Gone Fishing (again)
Tuesday, August 19th, 2008
See you all soon again.
//ChrisFoesRock
//ChrisFoesRock
Archive for the ‘Rock’ Category
Fun Boy Three “Waiting” (1983)
Tuesday, August 19th, 2008
- If you're coming at this record expecting ten fast-paced ska workouts, you will be disappointed. Terry Hall and his two old friends from the Specials deliver a potent mixture of styles and song structures, with socio-political concerns always close to the lyrical heart.
- The opener, "Our Lips Are Sealed" takes a little getting used to for someone raised on the decidedly more peppy Go-Go's version. But Hall's deadpan vocal and the band's measured, funky rhythm win me over halfway through. "Tunnel of Love" is the first real surprise: a mean little tango that tramples all over the white picket fence dreams of naive young couples.
- "Pressure of Life" is the first true ska moment here, and nothing to get wound up about. It's on "We're Having All the Fun" that the group hit their stride, with each band member getting up to a little self-mockery in detailing their private lives. Then they hit you hard with "Farm Yard Connection." An infectious beat underpinning a caustic, real-life lyric; this is what ska does best.
- Side B contains the utter highlight of the set in "The More I See (The Less I Believe)." The single rides in on the coattails of the breezy insturmental "Murder She Said," and quickly establishes dominance. The piano chords change from rollicking to gloomy, and Terry Hall steps up to the mic with a bag full of commentary on the Northern Ireland situation. It almost seems that his serious lyrics should fall flat in such a setting, surrounded by low braying trumpets and punchy guitars. But conviction and an ability to pack his message tightly among all the hooks allows Hall to emerge victorious with one of the best protest pop songs ever.
- This album was produced by David Byrne, though you'd never guess, other than the slight quirkiness of certain musical styles. Following this cracking little album, Terry Hall went walkabout again, splitting the band and forming another great band, Colourfield.
Track-List in the Comments
America - Selftitled (1st Album of Very Good Rock US 1971)
Tuesday, August 19th, 2008
Size: 90.4 MBBitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
America's debut album is a folk-pop classic, a stellar collection of memorable songs that would prove influential on such acts as the Eagles and Dan Fogelberg. Crosby, Stills & Nash are the group's obvious stylistic touchstone here, especially in the vocal harmonies used (compare the thick chordal singing of "Sandman" and "Children" to CS&N's "You Don't Have to Cry" and "Guinevere") and the prominent use of active strummed acoustic guitar arrangements (contrast "Riverside" to CS&N's "Suite: Judy Blue Eyes"). America's intricate interplay of acoustic guitar textures is more ambitious than that of their influences, however. Performance quality is usually good, though on occasion sloppily executed or out of tune (especially on the openings to "Donkey Jaw" and "I Never Found the Time").
Lengthy instrumental introductions ("Donkey Jaw"), middle improvisatory interludes ("Here"), and closings ("Clarice") are frequently encountered. Most of these selections boast highly unusual and inventive chord progressions that work well without drawing undue attention to themselves. Lyrics are sometimes trite ("I need you/Like the flower needs the rain") or obscure ("He flies the sky/Like an eagle in the eye/Of a hurricane that's abandoned"), but the music more than makes up for any verse problems; only the odd "Pigeon Song" seems an unsalvageable misstep.
Sound quality here has a covered, intimate feel that lends a ghostly aura to this release. Chart hits from this album include the spectrally loping "A Horse with No Name," the squarishly tuneful "I Need You," and the nervously dour "Sandman." Other highlights include the buoyantly charming "Three Roses," the yearningly lovely "Rainy Day," and the quietly ringing "Clarice." In spite of its flaws, this platter is very highly recommended.
America was a light folk-rock act of the early '70s who had several Top Ten hits, including the number ones "A Horse with No Name" and "Sister Golden Hair." Vocalists/guitarists Dewey Bunnell, Dan Peek, and Gerry Beckley met while they were still in high school in the late '60s; all three were sons of U.S. Air Force officers who were stationed in the U.K. After they completed school in 1970, they formed an acoustic folk-rock quartet called Daze in London, which was soon pared down to the trio of Bunnell, Peek, and Beckley. Adopting the name America, the group landed a contract with Jeff Dexter, a promoter for the Roundhouse concert venue. Dexter had America open for several major artists and the group soon signed with Warner Bros. Records. By the fall of 1970, the group was recording their debut album in London, with producers Ian Samwell and Jeff Dexter."A Horse with No Name," America's debut single, was released at the end of 1971. In January 1972, the song — which strongly recalled the acoustic numbers of Neil Young — became a number three hit in the U.K. The group's self-titled debut album followed the same stylistic pattern and became a hit as well, peaking at number 14. Following their British success, America returned to North America, beginning a supporting tour for the Everly Brothers. "A Horse with No Name" was released in the U.S. that spring, where it soon became a number one single, pushing Neil Young's "Heart of Gold" off the top of the charts; America followed the single to the top of the charts. "I Need You" became another Top Ten hit that summer, and the group began work on their second album. "Ventura Highway," the first single released from this collaboration, became their third straight Top Ten hit in December of 1972. In the beginning of 1973, America won the Grammy Award for Best New Artist of 1972.
Homecoming was released in January of 1973, becoming a Top Ten hit in the U.S. and peaking at number 21 in the U.K. America's essential sound didn't change with this record; it just became more polished. However, the hits stopped coming fairly soon — they had only one minor Top 40 hit in 1973. Hat Trick, the group's third album, was released toward the end of 1973; it failed to make it past number 28 on the American charts. Released in the late fall of 1974, Holiday was the first record the group made with producer George Martin. Holiday returned America to the top of the charts, peaking at number three and launching the hit singles "Tin Man" and "Lonely People." "Sister Golden Hair," pulled from 1975's Hearts, became their second number one single. That same year, the group released History: America's Greatest Hits, which would eventually sell over four million copies.
01. Riverside Bunnell 3:02
02. Sandman Bunnell 5:03
03. Three Roses Bunnell 3:54
04. Children Bunnell 3:07
05. A Horse With No Name Bunnell 4:10
06. Here Beckley 5:30
07. I Need You Beckley 3:04
08. Rainy Day Peek 3:00
09. Never Found the Time Peek 3:50
10. Clarice Beckley 4:00
11. Donkey Jaw Peek 5:17
12. Pigeon Song Bunnell 2:17
1. http://sharebee.com/ca7790e7
or
2. http://sharebee.com/c048777c
Fun Boy Three “Fun Boy Three” (1982)
Tuesday, August 19th, 2008
- The most glorious moments of late Specials (by which I mean anything after the first record) were "Ghost Town" and "Friday Night/Saturday Morning" - the hyperactive ska beat gone and replaced by .. well, a sense of loss. The rest of The Specials later output wasn't that great, really. Where did all that thrill and wonder go? Here.
- This is the album that essentially broke up the Specials, but in many respects it sounds like it could have been the third full length Specials album, a proper follow up to "More Specials." This album continues in the aforementioned's tradition of moody pop music with a hint of reggae in the background.
- In fact, the best of late Specials sounds like this record: stripped of almost everything except gorgeous harmony and beats that sound like tomorrow morning's faulty memory of last night's unsettling dream. I bought this record in 1982 or so; for the last 20 years some of these songs have stayed in my head like nursery rhymes for (grown-up) children who remember what hope tasted like just enough to know it's gone.
- The slow resigned ache of "The Lunatics Have Taken Over the Asylum", building and dissipating without benefit of climax or release, was at the time one of the best and most emotionally apt political songs reflecting the dread and near-despair of the Reagan/Thatcher era.
- I've been playing it again lately, and guess what? It's one of the best and most emotionally apt songs reflecting the dread and near-despair of the Bush/Blair era. Many of these songs have an emotional impact far out of proportion to their lyrics or apparent subject; the spare, almost broken-sounding instrumentation and the stunning voices of Hall and Staples in combination are unforgettable.
- This is still really innovative stuff and would be cutting edge today. The complex rythms are magical.
Track-List in the Comments
Happy Birthday Peter Edward “Ginger” Baker (born 19 August 1939, Lewisham, South London)
Tuesday, August 19th, 2008
Peter Edward "Ginger" Baker (born 19 August 1939, Lewisham, South London) is an English drummer.Baker gained fame as a member of the Graham Bond Organization (GBO) and Cream from 1966 until 1968. He later joined Cream bandmate Eric Clapton along with Ric Grech and Steve Winwood in the 1969 group Blind Faith. In the early 1970s, Baker toured and recorded with a fusion rock group, Ginger Baker's Air Force.
Baker's drumming attracted attention for its flamboyance, showmanship, and his pioneering use of two bass drums instead of the conventional single 'kick' drum. He is also noted for using a variety of other percussion instruments and for his application of African rhythms to much of his drumming. Evidence of this African influence can be appreciated in Ginger Baker's work in association with Fela Ransome-Kuti where he sat in for Fela's drummer Tony Allen in recording sessions published in 1971 by the Regal Zonophone / Pathe Marconi Label under the record title "Fela Ransome-Kuti and The Africa '70 with Ginger Baker Live!" While at times performing in a grandiloquent manner similar to that of Keith Moon of The Who, Baker was also capable of the more restrained playing he had heard with British jazz groups during the late 1950s and early 1960s. Baker also performed lengthy improvisational drum solos, his most famous of all being the thirteen-minute drum solo from "Toad", heard on Cream's double album Wheels of Fire.
Since 1986, Baker has released several albums of ethnic fusion and jazz percussion, and has toured with various jazz, classical music, and rock ensembles, including a reunited Cream. He has collaborated often with Bill Laswell. As well as bands carrying his own name, such as Ginger Baker's Air Force, Baker Gurvitz Army (1974–1976), Ginger Baker's Energy (1976), and the Ginger Baker Trio, which included jazz bassist Charlie Haden and Bill Frisell on guitar (recordings released in 1994 and 1996), Baker has also at various times been a member of Hawkwind (1980), Atomic Rooster (1980), Public Image Ltd (1986) and Masters of Reality (1990). In 1994 Baker joined BBM (Bruce-Baker-Moore), a short-lived power trio formed along with Jack Bruce and guitarist Gary Moore.
Ginger Baker was rock's first superstar drummer and the most influential percussionist of the 1960s. There were other drummers who were well-known to the public before him, including the Beatles' Ringo Starr and, in England at the end of the 1950s, the Shadows' Tony Meehan, but they were famous primarily for the groups in which they played and for attributes beyond their musicianship. Baker made his name entirely on his playing, initially as showcased in Cream, but far transcending even that trio's relatively brief existence. Though he only cut top-selling records for a period of about three years at the end of the 1960s, virtually every drummer of every heavy metal band that has followed since that time has sought to emulate some aspect of Baker's playing.He was born Peter Edward Baker in Lewisham, London, in 1939. The nickname "Ginger" came along later, a result of his red hair. As a boy, Baker had a special interest in bicycle racing, but by his mid-teens, his interests had switched to music, especially percussion. A rebel even at that age, he became devoted to modern art and contemporary jazz, transforming himself into something of a beatnik during the mid- to late '50s. A natural musician, he talked himself into his first professional gig when he was 16 and was on the road that year, working full-time. Baker's idol during the late '50s was Phil Seaman, a jazz drummer who was probably the best percussion player in England; his own playing tended toward an aggressiveness and articulation that were unusual in juxtaposition with each other.
By the end of the 1950s, Baker had passed through several of what were known in England as trad jazz bands — "trad" was the English designation given to what Americans and the rest of the world know as Dixieland jazz. It was the dominant form of popular jazz in England from the mid-'50s onward and it provided employment. He'd been a member of Terry Lightfoot's and Acker Bilk's bands, but the fit was an awkward one, owing to the passion that Baker often displayed in his work and his own, personally outspoken nature. Instead, he turned toward the budding British blues scene coalescing around the work of Alexis Korner and Cyril Davies — less bound in tradition and built largely around younger players, this music was growing and being played in a much more open environment.
In 1962, on the recommendation of Charlie Watts, Baker was selected as the latter's replacement in Blues Incorporated, the band started by Korner and Davies. It was here that Baker first crossed paths with two musicians — saxman and organist Graham Bond and bassist Jack Bruce — that were to play a key role in his professional career. Their work with Blues Incorporated was successful enough, but it was while the two were playing with a side group, the Johnny Birch Octet, that they began jamming with saxophonist Dick Heckstall-Smith (another Blues Incorporated alumnus) and began getting a very positive response from the crowds. It was out of those jams that Baker, Bond, Bruce, and (joining a little later) Heckstall-Smith formed the Graham Bond Organization in 1963, the former three quitting Korner's group all at once. The Graham Bond Organisation was never as popular as such Blues Incorporated offshoots as the Rolling Stones or the Small Faces, being more jazz-oriented in their approach to R&B, and, thus, a little too complex to find a huge audience, but they were successful and respected on stage; Baker's reputation among blues aficionados and more scholarly British rock listeners can be traced to his work with the group. Their recordings, however — with the obvious exception of the Klooks Kleek concert album — were never as exciting as their live performances.Its name aside, Ginger Baker was the de facto leader of the Graham Bond Organization. Bond himself was temperamentally unsuited to a leadership role, a condition made worse by the spells of substance abuse and addiction that blighted his life. The Bond group also hooked Baker up in the same rhythm section with Jack Bruce for an extended period of time, and few relationships between constant bandmates — with the exception of siblings Jimmy and Tommy Dorsey's efforts at working together in the early '30s — have been so tumultuous and productive. The two genuinely hated each other on a personal level, and stories of each wrecking (or trying to wreck) the other's instruments and attacking each other on stage abound. Still, the group's sound was extraordinary, a jazz-based R&B built around four powerful players, each displaying varying degrees of virtuosity and assertiveness that was quite daringly complex. And their manager, Robert Stigwood, saw them all as talents worth keeping an eye on in the future.
Baker eventually fired Bruce, who jumped to John Mayall's Bluesbreakers, which, fatefully, allowed him to cross paths with Eric Clapton for a short time, and then to Manfred Mann, as well as doing session work that even had him playing on records by the Hollies. By early 1966, the Graham Bond Organization had run its commercial course (though it was still sufficiently viable to turn up on a poster outside of the club that David Hemmings' character enters in Blow Up), and Baker was searching for a new gig.He'd observed John Mayall & the Bluesbreakers in action and had known lead guitarist Eric Clapton for a couple of years, having jammed with him once in 1964 as part of the Graham Bond Organization, and approached him initially to write together and perhaps form a group. Baker had, in effect, been running the Graham Bond Organization while Clapton had emerged in Mayall's group so far into the spotlight that he'd eclipsed Mayall himself; they discovered that they were in exactly the same place. The great irony was that Clapton, impressed with Bruce's musicianship in both the Bluesbreakers and a short-lived group called Eric Clapton & the Powerhouse, insisted that the bassist come aboard as the third member of the trio. Baker agreed, somewhat reluctantly, acknowledging Bruce's daunting musical ability and willing to overlook their past animosities. The proposed trio, christened Cream, was signed up by Reaction Records, a record label founded by Robert Stigwood, who had been the manager of the Graham Bond Organization, knew of Baker's and Bruce's virtuosity intimately, and was equally impressed by Clapton and as eager as any executive in England to get the three together and see what would happen.
What happened initially was "Wrapping Paper," a pop-style single released in late 1966 that didn't impress too many people — although even there, one could hear a swing element to the group's sound, reminiscent of '40s jazz, that showed off one (albeit minor) component of what went into their sound. Baker was barely audible in the mix, though what one could hear of the drumming did have a signature of sorts, a loose, jazzy element that was unusual. Within the next year, the band would become a chart-topping act and then a cultural phenomenon, however, and at its core was Baker. He and Bruce continued to argue without let-up while Clapton mediated and refereed, and on their records everyone got to shine, but Baker's playing was special even in that context — on "Rollin' & Tumblin'," a Muddy Waters blues standard that the trio took into the stratosphere from the first note, Baker's playing sounded like it was on another planet, matching Clapton's rapid-fire quoting of the main riff and Bruce's frenzied singing and quietly overpowering the listener; his playing on "I'm So Glad," by contrast, had a lyrical, almost melodic quality, like a veiled orchestral accompaniment to the bass and guitar — he kept a beat, but his drumming also played the kind of role that a harpsichord continuo played in Baroque music. And then there was "Toad," in its original studio version, an offshoot of several pieces dating back to the Graham Bond days that featured Baker in a solo; here, as on "Oh Baby" from the first Graham Bond album, Baker made his drum kit sing.In concert, the piece would become the basis for a ten-minute drum solo that was no less impressive. The trio's live sound was, alas, limited somewhat by the technology of the day, especially when they become too popular to play small clubs (which was very early), but Baker set a new standard for playing on record, and at those shows, that every drummer with more than an ounce of ambition sought to emulate. A lot of critics in later years also felt that Baker also had a lot to answer for — that the 15-minute live version of "Toad," 13 minutes of which was Baker solo, opened the way to gargantuan drum solos by the metal bands that came up after Cream, culminating with the infamous (and extremely funny) drum solo interlude in the movie This Is Spinal Tap. Baker can hardly be faulted, however, for the excesses of those who followed after him — his studio work with Cream, and at least the live material that was authorized for release, never showed him playing lengthy solos for their own sake but rather depicted a drummer coaxing beautiful voices out of his instrument. The mere fact that he could do it for ten minutes or more at a stretch was impressive, to say the least.
Cream made (and still generates) a huge amount of money, but couldn't last long with the egos involved — in just over two years, they were history. It turned Baker into a permanent superstar, however. Such was his influence that he was able to turn young admirers of his playing onto older drummers such as Gene Krupa and Buddy Rich, whose careers dated to the 1930s and 1940s, respectively. For a time at the end of the 1960s, teenagers who hadn't even been born when Krupa retired the last of his big bands were seeking out the drummer's work, all based on Baker's professed admiration for him.What followed next for Baker was Blind Faith, one of the most celebrated still-born bands in history — many millions of records sold, and millions of dollars earned, despite their having only about an eight-song repertory of their own. Initially planned as a linkup between Clapton and singer/guitarist/keyboard player Steve Winwood, Baker came along and cashed in Clapton's promise to include him in his next project and the resulting business and publicity frenzy pushed the band too far, too quickly. In seven months they were gone, but out of the ashes of Blind Faith rose the group eventually known as Ginger Baker's Air Force. Ironically, Air Force's history was an exact reversal of that of Blind Faith — initially put together for two live gigs in England, the group suddenly found its life extended to a tour and a second album; in contrast to Blind Faith, however, whose hype had merely reflected an expectant audience eager to see a band made up of two superstars (Clapton and Baker) and one star (Winwood), Air Force's hype was the product of promoters desperately hoping that it would be another Blind Faith.
The group, which included Baker's mentor Phil Seaman and his old bandmate Graham Bond, was much too eclectic ever to have achieved the kind of popularity that Cream or Blind Faith had enjoyed, embracing jazz, traditional African music, blues, folk, and rock. The ten-piece band lasted less than a year before breaking up, leaving behind a genuinely fascinating and exciting live album and an interesting studio LP (both combined on the Ginger Baker double-CD set Do What You Like. In 1971, Baker decided to indulge his longtime fascination with African music first-hand and moved to Nigeria, where he built the first modern recording studio in western Africa. Over the next three years, he worked with a huge range of acts, including Fela and Paul McCartney's Wings, as well as recording the solo album Stratavarious — he ultimately lost the studio and most of his money (and has claimed that McCartney stiffed him for the use of the studio in the recording of Band on the Run).
During 1974, Baker formed the Baker-Gurvitz Army Band with guitarist Adrian Gurvitz and bassist Paul Gurvitz, which made an initial splash in America before fading out commercially over the next three years. He finally re-emerged in 1986, with bassist/guitarist Bill Laswell on the album Horses & Trees. By that time, a new generation of star drummers had emerged, most notably Carl Palmer of Emerson, Lake & Palmer and Bill Bruford of Yes and King Crimson, but Baker's reputation, thanks to the continued catalog sales of Cream's work, continued to resonate with fans and casual listeners. Over the next few years, Baker reappeared through various projects, including Ginger Baker's African Force and Middle Passage, that freely mixed African and Western musical influences. And in 1991, Baker surprised all onlookers with the release of Unseen Rain, a free-form instrumental album done almost entirely on acoustic instruments. Finally, in 1994, he returned to Atlantic Records — which had been the U.S. outlet for Cream's recordings — and to what he realized were his jazz roots with the triumphant Going Back Home, which featured the Ginger Baker Trio. Baker has hooked up with jazz trumpeter Ron Miles on Coward of the County, a hugely successful showcase for his jazz side and also includes a tribute to the late Cyril Davies, the British blues enthusiast who co-founded Blues Incorporated in the early '60s.
Ginger Baker, like his ex-bandmates, has seen fit since the 1970s to keep the legacy of Cream at arm's length or further — the trio's induction into the Rock & Roll Hall of Fame reportedly did little to change his feelings, and he is also said to be astonished at the emergence of Eric Clapton to mega-stardom during the 1990s. Despite some of the financial and other troubles that have dogged him since the 1960s, he has been content to go his own way musically for the benefit of any who care to hear.
Baker's kit is DW, but used to be Ludwig in the 1960s and 1970s. All of his cymbals are Zildjian. The rivet Ride cymbal and the hi-hats were used on the last Cream shows in '68.
Drums- 1960s- 20"x 11" Bass (right foot), 22"x 11" Bass (left foot), 12x8" & 13x9" top toms, 14x14" & 16x14" floor toms. 1940s 6.5" x 14" black finished Leedy Broadway wood Snare. Snare tuned high, toms and bass low. In 1968, Baker got a new drum kit with 20"x14" & 22"x14" bass drums for the farewell tour.
Drums- today 10"x 8" 12" x 8" 13" x 10" 14" x 12" Toms (all on stands) 20"x 14" & 22" x 14" Bass Drums 13" Craviotto DW Snare 14" Leedy Snare (Spare) DW 5000 Bass Drum Pedals 4 DW cymbal stands 1 DW HiHat Stand 1 DW Snare Stand Zildjian Ginger Baker 7a sticks
Cymbals 1960s: Zildjian 16" crash, left lower - 13" crash, 14" hi-hats; right front top - 14" ride, front lower - 20" ride, back top - 22" rivetted crash/ride, back lower - 18" crash and in the middle a "Joke effect" splash (size unknown).
Cymbals Now: Zildjian 16" K Crash 14" Hi Hats 8" Splash 8" EFX #1 Splash 10" EFX #1 Splash 8" Splash 13" Hat 23" Rivet Ride 18" China 18" Medium Crash
2 Cowbells now DW heads were used for the Albert shows, but now Ginger will be using Remo heads. 1960s-1970s Remo/Ludwig drum heads on all drums. [Biography by Bruce Eder + Wikipedia]
Blues Incorporated:
R&B from the Marquee (1962)
At The Cavern (1964)
Red Hot From Alex (1964)
Sky High (1965)
Blind Faith Discography:
Blind Faith (1969)
Cream Discography:
Fresh Cream (1966)
Disraeli Gears (1967)
Wheels of Fire (1968)
Goodbye (1969)
Live Cream (1970)
Live Cream Volume II (1972)
Royal Albert Hall London May 2-3-5-6 2005 (2005)
Solo Discography:
Ginger Baker's Air Force (1970)
Ginger Baker's Air Force II (1970)
Stratavarious (1972)
Eleven Sides of Baker (1977)
From Humble Oranges (1983)
Horses & Trees (1986)
No Material (1987)
Middle Passage (1990)
Going Back Home (1994)
Ginger Baker's Energy (1995)
Do What You Like (1998) – compilation
Coward of the County (1999)
African Force (2001)
Other:
Live ! (with Ginger Baker) by Fela Kuti (1971)
Band on the Run by Paul McCartney and Wings (1973)
Levitation by Hawkwind (1980)
Zones by Hawkwind (1983)
This Is Hawkwind, Do Not Panic by Hawkwind (1984)
Album by Public Image Limited (1986)
Unseen Rain with Jens Johansson and Jonas Hellborg (1992)
Sunrise on the Sufferbus by Masters of Reality (1992)
Around the Next Dream by BBM (1994)
BOB WALLIS, GINGER BAKER w/ THE STORYVILLE JAZZMEN and THE HUGH RAINEY ALL STARS (1957)
TERRY LIGHTFOOT'S JAZZMEN - TRADITION IN COLOUR (1958)
GRAHAM BOND ORGANIZATION - THE SOUND OF '65 (1965)
GRAHAM BOND ORGANization - THERE'S A BOND BETWEEN US (1965)
ALEXIS KORNER with GINGER BAKER a. o.- BOOTLEG HIM ! (2-LP Compilation) (1972)
GRAHAM BOND [ QUARTET ] - SOLID BOND (1963-67)
FELA RANSOME - KUTI and THE AFRICA '70 with GINGER BAKER LIVE ! (LP) (1971)
FELA RANSOME-KUTI and THE AFRICA '70 with GINGER BAKER - WHY BLACK MAN DEY SUFFER (LP) (1971)
GINGER BAKER - STRATAVARIOUS (LP) (1972)
GRAEME EDGE BAND - KICK OFF YOUR MUDDY BOOT (1974
BAKER GURVITZ ARMY - BAKER GURVITZ ARMY (1974)
BAKER GURVITZ ARMY - ELYSIAN ENCOUNTER (1975)
BAKER GURVITZ ARMY - HEARTS ON FIRE (1976)
BAKER GURVITZ ARMY - ROCK HEAVIES (1977)
GINGER BAKER & FRIENDS - ELEVEN SIDES OF BAKER (1976)
GINGER BAKER and HAWKWIND - LEVITATION (1980)
GINGER BAKER and HAWKWIND - ZONES (1983)
GINGER BAKER and HAWKWIND - DO NOT PANIC (1984)
GINGER BAKER and HAWKWIND - UTOPIA 1984 (1985)
GINGER BAKER'S NUTTERS - GINGER BAKER LIVE (1981)
GINGER BAKER'S NUTTERS - IN CONCERT (1987)
and much more...
Surprise Album
1. http://sharebee.com/efd2e9e1
or
2. http://sharebee.com/80dd95e1
The Ginger Baker Site:
http://www.ginger-baker.com/