Them Changes: The Buddy Miles Discography 1967-1977

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One of the most hard-hitting shock troops of Mama Earth, drummer Buddy Miles fused rock, blues, soul and funk at a time nobody else was thinking about it. The versatile trapsman, renowned for his deceptively simple but ferociously funky work on the cans as well as his gutbucket vocal style, recorded with many a legend in the decade that proved to be his most fruitful: 1967-1977. During those years, Miles also headed his own band, releasing powerful, groove-oriented rock and soul gems that just won't let up... even forty years later!

	The Beginning: Buddy Miles with The Electric Flag Aside eventually making a name for himself with his own bands, at various times known as either the Buddy Miles Express, the Buddy Miles Freedom Express and the plain Buddy Miles Band, Miles also was a much wanted sessionplayer before and during his solo career. His first recorded legacy can be found on the Jaynettes' 1963 fluke hit "Sally Go Round The Roses", after which he secured the drummer's seat in Wilson Pickett's roadband, a gig he maintained up to 1966. No further recordings were forthcoming, until bluesguitarist Michael Bloomfield (of Paul Butterfield Blues Band fame) and Barry Goldberg (a keyboardist with a resume that included work for Mitch Ryder and Steve Miller) snatched him away from Pickett's backing band after having heard him perform at the RKO Theater. Bloomfield especially was fanatical in his admiration for Buddy Miles, calling him a 'super spade' [sic] and an amalgamation of James Brown, Arthur Conley and Otis Redding. The reason why Bloomfield and Goldberg were desperately searching for a drummer of Miles' stock, was the fact that both men were working on creating a rockgroup unlike any other. Bloomfield wanted to fuse blues, jazz, soul, country and anything else he could conjur up together and ad a fatback hornsection to it. Buddy's stomping drumming skills were exactly what he wanted for the rhythm section. Eventually, Bloomfield's group, christened The Electric Flag, would consist of Bloomfield on guitar, Goldberg on keyboard, Buddy on drums, Harvey Brooks on bass, Peter Strazza, Marcus Doubleday and all-round instrumentalist Herbie Rich as the brass section, and singer/songwriter Nick Gravenites on vocals. Their first recording effort consisted of a weird soundtrack for the 'hippie exploitation' flick The Trip. They started working on a proper album in 1967, after having made an appearance at the famed Monterey Pop Festival. In the meantime, Stemsy Hunter was added to the hornsection and Mike Fonfara as second keyboardist. Finally, in the spring of 1968, their LP A Long Time Comin' was released. While something of a cult classic today, the album is something of a hit and miss affair. The potential and especially the group's individual talents were clear, but fusing them all together proved harder.
Aside eventually making a name for himself with his own bands, at various times known as either the Buddy Miles Express, the Buddy Miles Freedom Express and the plain Buddy Miles Band, Miles also was a much wanted sessionplayer before and during his solo career. His first recorded legacy can be found on the Jaynettes' 1963 fluke hit "Sally Go Round The Roses", after which he secured the drummer's seat in Wilson Pickett's roadband, a gig he maintained up to 1966. No further recordings were forthcoming, until bluesguitarist Michael Bloomfield (of Paul Butterfield Blues Band fame) and Barry Goldberg (a keyboardist with a resume that included work for Mitch Ryder and Steve Miller) snatched him away from Pickett's backing band after having heard him perform at the RKO Theater. Bloomfield especially was fanatical in his admiration for Buddy Miles, calling him a 'super spade' [sic] and an amalgamation of James Brown, Arthur Conley and Otis Redding. The reason why Bloomfield and Goldberg were desperately searching for a drummer of Miles' stock, was the fact that both men were working on creating a rockgroup unlike any other. Bloomfield wanted to fuse blues, jazz, soul, country and anything else he could conjur up together and ad a fatback hornsection to it. Buddy's stomping drumming skills were exactly what he wanted for the rhythm section. Eventually, Bloomfield's group, christened The Electric Flag, would consist of Bloomfield on guitar, Goldberg on keyboard, Buddy on drums, Harvey Brooks on bass, Peter Strazza, Marcus Doubleday and all-round instrumentalist Herbie Rich as the brass section, and singer/songwriter Nick Gravenites on vocals. Their first recording effort consisted of a weird soundtrack for the 'hippie exploitation' flick The Trip. They started working on a proper album in 1967, after having made an appearance at the famed Monterey Pop Festival. In the meantime, Stemsy Hunter was added to the hornsection and Mike Fonfara as second keyboardist. Finally, in the spring of 1968, their LP A Long Time Comin' was released. While something of a cult classic today, the album is something of a hit and miss affair. The potential and especially the group's individual talents were clear, but fusing them all together proved harder.
	The Electric Flag - An American Music Band A Long Time Comin' (1968) #31 Pop Starting out normally enough, with a frenzied take on Howlin' Wolf's "Killing Floor" - a raw blues which was fast becoming a staple of dozens of bluesrockers - the remainder of the LP is filled with psychedelic experimentation, unorthodox lyrical ventures, a pinch of soul, blues and latin (the instrumental in "Another Country") and overall mayhem. "Groovin' Is Easy" is one of Gravenites' unforgettable ditties and extremely powerful. Miles' greatest moment is his singing and drumming on the soulful "Over-Lovin' You", which alas only lasts two minutes. Gravenites is back on lead vocals on the charming "She Should Have Just", after which the entire band pitches in on the busy "Wine". Buddy is back in the spotlight on a blues original, "Texas", where Bloomfield shows his lightnin' skills on guitar. More madness comes with the bizarre "Sittin' In Circles", a low-key, haunting track which Gravenites would later use for his construction of the song "Hey Little Girl". "You Don't Realize" was written by Bloomfield with Buddy Miles' voice in mind. It was a dedication to Steve Cropper and Otis Redding, the huge soul star who had died in a planecrash in December 1967. Miles had always been a zelous follower of Redding, and he tears this slow soul groove up. The original LP concluded with the bluesy "Easy Rider", but the CD rerelease added no less than four bonustracks, of which two, "Goin' Down Slow" (more blues) and Buddy's own sweet soulful "Look Into My Eyes", had never been properly released. "Sunny" and "Mistery" were taken from The Electric Flag, the follow-up Bloomfield-less LP released in December 1968. Singles from the LP: - "Wine" b/w "Texas"' - "Over-Lovin' You" b/w "Groovin' Is Easy"
#31 Pop Starting out normally enough, with a frenzied take on Howlin' Wolf's "Killing Floor" - a raw blues which was fast becoming a staple of dozens of bluesrockers - the remainder of the LP is filled with psychedelic experimentation, unorthodox lyrical ventures, a pinch of soul, blues and latin (the instrumental in "Another Country") and overall mayhem. "Groovin' Is Easy" is one of Gravenites' unforgettable ditties and extremely powerful. Miles' greatest moment is his singing and drumming on the soulful "Over-Lovin' You", which alas only lasts two minutes. Gravenites is back on lead vocals on the charming "She Should Have Just", after which the entire band pitches in on the busy "Wine". Buddy is back in the spotlight on a blues original, "Texas", where Bloomfield shows his lightnin' skills on guitar. More madness comes with the bizarre "Sittin' In Circles", a low-key, haunting track which Gravenites would later use for his construction of the song "Hey Little Girl". "You Don't Realize" was written by Bloomfield with Buddy Miles' voice in mind. It was a dedication to Steve Cropper and Otis Redding, the huge soul star who had died in a planecrash in December 1967. Miles had always been a zelous follower of Redding, and he tears this slow soul groove up. The original LP concluded with the bluesy "Easy Rider", but the CD rerelease added no less than four bonustracks, of which two, "Goin' Down Slow" (more blues) and Buddy's own sweet soulful "Look Into My Eyes", had never been properly released. "Sunny" and "Mistery" were taken from The Electric Flag, the follow-up Bloomfield-less LP released in December 1968. Singles from the LP: - "Wine" b/w "Texas"' - "Over-Lovin' You" b/w "Groovin' Is Easy"
	The Electric Flag - An American Music Band The Electric Flag (1968) #76 Pop Internal disagreements, hard-drugs and conflicting ego's virtually destroyed The Electric Flag right after their first album was recorded. Bloomfield seemed most disillusioned and would abandon ship after his associate Goldberg had already called it quits. Buddy Miles, however, was determined to carry on with the band, and guitarist Hoshal Wright was recruited to make up for the void left by Bloomfield; Herbie Rich had already taken over full control of the organ. While some might argue that Bloomfield and Goldberg were the core of The Electric Flag, their departure from the band made the Flag 'Mach II' radically different, but not necessarily worse. Miles, Brooks and Gravenites all three were firmly rooted in bluesrock, which made The Electric Flag a tighter album than its predecessor, with more emphasis on groove than on experimentation and overindulgent arrangements. The most shining example of this more structured, rootsy approach is the tremendous take on Bobby Hebb's "Sunny". The band is topnotch and extremely funky and Buddy's fatback drums and gutbucket vocals make this one of the greatest tunes to ever grace an Electric Flag LP. Miles' other contributions are of the same cloth; the horn heavy, soulful "Mystery" and the persistent "Soul Searchin'". However thrilling the entire set was, with great originals by Gravenites and Brooks as well as a splendid Dr. John cover ("Qualified"), it was pretty clear to all involved that the Electric Flag had run its course. It more or less became Buddy's band, which was accented by the cover, on which his mug is plastered behind the neon light lettering. The group effectively became Buddy's vehicle for a solo career; before this LP was even released, Buddy had used the Flag's hornsection on his first solo LP Expressway To Your Skull. When it became clear that the Electric Flag could not revive any interest, it simply dissapeared, with most members finding a new home in Buddy Miles' band. Singles from the LP: - "Sunny" b/w "Soul Searchin'"
#76 Pop Internal disagreements, hard-drugs and conflicting ego's virtually destroyed The Electric Flag right after their first album was recorded. Bloomfield seemed most disillusioned and would abandon ship after his associate Goldberg had already called it quits. Buddy Miles, however, was determined to carry on with the band, and guitarist Hoshal Wright was recruited to make up for the void left by Bloomfield; Herbie Rich had already taken over full control of the organ. While some might argue that Bloomfield and Goldberg were the core of The Electric Flag, their departure from the band made the Flag 'Mach II' radically different, but not necessarily worse. Miles, Brooks and Gravenites all three were firmly rooted in bluesrock, which made The Electric Flag a tighter album than its predecessor, with more emphasis on groove than on experimentation and overindulgent arrangements. The most shining example of this more structured, rootsy approach is the tremendous take on Bobby Hebb's "Sunny". The band is topnotch and extremely funky and Buddy's fatback drums and gutbucket vocals make this one of the greatest tunes to ever grace an Electric Flag LP. Miles' other contributions are of the same cloth; the horn heavy, soulful "Mystery" and the persistent "Soul Searchin'". However thrilling the entire set was, with great originals by Gravenites and Brooks as well as a splendid Dr. John cover ("Qualified"), it was pretty clear to all involved that the Electric Flag had run its course. It more or less became Buddy's band, which was accented by the cover, on which his mug is plastered behind the neon light lettering. The group effectively became Buddy's vehicle for a solo career; before this LP was even released, Buddy had used the Flag's hornsection on his first solo LP Expressway To Your Skull. When it became clear that the Electric Flag could not revive any interest, it simply dissapeared, with most members finding a new home in Buddy Miles' band. Singles from the LP: - "Sunny" b/w "Soul Searchin'"
	Here comes the Buddy Miles Express! Picking up the remnants of the Electric Flag, Buddy put together his first 'self-contained' band: The Buddy Miles Express. While the name would change now and then - The Buddy Miles Freedom Express, The Buddy Miles Band, Buddy Miles - the core of Miles' music would be set up around the Express formula: heavy guitars, funky bass, Buddy himself on drums, Hammond organs and heaps of brass.
Picking up the remnants of the Electric Flag, Buddy put together his first 'self-contained' band: The Buddy Miles Express. While the name would change now and then - The Buddy Miles Freedom Express, The Buddy Miles Band, Buddy Miles - the core of Miles' music would be set up around the Express formula: heavy guitars, funky bass, Buddy himself on drums, Hammond organs and heaps of brass.
	Buddy Miles Express Expressway to Your Skull (1968)
	Buddy Miles Express Electric Church (1969) #145 Pop Frantic touring and the fact that their first album had been well-received, made a sophomore effort a logical consequence. Already aquainted with Jimi Hendrix (Miles met him back in 1965 while he was with Wilson Pickett and Hendrix worked for Little Richard), their friendship had deepened since the Monterey Pop Festival, where both the Jimi Hendrix Experience and the Electric Flag performed. When asked to produce the Express' second LP, Hendrix could only find the time to produce four tracks ("Miss Lady", "'69 Freedom Special", "Destructive Love" and "My Chant".) He also may have coined the album's title, since 'electric church', 'sky church' and 'electric sky church' had all been terms Hendrix used to describe his own music. With Hendrix' name appearing on the LP's jacket as a producer, 'Electric Church' sold twice as much as the Express' first album. While it's the involvement of Hendrix in the matter which has given this disc some notoriety, it stands pretty good on its own terms. Starting off with the bodacious, loud and horn heavy shuffle titled "Miss Lady" – with Buddy going way over the top vocally – it's a different type of LP than its predecessor from the get-go. While 'Expressway To Your Skull' can well be deemed a pure funk record, Electric Church is more eclectic, displaying several musical styles. Aside "Miss Lady", there is the fine blues "Texas", which Buddy had also recorded with the Electric Flag on their 1967 LP 'A Long Time Comin'. "My Chant" probably is the strangest – but also most attractive – selection here: it's a dynamic piece of work, more subdued and 'acoustic' than the rest, containing some pretty introspective lyrics. The remainder of the LP moves between all-out killer funk and gutbucket soul. "Destructive Love" is another funky monster jam, and one of the drummer's best orginals. Miles chose to cover another one of Otis Redding's fabulous tunes as well and this time it's "Cigarettes & Coffee", a slow, captivating recording, although Miles' voice on this particular song may not please everyone. Then there is one of the Express' funkiest instrumentals, the optimistic, bouncing "'69 Freedom Express”. Bill Rich’s throbbing basslines carry the groove, along with Miles' incessant stomps. Again several Express-members go for the theirs; Jim McCarthy's guitarsolo is sizzling, and the brass section is truly gripping when it moves saxophonists James Tatum and Bobby Rock to the foreground. Interestingly, the version found on the 'Best of Buddy Miles' compilation is the unedited take, which is some 30 seconds longer. Concluding the LP is a rather uninspired, incomplete live version of "Wrap It Up". It only includes the song's midsection, therefore, the catchy horn riffs are omitted and what is left is a meandering, incoherent coda. Singles from the LP: - "Miss Lady" b/w "'69 Freedom Special"
#145 Pop Frantic touring and the fact that their first album had been well-received, made a sophomore effort a logical consequence. Already aquainted with Jimi Hendrix (Miles met him back in 1965 while he was with Wilson Pickett and Hendrix worked for Little Richard), their friendship had deepened since the Monterey Pop Festival, where both the Jimi Hendrix Experience and the Electric Flag performed. When asked to produce the Express' second LP, Hendrix could only find the time to produce four tracks ("Miss Lady", "'69 Freedom Special", "Destructive Love" and "My Chant".) He also may have coined the album's title, since 'electric church', 'sky church' and 'electric sky church' had all been terms Hendrix used to describe his own music. With Hendrix' name appearing on the LP's jacket as a producer, 'Electric Church' sold twice as much as the Express' first album. While it's the involvement of Hendrix in the matter which has given this disc some notoriety, it stands pretty good on its own terms. Starting off with the bodacious, loud and horn heavy shuffle titled "Miss Lady" – with Buddy going way over the top vocally – it's a different type of LP than its predecessor from the get-go. While 'Expressway To Your Skull' can well be deemed a pure funk record, Electric Church is more eclectic, displaying several musical styles. Aside "Miss Lady", there is the fine blues "Texas", which Buddy had also recorded with the Electric Flag on their 1967 LP 'A Long Time Comin'. "My Chant" probably is the strangest – but also most attractive – selection here: it's a dynamic piece of work, more subdued and 'acoustic' than the rest, containing some pretty introspective lyrics. The remainder of the LP moves between all-out killer funk and gutbucket soul. "Destructive Love" is another funky monster jam, and one of the drummer's best orginals. Miles chose to cover another one of Otis Redding's fabulous tunes as well and this time it's "Cigarettes & Coffee", a slow, captivating recording, although Miles' voice on this particular song may not please everyone. Then there is one of the Express' funkiest instrumentals, the optimistic, bouncing "'69 Freedom Express”. Bill Rich’s throbbing basslines carry the groove, along with Miles' incessant stomps. Again several Express-members go for the theirs; Jim McCarthy's guitarsolo is sizzling, and the brass section is truly gripping when it moves saxophonists James Tatum and Bobby Rock to the foreground. Interestingly, the version found on the 'Best of Buddy Miles' compilation is the unedited take, which is some 30 seconds longer. Concluding the LP is a rather uninspired, incomplete live version of "Wrap It Up". It only includes the song's midsection, therefore, the catchy horn riffs are omitted and what is left is a meandering, incoherent coda. Singles from the LP: - "Miss Lady" b/w "'69 Freedom Special"
	Bluezin' with the Master: Buddy Miles with Muddy Waters Chess Records' umpteenth attempt at bringing Muddy Waters' sound to a younger audience, Buddy Miles played the drums on the live side that made up the 'Fathers and Sons' release.
Chess Records' umpteenth attempt at bringing Muddy Waters' sound to a younger audience, Buddy Miles played the drums on the live side that made up the 'Fathers and Sons' release.
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	Muddy Waters Fathers and Sons (1969) #70 Pop Buddy Miles stretches out on the blues groove "I Got My Mojo Working", which is part of the 'live' section of his superstar session LP.
#70 Pop Buddy Miles stretches out on the blues groove "I Got My Mojo Working", which is part of the 'live' section of his superstar session LP.
	Gypsy Eyes: Buddy Miles with Jimi Hendrix Buddy Miles' relationship with the greatest guitarist ever, personally but mostly professionally, has become something of a mixed blessing for the drummer. Known by most as 'Jimi Hendrix' drummer', he has regularly been typecast as a Hendrix clone, or, worse, a footnote in Hendrix' bio- and discography. The fact that many Hendrix fans and rock critics have constantly put more emphasis on Hendrix' years with drummer Mitch Mitchell and bassist Noel Redding (The Jimi Hendrix Experience) and just as frequently have downplayed the importance of Hendrix' other group effort, the all-black Band Of Gypsys featuring Buddy Miles and bassist Billy Cox, has done little good for Buddy. Miles' efforts with Jimi Hendrix are usually discarded as unimportant, substandard or of little value. The main reason for this harsh - at times downright vicious - criticism has more to do with musical taste than lack of talent on Miles' part. It is true that Hendrix was a one of a kind musician, who was very much at ease with skyriding psychedelia, earshattering hardrock, space jazz and whatnaught and it is also a fact that Buddy Miles has always been most at ease with earthier styles and the maintenance of a groove. Jimi Hendrix had a large white following, with no little dosage of trendy hippie 'intellectuals' and politically motivated rebels. Buddy Miles, on the other hand, was a typical R&B-cat with a large black following. The merging of Hendrix' freaked-out space music with the downhome funk of Buddy Miles is what raised a few eyebrows on both sides. Nevertheless, together with Billy Cox, they came up with truly revolutionary music as the Band Of Gypsys in 1969-70, which incidentally also rocked like crazy. But Buddy and Jimi go further back than the Band Of Gypsys; both had met eachother during their days on the infamous chitlin' circuit. They eventually became friends and frequently lent their services to one another. Jimi Hendrix wrote the liner notes for Buddy's premier solo album Expressway To Your Skull and produced a few songs on the follow-up Electric Church; in turn, Buddy Miles took the drummer's seat on Hendrix' "Rainy Day, Dream Away" and its reprise "Still Raining, Still Dreaming", two infectious, bluesy shuffles which appeared on Hendrix' seminal Electric Ladyland double album (1968). Furthermore, after his relationship with Redding and Mitchell began to sour, Hendrix enjoyed jamming with the Buddy Miles Express. Ideas for a band started to evolve after Hendrix' failed experimental group Gypsy, Sun & Rainbows (which nonetheless did manage to perform at the Woodstock Festival) disbanded and contractual obligations for a LP for PPX/Capitol threatened to grind Hendrix' career to a halt. Not willing to revive the Experience, Hendrix recruited his old friend Billy Cox on bass and Buddy Miles on drums. Called A Band Of Gypsys, the trio began rehearsing from September onwards, putting together a radically new catalog for Jimi. The Gypsys debuted on December 31, 1969 at the Fillmore East in New York, where they did two greatly received shows. On New Year's Day, another two performances were given to another massively enthusiastic public.
Buddy Miles' relationship with the greatest guitarist ever, personally but mostly professionally, has become something of a mixed blessing for the drummer. Known by most as 'Jimi Hendrix' drummer', he has regularly been typecast as a Hendrix clone, or, worse, a footnote in Hendrix' bio- and discography. The fact that many Hendrix fans and rock critics have constantly put more emphasis on Hendrix' years with drummer Mitch Mitchell and bassist Noel Redding (The Jimi Hendrix Experience) and just as frequently have downplayed the importance of Hendrix' other group effort, the all-black Band Of Gypsys featuring Buddy Miles and bassist Billy Cox, has done little good for Buddy. Miles' efforts with Jimi Hendrix are usually discarded as unimportant, substandard or of little value. The main reason for this harsh - at times downright vicious - criticism has more to do with musical taste than lack of talent on Miles' part. It is true that Hendrix was a one of a kind musician, who was very much at ease with skyriding psychedelia, earshattering hardrock, space jazz and whatnaught and it is also a fact that Buddy Miles has always been most at ease with earthier styles and the maintenance of a groove. Jimi Hendrix had a large white following, with no little dosage of trendy hippie 'intellectuals' and politically motivated rebels. Buddy Miles, on the other hand, was a typical R&B-cat with a large black following. The merging of Hendrix' freaked-out space music with the downhome funk of Buddy Miles is what raised a few eyebrows on both sides. Nevertheless, together with Billy Cox, they came up with truly revolutionary music as the Band Of Gypsys in 1969-70, which incidentally also rocked like crazy. But Buddy and Jimi go further back than the Band Of Gypsys; both had met eachother during their days on the infamous chitlin' circuit. They eventually became friends and frequently lent their services to one another. Jimi Hendrix wrote the liner notes for Buddy's premier solo album Expressway To Your Skull and produced a few songs on the follow-up Electric Church; in turn, Buddy Miles took the drummer's seat on Hendrix' "Rainy Day, Dream Away" and its reprise "Still Raining, Still Dreaming", two infectious, bluesy shuffles which appeared on Hendrix' seminal Electric Ladyland double album (1968). Furthermore, after his relationship with Redding and Mitchell began to sour, Hendrix enjoyed jamming with the Buddy Miles Express. Ideas for a band started to evolve after Hendrix' failed experimental group Gypsy, Sun & Rainbows (which nonetheless did manage to perform at the Woodstock Festival) disbanded and contractual obligations for a LP for PPX/Capitol threatened to grind Hendrix' career to a halt. Not willing to revive the Experience, Hendrix recruited his old friend Billy Cox on bass and Buddy Miles on drums. Called A Band Of Gypsys, the trio began rehearsing from September onwards, putting together a radically new catalog for Jimi. The Gypsys debuted on December 31, 1969 at the Fillmore East in New York, where they did two greatly received shows. On New Year's Day, another two performances were given to another massively enthusiastic public.
	Hendrix Band of Gypsys (1970) #14 R&B/#5 Pop Possibly the finest 'Black Rock' LP ever waxed, Band Of Gypsys is a hardfunk tour-de-force without boundaries. While it didn't (and still doesn't) enamour Hendrix fans that were waned on his more eclectic recordings with the Experience, it's hardly the 'mediocre' album or 'throwaway' LP it has frequently been called within 'connaisseur' circles. For right form the beginning, Rolling Stone magazine, never short on some very wicked anti-Miles material, conjured up the concert as 'unfortunate': "A Band of Gypsys doesn't quite measure up to Hendrix' art. Cox, an old friend of Hendrix', provides solid support on bass, but Miles insisits on grabbing his share of the spotlight as a singer. The drummer seems to suffer from the delusion that he is another Otis Redding when neither his style nor his voice have anything to distinguish him from the run-of-the-mill R&B singer." Nevertheless, there were more positive reviews as well. The New Musical Express of January 1970 read: " […] Buddy Miles (formerly of Electric Flag) was on drums and Billy Cox played bass. The fusion was fantastic. Although Miles is a much noisier drummer than Mitch Mitchell, Hendrix and his friends settled down to give everyone an evening of great entertainment. […] Accompanied by Cox and Miles on vocals, Hendrix' sound was much fuller and richer." Noteworthy to mention as well is the fact that jazz legend Miles Davis deemed Band Of Gypsys Hendrix’ best group. Still, for two decades, these positive sounds were drowned out by the negative criticism heaped on the record. Luckily, since a documentary and rerelease of the album by the Hendrix Estate in 1997, the album has finally been given its long overdue credit. The trio of Jimi Hendrix, Billy Cox and Buddy Miles surge through monster grooves with deceptive ease; Hendrix' talent on the electric guitar is the icing on the cake. "Who Knows" has suffered from the most negative reactions, as it was labeled as monotonous, uninspired and unfinished. Furthermore, Buddy's scat singing in the middle of the ten- minute track hasn't pleased all fans. It actually was an on the spot improvisation, as Hendrix struggled with a defect on his guitar. Aside this slightly less thunderous moment, this funky jam picks up again after Hendrix has tuned up a new set of strings. The ferocious backbeat and Cox' irreverent, persitent bassloop make this a masterpiece of funkativity. Following is Jimi's piece de resistance "Machine Gun", the only cut on the LP which was spared the harsh and unjust criticism 'Band Of Gypsys' had to endure. Truthfully, it is an amazing piece of work. Hendrix' virtuosity here needs no comment, but what often does slip through the cracks is the uncanny, eerie recreation of the sound of a ratteling machinegun, produced by Buddy Miles' drumming. One can't deny that this version of "Machine Gun" has that edge that is lacking in other renditions of the tune, where the otherwise fantastic Mitch Mitchell is back behind drums. Next up is Buddy Miles' funkiest composition "Them Changes". Written sometime before the Band Of Gypsys got together, it musically fell into place when Hendrix conjured up an effective rhythm part on guitar. Without a doubt, this version of Miles' superlative groovemonster is the finest available bar none; it even surpasses the studiocut. The beat is pertruding, the bass is heavy and Hendrix' wah-wah madness makes it a jam that rocks like crazy. "Power To Love" has the same rhythm as "Who Knows", but is loaded with chord changes, sharp riffs and - on the version available on the CD Live At The Fillmore East - a short drumbreak for Miles. Dismissively labeled 'pseudo-soul' by critic Charles Shaar Murray, "Message To Love" is anything but lacking. It has the same funky drive as "Them Changes", an irresistable leitmotif on guitar and infectious backing vocals by Miles and Cox. Finishing the set is a lurching acid rock rendition of another song Miles was working on, "We Got To Live Together", which interestingly enough begins with Hendrix playing the main riff of Sly & The Family Stone's then current hit "Sing A Simple Song". A crashing crescendo and heavy feedback end this frenzied sing-a-long, and with that also came an end to the recorded legacy of the Gypsys. One more concert was given at the Winterland Moratorium in January 1970, which turned into a cataclysmic disaster as a frightened, possibly drugged Hendrix refused to carry on the show. It was no secret that Jimi's manager Michael Jeffrey loathed Buddy Miles and had demanded his discharge from the moment the group came into existence. With a cynicism rarely seen by Hendrix, he agitates his manager when he introduces his band: "And we have THE Buddy Miles on drums. Yeah, God bless Buddy Miles." After his breakdown, Jeffrey set out to work and immediately fired Miles, thereby ending the Band Of Gypsys. While he had insisted on reforming the Experience, Hendrix would reroute his career yet again by forming the Cry Of Love Band, with Mitchell back on drums, but with the reliable Billy Cox remaining the bassist. As for Buddy, he licked his wounds and resumed work on his third album, the pivotal Them Changes.
#14 R&B/#5 Pop Possibly the finest 'Black Rock' LP ever waxed, Band Of Gypsys is a hardfunk tour-de-force without boundaries. While it didn't (and still doesn't) enamour Hendrix fans that were waned on his more eclectic recordings with the Experience, it's hardly the 'mediocre' album or 'throwaway' LP it has frequently been called within 'connaisseur' circles. For right form the beginning, Rolling Stone magazine, never short on some very wicked anti-Miles material, conjured up the concert as 'unfortunate': "A Band of Gypsys doesn't quite measure up to Hendrix' art. Cox, an old friend of Hendrix', provides solid support on bass, but Miles insisits on grabbing his share of the spotlight as a singer. The drummer seems to suffer from the delusion that he is another Otis Redding when neither his style nor his voice have anything to distinguish him from the run-of-the-mill R&B singer." Nevertheless, there were more positive reviews as well. The New Musical Express of January 1970 read: " […] Buddy Miles (formerly of Electric Flag) was on drums and Billy Cox played bass. The fusion was fantastic. Although Miles is a much noisier drummer than Mitch Mitchell, Hendrix and his friends settled down to give everyone an evening of great entertainment. […] Accompanied by Cox and Miles on vocals, Hendrix' sound was much fuller and richer." Noteworthy to mention as well is the fact that jazz legend Miles Davis deemed Band Of Gypsys Hendrix’ best group. Still, for two decades, these positive sounds were drowned out by the negative criticism heaped on the record. Luckily, since a documentary and rerelease of the album by the Hendrix Estate in 1997, the album has finally been given its long overdue credit. The trio of Jimi Hendrix, Billy Cox and Buddy Miles surge through monster grooves with deceptive ease; Hendrix' talent on the electric guitar is the icing on the cake. "Who Knows" has suffered from the most negative reactions, as it was labeled as monotonous, uninspired and unfinished. Furthermore, Buddy's scat singing in the middle of the ten- minute track hasn't pleased all fans. It actually was an on the spot improvisation, as Hendrix struggled with a defect on his guitar. Aside this slightly less thunderous moment, this funky jam picks up again after Hendrix has tuned up a new set of strings. The ferocious backbeat and Cox' irreverent, persitent bassloop make this a masterpiece of funkativity. Following is Jimi's piece de resistance "Machine Gun", the only cut on the LP which was spared the harsh and unjust criticism 'Band Of Gypsys' had to endure. Truthfully, it is an amazing piece of work. Hendrix' virtuosity here needs no comment, but what often does slip through the cracks is the uncanny, eerie recreation of the sound of a ratteling machinegun, produced by Buddy Miles' drumming. One can't deny that this version of "Machine Gun" has that edge that is lacking in other renditions of the tune, where the otherwise fantastic Mitch Mitchell is back behind drums. Next up is Buddy Miles' funkiest composition "Them Changes". Written sometime before the Band Of Gypsys got together, it musically fell into place when Hendrix conjured up an effective rhythm part on guitar. Without a doubt, this version of Miles' superlative groovemonster is the finest available bar none; it even surpasses the studiocut. The beat is pertruding, the bass is heavy and Hendrix' wah-wah madness makes it a jam that rocks like crazy. "Power To Love" has the same rhythm as "Who Knows", but is loaded with chord changes, sharp riffs and - on the version available on the CD Live At The Fillmore East - a short drumbreak for Miles. Dismissively labeled 'pseudo-soul' by critic Charles Shaar Murray, "Message To Love" is anything but lacking. It has the same funky drive as "Them Changes", an irresistable leitmotif on guitar and infectious backing vocals by Miles and Cox. Finishing the set is a lurching acid rock rendition of another song Miles was working on, "We Got To Live Together", which interestingly enough begins with Hendrix playing the main riff of Sly & The Family Stone's then current hit "Sing A Simple Song". A crashing crescendo and heavy feedback end this frenzied sing-a-long, and with that also came an end to the recorded legacy of the Gypsys. One more concert was given at the Winterland Moratorium in January 1970, which turned into a cataclysmic disaster as a frightened, possibly drugged Hendrix refused to carry on the show. It was no secret that Jimi's manager Michael Jeffrey loathed Buddy Miles and had demanded his discharge from the moment the group came into existence. With a cynicism rarely seen by Hendrix, he agitates his manager when he introduces his band: "And we have THE Buddy Miles on drums. Yeah, God bless Buddy Miles." After his breakdown, Jeffrey set out to work and immediately fired Miles, thereby ending the Band Of Gypsys. While he had insisted on reforming the Experience, Hendrix would reroute his career yet again by forming the Cry Of Love Band, with Mitchell back on drums, but with the reliable Billy Cox remaining the bassist. As for Buddy, he licked his wounds and resumed work on his third album, the pivotal Them Changes.
	Hendrix Live at the Fillmore East (1999) Annotation in progress.
Annotation in progress.
	Back to basics: The Buddy Miles Band continues Licking his wounds, Buddy rejuvenated his Express and set out recording his artistically most rewarding albums.
Licking his wounds, Buddy rejuvenated his Express and set out recording his artistically most rewarding albums.
	Buddy Miles Them Changes (1970) #14 R&B/#35 Pop/#8 Jazz Rising out of the ashes like a phoenix, following his unceremonious sacking by Hendrix' manager Mike Jeffrey, Miles threw himself on his solo career. He regrouped the Express, although at the time of the recording of this album it was indeed a very loosely arranged company. Even before the recording of the bulk of the LP, Buddy Miles had put his take of Rufus Thomas' hit "Memphis Train" on tape, with his then current Express line-up (see the personel listed with Electric Church; this exact line-up recorded "Memphis Train", save for Bill Rich, who was replaced temporarily by Roland Robinson.) That particular session stems from 1969 and was produced by legendary Stax guitarist Steve Cropper. While Buddy had always freely stated his high regard for Stax and specifically for Steve Cropper and Otis Redding, "Memphis Train" was also an effort to break Miles into the Billboard Singles charts. "Memphis Train" sounds unlike all the other selections here; it's pretty much a Stax record, which, of course, is a good thing. With the single dissapointingly stalling at #100, Miles had shelved his solo career for the time being and instead began working with Jimi Hendrix and bassplayer Billy Cox on what would become the Band of Gypsys project. Hung over from the Winterland debacle with Hendrix in January 1970, which effectively ended the trio after a mere five gigs Buddy licked his wounds and began working on an album which would once and for all establish him as a performer in his own right. Working out the incredibly funky "Them Changes", which was created with the Band of Gypsys and also appeared on their lone LP, Miles and the reformed Express (now dubbed 'Freedom Express') once again trailblazed their way through soulful funkrock. The drummer had invited fellow ex-Gypsy Billy Cox to play bass on "Them Changes" (Cox had earlier turned down Miles' offer to become the permanent bassist in the Express), and therefore the groove is as stomping as the killer live version on Band Of Gypsys. Nonetheless, the presence of a fatback horn unit set this rendition apart from the Gypsys' reading. When released on single, "Them Changes" proved so successful, that it had to be pressed twice to meet public demand. But the album which carried the same title would actually become even more rewarding, and deservedly so. It's pretty much a hardrocking hybrid of soul, blues, funk and even folk, which make this one of Miles' most dynamic outings. The acoustic, drum-less "I Still Love You Anyway" may not be what one expects from the usually wild and frenzied drummer, but it's actually a nice, subdued ballad. "Heart's Delight" treads more familiar territory; an uptempo, gutbucket ditty, which despite its funkiness is the weakest track here. Ironically it's followed by the greatest selection on 'Them Changes'; an achingly emotional reading of the Allman Brothers' "Dreams". The song had in fact been something of a therapy for Miles after his demise in the Band of Gypsys, and the drummer shouts out all the frustrations here on this rock solid, hornheavy take. In fact, Buddy’s drumming here is so loud and in the pocket, there is just no way of getting out of it. A dreamy solo on leslie guitar by Charlie Karp and ominous plunking on organ by Andre Lewis complete the experience. Side two kicks off with a cover of Neil Young's epic "Down By The River". A wonderful, haunting song which also showcases Miles' talents as a guitarist. "Down By The River" eventuaaly became another in-concert favorite, and the rendition appearing on 'Buddy Miles Live' (1971) is absolutely gorgeous. As with his predecessing albums, there is another long instrumental here, as well. This time it's a bluesy, fat shuffle, only augmented by Lewis' on organ and Marlo Henderson on guitar titled "Paul B. Allen, Omaha, Nebraska". Incredibly catchy stuff. The album closes with another interpretation of one of Otis Redding's – posthumously released – songs, the driving "Your Feeling Is Mine". Singles from the LP: - "Memphis Train" (#100) b/w "My Chant"; - "Them Changes" (#36 R&B/#81 Pop) b/w "Spot on the Wall"; - "Dreams" (#86 Pop) b/w "Your Feeling Is Mine"; - "Down by the River" b/w "Heart's Delight"; - "Them Changes" (#62 Pop) (Second pressing) b/w "The Way I Feel Tonight"
#14 R&B/#35 Pop/#8 Jazz Rising out of the ashes like a phoenix, following his unceremonious sacking by Hendrix' manager Mike Jeffrey, Miles threw himself on his solo career. He regrouped the Express, although at the time of the recording of this album it was indeed a very loosely arranged company. Even before the recording of the bulk of the LP, Buddy Miles had put his take of Rufus Thomas' hit "Memphis Train" on tape, with his then current Express line-up (see the personel listed with Electric Church; this exact line-up recorded "Memphis Train", save for Bill Rich, who was replaced temporarily by Roland Robinson.) That particular session stems from 1969 and was produced by legendary Stax guitarist Steve Cropper. While Buddy had always freely stated his high regard for Stax and specifically for Steve Cropper and Otis Redding, "Memphis Train" was also an effort to break Miles into the Billboard Singles charts. "Memphis Train" sounds unlike all the other selections here; it's pretty much a Stax record, which, of course, is a good thing. With the single dissapointingly stalling at #100, Miles had shelved his solo career for the time being and instead began working with Jimi Hendrix and bassplayer Billy Cox on what would become the Band of Gypsys project. Hung over from the Winterland debacle with Hendrix in January 1970, which effectively ended the trio after a mere five gigs Buddy licked his wounds and began working on an album which would once and for all establish him as a performer in his own right. Working out the incredibly funky "Them Changes", which was created with the Band of Gypsys and also appeared on their lone LP, Miles and the reformed Express (now dubbed 'Freedom Express') once again trailblazed their way through soulful funkrock. The drummer had invited fellow ex-Gypsy Billy Cox to play bass on "Them Changes" (Cox had earlier turned down Miles' offer to become the permanent bassist in the Express), and therefore the groove is as stomping as the killer live version on Band Of Gypsys. Nonetheless, the presence of a fatback horn unit set this rendition apart from the Gypsys' reading. When released on single, "Them Changes" proved so successful, that it had to be pressed twice to meet public demand. But the album which carried the same title would actually become even more rewarding, and deservedly so. It's pretty much a hardrocking hybrid of soul, blues, funk and even folk, which make this one of Miles' most dynamic outings. The acoustic, drum-less "I Still Love You Anyway" may not be what one expects from the usually wild and frenzied drummer, but it's actually a nice, subdued ballad. "Heart's Delight" treads more familiar territory; an uptempo, gutbucket ditty, which despite its funkiness is the weakest track here. Ironically it's followed by the greatest selection on 'Them Changes'; an achingly emotional reading of the Allman Brothers' "Dreams". The song had in fact been something of a therapy for Miles after his demise in the Band of Gypsys, and the drummer shouts out all the frustrations here on this rock solid, hornheavy take. In fact, Buddy’s drumming here is so loud and in the pocket, there is just no way of getting out of it. A dreamy solo on leslie guitar by Charlie Karp and ominous plunking on organ by Andre Lewis complete the experience. Side two kicks off with a cover of Neil Young's epic "Down By The River". A wonderful, haunting song which also showcases Miles' talents as a guitarist. "Down By The River" eventuaaly became another in-concert favorite, and the rendition appearing on 'Buddy Miles Live' (1971) is absolutely gorgeous. As with his predecessing albums, there is another long instrumental here, as well. This time it's a bluesy, fat shuffle, only augmented by Lewis' on organ and Marlo Henderson on guitar titled "Paul B. Allen, Omaha, Nebraska". Incredibly catchy stuff. The album closes with another interpretation of one of Otis Redding's – posthumously released – songs, the driving "Your Feeling Is Mine". Singles from the LP: - "Memphis Train" (#100) b/w "My Chant"; - "Them Changes" (#36 R&B/#81 Pop) b/w "Spot on the Wall"; - "Dreams" (#86 Pop) b/w "Your Feeling Is Mine"; - "Down by the River" b/w "Heart's Delight"; - "Them Changes" (#62 Pop) (Second pressing) b/w "The Way I Feel Tonight"
	Buddy Miles We Got to Live Together (1970) #14 R&B/#53 Pop/#14 Jazz Right on the heels of the smash hit 'Them Changes' came this album. Again, the centerpiece, "We Got To Live Together", had come forth out of jams between 1969 and 1970. Miles and his band performed it at the Newport Pop Festival in the summer of 1969, where they were briefly joined by Jimi Hendrix. The track was further tooled on during the Band of Gypsys period, which resulted in the song's inclusion on the epynomously titled Hendrix recording. The version here is the definitive reading and quite unlike the acidrock proto-metal rendition found on Band of Gypsys. Buddy had delved into the catalog of his mentor Otis Redding during the shaping of the song, using the main guitar riff from Redding's duet with Carla Thomas, the irrestisible "Tramp" (1966); in 1970 he lifted the guitar parts of Joe Tex' "Take It Off Him & Put It On Me" soul classic. Put together, they form the overall body of the song, with the scratching descending guitarline accompanying Miles during the verses and the stomping lick derived from "Take It Off Him…" during the instrumental mid-sections. This can be heard quite easily, as Buddy also decided to cover the original Tex song, which concludes the LP right after the title cut. "We Got To Live Together" is a stretched out piece, with solo slots for Charlie Karp, David Hull, Billy McPherson, Mark Williams, Joel Porter, Lee Allen, Andre Lewis and Bob Hogins. After their respective contributions, the song slows down, turning into something of a gospel style outing. Then the wah wah guitar comes back in and the tune takes off from where it began, until it fades out. A masterful soul experience! Side A is not to be ignored, however. Starting with the dark notes of Beethoven's funeral march, the band delves into "Runaway Child (Little Miss Nothing)", a powerful blues shuffle, which nonetheless failed miserably on the charts. Next up is a beautiful dynamic piece, lyrically in the vein of "Down By The River", musically, "Walking Down the Highway" is a total Express experience.... and sounding eerily similar to later Earth, Wind & Fire. The song is construed of two parts: an acoustic, jazzy side featuring leslie guitar and flute and a hardrock stomping chorus, featuring swelling basslines and intricate drum patterns. The obligatory instrumental here is the original "Easy Greasy". Beginning in an uptempo blues, it immediately glides back into full funk mode. Also, the guitarsolo here, done by Buddy Miles, proves that he actually was quite a marvelous guitarist as well. 'We Got To Live Together' is a great album, but hardly Miles' best. It seems as if it was hurriedly released to cash in on Miles' momentum due to 'Them Changes'. That LP even outlasted this one in the Billboard charts! Singles from the LP: - "We Got to Live Together (Part 1)" (#47 R&B/#86 Pop) b/w "We Got to Live Together (Part 2)"; - "Runaway Child (Little Miss Nothin') (Part 1)" b/w "Runaway Child (Little Miss Nothin') (Part 2)"; - "Take It Off Him and Put It on Me" b/w "Give Away None of My Love"
#14 R&B/#53 Pop/#14 Jazz Right on the heels of the smash hit 'Them Changes' came this album. Again, the centerpiece, "We Got To Live Together", had come forth out of jams between 1969 and 1970. Miles and his band performed it at the Newport Pop Festival in the summer of 1969, where they were briefly joined by Jimi Hendrix. The track was further tooled on during the Band of Gypsys period, which resulted in the song's inclusion on the epynomously titled Hendrix recording. The version here is the definitive reading and quite unlike the acidrock proto-metal rendition found on Band of Gypsys. Buddy had delved into the catalog of his mentor Otis Redding during the shaping of the song, using the main guitar riff from Redding's duet with Carla Thomas, the irrestisible "Tramp" (1966); in 1970 he lifted the guitar parts of Joe Tex' "Take It Off Him & Put It On Me" soul classic. Put together, they form the overall body of the song, with the scratching descending guitarline accompanying Miles during the verses and the stomping lick derived from "Take It Off Him…" during the instrumental mid-sections. This can be heard quite easily, as Buddy also decided to cover the original Tex song, which concludes the LP right after the title cut. "We Got To Live Together" is a stretched out piece, with solo slots for Charlie Karp, David Hull, Billy McPherson, Mark Williams, Joel Porter, Lee Allen, Andre Lewis and Bob Hogins. After their respective contributions, the song slows down, turning into something of a gospel style outing. Then the wah wah guitar comes back in and the tune takes off from where it began, until it fades out. A masterful soul experience! Side A is not to be ignored, however. Starting with the dark notes of Beethoven's funeral march, the band delves into "Runaway Child (Little Miss Nothing)", a powerful blues shuffle, which nonetheless failed miserably on the charts. Next up is a beautiful dynamic piece, lyrically in the vein of "Down By The River", musically, "Walking Down the Highway" is a total Express experience.... and sounding eerily similar to later Earth, Wind & Fire. The song is construed of two parts: an acoustic, jazzy side featuring leslie guitar and flute and a hardrock stomping chorus, featuring swelling basslines and intricate drum patterns. The obligatory instrumental here is the original "Easy Greasy". Beginning in an uptempo blues, it immediately glides back into full funk mode. Also, the guitarsolo here, done by Buddy Miles, proves that he actually was quite a marvelous guitarist as well. 'We Got To Live Together' is a great album, but hardly Miles' best. It seems as if it was hurriedly released to cash in on Miles' momentum due to 'Them Changes'. That LP even outlasted this one in the Billboard charts! Singles from the LP: - "We Got to Live Together (Part 1)" (#47 R&B/#86 Pop) b/w "We Got to Live Together (Part 2)"; - "Runaway Child (Little Miss Nothin') (Part 1)" b/w "Runaway Child (Little Miss Nothin') (Part 2)"; - "Take It Off Him and Put It on Me" b/w "Give Away None of My Love"
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	Buddy Miles A Message to the People (1971) #12 R&B/#60 Pop The prolific drummer's most creative album, 'A Message to the People' can well be seen as the artistic completion of Buddy's search for perfect funk-rock-folk-soul fusion. Retooling Joe Tex' "You're Right, Ray Charles" into a frenzied, hard driving, brass drenched instrumental, Miles pays hommage to one of his biggest inspirators by naming the vamp after him. The entire band gets down here, with the horn section trading riffs before combining forces on the bridge, pumping out a truly gutbucket hook that is preposterous in its infectious stankativity. Buddy's trademark lazy-stompin' groove propels the laidback "The Way I Feel Tonight", spotlighting Miles' raspy, high-pitched vocal abilities. Features a smoldering sax solo, as well as one of Charlie Karp's heavily wah wah'd free-form guitar workouts. Next up is something of a two-piece suite; adding some folksy, rollicking guitars and keeping a solid, funky bottom on drums, "Place Over There" also incorporates elements of Blues and horn-heavy Southern Soul. Shifting in tempo throughout, it makes way for "The Segment", probably the most haunting track here. Minor-keyed and brooding, with a warbling organ droning on in the back, Miles persistently belts out the line 'Yes I know, she told me so' with punishing horns accentuating his every desperate plea. My only beef with this song is that it's so short... The live version, which appeared on 'Buddy Miles Live' a year later, really takes the tension on display here to bigger and scarier heights. Kicking off Side B is another 'twofer', as Buddy and band tackle two much loved Allman Brothers jams. "Don't Keep Me Wondering" is pure sleaze-funk, with the wailing, bumping horns and Miles' hard driven drumming. It abruptly transforms into the much darker "Midnight Rider", adding more of a rock feel to the funk. "Sudden Stop", the famous Percy Sledge hit, is the weakest track here: the execution is good, but this slow grinding ballad really sounds a bit out off place amidst the heavy barrage of funk-rock and gospelfide folksy soul. Much better is a rowdy take on Otis Redding's "Wholesale Love" - a track posthumously released in 1969. Buddy stays close to the original, keeping in that Memphis vibe. It proved to become his biggest Pop hit. Closing this remarkable disc is the introspective "That's the Way Life Is", where Miles and company once more cook up an unlikely stew of funk, folk, gospel and rock. Hands down, this is Buddy Miles' best studio album. And if you can dig this, you MUST check out the live album released in 1971. Singles from the LP: - "Wholesale Love" (#49 R&B/#71 Pop) b/w "That's the Way Life Is"
#12 R&B/#60 Pop The prolific drummer's most creative album, 'A Message to the People' can well be seen as the artistic completion of Buddy's search for perfect funk-rock-folk-soul fusion. Retooling Joe Tex' "You're Right, Ray Charles" into a frenzied, hard driving, brass drenched instrumental, Miles pays hommage to one of his biggest inspirators by naming the vamp after him. The entire band gets down here, with the horn section trading riffs before combining forces on the bridge, pumping out a truly gutbucket hook that is preposterous in its infectious stankativity. Buddy's trademark lazy-stompin' groove propels the laidback "The Way I Feel Tonight", spotlighting Miles' raspy, high-pitched vocal abilities. Features a smoldering sax solo, as well as one of Charlie Karp's heavily wah wah'd free-form guitar workouts. Next up is something of a two-piece suite; adding some folksy, rollicking guitars and keeping a solid, funky bottom on drums, "Place Over There" also incorporates elements of Blues and horn-heavy Southern Soul. Shifting in tempo throughout, it makes way for "The Segment", probably the most haunting track here. Minor-keyed and brooding, with a warbling organ droning on in the back, Miles persistently belts out the line 'Yes I know, she told me so' with punishing horns accentuating his every desperate plea. My only beef with this song is that it's so short... The live version, which appeared on 'Buddy Miles Live' a year later, really takes the tension on display here to bigger and scarier heights. Kicking off Side B is another 'twofer', as Buddy and band tackle two much loved Allman Brothers jams. "Don't Keep Me Wondering" is pure sleaze-funk, with the wailing, bumping horns and Miles' hard driven drumming. It abruptly transforms into the much darker "Midnight Rider", adding more of a rock feel to the funk. "Sudden Stop", the famous Percy Sledge hit, is the weakest track here: the execution is good, but this slow grinding ballad really sounds a bit out off place amidst the heavy barrage of funk-rock and gospelfide folksy soul. Much better is a rowdy take on Otis Redding's "Wholesale Love" - a track posthumously released in 1969. Buddy stays close to the original, keeping in that Memphis vibe. It proved to become his biggest Pop hit. Closing this remarkable disc is the introspective "That's the Way Life Is", where Miles and company once more cook up an unlikely stew of funk, folk, gospel and rock. Hands down, this is Buddy Miles' best studio album. And if you can dig this, you MUST check out the live album released in 1971. Singles from the LP: - "Wholesale Love" (#49 R&B/#71 Pop) b/w "That's the Way Life Is"
	Buddy Miles Live (1971) #10 R&B/#50 Pop Buddy's biggest selling R&B album up to that point, 'Live' is a tour de force of funk drenched rock and soul. The intro, a manic reading of "Joe Tex" and "Take It Off Him...", is blazingly infectious: The fatback drums, the plodding bass and Stax-sounding brass. Miles' version of Neil Young's "Down by the River" is simply brilliant. Although to some Miles' voice is an aquired taste, I can dig it, and I can certainly get into the instrumental groove that makes up the bulk of the song. "Wrap It Up" is too long - takes up an entire LP-side in fact. The groove is right, but it's broken up in too many places. "Place Over There" and especially "The Segment" are great, the latter a horn heavy, wistful rocker. The album closes with a rousing reading of "Them Changes" and a funky "We Got to Live Together" that is almost unrecognizable from the earlier version that Miles recorded with Hendrix. A must voor heavy funk/soul fans, who like a little rock on the side.
#10 R&B/#50 Pop Buddy's biggest selling R&B album up to that point, 'Live' is a tour de force of funk drenched rock and soul. The intro, a manic reading of "Joe Tex" and "Take It Off Him...", is blazingly infectious: The fatback drums, the plodding bass and Stax-sounding brass. Miles' version of Neil Young's "Down by the River" is simply brilliant. Although to some Miles' voice is an aquired taste, I can dig it, and I can certainly get into the instrumental groove that makes up the bulk of the song. "Wrap It Up" is too long - takes up an entire LP-side in fact. The groove is right, but it's broken up in too many places. "Place Over There" and especially "The Segment" are great, the latter a horn heavy, wistful rocker. The album closes with a rousing reading of "Them Changes" and a funky "We Got to Live Together" that is almost unrecognizable from the earlier version that Miles recorded with Hendrix. A must voor heavy funk/soul fans, who like a little rock on the side.
	What's all that Jazz? Buddy Miles with John McLaughlin Acidrock and jazzguitarist John McLaughlin had just played on the impressive Miles Davis' albums In A Silent Way and Bitches' Brew (1969), when he decided to quit the Miles Davis band and set out for his own. This transistory phase in McLaughlin's career - he would form the legendary Mahavishnu Orchestra somewhat later - delivered one album, Devotion, which is rightfully regarded an acidrock masterwork. It came into being through a jamsession sponsored by Alan Douglas, who brought together Jimi Hendrix, Buddy Miles, fellow Express member and bassist Bill Rich and McLaughlin. Douglas was 'knocked out' by the 'fatback boogaloo on the drums' Buddy was playing. McLaughlin was awe-struck by Buddy Miles' drumming style and invited him and bassplayer Bill Rich to record with him, the result of which was 'Devotion'.
Acidrock and jazzguitarist John McLaughlin had just played on the impressive Miles Davis' albums In A Silent Way and Bitches' Brew (1969), when he decided to quit the Miles Davis band and set out for his own. This transistory phase in McLaughlin's career - he would form the legendary Mahavishnu Orchestra somewhat later - delivered one album, Devotion, which is rightfully regarded an acidrock masterwork. It came into being through a jamsession sponsored by Alan Douglas, who brought together Jimi Hendrix, Buddy Miles, fellow Express member and bassist Bill Rich and McLaughlin. Douglas was 'knocked out' by the 'fatback boogaloo on the drums' Buddy was playing. McLaughlin was awe-struck by Buddy Miles' drumming style and invited him and bassplayer Bill Rich to record with him, the result of which was 'Devotion'.
	John McLaughlin Devotion (1970) Did not chart Annotation in progress.
Did not chart Annotation in progress.
	Soul Sacrifice: Buddy Miles with Santana Buddy and Santana have a long history together; in fact, Buddy was the group's lead singer for a while in the mid-'80s. But it all started when Buddy left Mercury Records and signed with Columbia. To celebrate the new deal, Miles was invited to play a live gig with superstars Santana... in an extinct volcano crater in Hawaii.
Buddy and Santana have a long history together; in fact, Buddy was the group's lead singer for a while in the mid-'80s. But it all started when Buddy left Mercury Records and signed with Columbia. To celebrate the new deal, Miles was invited to play a live gig with superstars Santana... in an extinct volcano crater in Hawaii.
	Carlos Santana & Buddy Miles Carlos Santana & Buddy Miles! Live! (1972) #6 R&B/#8 Pop/#11 R&B Buddy Miles jumped ship from Mercury to Columbia, and his first effort there consisted of a live album with Santana... the gig was held in an extinct volcano crater in Hawaii, by the way. 'Carlos Santana & Buddy Miles! Live!' is a messy album... no one will deny the talent of every individual cat on stage that show, but maybe it's a case of too many cooks. "Them Changes" and "Evil Ways" have been done far better by the respective performers elsewhere, but Buddy's crunching instrumental "Lava" and a rendition of John McLaughlin's "Marbles" are pretty steamy. The marathon funk rock jam "Free Form Funkafide Filth" is astonishing, if somewhat bumpy here and there. A very, very messy album... but contains plenty of hardcore funk. Singles from the LP: - "Evil Ways" b/w "Them Changes" (#84 Pop)
#6 R&B/#8 Pop/#11 R&B Buddy Miles jumped ship from Mercury to Columbia, and his first effort there consisted of a live album with Santana... the gig was held in an extinct volcano crater in Hawaii, by the way. 'Carlos Santana & Buddy Miles! Live!' is a messy album... no one will deny the talent of every individual cat on stage that show, but maybe it's a case of too many cooks. "Them Changes" and "Evil Ways" have been done far better by the respective performers elsewhere, but Buddy's crunching instrumental "Lava" and a rendition of John McLaughlin's "Marbles" are pretty steamy. The marathon funk rock jam "Free Form Funkafide Filth" is astonishing, if somewhat bumpy here and there. A very, very messy album... but contains plenty of hardcore funk. Singles from the LP: - "Evil Ways" b/w "Them Changes" (#84 Pop)
	The New Deal: Buddy Miles at Columbia Buddy's tenure at Columbia is something of a hit and miss affair... After releasing one more undeniable hard-socking funkathon, Miles gradually seemed to slip into the 'sophisticated R&B'/'Disco' bag, losing much of the grit of his Mercury sound. Worse, Buddy Miles would eventually play less and less drums...
Buddy's tenure at Columbia is something of a hit and miss affair... After releasing one more undeniable hard-socking funkathon, Miles gradually seemed to slip into the 'sophisticated R&B'/'Disco' bag, losing much of the grit of his Mercury sound. Worse, Buddy Miles would eventually play less and less drums...
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	The Buddy Miles Band Chapter VII (1973) #36 R&B/#123 Pop Having achieved instant success at Columbia with the 'Carlos Santana & Buddy Miles! Live! LP' (1972), a proper studio record was released a year later. As it was Miles' seventh solo outing, it was dubbed Chapter VII. The line-up here is radically different when compared to his highly successful Mercury LPs; the Express had virtually ceased to exist after Miles' departure from that label. The only former Express-member to remain loosely attached to the Buddy Miles Band, as it was renamed, was multitalented Bob Hogins. A smaller brass section consisted of Sprague, Dhalston and Aplanalp, while the bassplayer, Ron Johnson, had also been present during the live gig with Santana in Hawaii. Lastly, it was guitarplayer Adrian Curtis that replaced both Marlo Henderson and Charlie Karp. All these personnel changes luckily had little effect on the all-out groove as prevalent here. In fact, 'Chapter VII' can rightfully be seen as Miles' last pure funkrock 'n' soul oriented LP, before succumbing to the disco trend from 1974 onwards. "L.A. Resurrection" opens this LP with a blast of greasy thick madness. Much like was the custom on the Express LPs, the new bandmembers introduce themselves here by taking the spotlight in turn. "Life Is What You Make It (Part 1)" simply is one of Buddy's most gripping, grooving and hardrocking compositions he ever wrote. His drumming seems to have only become louder, not slicker. Johnson's fat bass and Curtis' distorted effects on guitar push this monsterjam all the way over the top. Typically, it bombed on the charts when released on 45rpm. Buddy Miles still was a LP-musician and tracks such as "Life Is What You Make It" were far too loud for many R&B-programmers, and too 'black' for as many rockstations. Nonetheless, it's his best song for Columbia bar none. "Elvira" is a playful, uptempo ditty with virtually the entire band vocalizing, creating a layered effect of voices. "Hear No Evil" takes it back to fatback funkland, whereas "Love Affair" ends side A on a slightly syruppy note. Side B opens with "Life Is What You Make It (Part 2)", but despite the same name, it's a different textured track and not as powerful as Part 1. "Crossfire", on the other hand, is yet another highlight. It's filthy sleaze-funkrock at its nastiest, with Buddy kicking it firmly on the one and the band following suit. Closing the LP is Miles' (still) most introspective creation "There Was A Time", a mid-tempo, lurching jam in which the drummer sings about the days of anger and selfdoubt and eventually shares with the listener that those times had passed. A brilliant coda to a very worthwhile album. 'Chapter VII' without any question was Miles' most rewarding output for Columbia. The sound was still rough and raw; an essential element in Miles' music which was toned down on 'Booger Bear' (1973) and all but dissapeared on the sugary 'All The Faces Of Buddy Miles' (1974) disc. Singles from the LP: - "Life Is What You Make It (Part 1)" b/w "Life Is What You Make It (Part 2)"; - "Elvira" b/w "Hear No Evil"
#36 R&B/#123 Pop Having achieved instant success at Columbia with the 'Carlos Santana & Buddy Miles! Live! LP' (1972), a proper studio record was released a year later. As it was Miles' seventh solo outing, it was dubbed Chapter VII. The line-up here is radically different when compared to his highly successful Mercury LPs; the Express had virtually ceased to exist after Miles' departure from that label. The only former Express-member to remain loosely attached to the Buddy Miles Band, as it was renamed, was multitalented Bob Hogins. A smaller brass section consisted of Sprague, Dhalston and Aplanalp, while the bassplayer, Ron Johnson, had also been present during the live gig with Santana in Hawaii. Lastly, it was guitarplayer Adrian Curtis that replaced both Marlo Henderson and Charlie Karp. All these personnel changes luckily had little effect on the all-out groove as prevalent here. In fact, 'Chapter VII' can rightfully be seen as Miles' last pure funkrock 'n' soul oriented LP, before succumbing to the disco trend from 1974 onwards. "L.A. Resurrection" opens this LP with a blast of greasy thick madness. Much like was the custom on the Express LPs, the new bandmembers introduce themselves here by taking the spotlight in turn. "Life Is What You Make It (Part 1)" simply is one of Buddy's most gripping, grooving and hardrocking compositions he ever wrote. His drumming seems to have only become louder, not slicker. Johnson's fat bass and Curtis' distorted effects on guitar push this monsterjam all the way over the top. Typically, it bombed on the charts when released on 45rpm. Buddy Miles still was a LP-musician and tracks such as "Life Is What You Make It" were far too loud for many R&B-programmers, and too 'black' for as many rockstations. Nonetheless, it's his best song for Columbia bar none. "Elvira" is a playful, uptempo ditty with virtually the entire band vocalizing, creating a layered effect of voices. "Hear No Evil" takes it back to fatback funkland, whereas "Love Affair" ends side A on a slightly syruppy note. Side B opens with "Life Is What You Make It (Part 2)", but despite the same name, it's a different textured track and not as powerful as Part 1. "Crossfire", on the other hand, is yet another highlight. It's filthy sleaze-funkrock at its nastiest, with Buddy kicking it firmly on the one and the band following suit. Closing the LP is Miles' (still) most introspective creation "There Was A Time", a mid-tempo, lurching jam in which the drummer sings about the days of anger and selfdoubt and eventually shares with the listener that those times had passed. A brilliant coda to a very worthwhile album. 'Chapter VII' without any question was Miles' most rewarding output for Columbia. The sound was still rough and raw; an essential element in Miles' music which was toned down on 'Booger Bear' (1973) and all but dissapeared on the sugary 'All The Faces Of Buddy Miles' (1974) disc. Singles from the LP: - "Life Is What You Make It (Part 1)" b/w "Life Is What You Make It (Part 2)"; - "Elvira" b/w "Hear No Evil"
	Buddy Miles Express Booger Bear (1973) #47 R&B/#194 Pop Annotation in progress. Singles from the LP: - "Thinking of You" b/w "Crazy Love"
#47 R&B/#194 Pop Annotation in progress. Singles from the LP: - "Thinking of You" b/w "Crazy Love"
	And the Flag was still there: Electric Flag Reunion In 1974, an ill-fated attempt to reunite The Electric Flag led to one pleasant if none too revolutionary LP.
In 1974, an ill-fated attempt to reunite The Electric Flag led to one pleasant if none too revolutionary LP.
	The Electric Flag The Band Kept Playing (1974) Did not chart In 1974, the original members of the Electric Flag came back together again for a reunion album which was doomed from the start. Despite quality material like Gravenites' "Earthquake Country", Buddy's own "Every Now & Then" and Bloomfield's better compositions, tracks like "Sweet Soul Music" and "Make Your Move" leaned very much towards uninspired, generic '70s rock. Jerry Wexler's production did little to increase the album's attractiveness and it died a slow death upon its release. Buddy Miles had no reason to worry, however, since his deal with Columbia records still proved very fruitful. [Singles from the LP: - "Every Now and Then" (Stereo) b/w "Every Now and Then" (Mono); - "Oh Doctor (Long Version)" b/w "Oh Doctor (Edited Version)"'[/b]
Did not chart In 1974, the original members of the Electric Flag came back together again for a reunion album which was doomed from the start. Despite quality material like Gravenites' "Earthquake Country", Buddy's own "Every Now & Then" and Bloomfield's better compositions, tracks like "Sweet Soul Music" and "Make Your Move" leaned very much towards uninspired, generic '70s rock. Jerry Wexler's production did little to increase the album's attractiveness and it died a slow death upon its release. Buddy Miles had no reason to worry, however, since his deal with Columbia records still proved very fruitful. [Singles from the LP: - "Every Now and Then" (Stereo) b/w "Every Now and Then" (Mono); - "Oh Doctor (Long Version)" b/w "Oh Doctor (Edited Version)"'[/b]
	One more time... Columbia Buddy's last album for Columbia showed which direction he was going...
Buddy's last album for Columbia showed which direction he was going...
	Buddy Miles All the Faces of Buddy Miles (1974) Did not chart On the back of the cover of 'All The Faces Of Buddy Miles', the drummer thanks God for his 'marriage' to Johnny Bristol, as well as the people who were supportive and positive of his 'new directions'. While Bristol certainly was a wonderful songwriter, composer and solo performer – his many written hits for Motown as well as his own successful material confirm this - the marriage Miles spoke about was more or less one of polar opposites. Buddy has always been closer to the raw soul of Muscle Shoals than the slicker Motown sound, leading one to to believe that the new directions taken by Miles were an effort to establish himself as another Teddy Pendergrass or Al Green. Therefore, maybe, this was the first LP to NOT feature Miles on drums, but strictly as a vocalist. Given the fact that the foundation for the songs here was laid by superb musicians as James Jamerson, Edward Greene and Ray Parker, the overall sound is great, but it's just miles away from Buddy's style. It's slick versus raw and perfection versus improvisation. "Pull Yourself Together", still a R&B hit for Miles, sets the tone for the remainder of the record; it's a snazzy, grooving tune, featuring tastefully arranged violins and a jazzy sax solo. "We Got Love" opens with a blaxploitation-like riff and despite the overall slickness still features pounding drums. "All The Faces" actually is a wonderful, slow and sentimental ballad containing a haunting build-up. On the other hand, the schmaltzy "I'm Just A Kiss Away" almost turns into a caricature of a showtune. Things are redeemed by the gospel/blues/country hybrid "It's Only The Good Times", featuring a nice intro on piano. Side B starts out with a nod to disco and the Philly International sound. Chirping choirs and heavy violins make "Got To Find Miss Right" one of the most commercial tunes included here. "Pain" is another ballad, which despite its potential (a vague Indian-like opening, plodding bass and haunting violins), suffers from overblown production, with a ghastly touch of synthesizer and a corny sax solo. "Kiss & Run" finally comes close to captivating the Buddy Miles sound; a fatback, pounding groove, quite sober in its arrangement and execution. "Wants & Needs (The Earth Song)" is not a composition dealing with the environmental issue, but rather a clever metaphoric reading. It opens with hornet-like sounds and is driven by a meaty bass and tasteful flutes and violins. Closing this album is the amazing "Baby Don't Stop (Sit On The Rock)", virtually an instrumental containing a spacy intro merging into a superb groove with hardhitting drums and again, subtle violins. 'All The Faces Of Buddy Miles' hardly is a disastrous record. In fact, it's quite good. The problem for Miles' fans who swear by his Mercury work, however, is the overall slickness of the LP and the lack of Miles' drumming. Singles from the LP: - "We Got Love" b/w "Pain"; - "Pull Yourself Together" (Stereo) (#79 Pop) b/w "Pull Yourself Together" (Mono)
Did not chart On the back of the cover of 'All The Faces Of Buddy Miles', the drummer thanks God for his 'marriage' to Johnny Bristol, as well as the people who were supportive and positive of his 'new directions'. While Bristol certainly was a wonderful songwriter, composer and solo performer – his many written hits for Motown as well as his own successful material confirm this - the marriage Miles spoke about was more or less one of polar opposites. Buddy has always been closer to the raw soul of Muscle Shoals than the slicker Motown sound, leading one to to believe that the new directions taken by Miles were an effort to establish himself as another Teddy Pendergrass or Al Green. Therefore, maybe, this was the first LP to NOT feature Miles on drums, but strictly as a vocalist. Given the fact that the foundation for the songs here was laid by superb musicians as James Jamerson, Edward Greene and Ray Parker, the overall sound is great, but it's just miles away from Buddy's style. It's slick versus raw and perfection versus improvisation. "Pull Yourself Together", still a R&B hit for Miles, sets the tone for the remainder of the record; it's a snazzy, grooving tune, featuring tastefully arranged violins and a jazzy sax solo. "We Got Love" opens with a blaxploitation-like riff and despite the overall slickness still features pounding drums. "All The Faces" actually is a wonderful, slow and sentimental ballad containing a haunting build-up. On the other hand, the schmaltzy "I'm Just A Kiss Away" almost turns into a caricature of a showtune. Things are redeemed by the gospel/blues/country hybrid "It's Only The Good Times", featuring a nice intro on piano. Side B starts out with a nod to disco and the Philly International sound. Chirping choirs and heavy violins make "Got To Find Miss Right" one of the most commercial tunes included here. "Pain" is another ballad, which despite its potential (a vague Indian-like opening, plodding bass and haunting violins), suffers from overblown production, with a ghastly touch of synthesizer and a corny sax solo. "Kiss & Run" finally comes close to captivating the Buddy Miles sound; a fatback, pounding groove, quite sober in its arrangement and execution. "Wants & Needs (The Earth Song)" is not a composition dealing with the environmental issue, but rather a clever metaphoric reading. It opens with hornet-like sounds and is driven by a meaty bass and tasteful flutes and violins. Closing this album is the amazing "Baby Don't Stop (Sit On The Rock)", virtually an instrumental containing a spacy intro merging into a superb groove with hardhitting drums and again, subtle violins. 'All The Faces Of Buddy Miles' hardly is a disastrous record. In fact, it's quite good. The problem for Miles' fans who swear by his Mercury work, however, is the overall slickness of the LP and the lack of Miles' drumming. Singles from the LP: - "We Got Love" b/w "Pain"; - "Pull Yourself Together" (Stereo) (#79 Pop) b/w "Pull Yourself Together" (Mono)
	Disco Inferno: The Casablanca Years Leaving Columbia in 1975, Buddy moved to the rapidly growing dance music label Casablance. His first recording effort for the label led to the man's least memorable album... things were redeemed somewhat when he got back behind the drums for the second LP.
Leaving Columbia in 1975, Buddy moved to the rapidly growing dance music label Casablance. His first recording effort for the label led to the man's least memorable album... things were redeemed somewhat when he got back behind the drums for the second LP.
	Buddy Miles More Miles Per Gallon (1975) #27 R&B/#68 Pop After the relative commercial failure of 'All the Faces of Buddy Miles', the drummer would cast his lot with the Casablanca label. Established in 1973 by Neil Bogart, it started out with acts like Kiss, but it would eventually turn into a monolith purveyor of dance music. While its roster included talented bands such as Masakela and Parliament, the majority of its artists were carefully construed disco units. Sadly, Miles' first LP for the label that also brought out albums by Donna Summer and the Village People fits more in Casablanca's rule than in its exception. Although Buddy had his biggest R&B hitsingle with the album's opener "Rockin' & Rollin' in the Streets of Hollywood", his sound – which had already been slicked up for the 'Faces' album, deteriorated. Strangely enough, P-Funk bandleader George Clinton must have liked the song, as its main hook seems to have been used for Parliament’s 1978 hit "Rumpofsteelskin". "Do It To Me" is more disco dance folly, layered with a ghastly synthesizer. And the only reason for the inclusion of "Blues City" seems to have been to showcase the irritating 'Magic Box' through which the guitar and vocals are played. "Nasty Disposition" on the other hand is a decent funk groove, helped a lot by the clavinet solo courtesy of Stevie Wonder. Also, it's lyrically a few steps beyond the bulk of 'More Miles Per Gallon'. The same can be said for the mid-tempo groove of "No Time for Sorrow", with infectious acoustic rhythm guitar patterns. Side B plunges right into more disco, though. "Nichols Canyon Fuunk" might have been a better funk instrumental if the horrendous synthesizers and 'Magic Boxes' were left off it. Furthermore, while the LP credits make no mention of Buddy Miles actually playing the drums on this album, I'm pretty sure he's behind the kit on this stomper. Next up is the album's highlight; the busy yet dreamy mid-tempo ballad "Livin' in the Right Space". The melody weaves in and out of catchy hooks and again, the lyrics set it apart from much of the remaining material. The longest cut, "You Don't Have a Kind Word to Say" also is a decent ballad with a hazey chorus, but once more overtly present synthesizers ruin its potential. While the final track, "My Last Words of Love", starts out with a drum machine, it actually is a nice ballad, again featuring acoustic guitars and, luckily, it's devoid of the irritating shrieks of synthesizers. The jazzy hornsolo enhances it greatly, as well. 'More Miles Per Gallon' turned out to become one of Buddy's biggest selling LPs but ironically enough, it would also be his last disc to reach the Pop and R&B charts until his 'California Raisins' album of 1986. It's a typical album of its time, hopelessly dated now. This demonstrates once again that commercial music may sell big numbers, but in the end, 'More Miles Per Gallon' comes nowhere near the creative brilliance of his rawer, more powerful albums for Mercury. Singles from the LP: - "Rockin' & Rollin' In the Streets of Hollywood" (#33 R&B/#91 Pop) b/w "Livin' in the Right Space"; - "Nasty Disposition" (#11 Disco) b/w "Do It to Me"
#27 R&B/#68 Pop After the relative commercial failure of 'All the Faces of Buddy Miles', the drummer would cast his lot with the Casablanca label. Established in 1973 by Neil Bogart, it started out with acts like Kiss, but it would eventually turn into a monolith purveyor of dance music. While its roster included talented bands such as Masakela and Parliament, the majority of its artists were carefully construed disco units. Sadly, Miles' first LP for the label that also brought out albums by Donna Summer and the Village People fits more in Casablanca's rule than in its exception. Although Buddy had his biggest R&B hitsingle with the album's opener "Rockin' & Rollin' in the Streets of Hollywood", his sound – which had already been slicked up for the 'Faces' album, deteriorated. Strangely enough, P-Funk bandleader George Clinton must have liked the song, as its main hook seems to have been used for Parliament’s 1978 hit "Rumpofsteelskin". "Do It To Me" is more disco dance folly, layered with a ghastly synthesizer. And the only reason for the inclusion of "Blues City" seems to have been to showcase the irritating 'Magic Box' through which the guitar and vocals are played. "Nasty Disposition" on the other hand is a decent funk groove, helped a lot by the clavinet solo courtesy of Stevie Wonder. Also, it's lyrically a few steps beyond the bulk of 'More Miles Per Gallon'. The same can be said for the mid-tempo groove of "No Time for Sorrow", with infectious acoustic rhythm guitar patterns. Side B plunges right into more disco, though. "Nichols Canyon Fuunk" might have been a better funk instrumental if the horrendous synthesizers and 'Magic Boxes' were left off it. Furthermore, while the LP credits make no mention of Buddy Miles actually playing the drums on this album, I'm pretty sure he's behind the kit on this stomper. Next up is the album's highlight; the busy yet dreamy mid-tempo ballad "Livin' in the Right Space". The melody weaves in and out of catchy hooks and again, the lyrics set it apart from much of the remaining material. The longest cut, "You Don't Have a Kind Word to Say" also is a decent ballad with a hazey chorus, but once more overtly present synthesizers ruin its potential. While the final track, "My Last Words of Love", starts out with a drum machine, it actually is a nice ballad, again featuring acoustic guitars and, luckily, it's devoid of the irritating shrieks of synthesizers. The jazzy hornsolo enhances it greatly, as well. 'More Miles Per Gallon' turned out to become one of Buddy's biggest selling LPs but ironically enough, it would also be his last disc to reach the Pop and R&B charts until his 'California Raisins' album of 1986. It's a typical album of its time, hopelessly dated now. This demonstrates once again that commercial music may sell big numbers, but in the end, 'More Miles Per Gallon' comes nowhere near the creative brilliance of his rawer, more powerful albums for Mercury. Singles from the LP: - "Rockin' & Rollin' In the Streets of Hollywood" (#33 R&B/#91 Pop) b/w "Livin' in the Right Space"; - "Nasty Disposition" (#11 Disco) b/w "Do It to Me"
	Buddy Miles Bicentennial Gathering of the Tribes (1976) Did not chart While 'More Miles Per Gallon' certainly ranks as one of Buddy's least compelling albums, his second LP for Casablanca shows that Miles himself wasn't too pleased with the overproduction, the synthesizers and the meaningless lyrics. 'Bicentennial Gathering Of The Tribes' is a pleasant surpise after that disco-infested longplayer. For one, it features Buddy Miles back on drums on a few selections. Secondly, Miles' songwriting here grasped back to his earlier years, with powerful political numbers and message-driven ballads. Finally, the synthesizer is virtually banned from this album. These three components put together make the sound simpler but far more compelling. "Now's The Time (You Got To Be Real)" starts off with a pumping bassline and includes that ol' timey feel of the Hammond organ (both, incidentally, played by Miles himself.) It's a funky, bluesy stomper with a fantastic chorus. The only selection to appear on single, "Where You Gonna Run To Lady", is another retro tune, a slow groove featuring acoustic guitars over a descending melodic pattern. "Inflation" is the best track here, and sort of an anthem hailing back to the days of Hippiedom; Buddy is positive here that through working together, the inflation and its consequences then crippling the economy could be dealt with. It's a gritty, flowing hardfunk gem, with an infectious chant in its outro. "I've Got To Be Me" is about as introspective as "There Was A Time", but this time Miles also throws in a little social commentary for his 'brothers and sisters'. Tunes like this one and "Inflation" surely make one wonder if this is still a LP released by the Casbah! The B-side opens with another wonderful piece. "Grecian Lady" features close harmonies, more acoustic guitars and a tasteful sitar solo by Ben Schultz. It's almost a folksy affair, yet still funky. The one-chorded structure creates a hypnotizing effect, making this song one of Buddy's best creations that is sadly forgotten. "Won't You Be My Friend" starts off promising as well with a gurgling bass and a rippling solo on organ. Unfortunately, it is marred by a synthesizer and chirping female backing vocals. "Searchin' (For Love)" gets the LP back on track, however. A nice, slow ballad, almost country-esque due to the slide-guitar lines. The sole instrumental here is a frantic heavy metal workout titled "Reuben (The Hurricane)", as a tribute to the black boxer Reuben Carter, who at that time was jailed for murder while evidence for his involvement was shakey to say the least. It only features Buddy and Schultz, but it's a hardrock nutcracker all the way. Closing the album is an eclectic, fastpaced P-Funkish groove titled "Wake Me Shake Me". 'Bicentennial Gathering Of The Tribes' is a must for hardcore Buddy Miles fans. It's such an improvement over 'More Miles Per Gallon' and shows that in 1976, Miles hadn't run out of ideas at all. In fact, with the inclusion of hard-hitting social topics, it was his most 'socially conscientious' outing since 'We Got To Live Together'. Singles from the LP: - "Where You Gonna Run to Lady" b/w "Reuben (The Hurricane)"
Did not chart While 'More Miles Per Gallon' certainly ranks as one of Buddy's least compelling albums, his second LP for Casablanca shows that Miles himself wasn't too pleased with the overproduction, the synthesizers and the meaningless lyrics. 'Bicentennial Gathering Of The Tribes' is a pleasant surpise after that disco-infested longplayer. For one, it features Buddy Miles back on drums on a few selections. Secondly, Miles' songwriting here grasped back to his earlier years, with powerful political numbers and message-driven ballads. Finally, the synthesizer is virtually banned from this album. These three components put together make the sound simpler but far more compelling. "Now's The Time (You Got To Be Real)" starts off with a pumping bassline and includes that ol' timey feel of the Hammond organ (both, incidentally, played by Miles himself.) It's a funky, bluesy stomper with a fantastic chorus. The only selection to appear on single, "Where You Gonna Run To Lady", is another retro tune, a slow groove featuring acoustic guitars over a descending melodic pattern. "Inflation" is the best track here, and sort of an anthem hailing back to the days of Hippiedom; Buddy is positive here that through working together, the inflation and its consequences then crippling the economy could be dealt with. It's a gritty, flowing hardfunk gem, with an infectious chant in its outro. "I've Got To Be Me" is about as introspective as "There Was A Time", but this time Miles also throws in a little social commentary for his 'brothers and sisters'. Tunes like this one and "Inflation" surely make one wonder if this is still a LP released by the Casbah! The B-side opens with another wonderful piece. "Grecian Lady" features close harmonies, more acoustic guitars and a tasteful sitar solo by Ben Schultz. It's almost a folksy affair, yet still funky. The one-chorded structure creates a hypnotizing effect, making this song one of Buddy's best creations that is sadly forgotten. "Won't You Be My Friend" starts off promising as well with a gurgling bass and a rippling solo on organ. Unfortunately, it is marred by a synthesizer and chirping female backing vocals. "Searchin' (For Love)" gets the LP back on track, however. A nice, slow ballad, almost country-esque due to the slide-guitar lines. The sole instrumental here is a frantic heavy metal workout titled "Reuben (The Hurricane)", as a tribute to the black boxer Reuben Carter, who at that time was jailed for murder while evidence for his involvement was shakey to say the least. It only features Buddy and Schultz, but it's a hardrock nutcracker all the way. Closing the album is an eclectic, fastpaced P-Funkish groove titled "Wake Me Shake Me". 'Bicentennial Gathering Of The Tribes' is a must for hardcore Buddy Miles fans. It's such an improvement over 'More Miles Per Gallon' and shows that in 1976, Miles hadn't run out of ideas at all. In fact, with the inclusion of hard-hitting social topics, it was his most 'socially conscientious' outing since 'We Got To Live Together'. Singles from the LP: - "Where You Gonna Run to Lady" b/w "Reuben (The Hurricane)"
	We want the Funk: Buddy Miles with Funkadelic Having met at Casablanca, Buddy Miles joined the super freaky P-Funkers, headed by George Clinton, for one blast of hard-rocking funk.
Having met at Casablanca, Buddy Miles joined the super freaky P-Funkers, headed by George Clinton, for one blast of hard-rocking funk.
	Funkadelic Hardcore Jollies (1976) #12 R&B/#96 Pop Buddy kicks out the jam on the album's opener, a schizophrenic take on the traditional "Comin' 'Round the Mountain". Singles from the LP featuring Buddy: - "Comin' 'Round the Mountain" (Stereo) b/w "Comin' 'Round the Mountain" (Mono)
#12 R&B/#96 Pop Buddy kicks out the jam on the album's opener, a schizophrenic take on the traditional "Comin' 'Round the Mountain". Singles from the LP featuring Buddy: - "Comin' 'Round the Mountain" (Stereo) b/w "Comin' 'Round the Mountain" (Mono)
	Meep Meep: That's all folks... Before vanishing in semi-obscurity through jail-time and resurrecting in the mid-80s through Santana and the California Raisins, Buddy dropped one last FUNK BOMB on the masses with the independently produced 'Roadrunner'...
Before vanishing in semi-obscurity through jail-time and resurrecting in the mid-80s through Santana and the California Raisins, Buddy dropped one last FUNK BOMB on the masses with the independently produced 'Roadrunner'...
	Buddy Miles Road Runner (1977) Did not chart Obscure album by Buddy Miles for the Tulsa-based T. Town label, released in 1977. After the synth-heavy 'More Miles Per Gallon', and the somewhat better 'Bicentennial Gathering' for Casablanca, this LP is a breathe of fresh air: low-fi production, raw and funky. Actually has some 'meep meeps' in the mix. More to come on this rarity... Singles from the LP: - "Roadrunner Stomp" b/w "I Love You More and More"
Did not chart Obscure album by Buddy Miles for the Tulsa-based T. Town label, released in 1977. After the synth-heavy 'More Miles Per Gallon', and the somewhat better 'Bicentennial Gathering' for Casablanca, this LP is a breathe of fresh air: low-fi production, raw and funky. Actually has some 'meep meeps' in the mix. More to come on this rarity... Singles from the LP: - "Roadrunner Stomp" b/w "I Love You More and More"
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Them Changes: The Buddy Miles Discography 1967-1977

A Long Time Comin' (1968)

The Electric Flag (1968)

Expressway to Your Skull (1968)

Electric Church (1969)

Fathers and Sons (1969)

Band of Gypsys (1970)

Live at the Fillmore East (1999)

Them Changes (1970)

We Got to Live Together (1970)

A Message to the People (1971)

Live (1971)

Devotion (1970)

Carlos Santana & Buddy Miles

Carlos Santana & Buddy Miles! Live! (1972)

Chapter VII (1973)

Booger Bear (1973)

The Band Kept Playing (1974)

All the Faces of Buddy Miles (1974)

More Miles Per Gallon (1975)

Bicentennial Gathering of the Tribes (1976)

Hardcore Jollies (1976)

Road Runner (1977)