Wayback Wednesday – His Bobness (with Mark Knopfler on guitars and producing) Tight Connection To My Heart (Has Anyone Seen My Love)
Well, I had to move fast And I couldn’t with you around my neck. I said I’d send for you and I did What did you expect? My hands are sweating And we haven’t even started yet. I’ll go along with the charade Until I can think my way out. I know it was all a big joke Whatever it was about. Someday maybe I’ll remember to forget.I’m gonna get my coat, I feel the breath of a storm. There’s something I’ve got to do tonight, You go inside and stay warm.Has anybody seen my love, Has anybody seen my love, Has anybody seen my love. I don’t know, Has anybody seen my love?You want to talk to me, Go ahead and talk. Whatever you got to say to me Won’t come as any shock. I must be guilty of something, You just whisper it into my ear. Madame Butterfly She lulled me to sleep, In a town without pity Where the water runs deep. She said, “Be easy, baby, There ain’t nothin’ worth stealin’ in here."You’re the one I’ve been looking for, You’re the one that’s got the key. But I can’t figure out whether I’m too good for you Or you’re too good for me.Has anybody seen my love, Has anybody seen my love, Has anybody seen my love. I don’t know, Has anybody seen my love?Well, they’re not showing any lights tonight And there’s no moon. There’s just a hot-blooded singer Singing "Memphis in June, ” While they’re beatin’ the devil out of a guy Who’s wearing a powder-blue wig. Later he’ll be shot For resisting arrest, I can still hear his voice crying In the wilderness. What looks large from a distance, Close up ain’t never that big.Never could learn to drink that blood And call it wine, Never could learn to hold you, love, And call you mine.
wayback wednesday – by far my favourite sting album – this the title cut
After the Police split, Sting seamlessly transitioned into a solo career and found much success with 1985’s The Dream of the Blue Turtles and 1987’s … Nothing Like The Sun. His third solo album, The Soul Cages, came on Jan. 22, 1991, after a three-year break — and had its origins in devastation. “My father died in 1989,” Sting wrote in his 2007 book, Lyrics. “We’d had a difficult relationship, and his death hit me harder than I’d imagined possible. I felt emotionally and creatively paralyzed, isolated, and unable to mourn. I just felt numb and empty, as if the joy had been leeched out of my life.” When he did start writing songs again, he found himself drawing inspiration from his past. “I became obsessed with my hometown and its history, images of boats and the sea, and my childhood in the shadow of the shipyards.”
The boy child is locked in the fisherman’s yard There’s a bloodless moon where the oceans die A shoal of nightstars hang fire in the nets And the chaos of cages where the crayfish lie Where is the fisherman where is the goat? Where is the keeper in his carrion coat? Eclipse on the moon when the dark bird flies Where is the child with his father’s eyes? These are the soul cages These are the soul cages He’s the king of the ninth world The twisted son of the fog bells toll In each and every lobster cage A tortured human soul These are the souls of the broken factories The subject slaves of the broken crown The dead accounting of old guilty promises These are the souls of the broken town These are the soul cages These are the soul cages These are the soul cages These are the soul cages ‘I have a wager’ the brave child spoke The fisherman laughed, though disturbed at the joke. ‘You will drink what I drink but you must equal me And if the drink leaves me standing, A soul shall go free’ ‘I have here a cask of most magical wine A vintage that blessed every ship in the line It’s wrung from the blood of the sailors who died Young white body adrift in the tide’ ‘And what’s in it for me my pretty young thing? Why should I whistle, when the caged bird sings? If you lose a wager with the king of the sea You’ll spend the rest of forever in the cage with me’ These are the soul cages These are the soul cages These are the soul cages These are the soul cages A body lies open in the fisherman’s yard Like the side of a ship where the iceberg rips One less soul in the soul cages One last curse on the fisherman’s lips These are the soul cages These are the soul cages These are the soul cages These are the soul cages Swim to the light Swim to the light He dreamed of the ship on the sea It would carry his father and he To a place they could never be found To a place far away from this town A Newcastle ship without coals They would sail to the island of souls
Wayback Wednesday – Neil Young – I Believe in You – just cuz
Now that you found yourself losing your mind Are you here again? Finding that what you once thought was real Is gone, and changing?
Now that you made yourself love me Do you think I can change it in a day? How can I place you above me? Am I lying to you when I say That I believe in you I believe in you.
Coming to you at night I see my questions I feel my doubts Wishing that maybe in a year or two We could laugh and let it all out
Now that you made yourself love me Do you think I can change it in a day? How can I place you above me? Am I lying to you when I say That I believe in you I believe in you.
Wayback Wednesday with Doug Sahm and the Sir Douglas Quintet from the January 25, 1969 episode of Playboy After Dark. What a trip! Ah, those were heady times. 🙂 Ole Hef just dancing up a storm LOL. Total hoot!
Wayback Wednesday with Van the Man and Blue Money. Thanks Shelia! 🙂
“Blue Money” is a song written by Northern Irish singer-songwriter Van Morrison. It was the second of two Top Forty hits from his 1970 album, His Band and the Street Choir (the other being “Domino”), reaching #23 on the US charts. The US single featured “Sweet Thing”, from the album Astral Weeks, as the B-side. It was released as a single in the UK in June 1971 with a different B-side, “Call Me Up in Dreamland”. The song became Morrison’s third best selling single of the 1970s, remaining on the charts for three months.
The lyrics have the singer promising his girl that they will paint the town together with her “blue money.” Critic Maury Dean states that the theme picks up from Lefty Frizzell’s 1950 #1 song “If You’ve Got the Money I’ve Got the Time.” In a 1972 Rolling Stone interview with John Grissim Jr., Morrison commented about the popularity of “Blue Money” in cities like Boston and New York: “Out here I get asked to play ‘Blue Money’ all the time. All the kids love it, the kids in the street. It’s their favorite number.”
Robert Christgau, writing in the Village Voice in 1971, described “Blue Money” and “Domino” as “superb examples of Morrison’s loose, allusive white r&b.” Writer M. Mark described it as “a pun-filled song about time and cash.” Biographer Brian Hinton compared the song’s sound to Georgie Fame and the Blue Flames—"boozy horns and a nonsensical chorus.“ Dean praises the song’s "snarly, snappity sounds” and Morrison’s “jazzy baritone.”
Wayback Wednesday with his Bobness and a tune that could talk to a lot of us – most of the time. From his 1989 release Oh Mercy. I’m hearin’ ya Bob…
Most of the time I’m clear focused all around Most of the time I can keep both feet on the ground I can follow the path, I can read the signs Stay right with it when the road unwinds I can handle whatever I stumble upon I don’t even notice she’s gone Most of the time
Most of the time It’s well understood Most of the time I wouldn’t change it if I could I can make it all match up, I can hold my own I can deal with the situation right down to the bone I can survive, I can endure And I don’t even think about her Most of the time
Most of the time My head is on straight Most of the time I’m strong enough not to hate I don’t build up illusion ’til it makes me sick I ain’t afraid of confusion no matter how thick I can smile in the face of mankind Don’t even remember what her lips felt like on mine Most of the time
Most of the time She ain’t even in my mind I wouldn’t know her if I saw her She’s that far behind Most of the time I can’t even be sure If she was ever with me Or if I was with her
Most of the time I’m halfway content Most of the time I know exactly where it went I don’t cheat on myself, I don’t run and hide Hide from the feelings that are buried inside I don’t compromise and I don’t pretend I don’t even care if I ever see her again Most of the time
Wayback Wednesday with Gallagher & Lyle and a tune from their 1976 album of the same name Breakaway.
The pop duo phenomenon that spawned such acts as Simon & Garfunkel, Brewer & Shipley, and Seals & Crofts was predated by the duo formed by songwriters, guitarists, and vocalists Benny Gallagher and Graham Lyle. Initially attracting attention as songwriters of Dean Ford & the Gaylords’ single “Mr. Heartbreak’s Here Instead,” Gallagher and Lyle went on to record as a duo and as members of McGuinness Flint and Ronnie Lane’s group Slim Chance. Gallagher and Lyle continued to balance their performances and recordings as staff songwriters for the Beatles’ Apple label, writing “Sparrow” and “International” for Mary Hopkin. The title track of their sixth duo album, Breakaway, was later covered by Art Garfunkel. Gallagher and Lyle first played together in Largs, a small town near Glasgow in Ayrshire, Scotland. Relocating to London in 1967, the duo became full-time writers at Apple. Three years later, they joined with Tom McGuinness and Hughie Flint to form McGuinness Flint. Although McGuinness Flint recorded two successful singles, “When I’m Dead and Gone” and “Malt and Barley Blues,” the group disbanded in 1971. Recording their self-titled debut duo album for Capitol, Gallagher & Lyle switched to the A&M label by their second effort. Their first release on A&M, however, was a reissue of their debut album.
In the spring of 1974, Gallagher and Lyle joined Ronnie Lane’s Slim Chance, remaining with the group until May 1974. Gallagher and Lyle balanced their work with the band with additional duo albums, How Come and The Last Cowboy. They continued to record on their own following the breakup of the group. Breakaway was released in 1975, Love on the Airwaves in 1977, and Showdown in 1978. Switching to the Phonogram label, they recorded their final album, Lonesome No More, in 1979. Following a tour to support the album, Gallagher and Lyle went their separate ways. Lyle continued to write, in collaboration with Terry Britten, reaching his peak with “What’s Love Got to Do with It,” covered by Tina Turner, and “Just Good Friends,” recorded by Michael Jackson.
I watch the distant lights go down the runway disappear into the evening sky. Oh you know I’m with you on your journey Never could say goodbye.
And you will waken in another country greet the morning under foreign skies. Leaving me to face another Monday it’s not easy to get by.
It’s not the place you’re going to. It’s just a phase you’re going through. Though I won’t stop you I don’t want to breakaway. Fly across your ocean, breakaway Time has come for you breakaway Fly across your ocean, breakaway Time has come
And now you travel on your own opinion, leave your fears and doubts to fade away Dust your dreams and take them on your journey, Spread your wings and fly away
(Instrumental)
It’s not the sun you’re tryin to find Something else is on your mind You need a little space and time to breakaway
It’s not the place you’re going to. It’s just a phase you’re going through. Though I won’t stop you I don’t want to breakaway. Fly across your ocean, breakaway Time has come for you breakaway Fly across your ocean, breakaway Time has come for you
Gallagher and Lyle are a Scottish musical duo, comprising singer-songwriters Bernard Joseph “Benny” Gallagher (born 10 June 1945, Largs, Ayrshire) and Graham Hamilton Lyle (born 11 March 1944, Bellshill, Lanarkshire).
Their first recognition came in 1968, when they were signed by The Beatles to write for Apple Records’ artists. They were founding members of the band McGuinness Flint and wrote the 1970 UK chart hit “When I’m Dead and Gone”. In 1972 they formed the duo Gallagher and Lyle, whose fifth album Breakaway charted well and included the hit songs “Heart on My Sleeve” and “I Wanna Stay with You”. Don Williams took their song “Stay Young” to No. 1 on the US Country charts. The duo split in 1980, but re-formed in 2010. Gallagher and Lyle have worked, jointly and individually, on records with, among others, Paul McCartney, Eric Clapton, Pete Townshend, Ronnie Lane, Ronnie Wood, Joan Armatrading, Ralph McTell, Sandy Denny, Fairport Convention and Jim Diamond. Artists who have released Gallagher and Lyle songs include Bryan Ferry, Elkie Brooks, Fairport Convention, Art Garfunkel and Joe Brown. -Wikipedia
Wayback Wednesday with Poco and the stand out track Rose Of Cimarron from their 1976 release of the same name. It boggles the mind that this band never got the respect and success they deserved, They released some seriously quality tuneage over the years. This particular tune has always been a favorite – but there are so many more, Good Feelin’ to Know comes to mind – just a superb song…. and so it goes 🙂
Song written by Rusty Young. Band Lineup: Paul Cotton – guitar, vocals Timothy B. Schmidt – bass, vocals Rusty Young – steel guitar, guitar, vocals George Grantham – drums, vocals Al Garth – fiddle, flute, violin, sax, vocals
Poco is a Southern California country rock band originally formed by Richie Furay, Jim Messina and Rusty Young. Formed following the demise of Buffalo Springfield in 1968,[1] Poco was part of the first wave of the West Coast country rock genre. The title of their first album, Pickin’ Up the Pieces, is a reference to the break-up of Buffalo Springfield. Throughout the years Poco has performed in various groupings, and is still active.
Inception During recording of Buffalo Springfield’s third and final album, Last Time Around, lead singers Stephen Stills, Neil Young and Richie Furay each recorded songs without the other members present. One of Furay’s solo efforts was the country-influenced ballad “Kind Woman”, which he recorded with the help of producer/engineer/bassist Jim Messina and pedal steel guitarist Rusty Young.
When Buffalo Springfield split up, Furay, Messina and Young decided to start their own group oriented toward such songs. Its original lineup was Furay (vocals and rhythm guitar), Messina (lead guitar, vocals, producer), Rusty Young (pedal steel guitar, banjo, dobro, guitar, mandolin and vocals), George Grantham (drums and vocals) and Randy Meisner (bass and vocals). The group was signed to a recording contract with Epic Records, which acquired the rights to Furay from the Springfield’s Atlantic Records label in return for those to Graham Nash of The Hollies (who was moving to Atlantic as part of forming Crosby, Stills & Nash). Originally, the new group was named “Pogo”, after the Pogo comic strip character, but was changed when its creator, Walt Kelly, objected and threatened to sue.
Furay era (1969 to 1973) Their first album, Pickin’ Up the Pieces (1969), is considered a seminal album of the country rock genre. Reviewer Charley Walters awarded the release with 5 stars in the 1979 Rolling Stone Record Guide edited by Dave Marsh and John Swenson, although it was subsequently reduced to 4 stars in the 1983 revised and updated edition of the book. However, the album performed weakly, peaking at No. 63 on Billboard album chart.
The band’s lineup proved to be a problem throughout its career. During the recording of the debut album, Meisner left the group as a result of a conflict with Furay (reportedly, Meisner had objected after Furay barred all but himself and Messina from the first album’s final mix playback sessions). After a stint playing with Ricky Nelson’s Stone Canyon Band, Meisner later became a founding member of the Eagles. Messina took over on bass until Timothy B. Schmit joined Poco in September 1969.
Their second studio album Poco (1970) again resulted in low sales, peaking at No. 58. The band’s next album, Deliverin’ (or DeLIVErin’ as it sometimes represented), picked up moderate airplay, Furay’s “C’mon” hitting No. 69. Deliverin’ became Poco’s first album to reach the Top 40 on the Billboard 200, peaking at No. 26. Messina chose to leave the band in October 1970, feeling Furay exhibited too much control over the group’s sound and left the band to return to studio production. At the recommendation of Peter Cetera of Chicago, Messina selected guitarist/singer Paul Cotton, a one-time member of the Illinois Speed Press to replace him.
The realigned Poco, now on its third lineup on just its fourth album, hired Steve Cropper as producer and released From the Inside (Poco album) (1971). Again, poor sales were the result as the release landed at No. 52. The band and its management were dissatisfied with Cropper’s production and hired Jack Richardson, who oversaw the next three albums, beginning with A Good Feelin’ to Know (1972). The band built the LP around the title track, a popular concert tune, but the single failed to chart. The album itself peaked at No. 69. As a result, Furay became increasingly discouraged with Poco’s prospects, especially since ex-bandmates Stills, Young, Meisner and Messina were so successful with their respective groups. In an April 26, 1973 Rolling Stone magazine interview with Cameron Crowe he vented that Poco was still a second-billed act and had not increased its audience. The next album, Crazy Eyes (1973), reached No. 38 but Furay departed at its release and joined with J. D. Souther and Chris Hillman to create the Souther-Hillman-Furay Band on Asylum. Poco decided not to replace Furay and continued as a quartet.
Post-Furay era (1973 to 1977) After Furay’s departure, the band released their last two albums with Epic; Seven (1974) and Cantamos (1974). The albums charted at No. 68 and No. 76 respectively. Poco left Epic after Cantamos and signed with ABC-Dunhill Records. Head Over Heels was their first ABC release, featuring Schmit’s acoustic “Keep On Tryin’”, which became the group’s most successful single to date, charting at No. 50 on the Billboard Hot 100. Around the time of the release of Head Over Heels, The Very Best of Poco was released as a compilation album that documented the group’s years with Epic. Epic’s release fought with Head Over Heals for attention though neither charted very well, hitting No. 43 and No. 90, respectively.
The group’s next ABC-Dunhill album was Rose Of Cimarron which also failed to generate much enthusiasm and peaked at No. 89. Another Epic release also came out in 1976, the live album Live. Indian Summer was released the following spring, peaking at No. 57, while the title track reached No. 50.
Success (1977 to 1980) In August 1977, with the support of the rest of Poco, Schmit quit to join the Eagles, coincidentally replacing former Poco member Meisner yet again. As a result, a fully produced live album recorded at the Santa Monica Civic Auditorium in Los Angeles in July 1977 was shelved by ABC. After languishing in storage for many years, the album was eventually released by John Thaler and Futuredge Music in partnership with Universal Special Projects as The Last Roundup in 2004.
After Schmit’s departure, Poco decided to take a break. Grantham took some time off, while Young and Cotton decided to continue as the “Cotton-Young Band” and redoubled their efforts to succeed. They selected the Britons Steve Chapman (drums) and Charlie Harrison (bass) (former Judas Jump), both of whom had played together with Leo Sayer and Al Stewart, to round out their new quartet. However, ABC decided to pick up the Cotton-Young album — as long as they continued under the ‘Poco’ name. Thus, although Grantham had never quit Poco, he found himself bought out of the group. He subsequently landed a job as drummer for Ricky Skaggs.
Legend (1978), the Cotton-Young album with cover art by graphic artist (and later comedy actor) Phil Hartman, subsequently became the group’s most commercially successful album, containing two Top Twenty hits, “Crazy Love” written and sung by Rusty Young (which also had a seven-week run at Number 1 on the Adult Contemporary chart in early 1979, the biggest hit on the AC chart that year) and Cotton’s “Heart of the Night”. The album was certified gold, Poco’s first album to achieve this distinction in original distribution. Kim Bullard (keyboards) joined the band in December 1978 just as Legend was being released. While “Crazy Love” was riding up the charts, ABC Records was sold to MCA Records. Poco was retained by MCA and the Legend album was reissued on the MCA label. With the momentum built up from Legend’s success, Poco played their new hit “Heart of the Night” on the live album No Nukes in support of nuclear-free energy, which featured several other big artists such as Bruce Springsteen and Jackson Browne.
Wayback Wednesday brings us ”Talkin’ Bout A Revolution" released in 1988 as the second single from singer-songwriter Tracy Chapman’s self-titled debut album. This song is timeless – we, as a species, will always have class division – it seems, sadly, that it is in our DNA.
Don’t you know They’re talkin’ bout a revolution It sounds like a whisper Don’t you know They’re talkin’ about a revolution It sounds like a whisper
While they’re standing in the welfare lines Crying at the doorsteps of those armies of salvation Wasting time in the unemployment lines Sitting around waiting for a promotion
Poor people gonna rise up And get their share Poor people gonna rise up And take what’s theirs
Don’t you know You better run, run, run… Oh I said you better Run, run, run… Finally the tables are starting to turn Talkin’ bout a revolution
An inheritor of “Redemption Song”, “Talking ‘bout a Revolution”, famously performed at Nelson Mandela’s 70th birthday concert, is built around a repeated four-chord progression, and a simple lyric. It starts with a criticism of empty talk:
Don’t you know, talking ’bout a revolution sounds like a whisper … when they’re standing in the welfare lines.
Despite the early cynicism, the message is hopeful. Poor people are going to “rise up and take what’s theirs”. Chapman finishes with the line: “Finally the tables are starting to turn, talking ’bout a revolution going on.”
The humanity that pervades “Talking ’bout a Revolution” combined with her commercial smash “Fast Car” to make Chapman a hugely popular singer-songwriter. This humanity is grounded in her early school experiences of busing and racial violence in Cleveland, Ohio:
I found myself in the middle of a race riot when I was about 14 years old and I found someone pointing a gun at me and telling me to run or they’d shoot me…
Despite her support of certain environmental and social causes, Chapman has said in an interview that she “can use the music as a form of social activism, but I don’t consider myself a social activist”. Any political message is accessed through the personal.
Bio Chapman was born in Cleveland, Ohio. She was raised by her mother, who recognized Tracy’s love of music and, despite not having much money, bought her a ukulele when she was just three. Chapman began playing guitar and writing songs at the age of eight. She says that she may have been first inspired to play the guitar by the television show Hee Haw.
Raised Baptist, Chapman attended an Episcopal high school. She was accepted into the program “A Better Chance”, which sponsors students at college-preparatory high schools away from their home community. She graduated from Wooster School in Connecticut, then attended Tufts University. She graduated with a B.A. degree in anthropology and African studies.
During college, Chapman began busking in Harvard Square and playing guitar in Club Passim, the Nameless Coffeehouse, and other coffeehouses in Cambridge, Massachusetts. Another Tufts student, Brian Koppelman, heard Chapman playing and brought her to the attention of his father, Charles Koppelman. Koppelman, who ran SBK Publishing, signed Chapman in 1986. After Chapman graduated from Tufts in 1987, he helped her to sign a contract with Elektra Records
At Elektra, she released Tracy Chapman (1988). The album was critically acclaimed, and she began touring and building a fanbase. “Fast Car” began its rise on the US charts soon after she performed it at the televised Nelson Mandela 70th Birthday Tribute concert in June 1988; it became a number 6 pop hit on the Billboard Hot 100 for the week ending August 27, 1988. Rolling Stone ranked the song number 167 on their 2010 list of “The 500 Greatest Songs of All Time”. It is the highest-ranking song both written and performed by a female performer. “Talkin’ ’bout a Revolution”, the follow-up, charted at number 75 and was followed by “Baby Can I Hold You”, which peaked at number 48. The album sold well, going multi-platinum and winning three Grammy Awards, including an honor for Chapman as Best New Artist. Later in 1988, Chapman was a featured performer on the worldwide Amnesty International Human Rights Now! Tour. According to the VH1 website, “Her album helped usher in the era of political correctness—along with 10,000 Maniacs and R.E.M., Chapman’s liberal politics proved enormously influential on American college campuses in the late ’80s
Wayback Wednesday with Boz Scaggs and a nice live take of Ask Me ‘Bout Nothin’ But the Blues, originally recorded on the 1997 release “Comin’ Home”, a collection of R&B and blues songs and influences from Boz Scaggs’ youth. In their retrospective review. Allmusic called Come On Home “a genuine musical treasure.”
Ask me who was the first man To make a fire in the night I don’t know Oh Lord I don’t know Ask me who thought of using A candle for a light I don’t know Oh Lord I don’t know
But ask me how does a man feel When he’s got the blues And I’d say Misused abused down-hearted and blue Know the reason I know this Is cause the blues is all I was left with
Ask me why does a man Have to reach beyond his need I don’t know Lord have mercy I don’t know And ask me why does a tree Have to shed its leaves I don’t know Lord have mercy I don’t know
Ask me how does a man feel When he’s got the blues And I’d say Misused abused down-hearted and blue Know the reason I know this Is cause the blues is all I was left with
Oh I could tell you how it feels When you got a dirty deal I could even tell you how it hurts When you been stepped on And treated just like dirt
Ask me why do all good things Have to come to an end I don’t know Lord have mercy I don’t know You see Ask me nothin but about the blues The blues is all that I was left with Oh I could tell you how it feels When you got a dirty deal Tell you how it hurts When you been stepped on and stepped on And stepped on and treated just like dirt
Ask me nothin but about the blues The blues is all that I was left with
-Composed by Deadric Malone / Henry Boozier
William Royce Scaggs (known professionally as Boz Scaggs; is an American singer, songwriter, and guitarist. He gained fame in the 1960s as a guitarist and one-time lead singer with the Steve Miller Band, and in the 1970s with several solo Top 20 hit singles in the United States, including the hits “Lowdown” and “Lido Shuffle” from the critically acclaimed album Silk Degrees (1976), which peaked at #2 on the Billboard 200. Scaggs continues to write, record music, and tour.
Scaggs was born in Canton, Ohio, the son of a traveling salesman. The family moved to McAlester, Oklahoma, then to Plano, Texas (at that time a farm town), just north of Dallas. He attended a Dallas private school, St. Mark’s School of Texas, where schoolmate Mal Buckner gave him the nickname “Bosley”, later shortened to “Boz”.
After learning guitar at the age of 12, he met Steve Miller at St. Mark’s School. In 1959, he became the vocalist for Miller’s band, the Marksmen. The pair later attended the University of Wisconsin–Madison together, playing in blues bands like the Ardells and the Fabulous Knight Trains.
Leaving school, Scaggs briefly joined the burgeoning rhythm and blues scene in London, then traveled on to Sweden as a solo performer, and in 1965 recorded his solo debut album, Boz, which failed commercially. Scaggs also had a brief stint with the band the Other Side with Mac MacLeod and fellow American Jack Downing.
Returning to the U.S., Scaggs promptly headed for the booming psychedelic music center of San Francisco in 1967. Linking up with Steve Miller again, he appeared on the Steve Miller Band’s first two albums, Children of the Future and Sailor in 1968. Scaggs secured a solo contract with Atlantic Records in 1968, releasing his second album, Boz Scaggs, featuring the Muscle Shoals Rhythm Section and session guitarist Duane Allman, in 1969. Despite good reviews, this release achieved only moderate sales. He then briefly hooked up with Bay Area band Mother Earth in a supporting role on their second album Make a Joyful Noise on guitar and backup vocals. Scaggs then signed with Columbia Records; his first four albums for Columbia all charted, with his best peaking at #81.
Back to the Monastery 