Dr. Feelgood (band)
Dr. Feelgood are a British pub rock band formed in 1971. Hailing from Canvey Island, the group are best known for early singles such as "She Does It Right", "Roxette", "Back in the Night" and "Milk and Alcohol"; the group's original distinctively British R&B sound was centred on Wilko Johnson's choppy guitar style. Along with Johnson, the original band line-up included singer Lee Brilleaux and the rhythm section of John B. Sparks, known as "Sparko", on bass guitar and John Martin, known on drums. Although their most commercially productive years were the early to mid-1970s, in spite of Brilleaux's death in 1994 of lymphoma, a version of the band continues to tour and record to this day; the band was formed in Canvey Island in 1971 by Johnson and Sparks, who had all been members of existing R&B bands, soon added drummer John Martin. They took their name from a 1962 record by the American blues pianist and singer Willie Perryman called "Dr. Feel-Good", which Perryman recorded under the name of Dr. Feelgood & The Interns.
The song was covered by several British beat groups in the 1960s, including Johnny Kidd & The Pirates. The term is a slang term for heroin or for a doctor, willing to overprescribe drugs. By late 1973, the band's driving R&B had made them one of the most popular bands on the growing London pub rock circuit, they recorded their debut album, Down by the Jetty, for United Artists in 1974. Like many pub rock acts, Dr. Feelgood were known for their high energy live performances honed through constant touring and regular performances, although their studio albums like Down by the Jetty and Malpractice were popular, their breakthrough 1976 live album, reached number one in the UK Albums Chart. But after the 1977 follow-up Sneakin' Suspicion, Johnson left the group because of conflicts with Lee Brilleaux, he was replaced by John'Gypie' Mayo. With Mayo, the band was never as popular as with Johnson, but still enjoyed their only Top Ten hit single in 1979, with "Milk and Alcohol". Johnson never achieved any great success outside the band, apart from a brief spell with Ian Dury and The Blockheads from 1980.
Fans always speculated about a return by Johnson. Despite Mayo's departure in 1981, various subsequent line-up changes which left Brilleaux the only remaining original member, Dr. Feelgood continued touring and recording through the 1980s. However, the band suffered an career-finishing blow when Brilleaux died of cancer on 7 April 1994; as Brilleaux had insisted prior to his death, Dr. Feelgood reunited in May 1995 with vocalist Pete Gage, recommenced touring in 1996. Though the band contained no original members at this point, the musicians backing Gage had all played as members of Dr. Feelgood for at least five years, in some cases for over a decade. In 1999 Gage was replaced by Robert Kane of The Animals II and The Alligators, who celebrated his 1,000th gig as the frontman of Dr. Feelgood in April 2007; every year since Brilleaux's death, a special concert known as the Lee Brilleaux Birthday Memorial has been held on Canvey Island, where former and current Feelgoods celebrate the music of Dr. Feelgood, raise money for The Fair Havens Hospice in Westcliff-on-Sea.
Fans attended from all over the globe, the 20th, final event was held on 9 May 2014. Still based in the UK, Dr. Feelgood continue to play across the world, with concerts in 2010 in Austria, Belgium, France, the Netherlands, Italy and Switzerland. Band manager Chris Fenwick organises an annual walk around Canvey to commemorate Brilleaux's life, as well as additional walking tours during which he points out landmarks from the band's career; these include the jetty featured in the photograph on the band's first album cover, venues where they played early in their career, such as The Lobster Smack inn, The Monico Nightclub and The Canvey Club. A film by Julien Temple about the early days of the band, Oil City Confidential, premiered at the London Film Festival on 22 October 2009, received a standing ovation. Guest of honour was Lee Brilleaux's mother Joan Collinson, along with his widow Shirley and children Kelly and Nick. All the surviving members of the original band were present along with manager Chris Fenwick, former tour manager and Stiff Records boss Jake Riviera and other friends and colleagues of the band.
The film has its own Facebook page. Reviewing the film for The Independent, Nick Hasted concluded: "Feelgood are remembered in rock history, if at all, as John the Baptists to punk's messiahs". On general release from 1 February 2010, the film was critically well received, with Peter Bradshaw of The Guardian describing it as "...a vivid study of period and place". The film was first broadcast on BBC Four in April 2010. A major exhibition of memorabilia celebrating the band's career ran at The Canvey Club between May and July 2013, having been extended several times. Kevin Morris – drums P H Mitchell – bass Steve Walwyn – lead guitar Robert Kane – vocals Lee Brilleaux – lead vocals, occasional slide guitar John B Sparks
London Records is a British record label that marketed records in the United States and Latin America from 1947 to 1979 before becoming semi-independent. London arose from the split in ownership between the American branches of Decca Records; the American branch of London Records released British Decca records in the U. S. since British Decca could not use the "Decca" name there. The label was noted for classical albums made in state-of-the-art stereophonic sound, such artists as Georg Solti, Joan Sutherland and Luciano Pavarotti; the London name was used by British Decca in the UK market for releases taken from American labels which British Decca licensed, such as Imperial, Dot, Atlantic and Sun, the first two UK releases from Motown. By the 1960s more licensing deals had been made with Big Top, Parrot, Hi, subsidiary labels were London Atlantic, London Dot and London Monument. An unusual feature was the letter code in the numbering system. From the late 1950s until 1973, the label bore the logo "London American Recordings", on Radio Luxembourg it was known as "London American".
In America, the label was best known as the American imprint of the pre–1971 recordings of the Rolling Stones. The label originally issued some early LPs and singles by Texas-based band ZZ Top. In the late 1970s, London signed deals with Bomp! Records and with Big Sound in Connecticut, U. S; this changed the label in the eyes of many from a backwater into something a little more "edgy" compared to the pedestrian contemporary releases from parent company Decca. The president of London Records in the 1970s was D. H. Tollerbond. After British Decca was acquired by PolyGram in 1979, London followed a more independent course with subsidiary labels such as Slash, Pete Tong's Essential Records and FFRR. Universal Music Group acquired PolyGram in 1998. In the 90's Tracy Bennet became President and Colin Bell, Managing Director; when Ames moved to the Warner Music Group, he took the label with him, so all of London's recent back catalogue was acquired by Warner, which acquired the London name and trademark from Decca.
The name is still used for UK-based artists, for ex-Factory Records artists. Notable artists released by that incarnation of London, called London Records 90, include New Order, Happy Mondays, A, Shakespears Sister. After PolyGram took over British Decca, classical-music albums recorded by British Decca continued to be released on the London label in the U. S. with a logo similar to the Decca classical label logo, until American Decca owner Universal bought British Decca owner PolyGram in 1998, after which they were all reissued on the original British Decca label in the U. S; the London pop music catalogue owned by Universal Music is now managed by Polydor Records, with US distribution handled by Mercury Records. Decca Records had a recording studio in West London. In 2010, Universal Music reclaimed ownership of the London Records trademark. On 1 July 2011 Universal Music reclaimed the London Records name and relaunched it under the executive team of Nick Raphael and Jo Charrington who together ran Epic Records for Sony Music Entertainment since 2001.
Both had started their careers at London Records in the Ames era in the 1990s. When Nick Raphael became president of Capitol Records's UK division in 2013, London Records moved there, where it operates as a subsidiary. In July 2017, Because Music announced that it would acquire Warner Music 90, the division of WMG that reissued most London Records artists from the PolyGram era; because completed the deal in August 2017, which includes the rights to over fifty London artists. Warner Music 90 will be rebranded as London Music Stream; because would acquire ten French performers including J. J. Cale's post-Mercury/Shelter catalog with the exception of The Road to Escondido, Mano Negra and The Beta Band from Warners in separate deals. With Because Music being distributed by Caroline Distribution in 2019, this returns London Music Stream to Universal, albeit as an independent label. London Records distributed labels throughout its existence. Among the more familiar labels are: Other subsidiaries include: Astra, All Boy, Ashley, Boot, Best, Brite Leaf, Cannon, Cedwicke, CGD, Chicory, Circle, Collier, Country Capers, Deaux, Domain, Edit, Folk Sing, G.
S. P. George, Great, Gulf, Hi Country, Imco, Jay Boy, Johen, K&G, KAB, Kingfish, LeJoint, London International, Louis, M. O. C. Mach, Magna Glide, Medway, Nefi, PAC, Pawn, Pen, P-K-M, Renegade, Ritz, Running Bear, Sahara, SCA, Shar-Dee, Siana, Splash, Sultan, Tarheel, Terrace, Tilt, Unison, Watch and XYZ Marion Menswear Gay Dad Onslaught Back to the Planet Banderas Chumbawamba East 17 The Yes/No People Voice of the Beehiv
Down by the Jetty
Down by the Jetty is the debut album by Dr. Feelgood, released in January 1975; the band's Johnny Kidd & The Pirates influenced originals appear alongside covers material like "Bonie Maronie" and "Tequila". The album was a primary influence on The Strypes, covering "I'm A Hog For You Baby" on their 2013 debut album Snapshot. Paul Weller and Bob Geldof have acknowledged the influence of the album, as have Blondie, The Ramones and Richard Hell, who were introduced to the album by Blondie's drummer, Clem Burke. In 1976, prior to being signed, The Jam demoed a cover of "Cheque Book". Paul Weller's copy of the album is glimpsed on the sleeve of The Style Council's 1985 LP, Our Favourite Shop. All tracks composed by Wilko Johnson. - 2:32 "Bony Moronie" / "Tequila" / - live recording - 4:50 Dr. FeelgoodLee Brilleaux - lead vocals, harmonica, slide guitar Wilko Johnson - guitar, piano and lead vocals John B. Sparks - bass John Martin, aka "The Big Figure" - drumswith: Bob Andrews - organ, saxophone Brinsley Schwarz - saxophone TechnicalVic Maile - producer Dave Charles, Kingsley Ward, Pat Moran - engineers The album was re-released as a double CD in 2006 CD 1 The original album remastered, in mono, with five bonus tracks.
All tracks composed by Wilko Johnson. "She Does It Right" "Boom Boom" "The More I Give" "Roxette" "One Weekend" "That Ain't the Way to Behave" "I Don't Mind" "Twenty Yards Behind" "Keep It Out of Sight" "All Through the City" "Cheque Book" "Oyeh!" "Bonie Moronie" / "Tequila" / - " Route 66" "I'm a Hog for You Baby" "Stupidity" "She Said Alright" "Oyeh!" - alternative versionCD 2 The original album and bonus tracks as above, remastered in stereo, using several alternative versions, plus six more bonus tracks. All tracks composed by Wilko Johnson. "She Does It Right" "Boom Boom" "The More I Give" - alternative version "Roxette" "One Weekend" "That Ain't the Way to Behave" "I Don't Mind" - alternative version "Twenty Yards Behind" - alternative version "Keep It Out of Sight" "All Through the City" "Cheque Book" "Oyeh!" "I'm a Hog for You Baby" "Stupidity" "She Said Alright" "Oyeh!" - alternative version "Tore Down" - "Don't You Just Know It" - "My Babe" - "The More I Give" - "It's My Own Fault Darlin'" - "Bonie Moronie" / "Tequila" / - "Rock Me Baby" -
Lawrence Eugene Williams was an American rhythm and blues and rock and roll singer, songwriter and pianist from New Orleans, Louisiana. Williams is best known for writing and recording some rock and roll classics from 1957 to 1959 for Specialty Records, including "Bony Moronie", "Short Fat Fannie", "Slow Down", "Dizzy, Miss Lizzy", "Bad Boy" and "She Said Yeah". John Lennon was a fan, The Beatles and several other British Invasion groups recorded several of his songs. Williams' life mixed tremendous success with violence and drug addiction, he was a longtime friend of Little Richard. Williams learned; the family moved to Oakland, California when he was a teen, there he joined the Lemon Drops, a R&B group. Williams returned to New Orleans in 1954 and began working for his cousin, singer Lloyd Price, as a valet and played in the bands of Price, Roy Brown, Percy Mayfield. In 1955, Williams met and developed a friendship with Little Richard, recording at the time in New Orleans. Price and Little Richard were both recording for Specialty Records.
Williams was introduced to Robert Blackwell, Specialty's house producer, was signed to record. In 1957, Little Richard was Specialty's biggest star, but bolted from rock and roll to pursue the ministry. Williams was groomed by Blackwell to try to replicate his success. Using the same raw, shouting vocals and piano-driven intensity, Williams scored with a number of hit singles. Williams' three biggest successes were "Short Fat Fannie", his best seller, reaching No. 5 in Billboard's pop chart, "Bony Moronie", which peaked at No. 14, its flip "You Bug Me Baby" which made it to No. 45. "Dizzy, Miss Lizzy" charted at No. 69 on Billboard the following year. "Short Fat Fannie" and "Bony Moronie" each sold over one million copies. Several of his songs achieved success as revivals, by The Beatles, The Rolling Stones and John Lennon. After 1957, Williams did not have much success selling records, he recorded a number of songs in 1958 and 1959, including "Heebie Jeebies", with band members such as Plas Johnson on tenor saxophone and Jewel Grant on baritone, René Hall and Howard Roberts on guitars, Gerald Wilson on trumpet, Ernie Freeman or Williams himself on piano, Earl Palmer on drums.
He was convicted of dealing narcotics in 1960 and served a three-year jail term, setting back his career considerably. Williams made a comeback in the mid-1960s with a funky soul band that included Johnny "Guitar" Watson, which paired him musically with Little Richard, lured back into secular music, he produced two of Little Richard's albums for Okeh Records in 1966 and 1967, which returned Little Richard to the Billboard album chart for the first time in 10 years and spawned the hit single "Poor Dog". He acted as the music director for Little Richard's live performances at the Okeh Club. Bookings for Little Richard during this period skyrocketed. Williams recorded and released material of his own and with Watson, with some moderate chart success. Williams began acting in the 1960s, appearing on film in Just for the Hell of It, The Klansman, Drum. In the 1970s, there was a brief dalliance with disco, but Williams' wild lifestyle continued. By the middle of the decade, the drug abuse and violence were taking their toll.
In 1977, Williams pulled a gun on, threatened to kill Little Richard, over a drug debt. He hunted him down, but showed compassion for his long-time friend after Little Richard repaid the debt. This, with other factors, led to Little Richard's return to born again Christianity and the ministry. Williams died in his home in Los Angeles, California from a gunshot wound to the head on January 7, 1980, he was 44 years old. The death was deemed suicide. No suspects were charged. Williams posthumously was inducted into the Louisiana Music Hall of Fame, in a ceremony held on February 9, 2014; that date was the 50th anniversary of The Beatles' first appearance on The Ed Sullivan Show. An Illinois drummer and blues singer named Martin Allbritton claimed to be Larry Williams and well; this claim originated at about the time. He performed as a drummer for Bobby "Blue" Bland in the 1960s. Albritton toured the country performing under the moniker of "Big" Larry Williams, claimed that he recorded the hits "Bony Moronie" and "Dizzy Miss Lizzy."
He recorded an album in 1990 called Street Party with the Mellow Fellows band headed by Big Twist. While touring with the Mellow Fellows in Chicago, Allbritton was confronted by singer Etta James, who knew the real Williams. Williams' family asked Allbritton to cease billing himself as "Larry Williams". Allbritton died on August 24, 2017. Here's Larry Williams - 1959 Slow Down With Larry Williams - 1960 Larry Williams On Stage! Recorded Live - 1964 The Larry Williams Show featuring Johnny "Guitar" Watson - 1965 Two For the Price of One - 1967 Larry Williams' Greatest Hits - 1967 That Larry Williams: The Resurrection of Funk - 1978 Biography at Concordmusic.com Larry Williams discography Larry Williams at Find a Grave
Countdown (Australian TV series)
Countdown was a weekly Australian music television show broadcast by the Australian Broadcasting Corporation from 8 November 1974 until 19 July 1987. It was created by Executive Producer Michael Shrimpton, producer/director Robbie Weekes and record producer and music journalist Ian "Molly" Meldrum. Countdown was produced at the studios of the ABC in the Melbourne suburb of Ripponlea, it was screened Sunday night from 6:00pm to 7:00. Countdown was the most popular music program in Australian TV history, it was broadcast nationwide on Australia's government-owned broadcaster, the ABC, commanded a huge and loyal audience. It soon exerted a strong influence on radio programmers because of its audience and the amount of Australian content it featured; the first half-hour episode went to air at 6.30pm on Friday, 8 November 1974, but for most of the time it was on air, it gained double exposure throughout the country by screening a new episode each Sunday evening, repeating it the following Saturday evening.
The majority of performances on the show were lip synched. Molly Meldrum, the program's talent co-ordinator, began appearing on-air in 1975, presenting the "Humdrum" music news segment and conducting interviews. Meldrum soon became the "face" of Countdown, he appeared on-air until 1986. Another attraction to the program was the local and international acts who would host an episode - performing as well. During the show, Meldrum would interview them or have a chat with them before the show went out with the number 1 single of the week. In October 2014, Meldrum published his autobiography, "The Never, Um, Ever Ending Story". Teen-oriented pop music still enjoyed strong popularity during the 1970s, although much of it was sourced from overseas, the proportion of Australian acts in the charts had hit an all-time low by 1973; that trend began to change around 1975, many credit that to the advent of Countdown. Much of the show's influence derived from its timeslot and the fact that each week's show was repeated the following Saturday at 5pm.
Because of this, Countdown was one of the first Australian TV series to be made in colour. Although it is not recognised, Countdown had a strong international influence, because it was one of the first TV shows in the world to promote the regular use of the music video as a major part of its programming; because of its receptivity to music videos Countdown proved to be instrumental in the worldwide success of a number of important overseas acts of the period. Madonna achieved her first hit single in April 1984. Subsequently, "Burning Up" reached the top twenty following repeated showings of the video clip on the show. Other international artists including Blondie, ABBA, John Mellencamp, Meat Loaf, Boz Scaggs and Cyndi Lauper achieved their first hits in Australia, thanks to their video clips being aired on Countdown, this in turn led to their records being picked up and becoming hits in America and/or Europe. Many international acts who would otherwise have gone unheard on Australian commercial radio, gained important exposure in Australia on Countdown through their music videos.
Above all, Countdown was crucial to the success of many leading Australian acts, including John Farnham, AC/DC, Olivia Newton-John, INXS, Hush, Kylie Minogue, I'm Talking, John Paul Young, Skyhooks, Ted Mulry Gang and the Boys, Marcia Hines, Mark Holden, The Angels, Mondo Rock, Men at Work, Australian Crawl, Mental As Anything, Little River Band, William Shakespeare, The Choirboys, Renée Geyer, Wa Wa Nee and Jon English. The program dominated Australian popular music well into the 1980s; the popularity of Countdown started to lose momentum by the mid-1980s. Music videos were shown, rather than the artists performing live in the studio, it was cheaper to produce with videos and this led to Countdown having no significant difference from any other music video program shown on TV during this time. The final episode of Countdown aired on 19 July 1987. Meldrum co-hosted with, interviewed, Carol Hitchcock and Jim Keays, it was followed by the last Countdown Awards ceremony. It was a sad night for many, yet a celebration of musical achievements in'86/'87.
Meldrum made his appearance at the end of the show wearing his well-known Stetson hat. Meldrum saluted the music industry and fans and bared his shaved head to the audience, it was well known that his shaved head was a statement to artists like Midnight Oil, who during their career and being one of Australia's favourite bands, never appeared on the show because they regarded Countdown as too industry/hit driven and appealed only to a young teenage audience. In March 2007, pay television channel Foxtel, its regional affiliate Austar, began screening hundreds of studio performances from the Countdown era. Themed Countdown specials have become popular and lost performances by John Farnham, drag queen Divine, a-ha, Pseudo Echo and the Countdown Dancers performing the Flashdance medley highlight the great music of the period. A well known segment of the show's run is an atypical studio interview Meldrum conducted with Prince Charles. Meldrum was nervous about interviewing the prince an
Kent Music Report
The Kent Music Report was a weekly record chart of Australian music singles and albums, compiled by music enthusiast David Kent from May 1974 through to 1988. After 1988, the Australian Recording Industry Association, using the report under licence for a number of years, chose to produce their own listing as the ARIA Charts. Before the Kent Report, Go-Set magazine published weekly Top-40 Singles from 1966, Album charts from 1970 until the magazine's demise in August 1974. David Kent publicised the Australian charts from 1940–1973 in a retrospective fashion using state by state chart data obtained from various Australian radio stations. Kent had spent a number of years working in the music industry at both EMI and Phonogram records and had developed the report as a hobby. The'Kent Music Report' was first released on a commercial basis in July 1974 and was offered for subscription; the report data was based on radio station charts from around the country, which were amalgamated using a points based ranking system that Kent had developed.
These radio station charts were compiled using data collected from local record stores and, as such, were based on retail sales. In 1976, as funding from subscriptions grew, Kent himself started collecting sales data from retail stores to supplement the radio station charts, his operation grew and staff were employed to assist with research. Within a year or so, the major record companies started using the Report for their own marketing programs and it had established itself as the leading national chart publication. From 1982, retail sales data collected by Kent and his staff were used and radio station charts were dropped from the primary tabulations; some radio station chart. At about the same time, the Australian Recording Industry Association was established by the major record companies, being EMI, Festival Records, CBS, RCA, WEA and Polygram. From 1983 until 1988 ARIA had a licensing arrangement with Kent to use the Report under their own banner; the Kent Report continued however and in 1987 was rebadged as the'Australian Music Report'.
In 1988 the arrangement with ARIA ended and the ARIA Charts were produced in-house by the Association. In April 1998, the AMR charts ceased publishing, leaving the ARIA charts as the only nationally recognised chart publication. In 1993, David Kent published his Australian Chart Book 1970 - 1992; this was based on his chart data published as the "Kent Music Report" from May 1974 onwards. He specially "retro-calculated" charts based on state-based Australian radio station charts available to him dated before May 1974, to fill in the missing years. On this basis, he put together Australian national charts from 1940 - 1969, published as Australian Chart Book 1940 - 1969 in 2005. Before 1949, radio station music charts in Australia were only available on a monthly basis, this is reflected in his published data. Although ARIA published the official Australian National charts from 1988 onwards, Kent continued to calculate charts from this date, data from which were published in a third book in his Australian Chart Book series.
David Kent. Australian Chart Book 1970 - 1992. Australian Chart Book, St Ives, N. S. W. ISBN 0-646-11917-6. David Kent. Australian Chart Book 1940 - 1969. Australian Chart Book Pty Ltd, Turramurra, N. S. W. ISBN 0-646-44439-5. David Kent. Australian Chart Book 1993 - 2005. Australian Chart Book Pty Ltd, Turramurra, N. S. W. ISBN 0-646-45889-2. David Kent's Australian Chart Book website
James Carroll Booker III was a New Orleans rhythm and blues keyboardist born in New Orleans, United States. Booker's unique style combined rhythm and blues with jazz standards. Musician Dr. John described Booker as "the best black, one-eyed junkie piano genius New Orleans has produced." Flamboyant in personality, he was known as "the Black Liberace". Booker was the grandson of Baptist ministers, both of whom played the piano, he spent most of his childhood on the Mississippi Gulf Coast. Booker received a saxophone as a gift from his mother, he played the organ in his father's churches. After returning to New Orleans in his early adolescence, Booker attended the Xavier Academy Preparatory School, he learned some elements of his keyboard style from Edward Frank. Booker was skilled in classical music and played music by Bach and Chopin, among other composers, he mastered and memorized solos by Erroll Garner and Liberace. His performances combined elements of stride, blues and Latin piano styles. Booker made his recording debut in 1954 on the Imperial Records label, with "Doin' the Hambone" and "Thinkin"Bout My Baby", produced by Dave Bartholomew.
This led to some session work with Fats Domino, Smiley Lewis, Lloyd Price. In 1958, Arthur Rubinstein performed a concert in New Orleans. Afterwards, eighteen-year-old Booker was introduced to the concert pianist and played several tunes for him. Rubinstein was astonished, saying "I could never play that... never at that tempo". During this period, Booker became known for his flamboyant personality among his peers. After recording a few other singles, he enrolled as an undergraduate in Southern University's music department. In 1960, Booker's "Gonzo" reached number 43 on the United States record chart of Billboard magazine and number 3 on the R&B record chart. Following "Gonzo", Booker released some moderately successful singles. In the 1960s, he started using illicit drugs, in 1970 served a brief sentence in Angola Prison for drug possession. At the time, Professor Longhair and Ray Charles were among his important musical influences; as Booker became more familiar to law enforcement in New Orleans due to his illicit drug use, he formed a relationship with District Attorney Harry Connick Sr., Booker's legal counsel.
Connick would discuss law with Booker during his visits to the Connick home and made an arrangement with the musician whereby a prison sentence would be nullified in exchange for piano lessons for Connick Sr.'s son Harry Connick Jr. In 1973 Booker recorded The Lost Paramount Tapes at Paramount Studios in Hollywood, California, U. S. with members of the Dr. John band, which included John Boudreaux on drums, Jessie Hill on percussion, Alvin Robinson on guitar and vocals, Richard "Didymus" Washington on percussion, David Lastie on sax, David L. Johnson on bass guitar; the album was produced by former Dr. John band member David L. Johnson and by singer/songwriter Daniel Moore; the master tapes disappeared from the Paramount Recording Studios library, but a copy of the mixes that were made around the time of the recordings was discovered in 1992, which resulted in a CD release on DJM Records. Booker played organ in Dr. John's Bonnaroo Revue touring band in 1974, appeared as a sideman on albums by Ringo Starr, John Mayall, The Doobie Brothers and Maria Muldaur throughout this period.
Booker's performance at the 1975 New Orleans Jazz and Heritage Festival earned him a recording contract with Island Records. His album with Island, Junco Partner, was produced by Joe Boyd, who had recorded Booker on sessions for Muldaur's records. In January 1976, Booker joined the Jerry Garcia Band. Booker recorded a number of albums while touring Europe in 1977, including New Orleans Piano Wizard: Live!, recorded at his performance at the "Boogie Woogie and Ragtime Piano Contest" in Zurich, Switzerland—the album won the Grand Prix du Disque. He played at the Nice and Montreux Jazz Festivals in 1978 and recorded a session for the BBC during this time. Fourteen years a recording entitled Let's Make A Better World!—made in Leipzig during this period—became the last record to be produced in the former East Germany. In a 2013 interview, filmmaker Lily Keber, who directed a documentary on Booker, provided her perspective on Booker's warm reception in European nations such as Germany and France: Well, the racism wasn't there, the homophobia wasn't there—as much.
The drug use was a little more tolerated. But I think that Booker felt he was being taken in Europe, it made him think of himself differently and improved the quality of his music, he needed the energy of the audience to feed off. Keber further explained that Europeans refer to jazz as "the art of the twentieth century" and suggests that the "classical tradition", present in the continent led to a greater understanding of Booker among audiences. Keber states. From 1978 to 1982, Booker was the house pianist at the Maple Leaf Bar in the Carrollton neighborhood of uptown New Orleans. Recordings during this time, made by John Parsons, were released as Spiders on the Keys and Resurrection of the Bayou Maharajah. Following his success in Europe, Booker was forced to adjust to a lower level of public recognition, as he performed in cafes and bars. Keber believes. Boo