di Meola delivers a lead break which Santana lovers would say is from good ol’ Carlos.

At 4.58, it goes into a lick which reminds me of licks from 80’s Heavy Metal artists. And Di Meola knows a good lick when he hears one and he carries this lick and chord progression all the way to the end.

“Mediterranean Sundance”

Just over 5 minutes long, this Al Di Meola composition is the first song I heard from Al Di Meola and it made me a fan instantly.

It’s the crown in his jewel and showcases his acoustic prowess to the world. Of course he calls in his friends to lend a hand in Paco de Lucia and their playing is at another level.

This song would also get released many years later, from a live recording that Al Di Meola, Paco de Lucia and John McLaughlin would do on the “Friday Night In San Francisco” album.

Listen to the sections from the 28 second mark to the 51 second mark. It’s all fingers folks, no pick. So just press play, lay back, close your eyes, be in awe at the playing and let the music take you away.

“Race with Devil on Spanish Highway”

Written by Al Di Meola, this is the track that was referenced by the 80’s players as an influence. Once you hear it, you will know why.

A simple bass riff begins proceedings, then Di Meola joins with a distorted guitar. After repeating a few times, they both go into some serious fast alternate picking. Hearing the bass and guitar play in unison is pure bliss.

After the hectic intro at around 1.15 it goes into this jazz rock lounge section. Its relaxed and it actually feels that you are cruising the streets in your car.

But at 2.09, a section begins which is heavy metal. While those riffs are playing, Al Di Meola starts his shred solo. By 3.13, it ends and transitions into a different section which is a combination of the previous sections mentioned.

Then “the section” begins from 4.10. The Intro riff is played, but everything is faster, more frantic. And at 4.51, Di Meola is soloing super-fast to about the 5.10 mark.

He then pulls an awesome riff out for the outro, which has some of his best soloing in it, moving from emotion to super-fast alternate picking.

“Lady of Rome, Sister of Brazil”

A short acoustic piece at 1.46, a calm within all the technicality delivered by Di Meola and de Lucia.

“Elegant Gypsy Suite”

At 9 minutes and 16 seconds long, it’s definitely elegant. So many different styles are covered but back then it was all just music. Styles and genres didn’t matter.

My favourite section is from the 8 minute mark to the end of the song.

This album is his masterpiece. If you like guitar instrumental music, then your collection is not complete with this album.

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1976 Part 2.5: Tommy Bolin – Private Eyes

I had no idea about Tommy Bolin until Motley Crue covered the song “Teaser” and released it on their “Raw Tracks II” EP which came out in 1990 for the Japanese market and suddenly I was scrolling the used record racks for Tommy Bolin albums or albums that had him playing.

Actually, the Motley Crue version of “Teaser” was officially released on a 1989, compilation album called “Stairway To Heaven/Highway To Hell” which featured the bands who performed at the Moscow Music Peace Festival. And of course the song re-appeared on their “Decade Of Decadence” collection in 1992.

Shock horror to everyone these days who grew up with Wikipedia, I was surprised to read that he was in Deep Purple, but only for a brief moment and that he was in Deep Purple with David Coverdale who was another artist’s back catalogue I was digging deep into during the same period.

The Tommy Bolin “Teaser” album came out in 1975, and while successful he couldn’t really tour behind it due to his Deep Purple commitments, so he kept on writing and over an 8 day period, “Private Eyes” was recorded and released in 1976. This would be his last studio album before he died of a drug overdose on December 4, 1976 at 25 years of age.

It’s worth pointing out that from 1969 to 1976, Bolin was involved in 10 studio albums, with the bands Zephyr, James Gang (he replaced the guitarist who replaced Joe Walsh), Billy Cobham, Alphonse Mouzon, Moxy, Deep Purple (he replaced Ritchie Blackmore) and as a solo artist.

To put into context, Metallica have released 10 studio albums in 38 years. Avenged Sevenfold have released 7 albums in 20 years. The different work ethics of the artists and the labels across different decades is evident.

As a 15 year old, he hitchhiked from his hometown to Denver and met up with a singer called Jeff Cook to form American Standard. Cook would also act as a co-writer for Bolin’s solo output. He then joined Zephyr and after a few albums, he grabbed drummer Bobby Berge to form “Energy” with Jeff Cook on vocals.

But the fusion of styles in the music of “Energy” didn’t resonate with people and the labels. But Bolin did enough to get the attention of Billy Cobham who asked him to play on his record. And then the high profile gigs and studio work started. And by the time he was in Deep Purple he was heavily into drugs and alcohol.

“Bustin’ Out For Rosey”

Its funk rock groove is great to jam to.

The outro jam with the fuzzed out guitar licks and brass section is great listening.

“Sweet Burgundy”

I don’t know who influenced who, but “Wonderful Tonight” from Eric Clapton sounds very similar to this in the intro.

The slide guitar is sublime.

And in the outro, they just jam out the main melody, something that Bruce Springsteen would do to great effect with “Born In The U.S.A” when they keep playing the vocal melody in the outro.

“Post Toastee”

A nine minute song.

So many songs came out between the years of 1968 and 1978 that had similar riffs to either “Cocaine” or “Sunshine Of Your Love”. This is another for the first two minutes and 20 seconds.

Then a bass groove comes in and it’s all funky and soulful. As the bass and drums jam, Bolin starts his lead break. Listen to his phrasing, how he lets certain notes ring and others he deadens.

It’s this fusion of so many different styles which makes Bolin unique.

At the 4.30 mark, the “Cocaine” riff is back in.

Then Bolin shreds away again for the rest of the song.

“Shake The Devil”

It’s a blues jazz fusion cut, like how Joe Walsh played in James Gang.

But at 2.34, the embryo of bands like Iron Maiden is there. Check out the change of pace, the riff and the lead breaks.

“Gypsy Soul”

It’s like a campfire “Love Boat” acoustic cut.

And what I like about this is that Bolin stays within the acoustic guitar and delivers a stellar flamenco lead outro break.

“Someday We’ll Bring Our Love Home”

Carmine Appice filled on drums on this one, as Bobby Berge was unavailable that day. It could have appeared on a Steely Dan album. Its bluesy and full of soul.

“Hello Again”

The strummed chords outline a similar progression like “Free Bird” as the song percolates in that acoustic domain with violins and violas.

“You Told Me That You Loved Me”

A bluesy jazz fusion cut full of sleaze and soul with an ascending walking bass riff.

I like the change at the 3 minute mark, and then the brass instruments come in and the leads starts and its solos to the end.

If you like a lot of guitar playing, this album has it. Crank it.

P.S. Reggie McBride on bass and Bobby Berge on drums are excellent and unsung heroes on this album.

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