unzip password: tdats
|Freddie King's 'Getting Ready...' LP|
feat. 'Going Down'
I had always absent-mindedly presumed it was a blues standard, by some famous bluesman from way back. On formulating this comp, first investigations found that person was probably Freddie King in 1971, which seemed a good enough answer, although he was a later-generation blues player. While coincidentally listening to the great Moloch album soon after, I noticed that they had a version of Going Down, but the album was made in 1969. This really confused me! So at this point it became a real mission to find out what was going on...
There's no wasting time with an intro in the Freddie King version of this song. It seems he set the president with that urgent, repetitive nature of the opening D chord, followed by the descending scale, getting down to business straight away and sounding mean as hell with it. It definitely has that essence of what is now called heavy metal, which is what I dig about it so much, and it's clear a lot of early heavy bands agreed!
01. Walter Rossi - Goin' Down (1976)
from album 'Walter Rossi'
02. Booker T. & The M.G.'s - Slim Jenkins' Place (1967)
from album 'Hip Hug-Her'
03. Moloch - Going Down (1969)
from album 'Moloch'
04. Stone The Crows - Goin' Down (1971)
from album 'BBC Live In Paris 1971'
05. Freddie King - Going Down (1971)
from album 'Getting Ready...'
06. Chicken Shack - Going Down (1972)
from album 'Imagination Lady'
07. Freedom - Going Down (1972)
from album 'Freedom Is More Than a Word'
08. Dixie Peach - Going Down (1975)
from album 'Dixie Peach'
09. Jukin' Bone - Going Down (1972)
from album 'Whiskey Woman'
10. Karthago - Going Down (1976)
from album 'Live At The Roxy'
11. Tommy Bolin & Energy - Goin' Down (1972)
from album 'The Energy Radio Broadcasts 1972'
12. Incredible Hog - Goin' Down (1973)
from reissue 'Volume 1 +4'
13. Hydra - Going Down (1974)
from album 'Hydra'
14. Don Nix - Going Down (1972)
from album 'The Alabama State Troupers Road Show'
15. Don Nix - Going Down (year unknown) *** NEW ADDITION 16/12/2014
from Phillip Rauls archive of radio broadcasts
You can download track 15 on it's own here if you do not wish to download the whole thing again.
[EDIT: An new track has been added to this comp today, 16th December 2014. This was found here, in a short piece from the youtube channel of record industry veteran Phillip Rauls. In it he presents another Don Nix-recorded version of the song, at the beginning of which, Don says he wrote it for Elvis Presley, who did not record it. Interestingly, even Don doesn't mention that Moloch were the first act to record it, and he himself says it was Freddie King. If you look in the comments of the youtube clip, you'll see Larry Changes (claiming to be a one-time Moloch member) asking why Phillip omitted to mention Moloch's version. Phillip says that the reaction to Moloch's version was so slight that it wasn't worth mentioning!
In reply to that, Larrry says: "When I was in Moloch (also played w/ Raspberry in Alamo, & Tarp & Jay Spell in Money), we weren't too 'current' on sales & airplay, but we found time for endeavors like kickin' Johnny Winter's arse at the shell (3 encores to his 2)... when other cats boasted of doin' a couple of Freddie King songs, we were able to say Freddie did a couple of ours. His favorite was Same Old Blues... he loved PhilipDale's vocals; first question he asked me was,"WHO is singin' vocals on that Same Old Blues song?" PhilipDale's vocals was how we got that third encore at the Shell, doin' 'Phil's Blues']
The history of the song is entwined with producer/writer/musician Don Nix, the band Moloch, and the bluesman Freddie King. So entwined in fact, that it's been hard to get to the bottom of it. Most people familiar with the song will say that it's a Freddie King original, but it's not the case. Listen to the Tommy Bolin track in this comp, even he introduces it as a Freddie King song. The first time it appeared on record was the s/t album from Memphis's "Moloch" in 1969. At the time, Moloch guitarist Lee Baker was friends with Don Nix, who produced Moloch's sole album, and has writing credits on most of its tracks.
Don Nix has a connection to Freddie King also...having started out as saxophonist in Memphis R&B group The Mar-Keys, he became an important figure in "Memphis soul", producing for the associated Stax and Ardent labels. The Mar-Keys would evolve into R&B legends "Booker T. and the M.G.'s", which included such names as Steve Cropper. Freddie King's 1971 album 'Get Ready...' was produced by Don, with him writing two tracks (including Going Down) and co-writing two others.
|Steve Spear in recent times|
Amongst other projects, Steve currently plays in "Down 2 Five". Following the tragic murder of Lee Baker in 1996, I have found some information regarding his later band Mud Boy and the Neutrons and Moloch, here, for those who are interested.
Just to make things even clearer, in 1972 Don sang and released his own version of Going Down, as a single taken from the album "The Alabama State Troopers Road Show", a travelling revue designed to showcase the talents of various Southern musicians who had been signed to the Elektra imprint.
fb group member Robbert, for pointing out that the instrumental track "Slim Jenkins' Place", on the 1967 Booker T and the M.G.'s album "Hip Hug-Her", has the same bass line as Goin' Down. Writing credits on that track go to Al Jackson, Booker T. Jones, Donald Dunn and Steve Cropper. The track is included in this comp. Could it be that Don adapted this short instrumental into his own thing with Goin' Down? It sure looks that way, as he is not credited as writer of "Slim Jenkins' Place". With the record being on the Stax label, maybe he did however have some indirect input...
Also included here are versions from some bands that will be well-known to TDATS readers; Walter Rossi (Vols 5 & 23), Chicken Shack (Vols 20 & 74), Freedom (Vols 79 & 100), Jukin' Bone (Vol 10) and Incredible Hog (Vols 4 & 63). The Incredible Hog version is taken from the Rise Above Relics reissue Vol 1 +4.
Along for the ride come some new-to-TDATS names that some readers may think it's well about time...
|Stone The Crows|
The awesome pipes of Maggie Bell and Stone The Crows introduce the only female-vocalled version here; "Stone The Crows were formed after Maggie Bell was introduced to Les Harvey by his elder brother, Alex Harvey. After playing together in the Kinning Park Ramblers, they rejoined in a band named Power, later renamed Stone the Crows (after a British/Australian English exclamation of surprise or shock) by Led Zeppelin's manager, Peter Grant. The band was co-managed by Grant and Mark London. London was associated with Lulu as the co-writer of her signature song, "To Sir With Love" and was also married to Lulu's manager, Marion Massey. London had also managed the predecessor band Cartoone, which featured Les Harvey on guitar, and in which Peter Grant had a financial interest.
Maggie Bell, vocals. Les Harvey, guitar. Colin Allen, drums; ex-Zoot Money's Big Roll Band and John Mayall's Bluesbreakers, later performed with Focus. James Dewar, bass; later performed and sang with Robin Trower's band. John McGinnis, keyboards. The band's first two albums were recorded by this line-up, with Bell's vocals "reminiscent of Janis Joplin".
McGinnis and Dewar left in 1971, to be replaced by Ronnie Leahy and Steve Thompson. Jimmy McCulloch would subsequently replace Harvey as lead guitarist following Harvey's accidental on-stage death by electrocution at Swansea's Top Rank Suite in May 1972. As he was the band's primary songwriter as well as Maggie Bell's romantic partner, Harvey's death almost led to the Stone the Crows' breakup.
Stone the Crows ultimately broke up in June 1973. Peter Grant would continue to manage Maggie Bell's career following the band's breakup, with Bell subsequently recording two solo albums under Grant's tutelage, Queen of the Night (1974) and Suicide Sal (1975), and a 1981 album with the Grant-managed band Midnight Flyer. Bell may be best known, however, for her session work on Rod Stewart's 1971 album Every Picture Tells a Story, in particular her co-lead vocal with Stewart on the album's title track (credited as "vocal abrasives"). Jimmy McCulloch joined Paul McCartney's group, Wings, in Nashville, Tennessee, in 1974."
|Dixie Peach LP rear cover|
|Jukin' Bone. |
L-R: Mark, Tom, Joe, George & John, 1970
With a nice fast n' heavy interpretation, we have Jukin' Bone. Taken from Ron Wray :- "With its lineup finally set in the fall of 1971, [NY Syracuse band] 'Free Will' changed its name to "Jukin' Bone." Now with a recording contract with RCA Records the band entered Jimi Hendrix's Electric Ladyland Studio in New York City in 1972 and recorded their first album for RCA "Whiskey Woman". Now a lineup change as drummer Tom Glaister married and left the band. He was replaced by two drummers Kevin Shwaryk & Danny Coward
Their album "Way Down East" followed (1973) along with two singles "Whiskey Woman" (1972) and "Cara Lynn' (1972). One very important fact of note, Jukin' Bone was one of the most electrifying live bands you will ever see. They went on tour, but never received enough promotion across the country, although they perhaps came very close to national stardom.
Their November-December 1972 tour consisted of the following stops- Alabama (Montgomery & Huntsville), Arkansas (Ft Smith), Iowa (DesMoines), Kansas (Wichita), Louisiana (Monroe, Shreveport), Minnesota (Duluth, Minn,-St Paul), Missouri (Columbia), North Carolina (Ashville), North & South Dakota, Tennessee (Memphis), Texas (Austin, Dallas, Harlingen, Houston, Odessa, San Angelo, Waco) and Wisconsin (Madison, Sheboygan).
July 14, 1973, drummer Danny Coward departed leaving Jukin Bone just a four man group (Mark Doyle, Joe Whiting, John DeMaso & Kevin Shwaryk). In the fall of 1973, Jukin Bone', one of Syracuse's greatest groups, disbanded. Mark Doyle went to play with DUV (Dave Hanlon, Rick Cua) and David Werner, Joe Whiting joined Bobby Comstock on tour and the rest went their separate ways."
Berlin's Kathago, generally known for fusion/funk rather than hard rock or blues, played this cover live in 1976, available on their 'Live at the Roxy' LP. Allmusic :- "Just months after their formation in Berlin in 1970, Karthago began recording music for their first album. Karthago's sound was influenced more by North American rock than by anything that was coming out of Europe, composed of a tapered and rather simplistic mixture of light funk and freestyle jazz with a basic rock & roll substratum for everything else to rest on. Within the album's nine tracks are melodies that are accommodating and recognizable, quite different than what was otherwise coming out Germany's music scene in the early '70s.
"String Rambler," "Black Fire," and "Morning Surprise" best represent Karthago's breezy, undemanding air, led by the bright organ playing of Ingo Bischoff and fastened by Wolfgang Brock's unmitigated drum work. "Why Don't You Stop Buggin' Me" and the shimmering "wow" of "But I Know"'s keyboard-guided intro lead into some electrifying pieces, with comparisons to Steppenwolf, Procol Harum, and even early Chicago arising from the melodies. Although labeled as a progressive band, Karthago's sound is more along the lines of German rock rather than prog, with shorter song lengths and a tendency to balance out the keyboards, guitar, and percussion equally throughout their music. After their fourth album in 1976, Karthago broke up, with Gerald Hartwig joining the more prominent Guru Guru and Bischof hooking up with Kraan. Second Step (1973) and 1974's Rock 'N' Roll Testament begin to show signs of commercial leanings, but their last installment, entitled Live at the Roxy, is just as impressive as their debut album."
|Tommy Bolin's Energy|
Their studio output showed a band that would have made the big time if they had the power of a record deal. Some of the material written by Tommy with John Tesar and Jeff Cook went on to be used by Tommy in later bands. “Got No Time for Trouble” and “Praylude/Red Skies” were used in James Gang, “Lady Luck” with Deep Purple and “Dreamer” was used on Teaser." Lot's more information here at the official Bolin website.
|Hydra LP 1974|
|Alabama State Troupers Road Show LP cover|
Lewis stepped into an absence left by Lonnie Mack, a superficially more suitable match for Nix, co-vocalist Jeanie Greene, and the Mt. Zion Band & Choir, but Lewis gives this an unexpected sense of community and heritage, emphasizing how the Alabama State Troupers stretch back far. That said, Road Show is very much an album of its time. Specifically, it is part of the Leon Russell axis, sounding like a kissing cousin to Delaney & Bonnie due to Nix's traded vocals with Greene, but its attitude is slightly closer to Mad Dogs & Englishmen, often feeling so overstuffed that it is about to burst. Nix isn't a vocalist of Cocker's stature, nor is Greene close to Bonnie Bramlett, which makes the wildcard of Lewis all the more compelling; he gives them gravity but also a bit of mischief. Nevertheless, the star in Alabama State Troupers isn't who is on the mike but rather the group itself, a collective that plays the kind of rambling, raucous American music that was briefly in vogue in the early '70s. Few have picked up this thread since, but that may be why it still sounds vital: it's teeming with passion, conviction and ideas that are still potent years after the music has receded into history."
Thanks for listenin', and keep Goin' Down!