The South African Rock Encyclopedia > Rock Legends > 1970s / 1980s > Buffalo featuring Peter Vee > Discography > Buffalo featuring Peter Vee – Magic Carpet Ride
Tracks
- Hey! Big Brother (Dino Fekaris / Nick Zesses) (4:37) Rare Earth cover
- Jumping Jack Flash (Medley) (6:36)
a) Jumping Jack Flash (Mick Jagger / Keith Richards) The Rolling Stones cover
b) All Right Now (Andy Fraser / Paul Rodgers) Free cover
c) Birthday (John Lennon / Paul McCartney) The Beatles cover - All Along The Watchtower (Bob Dylan) (3:56) Bob Dylan / Jimi Hendrix cover
- Magic Carpet Ride (John Kay / Rushton Moreve) (4:27) Steppenwolf cover
- The Game Of Love (Clint Ballard Jr.) (4:06) Wayne Fontana and The Mindbenders cover
- Let’s Work Together (Wilbert Harrison) (4:07) Wilbert Harrison / Canned Heat cover
- Black Night (Medley) (4:27)
a) Black Night (Ritchie Blackmore / Ian Gillan / Jon Lord / Ian Paice / Roger Glover) Deep Purple cover
b) Smoke On The Water (Ritchie Blackmore / Ian Gillan / Jon Lord / Ian Paice / Roger Glover) Deep Purple cover
Produced by Peter Vee & Malcolm Watson
Arranged by Malcolm Watson
Engineered by Glen Pearce
Disco Consultant – Julian Cohen
Concept – Peter Vee
Musicians
No musicians are listed, however it is likely that they are similar to those that played on the Born To Be Wild album.
Brian Currin
Release information
LP: 1979, Bullet Records, BU(L) 552
LP: 1990, Steel Street Records, Steel (O) 4
From the inner sleeve
By Peter Vee
Buffalo started out in 1978 as a result of a concept first developed by myself after spending long, frustrating hours in discos and realising that, although, disco music certainly has incredible appeal for anyone who wants to let it all hang out and dance, dance, dance, in most cases it lacks a lasting quality in the actual songs. I do know, however, that during the late 60’s a hard driving rock and soul music made it’s first appearance and offered the people a choice – to dance or listen as it contained both these essential ingredients in making the songs and excitement of the 60’s a very important factor in the evolution of pop music. As Buffalo we have tried to retain as much of this excitement and melodic content in the revival of some of the classics of this era.
Much credit is to be extended to the people who shared in the embryonic stages of repertoire selection and basic enthusiasm in the concept of this record. I hope that I haven’t forgotten anyone. Here goes! Ken Haycock, Howard Ipp, Julian Cohen, Mac, Judy, Koloi and Melanie, and a great big thank you to Mally Watson. Without his support the Buffalo would have been totally extinct.
“When no one else but your friends believe in you; Believe in yourself and show them their faith is justified”
Review
by John Samson, SA Rock Digest #104, May 2001
What Peter Vee wanted to do with the music produced by Buffalo was to blend the then popular disco style of music with the classic songs of the 60s to create disco music with some substance to it. Cover versions of rock classics are usually hit or miss affairs, with most being misses. (Westlife – ‘Uptown Girl’, Madonna ‘American Pie’; the defence rests).
To a large degree he manages to pull it off with most of the tracks being funky disco tracks that rock. The prime example being the title track the rhythm of which could almost have been the basis around which Ray Parker Jr. built his smash hit ‘Ghostbusters’ as it has a similar feel. Other rockers are the two medleys on the album, the first containing the Stones’ ‘Jumping Jack Flash’ and Free’s ‘All Right Now’, the second covering Deep Purple’s ‘Black Night’ and the classic ‘Smoke on the Water’.
For pure rock lovers, the girly chorus repeatedly singing lines like ‘All Along the Watchtower’ and ‘Smoke on the Water’ on the songs of the same name will probably jar, but this along with the thumping beat gives the album the disco credibility that Vee was looking for.
Mention should be made of the vocal performance of Vee as it is gutsy and generally remains faithful to the rock ethos of the originals but is disco tinged enough to compliment the beat.
Despite all the rock influences this is decidedly a disco album, and a good one at that. But it is not mindless disco that was evident around that time (think Ottowan with “D.I.S.C.O.”). It’s disco that rocks. Alternatively you can look at it as rock that you can dance to (as opposed to headbanging to.) Purists on either side of the fence will probably dismiss this, but I suspect that the disco purists will be less vehement.
Thanks to John Samson and Discogs for information