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Sonny Flaharty And The Mark V ‎- Hey Conductor (1965-67 us, awesome fuzzy garage psych)

November 12, 2013, 9:19 pm
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Dayton, Ohio’s Sonny Flaharty had been recording since the late 50s. In 1965 he helped a local band called the Rich Kids produce a demo. He ran into them again calling themselves the Mark V “direct from Toronto, Canada”! They asked Sonny to join the band but according to Sonny, “the only problem we had was with my past. I was very well known in Dayton. The band didn’t want to be associated with ‘Old Time Rock and Roll’”!

They changed their names and tried to pass themselves off as English or at least Canadian. They didn’t fool anyone for long, but there was nothing ‘old time’ about their music. Shad O’Shea of Cincinnati’s Counterpart Records asked them to record Sonny’s original, “Hey Conductor”.

There was a nine-month delay between the recording and the release of “Hey Conductor”. In the meantime Mike Losecamp (aka Haywood Lovelace), who played the distinctive organ on the record left to join the Cyrkle.

Once released Hey Conductor was a sizeable hit, selling in the thousands and immediately picked up by Phillips for national distribution. The good times didn’t last long, as its lyrics hinting at drug experiences got it banned on radio before it could break nationally. The song’s frantic pace, strange fuzz guitar and syncopated organ make it an often-heard record at dj nights even today.
by Chas Kit

"Hey Conductor" provided both a sizeable hit and new lease of life for one-time rockabilly Sonny Flaharty. Fuelled by a paper 'n' comb sounding fuzztone 12-string and a piping Farfisa organ (which candidly borrows the main riff from Ray Charles'"I Don't Need No Doctor") the discs crisp production and Flaharty's youthful voice make for a powerful, but polished, effort. Superb! The rest of this collection features a selection of songs that appear to be from the sessions the band recorded for RCA in 1967, supposedly for an album. 

These range from the frantic "Whole Lotta Shakin'," which is a wild, punkish take on the Lewis standard "Make a Woman" (a fine example of the fragmented riffed garage sound strongly inspired by the Raiders'"Just Like Me"), and the far softer "La La Song" and "When I Close My Eyes," which sound very similar to Merrell Fankhauser's psychedelic folk-rock efforts from the same time and the Strawberry Alarm Clock. Also included is the frat-instro "Coconut Stomp Part 1 & 2" by the earlier Young Americans. Pebbles and Nuggets fans will be enthralled by these rare sides. 
by Jon "Mojo" Mills


Tracks
1. Whole Lotta Shakin' (S. Flaharty, R. Bushbaum) - 1:59
2. Coconut Stomp Pt. 1 - 2:05
3. Coconut Stomp Pt. 2 - 1:38
4. Make A Woman - 1:53
5. The Mark V - 2:32
6. Do It - 2:46
7. Hey Conductor - 2:32
8. For All Of Us - 3:10
9. Harmonica Man - 2:24
10.La La Song - 2:03
11.When I Close My Eyes (J. Wyatt) - 2:26
12.Can't Buy My Soul - 2:29
All somgs by Sonny Flaharty except where noted

Sonny Flaharty And The Mark V
*Sonny Flaharty - Vocals, Guitar
*Jason Hollingsworth “Jason Starbuck” - Guitar
*Jim Wyatt “Farnsworth Wyatt” - Bass
*Mike Losecamp “Mike Lovelace” – Piano, Vox Organ
*N.D. Smart - Drums
*Susan Darby - Lead Vocal

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John Sebastian - Faithful Virtue, The Reprise Recordings (1969-76 us, wonderful folk blended with various tunes, three disc set)

November 13, 2013, 10:52 pm
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This set is the final word on the '70s solo recordings of singer/songwriter John Sebastian. Compiled over three discs are all five of his LPs for the Reprise label: John B. Sebastian, Cheapo-Cheapo Productions Presents Real Live John Sebastian, The Four of Us, Tarzana Kid, and Welcome Back. Additionally, there is an extra half-hour of live material, most of which is issued here for the first time. 

As he had done with the Lovin' Spoonful, Sebastian's emotive and thought-provoking lyrics prove to be his strongest suit. "How Have You Been,""I Had a Dream," and "Rainbows All Over Your Blues" best reflect the continuation of the introspective musical and lyrical themes that he had first explored on tracks such as "Younger Generation" and "Darlin' Be Home Soon." However, the album was far from being acoustic and weepy. "Red-Eye Express,""What She Thinks About," and "Baby, Don't Ya Get Crazy" are up-tempo rockers featuring the likes of Dallas Taylor (drums), Harvey Brooks (bass), and Stephen Stills (guitar). 

Sebastian's second long-player -- Cheapo-Cheapo Productions Presents Real Live John Sebastian -- was issued to counteract the potential damage of a completely unauthorized live package released by MGM Records. The results are wholly fulfilling and feature a simple duo of Sebastian (guitar/vocals) and Paul Harris (piano). In addition to playing favorites such as "Nashville Cats,""Did You Ever Have to Make up Your Mind," and "Lovin' You," he also cooked up some vintage jug band blues on "Mobile Line" and a crowd-rousing loose aggregate of oldies including "In the Still of the Night" and "Blue Suede Shoes." 

The Four of Us returns Sebastian back to his folk/blues roots on "Well, Well, Well" and "Black Snake Blues." The extended title track is a picturesque travelogue of places and events between two couples approaching middle age. Although the album did not do well at the cash register when it was issued, it has retained an irresistible harmony and sense of charm. Tarzana Kid suffered much the same fate as its predecessor. This is doubly unfortunate, as it likewise features some of Sebastian's best studio sides, including his serene cover of Jimmy Cliff's "Sitting in Limbo," Lowell George's "Dixie Chicken," and again a return to his roots with "Sportin' Life." 

Tarzana Kid is an all-star affair with the likes of David Grisman (mandolin), Ry Cooder (guitar), and David Lindley (guitar), and teamed Sebastian back up with his former producer from the Lovin' Spoonful, Erik Jacobsen. As he points out in his riveting liner notes essay, the only reason that the Welcome Back album was issued was in support of the title track, which had become a chart-topping hit as well as the theme song to the television situation comedy of the same name. That point aside, there are a few outstanding pieces, including reworked versions of "Didn't Want to Have to Do It" and "Warm Baby." 

A real treat awaits listeners at the end of disc three, with no less than two vintage live sets. The first includes Sebastian's entire five-song performance from the Woodstock Music and Art Fair. The second is from Winterland Arena in San Francisco during the fall of 1969. For true fans, these recordings represent a grail of sorts. Faithful Virtue: The Reprise Recordings also includes a 48-page liner notes booklet with previously unissued photos and memorabilia. Additionally, there is a separate six-panel foldout poster that also contains all the lyrics from the five long-players. The North American release is limited to an edition of 3,000 and is available via the Rhino HandMade Internet audio salon.
by Lindsay Planer


Tracks
Disc 1
1. Red Eye-Express - 2:57
2. She's a Lady - 1:45
3. What She Thinks About - 3:04
4. Magical Connection - 2:49
5. You're a Big Boy Now - 2:49
6. Rainbows All Over Your Blues - 2:27
7. How Have You Been - 4:12
8. Baby, Don't Ya Get Crazy - 3:00
9. The Room Nobody Lives In - 3:13
10.Fa-Fana-Fa - 2:48
11.I Had a Dream - 2:48
12.Mobile Line (Gonna Carry Me Away from the Bull Frog Blues) (Peter Stampfel) - 2:31
13.Lovin' You - 2:46
14.Fishin' Blues - 3:42
15.Younger Girl - 3:00
16.Did You Ever Have to Make Up Your Mind - 3:03
17.Rooty-Toot - 2:52
18.In the Still of the Night (Fred Parris) - 2:43
19.Teen Angel (Jean Surrey) - 0:42
20.Blue Suede Shoes (Carl Perkins) - 1:49
21.Ballad of a Teenage Queen (Jack Clement) - 0:49
22.Nashville Cats - 2:56
23.Waiting for a Train (Jimmie Rodgers) - 2:49
24.My Gal (Steve Boone, Erik Jacobsen) - 3:16
25.Younger Generation - 3:31
26.Darling Be Home Soon - 4:12
27.Blues for Dad and JB's Happy Harmonica - 3:41
28.Amy's Theme - 1:49 
All songs by John B. Sebastian excpet as else stated.


Disc 2
1. Goodnight Irene (Lead Belly, John A. Lomax) - 4:50
2. Well, Well, Well (Traditional) - 2:20
3. Black Snake Blues (Clifton Chenier) - 2:29
4. I Don't Want Nobody Else - 3:17
5. Apple Hill - 3:09
6. Black Satin Kid - 2:39
7. We'll See - 2:05
8. Sweet Muse - 3:56
9. The Four of Us - 15:58
10.Give Us a Break - 3:41
11.Music for People Who Don't Speak English - 3:53
12.Sitting in Limbo (Gully Bright, Jimmy Cliff) - 3:27
13.Friends Again - 2:29
14.Dixie Chicken (Lowell George, Martin Kibbee) - 3:49
15.Stories We Could Tell - 3:14
16.Face of Appalachia (Lowell George) - 4:21
17.Wildwood Flower (A.P. Carter) - 1:42
18.Wild About My Lovin' (Traditional) - 3:05
19.Singing the Blues (Melvin Endsley) - 2:22
20.Sportin' Life (Steve Boone,,Zal Yanovsky) - 3:09
21.Harpoon (Ricky Sebastain) - 2:21 
All songs by John B. Sebastian excpet where indicated


Disc 3
1. Hideaway - 2:55
2. She's Funny - 3:34
3. You Go Your Way and I'll Go Mine - 2:57
4. Didn't Wanna Have to Do It - 3:22
5. One Step Forward, Two Steps Back - 4:36
6. Welcome Back song review - 2:50
7. I Needed Her Most When I Told Her to Go - 2:56
8. A Song a Day in Nashville - 4:00
9. Warm Baby - 2:34
10.Let This Be Our Time to Get Along - 3:12
11.How Have You Been - 7:19
12.Rainbows All Over Your Blues - 3:09
13.I Had a Dream - 3:23
14.Darling Be Home Soon - 5:50
15.Younger Generation - 3:35
16.Sitting on Top of the World (Lonnie Chatmon, Walter Vinson) - 3:39
17.Magical Connection - 4:11
18.You're a Big Boy Now - 4:17
19.I Found a Dream (Lonnie Johnson) - 2:50
20.Daydream - 3:32
21.Younger Girl - 1:58
All songs by John B. Sebastian excpet where noted

Musicians
*John Sebastian - Vocals, Autoharp, Dulcimer, Guitars, Harmonica, Harmonium, Marimba, Native American Drums, Piano, Six String Banjo
*Kenny Altman - Bass
*Reinol Andino - Congas
*Jeff Baxter - Pedal Steel
*Richard Bell - Clavinet, Piano, Piano
*Blintzes - Vocal Harmony
*Harvey Brooks - Bass
*Ry Cooder - Mandolin, Slide Guitar
*David Crosby - Guitar
*Russell Dashiell - Guitars
*Buddy Emmons - Pedal Steel
*The Esso Trinidad Steel Band - Pans
*Phil Everly - Vocals
*Amos Garrett - Guitars
*Lowell George - Guitars, Vocals
*Jim Gordon - Drums
*David Grisman - Mandolin
*Bobbye Hall - Congas
*Emmylou Harris - Vocals
*Paul Harris - Harmonium, Keyboards, Orchestral Arrangements, Organ, Piano
*Milt Holland - Drums
*David Hungate - Bass
*The Ikettes - Vocals
*Reggie Knighton - Guitar, Vocal Harmony
*Ron Koss - Guitar
*Bruce Langhorne - Tambourine
*Gayle Levant - Harp
*Jon Lind - Vocal Harmony
*David Lindley - Fiddle
*Buzzy Linhart - Vibraphone, Voices
*Jerry Mckuen - Guitar
*Graham Nash - Vocal Harmony
*Ray Neopolitan - Bass
*Richie Olson - Clarinet
*Michael Omartian - Arp Synthesizer, Marimba
*David Paich - String Arrangements
*Felix Pappalardi - Bass
*The Pointer Sisters - Vocals
*Jeff Porcaro - Drums
*Greg Reeves - Bass
*Kelly Shanahan - Drums
*Peter Stampfel - Composer
*Stephen Stills - Guitar
*Stone Warblers - Handclapping, Instrumentation, Vocals
*Dallas Taylor - Drums
*Murray Weinstock - Piano
*Danny Weiss - Electric Harpsichord, Guitar

 with Lovin' Spoonful
1965  Do You Believe In Magic
1966  Daydream (Japan remaster)
1966  Hums Of The Lovin' Spoonful (Japan remaster)
1967-68  You're A Big Boy Now / Everything Playing (2011 edition)

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Elderberry Jak - Long Overdue (1970 us, terrific psych rock melted with blues and folk, Gear Fab edition)

November 15, 2013, 8:54 am
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Imagine a time: Without cable TV, when more in-home screens  were black-andwhite than color. When FM radio stations were exceptions, not rules. When interstates and other four-lane highways were  in their infancy. We're talking more than 40 years ago, when much of the world seemed far more distant than now for those of us growing up on the north end of the Appalachian coal fields. It was a time when local musicians with dreams of rock 'n' roll success weren't sure music's stars could ever shine on someone from  these parts.

Elderberry Jak changed that with the release of "Long Overdue," on Nashville-based Silver Fox Records, which was owned by singer Kenny Rogers' brother Leland. Now, anyone with a computer can put their music in front of millions of potential listeners without ever leaving home. They just record the songs and upload them to Web sites like MP3.com. Randy Worsham, a singer/songwriter I played bass for in Spingfield, Mo., a few years ago, has done that. So has Joe Cerisano, Elderberry Jak's lead vocalist, with his more recent work. 

When "Long Overdue" first made its way onto vinyl, however, home computers as powerful as the Commodore 64, the 64 standing for 64 kilobytes of random access memory, were still on the drawing board. Most of us send email photos today that are larger than 64K! Back then, the hotspots in the still-young rock universe seemed as far away from north central West Virginia as the stars in Orion's belt. Things were happening in L.A., London and New York. Geez; Pittsburgh was a two-hour trip back then! Many of us who practiced in garages to play weekends in tiny little clubs around there took heart and hope in Elderberry Jak's success. Heck, I played covers of several "Long Overdue" cuts; "Changes,""Forest on the Mountain," Wishing Well," and "Vance's Blues."

"Little Joe," the late Dave Coombs, Joe Hartman and Tom Nicholas were several years older. I started playing locally, keyboards back then, after their debut album was recorded and released, and they'd gone on the road to support it. Dozens of Volkswagens now sit in the parking lot of what was, back then, The White House - along U.S. 119, north of Morgantown, almost to the Pennsylvania state line. To this second, I can recall the butterflies I got as a teenager the night. I first played there as a member of a Fayette County, Pa., band called Brimstone. Like the guys in Jak, my bandmates were several years my senior. A couple of them had jammed with Cerisano and Coombs when they were still part of J.B. and the Bonnevilles, pre-Elderberry Jak. All night long during that first White House gig, I willed us to be as good as Jak; but not with the goal of getting a record deal. At that point, none of us had even started working on original material.

Rather, my wish simply was that we use the stage, and those four 45-minute sets, as well as Elderberry Jak did because they showed all of us that it could be done. Even coal-patch musicians from this part of the world had a shot at realizing our goals if we let the music do the talking and respected it... worked at it... as much as some of those who'd crossed that stage before us. The White House was the only nightspot I ever played that Jak had ruled around here before recording "Long Overdue." As a result, the nights spent on its stage are among my fondest musical memories. Meeting Joe Cerisano also is among them. He continues to sing songs on the soundtrack of my musical dreams.

Inspiration provided through the years by "Long Overdue" helped me achieve much of what I had hoped to in music. Some goals remain, so I keep listening to Jak to remind me that it's never too late. Some might argue; but from here, it seems Jak was ahead of its time. Listen to Hartman's pounding double-bass footwork on "Vance's Blues"and "Changes," for example. Jon Bonham, of Led Zeppelin, was playing that way back then. But most of the others - Alex Van Halen, Tommy Aldridge (Black Oak Arkansas, PatTravers and Whitesnake), Denny Carmassi (Montrose and Heart) were at least a few years away from the spotlight.

Nicholas' guitar work rivals the kind of thick, chunky and powerful hard rock riffs that helped Joe Walsh become a star with The James Gang, which he parlayed into a successful solo career and a long stint as arguably the most brash member of The Eagles. Coombs' bass made every song work. He kept the rhythm with Hartman while using every inch of his guitar's fingerboard to find just the right notes for every measure of every Jak original. Measure Cerisano's talent by the full body of his professional work. First with Jak, later with Silver Condor and as an alwaysworking studio musician, and more recently on solo releases and tours with the Trans Siberia Orchestra, "Little Joe" remains big on the ability to lend just the right touch to every lyric he sings.

What we have here is proof that these four men, together, made and played their music from the heart and soul. That this wonderful album has made its way to CD is a blessing beyond belief.
by Tim Lilley


Tracks
1. Going Back Home - 3:17
2. Forrest On The Mountain (Mike Snyder) - 2:51
3. Vance's Blues - 3:47
4. Inspired (Mike Snyder) - 3:29
5. Restless Feeling - 3:40
6. Wish Me Well (Brooker, Reid) - 3:25
7. Mr. Sun - 3:43
8. My Lady - 3:45
9. Changes - 4:51
10.You're The One (Mike Snyder) - 4:01
All songs by Elderberry Jak except where noted

Elderberry Jak
*Joe Cerisano - Vocals
*Tom Nicholas - Guitar, Vocals
*Dave Coombs - Bass, Vocals
*Joe Hartman - Drums, Vocals

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Corpus - Creation A Child (1971 us, spectacular texas hard acid rock, 2011 Axis remaster)

November 16, 2013, 4:48 am
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'Underrated, partly outstanding ballsy 1970s rock album in the Texas style, which means good production, strong vocals, and solid playing all around. Some of it is rootsy blues-rock which wins out on pure class and power, but the highlights are undoubtedly two psych-flavored epics that could easily slide onto the Garrett Lund or D.R. Hooker LPs: the nocturnal, moodily jazz-tinged Mythical Dream and the even better Joy, whose combination of soaring vocals and superbly controlled feedback licks will have any fan of 70s private press sounds flip out... 

The music is given additional appeal by realistic lyrics about relationships and fatherhood, planned and unplanned, that retain a male perspective without degenerating into macho cliches. I bet these guys were local heroes among kids cruising around Corpus, and in another time and place they would have hit the big time. Despite reservations, impressive and a must hear for 1970s rock fans, while undoubtedly too much 'classic rock' for '60s guys. A marvy cosmic yet primitive sleeve adds bonus points'.
The Acid Archives


Tracks
1. Cruising - 3:51
2. Joy - 6:20
3. Marriage - 3:38
4. Creation A Child - 6:54
5. Just A Man - 3:17
6. We Can Make It, Luv - 2:30
7. Not Mine - 3:31
8. Where Is She? - 3:36
9. Mythical Dream - 4:55
All songs by W. Grate, J. Castillo, F. Lianes, R. Deleon and G. Pena Jr.

Corpus
*William Grate - Lead Guitar, Background Vocals
*James Castillo (Beaver) - Bass
*Frudy Lianes - Drums
*Richard Deleon (De-De) - Rhythm Guitar, Lead Vocals
*Gilbert Pena Jr. - Lyrics

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Witch - We Intend To Cause Havoc (1972-77 zambia, the complete works of legendary garage, psych, prog, funk, afro-rock ensemble, true masterwork, four discs box set, 2012 Now Sounds release)

November 17, 2013, 4:26 am
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A pioneering group from the nation of Zambia, Witch (the name was an acronym, standing for We Intend To Cause Havoc) were one of the defining acts of Zamrock, a fusion of Western rock and rhythm & blues with traditional African sounds; they were among Zambia's most popular and influential bands in the 1970s as a wave of psychedelic and hard rock gained an audience in Africa. 

A landlocked nation in the South of Africa, Zambia was formerly Northern Rhodesia until gaining its independence in 1964, and as Zambia established its own national identity, local musicians began embracing the progressive influences of artists such as the Beatles, the Rolling Stones, and Jimi Hendrix, as well as the forward-thinking soul and funk sounds of James Brown. 

By the mid-'70s, Zambia was falling into political chaos as the nation's once profitable mining industry ran dry, and many Zamrock bands reflected this with a darker, more psychedelic-influenced sound that suggested a familiarity with the likes of Deep Purple and Grand Funk Railroad. 

Witch included vocalist Emanyeo "Jagari" Chanda, guitarists Chris Mbewe and John Muma, bassist Gedeon Mulenga, and drummer Boidi Sinkala, who were veterans of Zambian cover bands of the late '60s; Chanda (whose nickname "Jagari" came from his fascination with Mick Jagger, one of his strongest influences) had worked with the Red Balloons and the Boyfriends (the latter group would evolve into another key Zamrock outfit, Peace), while most of the other members were members of Kingston Market. In 1971, Chanda sang with Kingston Market at a school function, and he was soon invited to join the group; they soon changed their name to the Mighty Witch, and then simply Witch, using the acronym they'd coined as explanation. Fueled by marijuana and Western rock and soul, the group's debut album, Introduction, was released in 1972, and was among the first commercially released LPs issued in Zambia. 

Witch's third album, 1975's Lazy Bones!!, is generally regarded as their finest work; while they were hampered by the primitive recording technology available in Africa, they developed a large following in Zambia and were playing stadium-sized shows throughout the continent.

After Witch toured as an opening act for Osibisa, the U.K.-based Afro-rock band, they began including more local influences on their final two albums, Lukombo Vibes and Including Janet (Single), but in 1977 the group began to splinter when Chanda left the band to return to school and become a teacher, and the rise of disco and loss of venues for live music did the rest. 

Chanda also became a born-again Christian, which he cites as one of the reason he avoided the fate that befell his bandmates; as the AIDS epidemic swept through Africa, the Zambian musical community was hit especially hard, and like most key Zamrock musicians of the 1970s, Mbewe, Muma, Mulenga, and Sinkala all succumbed to the disease. 

In the 21st century, crate diggers interested in idiosyncratic rock sounds from around the world rediscovered Witch, and the German reissue label Shadoks brought out new CD editions of Introduction and Lazy Bones!! In 2012 the American label Now Again Records released a comprehensive Witch box set that featured their five studio albums plus a bonus collection of single tracks and unreleased material. 
by Mark Deming 

Witch's five albums and rare 7" tracks presented as a 4CD box set, restored and remastered from the original tapes. Contains a twenty-four page booklet with never before seen photos and ephemera; extensive liner notes and annotation; an interview with bandleader 'Jagari' Chanda. By the mid 1970s, the Southern African nation known as the Republic of Zambia had fallen on hard times: self-imposed, single party rule; a decline in prices for the country's largest natural resource, copper; conflict in other countries on Zambia's borders. 

This is the environment in which the Zamrock scene that flourished throughout that decade emerged... fuzz guitars were commonplace, driving rhythms as influenced by James Brown's funk as Jimi Hendrix's rock predominated, musical themes were often bleak and bands largely sang in the country's constitutional language, English. Although Witch is the best known Zamrock ensemble and although they succeeded in releasing five albums in Zamrock's golden years -- they never made an impact on the global scale in, say, the way afro-beat maestro Fela Kuti did. Travel to and within Zambia is expensive, and the markers for the Zamrock scene are now few. 

Only a small number of the original Zamrock godfathers survived the AIDS epidemic that decimated this country. Witch's musical arc is contained to a five year span: The band's first two, self-produced albums, released in unison with the birth of the commercial Zambian recording industry, are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown; their third albun, Lazy Bones!! is the band's masterpiece, a dark, brooding psychedelic opus that makes equal use of wah-wah and fuzz guitars, that relies as heavily on the stomping feel of hard rock as it does the syncopation of funk; the band's last two albums, recorded after the band toured with Osibisa, make use of traditional Zambian rhythms and folk melodies and are the most 'afro-rock'of Witch's oeuvre." 


Tracks
Disc 1  Introduction and In The Past
1. Introduction - 3:45
2. Home Town - 4:21
3. You Better Now - 3:29
4. Feeling High - 3:37
5. Like A Chicken - 3:10
6. See Your Mama - 4:34
7. That’s What I Want - 3:01
8. Try Me - 4:23
9. No Time - 4:33
10. Living In the Past - 5:44
11. Young Lady - 3:51
12. Chance - 3:10
13. It’s Alright - 3:29
14. I’ve Been Away - 2:39
15. I Like The Way I Am - 4:52
16. The Only Way - 3:58
17. Smiling Face - 3:45
18. She Is Mine - 3:31
19. Mashed Potato - 4:05


Disc 2  Lazy Bones!! and Bonus Tracks
1. Black Tears - 4:54
2. Motherless Child -3:57 
3. Tooth Factory - 4:34
4. Strange Dream - 3:17
5. Look Out - 4:04
6. Havoc - 4:28
7. October Night - 4:39
8. Off My Boots - 2:55
9. Lazy Bones - 4:02
10. Little Clown - 3:29
11. Talking Universe - 5:18
12. Evil Woman - 6:00
13. Sweet Sixteen - 3:06
14. Toloka - 4:06
15. 81st Crowd Confusion - 3:48
16. Up The Sky - 3:41


Disc 3  Lukombo Vibes and Bonus Tracks
1. Thou Shalt Not Cry - 4:50
2. Bleeding Thunder - 5:15
3. Devil’s Flight - 4:32
4. Blood Donor - 4:44
5. Nasauka - 4:13
6. Evening Of My Life - 5:23
7. Kangalaitoito - 3:42
8. See Saw - 5:25
9. Chifundo - 5:10
10.Fool’s Ride - 3:26


Disc 4  Including Janet (Hit Single)
1. Janet - 4:48
2. As Days Go By - 3:17
3. Ntedelakumbi - 4:05
4. In Flight - 3:27
5. Nazingwa - 4:23
6. Silver Lady - 3:56
7. Anyinamwana - 4:08
8. Mama Feel Good - 5:19
9. The Way I Feel - 5:10

Witch
*Emanyeo Jagari Chanda - Cowbell, Maracas, Vocals
*Chris Mbewe - Guitar, Vocals
*Gedeon Mulenga - Bass
*John Muma - Guitar, Vocals, Wah Wah Guitar
*Boidi Sinkals - Drums

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Tommy Flanders - The Moonstone (1969 us, magnificent folk psych, 2006 digi pack edition)

November 18, 2013, 7:35 am
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Tommy Flanders the singer of The Blues Project  departed the group after their first LP, "Live At The Cafe Au-Go-Go". In 1969 he released this, his own Solo Debut LP, The Moonstone, featuring: J. Bruce Langhorne (Guitarist with Bob Dylan; Joan Baez, etc); Dennis McCarthy, Michael Botts (Drummer with Hoyt Axton, Karla Bonoff, etc); Dick Rosmini (Guitarist with Hoyt Axton; Doug Dillard; etc); and Jerry Scheff (Bass with Hoyt Axton; Marc Benno; The Association). 

The faded, melancholy vibe herein is somewhat unsettling, as the ghost of a fairly straight acoustic pop album is dimly apparent, and Tommy's voice still sounds occasionally as positive as it did on his earlier "Violets Of Dawn”.


Tracks
1. Since You've Been Gone - 2:37
2. Blue Water Blue - 3:05
3. Morning Misty Eyes (G. Meckler, T. Flanders) - 2:59
4. A Detective Story - 3:52
5. Purple And Blue - 3:40
6. The Moonstone - 4:38
7. By The Mailbox We Stood - 3:16
8. Angel Of Mercy - 3:42
9. Boston Girls - 3:08
10.Sleepin' - 3:50
11.She's My Love - 4:44
All compositions by Tommy Flanders unless as else stated

Musicians
*Tommy Flanders - Vocals
*J. Bruce Langhorne - Guitar
*Michael Botts - Drums
*Dick Rosmini - Guitar, Keyboards
*Jerry Scheff - Bass

Related Act
1966  The Blues Project - Live At The Cafe Au Go Go (2013 Japan SHM double disc set)
1971-72  The Blues Project - Lazarus / The Blues Project

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Hunger - Strictly From Hunger And The Lost Album (1969 us, spectacular heavy psych, akarma edition)

November 19, 2013, 7:31 am
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By 1968 The Hunger! were on the verge of stardom. Having already headlined with Cream, Zappa, Neil Young and The Byrds, this now relatively unknown band were scheduled to play the Hollywood Bowl with The Young Rascals and Janis Joplin.

In a cruel twist of fate their equipment was stolen twice by the mob, and the group disbanded to be left wondering what might have been. But for these misfortunes Hunger might have amounted to more than just a record collector’s relic.

Hailing from Portland Oregon, The Hunger! had moved down to Los Angeles in the late sixties where they began to gain popularity amongst the burgeoning West Coast psychedelic scene.

Their sole album, Strictly From Hunger! was released on Public! Records in 1968 and is very much in keeping with the more prominent psych-rock bands of the Californian scene, inhabiting the same musical sphere as The Strawberry Alarm Clock, The Doors and Jefferson Airplane. All of the tracks are predominately organ lead with an emphasis on a heavy “swinging sixties” groove, orchestrated by some fantastic bass work by Tom Tanory and the rock steady drumming of Bill Daffern.

That is not saying, however, that the album is cast in the mould of sunshine/flower pop. Strictly From Hunger! certainly has it’s darker and heavier moments and there is an inescapable feeling of melancholy throughout the course of the record. The vocals (Parkinson, Daffern and Morton all take turns on various tracks) move between paranoia and despondency, highlighting the subtly surreal lyrics with minor melodies punctuated by the odd frenetic fuzz-guitar solo.

The band really could play, and it shows especially the wailing guitar solo on the instrumental jam “Portland 69” or the truly marvellous change up mid way through “The Truth”. Tracks like “Mind Machine” can’t fail to bring a smile to your face, as unashamedly redolent of the late sixties as “Incense and Peppermints”.

Elsewhere “Colours” appears broodingly sinister with its militant drum beat and echo-laden vocals and Morton’s guitar rides the heavy drum break into the stratosphere on “Trying to Make the Best” which is reprised in an extended form for the album closer (this track was also bizarrely put out as a single titled “Not So Fine” by the band calling themselves The Touch).

From this sole offering, it is easy to see that The Hunger! had a terrific amount of promise and if fate hadn’t stood in their way, maybe they would have become a household name, as much respected and influential as their West Coast contemporaries. 
by  Gerard Fannon


Tracks
1. Colors (Mike Lane) - 2:04
2. Workshop (Lane, Parkinson, Daffern, Morton, Tanory, Hansen) - 4:17
3. Portland (Lane, Parkinson, Daffern, Morton, Tanory, Hansen) - 5:35
4. No Shame (Art Wayne) - 2:26
5. Trying to Make the Best (Mike Parkinson) - 5:33
6. Open Your Eyes (John Morton) - 2:25
7. The Truth (J. Morton, T. Tanory) - 3:59
8. Mind Machine (Bill Daffern) - 3:30
9. She Let Him Continue (Paul Hampton) - 5:04
10.Trying to Make the Best No. 2 (Mike Parkinson) - 7:18
11.Portland 69 (Lane, Parkinson, Daffern, Morton, Tanory, Hansen) - 5:42
12.The Truth (J. Morton, T. Tanory) - 5:33
13.Open Your Eyes (John Morton) - 3:57
14.Trying to Make the Best (Version #2) (Mike Parkinson) - 7:38
15.Workshop (Lane, Parkinson, Daffern, Morton, Tanory, Hansen) - 7:16
16.She Let Him Continue (Paul Hampton) - 5:12

Hunger
*Mike Lane - Vocals
*Bill Daffern - Drums, Vocals
*Steve Hansen - Rhythm Guitar
*Tom Tanory - Bass
*John Morton - Lead Guitar
*Mike Parkinson - Vocals, Keyboards
*Ed King - Lead Guitar, Bass

Related Acts
1967  The Strawberry Alarm Clock - Incense And Peppermints (2011 sundazed issue)
1968  Strawberry Alarm Clock - Wake Up...It's Tomorrow

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Sproton Layer - With Magnetic Fields Disrupted (1970 us, fantastic heavy post psych early prog, 2011 issue)

November 20, 2013, 1:52 pm
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In March of 1969, in Ann Arbor, Michigan, Miller brothers Roger (17), Benjamin (15) and Laurence (15) had a mind-altering improvisation session on guitar, bass and drums in their basement.  They called it "Freak Trio Electric", and none of them, or their views on music, were the same after this event.  A few days later, after repeated and amazed listening to the tape - "Sounds like Pink Floyd cut with Captain Beefheart!" wrote Roger in his journal - they decided to form a band.  

Roger wrote many songs that spring incorporating riffs and motifs from their improvisations.  Later that year they added trumpeter Harold Kirchen (brother of Bill Kirchen of Commander Cody and the Lost Planet Airmen fame) and changed their name to Sproton Layer.  Benjamin and Laurence began composing around this time.

Their music was most definitely psychedelic, with many songs based on the "Toke Mythology." The band played approximately 20 shows in 1969 and 1970 before folding in the fall of 1970 due to the conservative direction rock music was now moving.

In late summer 1970, they recorded and album's worth of material with classmate Mark Brahce engineering, again in their parents' basement.  Good friend Arnold Lelis drew the front cover illustration. This album, "With Magnetic Fields Disrupted", was released 23 years later on New Alliance, along with a 3-song 45rpm single from their 1969 recording sessions, to very little notice.

The album was first released in 1991 by New Alliance Records, but it did not catch much recognition among the '60's collector freaks. Here is the next chance to discover the whole story of one of the ?almost forgotten? US underground art-performance groups. Forty minutes long, the album was remastered from the original tapes creating a fresh, organic and punchy sound. 

The booklet features extended band info and about four dozen artifacts including drawings, set lists, photographs, journal entries and more. After Sproton Layer, all Miller brothers contributed to numerous bands such as Destroy All Monsters, Mission Of Burma, and M3 ? Truly a mind-expanding album!
Sproton Layer


Tracks
1. Gift - 2:44
2. Pretty Pictures Now - 4:42
3. In the Sun - 2:53
4. Sister Regis - 1:58
5. Bush - 1:57
6. Tidal Wave (L. Miller, B. Miller, R. Miller) - 4:25
7. Up - 2:54
8. The Blessing Of The Dawn Source (Benjamin Miller) - 3:46
9. Nocturnal Mission - 3:30
10.Point Of View - 2:42
11.New Air - 4:08
12.The Wonderful Rise - 4:32
All songs by Roger Miller except where indicated

Sproton Layer
*Benjamin Miller - Guitars, Vocals
*Larry Miller - Drums
*Roger Miller - Bass, Vocals
*Harold Kirchen - Trumpet

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Various Artists - We Can Fly (1966-72 multiair, mod freakbeat acid psych sunny folk, five disc box set)

November 21, 2013, 10:04 pm
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The five-volume We Can Fly series presented rare psychedelic rock spanning the mid-'60s to the early '70s, mostly centering on U.K. psych of the late '60s, though there's a little spillover from both the British Invasion and early prog rock eras. It's not all from the U.K., either, with a good number of entries from Continental Europe, as well as stray items from Australia, New Zealand, the U.S., and even Lebanon. This mini-sized box set compiles all five volumes, and while some of the 128 tracks have done the rounds on well-circulated compilations outside of this series, there can't be many collectors who would have all of them in one place before buying this anthology.

Though all of these cuts are unquestionably rare and as a whole representative of the scope of psychedelia in its British or British-derived form, they're pretty erratic in artistic quality, no matter what your taste. Some of these are unquestioned rare psych monsters that sound like tracks that should have qualified for the Nuggets II box of non-U.S. '60s freakbeat/psychedelia but somehow missed the cut. Among those near-masterpieces are the Lords'"Don't Mince Matter" (from Germany); 

Episode Six's brilliant "I Can See Through You," which is both tough and dreamy; Keith Relf's florid solo single "Shapes in My Mind," which hasn't been too easy to find on CD; the Afex's bopping mod rocker "She's Got the Time"; the Bunch's overlooked fanciful but melancholic "Looking Glass Alice"; the Peep Show's hazy "Mazy"; the Mickey Finn's crunchy "Garden of My Mind"; and Peter Cook & Dudley Moore's great psychedelic spoof "The L.S. Bumble Bee," often mistakenly bootlegged as a Beatles outtake, and surprisingly rarely reissued. There are also off the beaten path items by well-known or fairly well-known acts like Shocking Blue, the Mindbenders, Jackie Lomax, Terry Reid, Eire Apparent, Kim Fowley, Murray Head, Mick Softley, the Smoke, and East of Eden that, though not their best work, haven't been too widely heard.

Much of this box, however, has some fairly generic or even mediocre psychedelia that sounds like it might be championed by the odd collector here and there, but certainly wouldn't be recognized as consensus picks among the cream of the genre. In that sense, it often sounds like an alternate Nuggets II box set, Nuggets II being the major-league stars and the We Can Fly players stuck at the higher levels of the minor leagues. Sometimes the connections the artists had to major-league players are more interesting than the recordings themselves. 

The Bystanders, for instance, evolved into Man; the Cedars (from Lebanon, of course) were produced by Tony Hicks of the Hollies; Italian singer Giorgio is Donna Summer producer Giorgio Moroder; the Glass Menagerie were produced by Chas Chandler; Kippington Lodge had a young Nick Lowe in the lineup; the Iveys became Badfinger; Tangerine Peel were led by Mike Chapman; Trash were on Apple Records without releasing an LP; Danny McCulloch had been in Eric Burdon & the Animals; etc. All those loose ends and more are tied up in the 84-page booklet, which has plenty of information about the bands and their releases.
by Richie Unterberger


Tracks 
Disc 1 
1. The Penny Peeps - Model Village - 2:53 
2. The Loot - Try To Keep It A Secret - 3:11 
3. The Moving Finger - Pain Of My Misfortune - 2:32 
4. Anan - I Wonder Where My Sister's Gone - 2:50 
5. The Peep Show - Mazy - 3:07 
6. The Glass Menagerie - Fredrick Jordan - 3:16 
7. The Bunch - Looking Glass Alice - 2:34 
8. The Neat Change - I Lied To Auntie May - 2:18 
9. The Movement - Tell Her - 2:37 
10.Sands - Mrs. Gillespie's Refrigerator - 2:05 
11.Kippington Lodge - I Can See Her Face - 2:14 
12.Infantes Jubilate - Exploding Galaxy - 2:20 
13.The Smoke - That's What I Want - 2:27 
14.The QPR Supporters - Supporters, Support Us - 2:49 
15.Trash - Trash Can - 4:50 
16.The Orange Machine - Real Life Permanent Dream - 3:11 
17.Serendipity - Castles - 3:31 
18.The Mickey Finn - Garden Of My Mind - 2:31 
19.The Kytes - Running Through The Water - 2:34 
20.Portobello Explosion - We Can Fly - 2:44 
21.The Fox - Hey! Mr. Carpenter - 2:39 
22.The Mooche - Hot Smoke & Sassafras - 3:11 
23.The Fruit Machine - The Wall - 2:42 
24.The Image - Creation - 2:31 
25.Episode Six - Love, Hate, Revenge - 2:55 
26.Peter Cook & Dudley Moore - The L.S. Bumble Bee - 2:45 
Track No. 22 "Groovin' Slow" by "The Sound Barrier" although is listed on the CD credits was dropped probably due of copyright reasons. There are only 26 tracks on the CD. 


Disc 2 
1. Shy Limbs - Trick Or Two - 2:06 
2. Brainbox - Amsterdam, The First Days - 3:10 
3. The Cedars - Hide If You Want To Hide - 2:34 
4. Pugh - Love Love Love - 3:16 
5. The Lords - Don't Mince Matter - 3:51 
6. The Nite People - Love, Love, Love - 3:13 
7. The Montanas - Difference Of Opinion - 2:43 
8. The Julian Kirsch - Clever Little Man - 3:25 
9. Blonde On Blonde - All Day, All Night - 3:37 
10.Avalanche - Rabbits - 3:49 
11.West Coast Consortium - Colour Sergeant Lillywhite - 3:07 
12.The Tages - Fuzzy Patterns - 2:00 
13.The Mirage - Hold On - 2:22 
14.The Petards - Tartarex - 2:59 
15.The Bystanders - Cave Of Clear Light - 3:43 
16.A.P. Dangerfield - Conversations (In A Station Light Refreshment Bar) - 2:45 
17.A.P. Dangerfield - Further Conversations - 2:14 
18.The Blinkers - Original Sin - 3:55 
19.Danny McCulloch - Colour Of The Sunset - 2:42 
20.Joy Unlimited - Mr. Pseudonym - 3:47 
21.Moonshine - Garden Of Men - 3:40 
Track No. 5 "Stoned Out Of It" by "John Fitch And Associates" although is listed on the CD credits, was dropped probably because of copyright reasons. Officially there are only 21 tracks on the CD.


Disc 3 
1. The Magicians - Painting On Wood - 5:53
2. O' Hara's Playboys - The Ballad Of The Soon Departed - 2:31
3. St. John & The Crew - I'm A Man - 3:14
4. Murray Head - She Was Perfection - 2:47
5. Tales Of Justine - Monday Morning - 3:22
6. I Corvi - Sospesa Ad Un Filo - 2:34
7. Made In Sheffield - Amelia Jane - 2:32
8. The Mecki Mark Men - Free - 4:10
9. The Afex - She's Got The Time - 2:28
10.Jackie Lomax - Genuine Imitation Life - 3:32
11.Los Brincos - Passport - 2:52
12.The Excelsior Spring - It - 1:52
13.Daddy Lindberg - Wade In The Shade - 1:57
14.Pesky Gee - Where Is My Mind - 3:00
15.Cherry Smash - Sing Songs Of Love - 3:03
16.Mick Softley - Am I The Red One - 2:29
17.Callan & John - House Of Delight - 3:17
18.Brut - My Kind Of Feeling - 2:46
19.The Washington D.C.'s - Seek & Find - 2:08
20.The Sugarbeats - Alice Designs - 2:31
21.The League - Hey Conductor - 2:34
22.Shocking Blue - Send Me A Postcard - 2:34
23.The New Generation - Digger - 4:06
24.The Fox - Secondhand Love - 3:07
25.Bulldog Breed - Paper Man - 3:19


Disc 4 
1. Brass Tacks - Maxwell Ferguson - 2:46
2. Neo Maya - I Won't Hurt You - 2:32
3. Russell Morris - The Real Thing (Part 1,2) - 6:18
4. The Rokes - When The Wind Arises - 3:19
5. Eire Apparent - Here I Go Again - 2:11
6. Wimple Winch - I Really Love You - 3:41
7. Keith Shields - So Hard Living Without You - 3:21
8. ''14'' - Drizzle - 2:08
9.Lucas Tyson - Daylight Child - 3:29
10.Hopscotch - Look At The Lights Go Up - 2:17
11.The Truth - Sueno - 3:04
12.The Bunch - We're Not What We Appear To Be - 2:21
13.Griffin - I Am The Noise In Your Head - 3:56
14.Five Steps Beyond - No So Young Today - 2:48
15.Tangerine - Trapped - 2:23
16.Los Canarios - What Can I Do For You - 2:35
17.Strange Fox - Time And Tide - 4:19
18.The Mint - Love By Numbers - 2:23
19.Orange Machine - Dr. Crippen's Waiting Room - 3:02
20.The Ferris Wheel - I Can't Break The Habit - 2:14
21.The Beatstalkers - Sugar Chocolate M;achine - 2:17
22.The Mindbenders - My New Day And Age - 3:03
23.Les Baroques - Love Is The Sun - 2:12
24.Terry Reid - Fires Alive - 2:52
25.Magnet - Mr. Guy Fawkes - 3:57


Disc 5
1. Circus - Do You Dream - 3:07
2. Harsh Reality - How Do You Feel - 3:06
3. The Iveys - And Her Daddy's A Millionaire - 2:06
4. Old Gold - Teacher Of Electricity - 2:11
5. The Human Instinct - Rich Man - 2:41
6. Keith Relf - Shapes In My Mind - 2:16
7. Episode Six - I Can See Through You - 3:25
8. Gnomes Of Zurich - Second Fiddle - 2:18
9. Saker - Foggy Tuesday - 3:24
10.Kim Fowley - Lights - 2:17
11.The Loot - Radio City - 2:08
12.The Bunch - Spare A Shilling - 2:27
13.The Montanas - Anyone There - 2:34
14.Groep 1850 - Friday I'm Free - 2:51
15.Chris McClure - Meditation - 2:20
16.The Fruit Machine - Follow Me - 2:51
17.Giorgio - How Much Longer Must I Wait, Wait - 2:22
18.East Of Eden - Ballad Of Harvey Kaye - 2:07
19.I Corvi - Un Ragazzo Di Strada - 2:21
20.Elmer Gantry's Velvet Opera - Salisbury Plain - 2:35
21.The Gibsons - City Life - 2:58
22.Orange Peel - I Got No Time - 2:46
23.The Mirage - And Life Goes On - 2:14
24.The Cedars - I Don't Know Why - 2:12
25.Cuby & The Blizzards - Appleknockers Flophouse - 2:29
26.Silver Eagle - Theodore - 2:45
27.Nite People - P.M. - 2:56
28.The Nocturnes - Look At Me - 3:08
29.Danny McCulloch - Smokeless Zone - 2:01

Psychic Circle compilations
1961-64  Phantom Guitars: A Cool Collection of Twangin' Instrumentals
1966-72  With The Sun In My Eyes
1968-72  White Lace And Strange
1968-72  The Room Of Loud Sounds
1964-69  Realistic Patterns Orchestrated Psychedelia
1965-69  Wednesday Morning Dew 
1965-70  The Electric Coffee House 
1965-70  The Golden Road The Electric Coffee House Vol.2
1969-73  Cosmarama
1969-74  Blow Your Cool: 20 Prog Psych Assaults
1969-74  Lovin’ Fire 20 Obscure Gems
1970-77  A Visit To The Spaceship Factory

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Water - The Second Day (1975 dutch, splendid soft progressive rock with jazzy soul tinges)

November 23, 2013, 2:40 am
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Judging from their debut "The Second Day", the Dutch six-piece Water played a brand of '70s rock where the only musical references I can think of perhaps would be Birth Control's "This Song is Just for You" from their "Plastic People" album, and some Eela Craig. The guitarist has an often-funky edge to his playing, and dominated the band's well thought-out sound together with flute, harmonica and keyboards (mostly clavinet, el-piano and string-synths). The vocals are both male and female, another element that gave the band a varied and interesting sound. 

The material on "The Second Day" is fairly song-based, but still with sophisticated and intriguing structures. The opener "Holiday (Hideaway)" is a bit more folk-influenced than the rest of the album, and starts with a nice and rural melody played on flute before the wistful verse appears. The chorus has two different melodies upon each other, and shows off the band's rich vocal harmonies. "After the Ball" is one of the best on the record, featuring good melodies, funky rhythms, nice combination of the flute and harmonica and has the same kind of interesting compositional structure as the opener. 

The country-influenced "You're Older Now" is probably the weakest song here, but quickly forgotten when the first side is closed with the nice "Night About Four" that reminds me slightly of a funkier and more soul-inflected version of the British band Samurai. The second side rocks a bit harder, as both "All Around You Tumble" and "Follow Me" features quite loud and rocking riffs, but still avoid being straightforward rockers. 

The atmospheric "Come and See the Day" is a pleasant song where their wide use of harmonica really comes to full effect. But "Okinavasta" is again a more upbeat and rocking song, but now with a Latin-flavoured chorus. The title-track is a short ballad where the band enters more symphonic realms, and would not been out of place on an Earth and Fire album. "The Second Day" is an interesting and often unique-sounding record that should appeal to many fans of the '70s.
Vintage-prog 


Tracks
1. Holiday Hideaway (R. Westerbeek, A. Bleeker, D. Wokaty) - 4:18
2. After The Ball (R. Westerbeek, A. Bleeker, D. Wokaty) - 5:02
3. You're Older Now (R. Westerbeek, John Le Grand) - 5:01
4. Night About Four (R. Westerbeek, B. Farberow) - 5:13
5. All Around You Tumble (R. Westerbeek, A. Bleeker, D. Wokaty) - 4:45
6. Come And See The Day (A. Bleeker, R. Westerbeek) - 4:18
7. Okinavasta (R. Westerbeek, Jan Van Dijk) - 3:52
8. Follow Me (R. Westerbeek, A. Bleeker, D. Wokaty) - 4:57
9. The Second Day (J. Van Dijk, R. Westerbeek, D. Wokaty) - 3:36

Water
*Boris Farberow - Bass, Vocals
*Abdre Bleeker - Guitar
*Jan Van Dijk - Flute, Guitar, Vibraphone, Vocals
*Pieter Voogt - Percussion, Drums
*Ron Westerbeek - Organ, Vocals, Piano
*Debra Wokaty - Vocals
*John Lagrand - Harmonica

1976  Water - Damburst (2nd Album) 

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Brian Auger's Oblivion Express - A Better Land (1971 uk, amazing prog jazz fusion rock, 2006 japan remaster)

November 23, 2013, 6:52 pm
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Whereas Brian Auger had taken the lion's share of composing responsibility on the deft, labyrinthine, jazz-rock debut album by the Oblivion Express, guitarist Jim Mullen steps up to the plate in a big way here, writing or co-writing seven of A Better Land's nine tracks, and arranging "Marai's Wedding," a traditional tune. Auger wrote just one, "Tomorrow City," and co-wrote two with Mullen. 

The feel and vibe of the record is almost a mirror image of its predecessor from earlier in 1971. Mullen composed on the guitar, therefore, the languid, sparer approach to harmony is everywhere apparent. But it's the songs themselves, with their lush use of acoustic guitars, country music melodies, and early rock tropes, such as on "Dawn of Another Day," the Band-inspired "Trouble," and the ethereal melody of "Women of the Seasons." There is also a pair of tracks here written with future AWB boss Alan Gorrie. The lilting jazz in the lead is countered with infectious pop hooks. 

On the Auger tunes, "Fill Your Head With Laughter," and "Tomorrow City," R'n'B is at their hearts. A Better Land is one of the more enduring pop records from the era, with its ultra-sophisticated compositioning and arrangement skills. It's as if the Oblivion Express wanted to reveal themselves as capable of anything, which, of course, they were. This is a fantastic place to start any Brian Auger collection. 
by Thom Jurek


Tracks
1. Dawn Of Another Day (Brian Auger, Jim Mullen) - 4:20
2. Mariah's Wedding (Traditional) - 4:24
3. Trouble (Brian Auger, Jim Mullen) - 3:17
4. Women Of The Seasons (Jim Mullen) - 5:05
5. Fill Your Head With Laughter (Brian Auger, Jim Mullen) - 3:53
6. On Thinking It Over (Brian Auger, Jim Mullen) - 5:25
7. Tomorrow City (Brian Auger) - 3:33
8. All Time There Is (Brian Auger, Jim Mullen) - 3:35
9. A Better Land (Allan Gorrie, Jim Mullen) - 5:31
10.Mariah's Wedding (Live In Germany, 1972) (Traditional) - 4:32

The Oblivion Express
*Brian Auger- Keyboards
*Jim Mullen - Guitar
*Barry Dean - Bass
*Robbie McIntosh - Drums

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Klaatu - Sir Army Suit / Endangered Species (1978/80 canada, lovely beatlesque pop with prog touches)

November 25, 2013, 9:40 am
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In 1976, Capitol Records in L.A. signed a three record deal with a totally unknown band, sight unseen. The band, Klaatu, demanded not to appear in public, play live or give interviews to support the album. In fact, nobody at Capitol even knew who the band was.

This was unheard of in the music industry, but Capitol felt this progressive rock band from Canada had presented them with one of the finest albums they had ever heard. Their first record, simply entitled 'Klaatu'– released as '3.47 E.S.T.', in Canada — contained no names, photos or clues to the identity of the band members. All writing and production credits were given collectively to Klaatu.

They had spent three long years experimenting at night in the recording studio owned by producer Terry Brown (Rush, Max Webster) and Doug Riley (Dr. Music) to complete an album filled with creative new sounds and innovative techniques. To them, the studio was a fourth band member... and another reason why they didn't want to tour.

Although there were initial comparisons to The Beatles in the music press, plus Pink Floyd meets The Beach Boys, the band simply saw this as a compliment, since The Fab Four had been one of many inspirational bands to them since they were kids.

John is from the West-end of Toronto and attended York University's fine arts program. John first met Terry Draper at grade school in the early 1960s. They played in a number of bands together until 1967 when John left to get a head start songwriting and recording. In 1971, John and Terry formed the short-lived Mudcow, adding Dee Long as guitar player.

Their desire to play original music – and not tour the stripper circuit – led to Mudcow's demise. Then John met producer Terry Brown at a job interview… and Klaatu took flight.

However, to fully understand Klaatu and how events transpired, one must realize three key things about John Woloschuk: 1) His love of old black and white movies. 2) His passion for music. 3) His shyness. That's why his bio ends here.

Dee first met Terry Draper in 1968 when they played against each other during a Battle of the Bands competition. Determined to play his own original music, Dee left Mudcow when they were forced to do covers. So when John was given the opportunity by Terry Brown to play him some of his demo tapes, John invited Dee to play his demos as well.

Instantly recognizing their talent, Terry Brown invited them to record at Toronto Sound Studio during off hours. And the rest is history.

During the creation of Klaatu's five albums, Dee continued to develop his skills as an engineer and producer. Eventually leaving the band to focus on his own production studio -- later working with Sir George Martin at London Air Studios.

Dee now lives in British Columbia with his wife. He's created several CD's over the years, including his latest release Life AfterLife. Terry says he finally made it to the top – but only when he started his own roofing company!

The gregarious drummer joined his former Mudcow band mates in 1974, when John and Dee realized they needed a permanent drummer who understood what they were trying to do in the studio. Terry lives just north of Toronto with his wife.
Klaatu-theband


Tracks
Sir Army Suit 1978
1. A Routine Day (John Woloschuk) - 3:11
2. Juicy Lucy (John Woloschuk) - 3:39
3. Everybody Took A Holiday (Dee Long) - 3:00
4. Older (Dee Long) - 3:17
5. Dear Christine (John Woloschuk) - 3:53
6. Mister Manson (Dee Long) - 4:16
7. Tokeymor Field (John Woloschuk) - 3:29
8. Perpetual Motion Machine (Dee Long) - 3:17
9. Chérie (Dee Long) - 3:07
10.Silly Boys (Dee Long) - 4:59
Endangered Species 1980
11.I Can't Help It (Dee Long) - 3:41
12.Knee Deep In Love (J. Woloschuk, Dino Tome) - 3:15
13.Paranoia (John Woloschuk) - 4:12
14.Howl At The Moon (J. Woloschuk, Dino Tome) - 3:32
15.Set The World On Fire (John Woloschuk) - 4:16
16.Hot Box City (Dee Long) - 3:48
17.Dog Star (Dee Long) - 4:17
18.Sell Out, Sell Out (John Woloschuk) - 4:55
19.All Good Things (John Woloschuk) - 1:57

Klaatu
*Dee Long - Lead Vocals, Keyboards, Guitars
*John Woloschuk - Bass, Acoustic Guitars, Keyboards, Vocals
*Terry Draper - Drums, Percussion, Vocals

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Steve Miller Band - Number 5 (1970 us, brilliant psych bluesy rock, 2012 digi pack remaster)

November 26, 2013, 4:41 am
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The fifth album in Edsel’s program is 1970′s aptly-titled Number 5 which brought the first era of The Steve Miller Band to a close.  Before heading to Nashville to record the album, Miller parted ways with both Glyn Johns and Lonnie Turner, leaving just Tim Davis from the original band line-up.  

Bobby Winkelman of Frumious Bandersnatch was drafted for bass duties, and Nashville regular Charlie McCoy (owner of the studio where Number 5 was recorded) contributed harmonica to a few tracks.  Sidran, Hopkins and even Turner reappeared to make contributions, and Boz Scaggs appeared as a co-writer of an old bluesy onstage favorite, “Going to Mexico.”  McCoy’s harp added a different, though still blues-based, sound to Miller’s repertoire, and the change in scenery must have paid off when Number 5 became the group’s most successful album yet.  Miller’s distinct voice enlivened the jaunty “Going to the Country” (“Hey ho!  One thing I know!  People in the country really let themselves go!”), co-written with Sidran.  

Buddy Spicher’s fiddle and some fine harmonies also made an impression.  Bud Billings added mariachi brass to the light-hearted “Hot Chili.”  Serious, topical issues were still on Miller and co.’s minds, however.    Tim Davis professed his belief in the banjo-accompanied “Tokin’s” that “in a while, I know it’s gonna change,” and Miller echoed John Lennon in the foreboding, musically experimental “Jackson-Kent Blues,” imploring listeners to “give peace a chance.”  Miller also took the opportunity to decry the “Industrial Military Complex Hex” and speculated on those young soldiers, asking them, “When the wind blows you home/To the shores of home/Will you be one of those/Who killed another man?”

In 1971, Steve Miller suffered a car accident, and Capitol released Rock Love, an album of vault material.  It was followed by the other “lost” album of Miller’s career, 1972’s Recall the Beginning…A Journey to Eden.  The same year, an Anthology capped off this period of the artist’s career.  In 1973, the Steve Miller Band released The Joker, and solidified its place in classic rock history.

Whereas many of Edsel’s other recent reissue series have included copious amounts of bonus material, the Steve Miller Band series instead concentrates primarily on the original albums with just one bonus track on one album.  The addition of lyrics and liner notes, however, make these presentations the best yet for these often-overlooked and once hard-to-find albums.   Before Steve Miller flew like an eagle, he was grounded in the blues and San Francisco psychedelia.  Fans will likely relish hearing how that great career started.
by Joe Marchese 


Tracks
1. Good Morning (Bobby Winkelman) - 2:48
2. I Love You (S. Miller) - 2:45
3. Going To The Country (S. Miller, Ben Sidran) - 3:47
4. Hot Chili (T.Davis) - 3:30
5. Tokin's (T. Davis) - 4:23
6. Going To Mexico (S. Miller, Boz Scaggs) - 2:29
7. Steve S. Miller's Midnight Tango (B. Sidran) - 2:40
8. Industrial Military Complex Hex (S. Miller) - 3:54
9. Jackson-Kent Blues (S. Miller) - 7:18
10.Never Kill Another Man (S. Miller) - 2:42

Band
*Steve Miller - Guitar, Vocals
*Lonnie Turner - Bass Guitar
*Bobby Winkelman - Bass Guitar, Vocals
*Ben Sidran - Keyboards
*Nicky Hopkins - Keyboards
*Tim Davis - Drums, Vocals
*Charlie McCoy - Harmonica
Additional Musicians
*Lee Michaels - Organ On "Going To Mexico"
*Buddy Spicher - Fiddle On "Going To The Country"

The Steve Miller Band
1968  Children Of The Future (2012 digipack remaster)
1968  Sailor (2012 digipack remaster)
1969  Brave New World (2012 digipack remaster)
1969  Your Saving Grace (2012 digi pack remaster)

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Klaatu - Klaatu / Hope (1976-77 canada, elegant symphonic rock with space and some glam shades)

November 27, 2013, 9:44 pm
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Those who appreciate the smart pop, art/symphonic-rock, and weird sci-fi themes of Klaatu needn't venture beyond this two-on-one issue of their first two Capitol releases. Klaatu frequently alternated between Beatlesque pop, the showy guitar rock and vocal theatrics of early Queen, and the electronic orchestral techniques pioneered by Walter Carlos, or worked all three into the structure of a four- or five-minute song. 

They reached their creative peak on their second album Hope, which implemented all of the above in a very creative and effective manner but was predictably dismissed by the music press as being "over-indulgent" and "pretentious" -- and this only after it was ascertained that Klaatu was not the alias for the second coming of the Beatles. Their subsequent releases were downright ghastly pop-rock affairs that lacked originality and made their early-'80s demise a welcome occurrence. The Korean issue lacks liner notes and credit details, but for those who are curious about the Canadian band, this compilation presents Klaatu in their finest hour. 
by Dave Sleger



Tracks
1. Calling Occupants Of Interplanetary Craft (J. Woloschuk, T. Draper) – 7:17
2. California Jam (Woloschuk, D. Tome) – 3:01
3. Anus Of Uranus (Dee Long) – 3:21
4. Sub-Rosa Subway (Woloschuk, Tome) – 4:38
5. True Life Hero (Long) – 3:24
6. Doctor Marvello (Woloschuk) – 3:37
7. Sir Bodsworth Rugglesby III (Woloschuk) – 3:24
8. Little Neutrino (Long) – 8:14
9. We're Off You Know (Woloschuk) – 4:01
10.Madman (Long) – 2:40
11.Around The Universe In Eighty Days (Long) – 4:59
12.Long Live Politzania (Woloschuk) – 9:13
13.The Loneliest Of Creatures (Woloschuk) / Prelude – 9:35
14.So Said The Lighthouse Keeper (Woloschuk) – 5:51
15.Hope (Woloschuk) – 4:43
16.We're Off You Know (Reprise) - 0:52

Klaatu
*Dee Long - Vocals, Keyboards, Guitars
*John Woloschuk - Vocals, Guitars, Bass, Keyboards
*Terry Draper - Drums, Percussion, Backup Vocals

1977/80  Klaatu - Sir Army Suit / Endangered Species

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Lindisfarne - The Charisma Years (1970-73 uk, amazing progressive folk rock, 2010 four disc set edition)

November 28, 2013, 9:58 pm
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Four CDs round up the complete and utter Lindisfarne tale, from their arrival on the mainstream scene with 1970's still stunning Nicely Out of Tune through the following year's flirtation with stardom via Fog on the Tyne, and on through the sadly diminishing returns that were Dingly Dell and Roll on Ruby. Yes, the story would continue later in the '70s, and on and off since then, too.

But the first incarnation of the band was the one that mattered the most, and those first two albums remain quintessential early-'70s folk-rock, with neither folk nor rock having much to do with any of it. Lindisfarne are, perhaps rightfully, best judged by their two biggest hits, the sad mystery of "Lady Eleanor" and the singalong joy of "Meet Me on the Corner." Add "We Can Swing Together,""No Time to Lose" (amazingly, a mere B-side at the time) and "Fog on the Tyne," and Lindisfarne could have been the new Faces if only Alan Hull had wanted to be the next Rod Stewart. But pop fame and fortune sat awkwardly on the group's shoulders, which is why Dingly Dell was the original lineup's final shout.

The band split, some to form Jack the Lad; the rest to continue as a revamped soft rock Lindisfarne whose presence here (the final disc) really does spoil the proceedings somewhat. Better to end with the concert disc that takes 1973's Lindisfarne Live album, expands it to take in the entire evening's entertainment, and reveals Lindisfarne to have been one of the most entertaining live acts of their era. That, and a near-full album's worth of bonus material drawn from period singles, compilations, and mispressings ensure this is a must-have box set, even for fans who think they already own all the Lindisfarne they could ever need.
by Dave Thompson


Tracks
Disc 1
1. Lady Eleanor - 4:16
2. Road to Kingdom Come (Clements) - 4:15
3. Winter Song - 5:14
4. Turn a Deaf Ear 3:56
5. Clear White Light, Pt. 2 - 4:07
6. We Can Swing Together - 5:48
7. Alan in the River With Flowers - 3:09
8. Down - 3:11
9. The Things I Should Have Said (Clements) - 4:03
10.Jackhammer Blues (Guthrie) - 3:25
11.Scarecrow Song - 3:23
12.Knackers Yard Blues (Clements) - 3:39
13.Nothing But the Marvellous Is Beautiful - 4:42
14.From My Window (Clements) - 3:29
15.On My Own I Built a Bridge (Out Take) 4:17
16.Lady Eleanor (US Mix) - 4:15
17.We Can Swing Together (US Mix) - 3:31
18.Scarecrow Song (US Mix) - 4:02
19.Meet Me On the Corner (Demo Version) (Clements) - 2:37


Disc 2
1. Meet Me On the Corner (Clements) - 2:40
2. Alright On the Night - 3:33
3. Uncle Sam (Cowe) - 2:57
4. Together Forever 2:35
5. January Song - 4:14
6. Peter Brophy Don't Care - 2:49
7. City Song - 3:06
8. Passing Ghosts - 2:30
9. Train in G Major (Clements) - 3:10
10.Fog On the Tyne - 3:24
11.Scotch Mist (Clements, Cowe, Hull, Laidlaw) - 2:07
12.No Time to Lose - 3:15
13.January Song (Extended Version) - 6:11
14.All Fall Down - 3:41
15.Plankton's Lament (Cowe) - 1:55
16.Bring Down the Government - 1:29
17.Poor Old Ireland - 2:58
18.Don't Ask Me (Clements) - 3:31
19.O No Not Again - 3:21
20.Dingle Regatta (Traditional) - 1:05
21.Wake Up Little Sister - 2:52
22.Go Back (Cowe) - 2:59
23.Court in the Act - 3:09
24.Mandolin King - 2:34
25.Dingly Dell - 6:09


Disc 3
1. Intro 1:13
2. Together Forever - 3:06
3. No Time to Lose - 3:56
4. January Song - 5:04
5. Meet Me On the Corner (Clements) - 3:41
6. Alright On the Night - 4:31
7. Train in G Major (Clements) - 3:29
8. Scotch Mist (Clements, Cowe, Hull, Laidlaw) - 2:43
9. Lady Eleanor - 6:01
10.Knacker's Yard Blues (Clements) - 4:54
11.Fog On the Tyne - 5:50
12.We Can Swing Together - 17:52
13.Jackhammer Blues (Guthrie) - 5:40
14.Clear White Light - 11:08


Disc 4
1. Taking Care of Business - 2:57
2. North Country Boy (Duffy) - :26
3. Steppenwolf - 5:01
4. Nobody Loves You Anymore 3:05
5. When the War is Over - 5:02
6. Moonshine (Duffy) - 3:56
7. Lazy - 3:22
8. Roll On River 5:19
9. Tow the Line 2:32
10.Goodbye (Duffy) - 4:46
11.Taking Care of Business (US Mix) - 2:58
12.North Country Boy (US Mix) (Duffy) - 3:22
13.Roll On River (US Mix) - 5:25
All compositions by Alan Hull except where indicated.

Lindisfarne
*Rod Clements - Electric Bass, 12 String, Acoustic, Electric Guitar, Organ, Piano, Violin, Vocals
*Simon Cowe - Banjo, 12 String, Acoustic Guitar, Mandolin, Vocals
*Ken Craddock - Guitar, Keyboards, Vocals
*Tommy Duffy - Bass, Vocals
*Charlie Harcourt - Guitar
*Alan Hull - 12 String, Acoustic Guitar, Harmonium, Keyboards, Organ, Piano, Electric Piano, Vocals
*Ray Jackson - Harmonica, Harp, Mandolin, Vocals
*Ray Laidlaw - Drums
*Paul Nichols - Drums

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Bob Lind ‎– You Might Have Heard My Footsteps, The Best Of (1965-72 us, glorious folk psych)

November 29, 2013, 9:31 pm
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This 25-song compilation includes the entire contents of his two 1966 LPs, as well as a 1967 single and two previously unreleased tracks. This period piece is highlighted by "Elusive Butterfly," the original versions of "Counting" and "Cheryl's Goin' Home,""Mr. Zero" (covered by Yardbird lead singer Keith Relf on a flop single), and the previously unreleased, gorgeous baroque rock song "English Afternoon." 
by Richie Unterberger


Tracks
1. Elusive Butterfly - 2:46
2. Mister Zero - 3:43
3. You Should Have Seen It - 2:55
4. Counting - 2:54
5. Drifter's Sunrise - 3:26
6. Unlock The Door - 4:06
7. Truly Julie's Blues (I'll Be There) - 2:51
8. Dale Anne - 3:01
9. The World Is Just A “B” Movie - 3:57
10.Cheryl's Goin' Home - 2:06
11.It Wasn't Just The Morning - 2:50 -
12.I Can't Walk Roads Of Anger (Unedited Version) - 4:28
13.San Francisco Woman - 2:54
14.A Nameless Request - 2:15
15.West Virginia Summer Child - 2:12
16.Go Ask Your Man - 2:30
17.Remember The Rain - 2:47
18.I Just Let It Take Me - 2:35
19.The World Is Just A “B” Movie Meets Reno, Funtown, U.S.A. - 2:48
20.We've Never Spoken - 2:09
21.Oh Babe Take Me Home - 3:34
22.Eleanor - 3:33
23.It's Just My Love - 2:44
24.I Fall To You - 2:02
25.English Afternoon - 2:37
All songs by Bob Lind

*Bob Lind - Vocals, Guitar

1971  Bob Lind - Since There Were Circles

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The Squires - Going All The Way With The Squires (1965-66 us, awesome garage psych, Crypt vinyl edition)

December 1, 2013, 3:30 am
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The Squires hailed from Bristol, Connecticut, which is a small working class city about 25 miles from the state capitol of Hartford. Bristol was once home to the Bristol Red Sox who were the AA affiliate of the Boston Red Sox in the 70's & 80's, playing their home games at ultra cool Muzzy Field (which still stands to this day.) Many of the Red Sox greats of the 70's such as Jim Rice, Fred Lynn and later Bruce Hurst & Dennis "Oil Can" Boyd passed through Bristol. Outside of that the only other notable landmark in Bristol is that it is the home base of "dork factory" ESPN network (a very uncool place!)

All that aside The Squires began life as The Rogues and cut a cool garage 45 called "It's The Same All Over The World" in 1966. A name change to The Squires found the group signed as a "one off" with mega USA label Atco Records. "Going All The Way" is quite simply one of the top 10 USA garage 45's of the era. Musically it comes on as strong as 1966 Byrds blended with the toughness of the early Who. Lyrically it is in the same ballpark as Third Bardo's "I'm 5 Years Ahead Of My Time"& The Who's "I Can See For Miles" in that it is a teenage declaration of intent. Clear the field The Squires are coming through! I should also mention lead singer Mike Bouyea's vicious scream about midway in.

On the flip "Go Ahead" is in a different bag altogether, this one is a chiming folk-rock ballad that brings to mind California folk-rockers The Dovers. The lead vocals on this song remind me of a very young Feargal Sharkey of The Undertones. At one time this 45 was ultra rare but a warehouse find in the mid 80's leaked a few more copies onto the market. I got my copy in a swap with Connecticut radio legend "Fast Eddie" Budds for the first 45 by Squeeze, talk about a steal! That was like the Orioles getting Frank Robinson from Cincinnati for Milt Pappas!

For those unwilling to search out the 45, luckily Crypt Records issued a sensational Squires anthology simply titled "Going All The Way" back in the 80's,  it's a great album with many superb out-takes. Squires lead singer Mike Bouyea later became a radio personality in Canada.
by Dave Furgess


Tracks 
1. Going All The Way - 2:19
2. It's The Same All Over The World (as The Rogues) - 2:38
3. Oh No! (as The Rogues) (Bouyea, Flanigan) - 2:24
4. I Can't Do It - 2:26
5. Gloria (V. Morrison) - 2:34
6. The Original - 2:01
7. Go Ahead - 2:16
8. We Can Try - 2:02
9. Walkin' - 1:56
10.Rink Bash - 2:35
11.It's The Same All Over The World (Unreleased Demo) - 2:26
All songs written by Michael Bouyea, except where noted.

The Squires
*Jim Lynch - Backing Vocals, Rhythm Guitar
*John Folcik - Bass Guitar
*Tom Flanigan - Lead Guitar, Backing Vocals
*Michael Bouyea - Lead Vocals, Drums,  Guitar
*Kurt Robinson - Organ

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Happy The Man - Happy The Man (1977 us, spectacular progressive experimental space rock, japan remaster)

December 2, 2013, 2:05 am
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Though it met with little commercial success, Happy the Man's 1977 debut quickly became a cult sensation with fans of prog rock. It's easy to see why: their sound combines a number of diverse influences in a distinctive manner, and their music is as complex and meticulously arranged as any prog album one cares to mention. 

Unlike some popular prog acts, Happy the Man does not allow one instrument to take center stage or allow relentless soloing to dominate the songs. Instead, the focus is on complex interplay between the group's players: compositions like "Knee Bitten Nymphs In Limbo" and "Stumpy Meets the Firecracker in Stencil Forest" are built on the kind of mathematically complex yet playful instrumental interplay that is normally associated with Frank Zappa's most complex work. Elsewhere, the group slows down the instrumental pyrotechnics to show off a grasp of melody; the best example is "Starborne," which starts off with moody washes of Tangerine Dream-style synthesizer and builds to a dramatic, almost orchestral fanfare. 

The one real downside of the album is the inclusion of two vocal-oriented songs that don't jell with the rest of the album because the group is obviously not comfortable dealing with conventional song structures. These selections also suffer from pretentious lyrics; for example, "On Time as a Helix of Precious Laughs" tries to philosophize about the meaning of life but gets bogged down in artsy, obscure imagery. 

In the end, Happy the Man doesn't quite live up to its legendary reputation but remains a solid prog outing that will find favor with those who enjoy art rock at its most complex and ambitious. Collector's note: One Way Records' 1999 reissue of Happy the Man was remixed for the compact disc format by the group's keyboardist, Kit Watkins. 
by Donald A. Guarisco


Tracks
1. Starborne (Kit Watkins) - 4:22
2. Stumpy Meets The Firecracker In Stencil Forest (Stanley Whitaker) - 4:16
3. Upon The Rainbow (Befrost) (Watkins, Frank Wyatt) - 4:42
4. Mr. Mirror's Reflections On Dreams (Watkins) - 8:54
5. Carousel (Wyatt) - 4:06
6. Knee Bitten Nymphs In Limbo (Whitaker) - 5:22
7. On Time As A Helix Of Precious Laughs (Wyatt) - 5:22
8. Hidden Moods (Watkins) - 3:41
9. New York Dream's Suite (Wyatt) - 8:32

Happy The Man
*Mike Beck - Percussion
*Rick Kennell - Electric Bass
*Stanley Whitaker - Six, Twelve String Guitars, Lead Vocals
*Frank Wyatt - Saxophone, Flute, Piano, Keyboards, Vocals
*Kit Watkins - Mini Moog, Acoustic Piano, Rhodes Piano, Arp String Ensemble, Hammond B3, Hohner Clavinet, Flute, Marimba

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Pearls Before Swine - Use Of Ashes / These Things Too (1969-70 us, fabulous acid folk baroque psych, 2011 remaster issue)

December 3, 2013, 7:27 am
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For their second Reprise Records outing, Pearls Before Swine worked primarily with Nashville-based musicians, including a small orchestra who provide a stately feel to the highly intimate nature of the material. According to Tom Rapp, the songs were written while he and his wife were living in the Netherlands, which Rapp said contributed significantly to the air of romanticism throughout. 

"The Jeweller" opens the album with an exquisite tale that exemplifies Rapp's remarkable abilities to draw upon disparate metaphors such as shining coins and worshiping God, both involving the The Use of Ashes -- hence the title. The rural mood created by the notable Music City USA stalwarts effortlessly fuses with David Briggs' baroque-flavored harpsichord on the delicate "From the Movie of the Same Name," featuring Rapp and spouse Elisabeth on non-verbal vocalizations as they "da-da-da" the melody. Although "Rocket Man" predates the Elton John cut by a couple of years, Bernie Taupin cites it as his inspiration for the lyrics behind John's 1972 Top Ten hit. 

The words are credited as having been influenced by a Ray Bradbury novella that dealt with the universal emotion of loss. Again, Briggs' keyboard runs relate the story with subdued refinement. By contrast, "God Save the Child" is one of the more amplified inclusions, making good use of session heavies Kenneth A. Buttrey (drums) and Charlie McCoy (guitar), especially when placed against the restrained string section. Another sonic texture in the tapestry is the jazzy "Tell Me Why," shimmering with an uncredited vibraphone lead gliding beneath Rapp's whimsical lines. These tracks are offset by the noir "When the War Began," the ethereal love song "Margery," and the mid-tempo retelling of the "Riegal," a ship whose 4,000 inhabitants perished during World War II. 

Rapp's juxtaposition of stark imagery reveals that while Pearls Before Swine might not have continued the bombastic direction set about on their earlier protest works "Uncle John" or "Drop Out," they maintained social and political relevance. 
by Lindsay Planer

Amid all the weird and wonderful music to appear in 1967, Pearls Before Swine still managed to stand out when their startling first album, One Nation Underground, appeared on New York’s underground ESP-Disk label. The following year’s Balaklava refined the other-worldly mystery surrounding the band, led by singer-songwriter Tom Rapp, who (thanks to his manager, who also looked after the Fugs) next appeared on Reprise.

With original band gone, Rapp used session musicians along with wife Elizabeth on his next two albums, gathered here on a twofer which curiously swaps their order of release. 1969’s These Things Too takes a subtler, soft focus approach, veering between the hallucinogenic shimmers of the title track and Man In The Tree, to stoned weirdness of Frog In The Window, plus a heartfelt take on Dylan’s I Shall Be Released.

Though backed by the Area Code 615 musicians, The Use Of Ashes reflected Rapp’s time in Holland, an archaic European feel shrouding The Jeweller, The Old Man and wartime shipwreck tragedy Riegal. When The War Began is chillingly beautiful, with heavenly doo wop strings, while Rocket Man, written on the day of the moon landing, provided Bernie Taupin with a handy title for Elton. Over 40 years on, the atmosphere of these albums still sounds like nothing on this planet.
by Kris Needs


Tracks
1. The Jeweler - 2:45
2. From The Movie Of The Same Name - 2:18
3. Rocket Man - 3:01
4. God Save The Child - 3:04
5. Song About A Rose - 2:18
6. Tell Me Why - 3:42
7. Margery - 2:59
8. The Old Man - 3:13
9. Riegal - 3:09
10.When The War Began - 5:05
11.Footnote - 1:18
12.Sail Away - 3:07
13.Look Into Her Eyes - 4:36
14.I Shall Be Released - 3:04
15.The Frog In The Window (Reprise) - 2:32
16.I'm Going To The City - 2:30
17.Man In The Tree - 3:26
18.If You Don't Want To (I Don't Mind) - 3:14
19.Green And Blue - 0:21
20.Mon Amour - 2:06
21.Wizard Of Is - 3:36
22.The Frog In The Window - :41
23.When I Was A Child - 4:45
24.These Things Too - 3:23
All compositions by Tom Rapp

Musicians
*Tom Rapp - Vocals, Guitar
*Elisabeth - Vocals
*Charlie Mccoy - Dobro, Guitar, Bass, Harmonica
*Norbert Putnam - Bass
*Kenneth Buttrey - Drums
*Buddy Spicher - Violin, Cello, Viola
*Mac Gayden - Guitars
*David Briggs - Piano, Harpsichord
*John Duke - Oboe, Flute
*Hutch Davie - Keyboard
*Bill Pippin - Oboe, Flute
*Wayne Harley - Banjo, Harmony
*Jim Fairs - Guitar, Harmony, Celeste
*Bill Salter - Bass
*Grady Tate - Drums
*Richard Greene - Electric Violin

Pearls Before Swine
1967 One Nation Underground (Japan remaster)
1968  Balaklava (Japan remaster) 
1971  Beautiful Lies You Could Live In
1971  City Of Gold
Tom Rapp
1972  Tom Rapp - Stardancer (2009 Lemon edition)
1973  Sunforest (2009 Lemon edition)

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Jodo - Guts (1971 uk, stunning heavy blues psych rock)

December 4, 2013, 7:12 am
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Jodo formed from a band called Axe who had a minor hit with a single called "Running Wild" written by Rod Alexander and Bill Kimber.

Jodo were a British band whose sole album was only released in the US at the time. Killer heavy-rock sound with ultra loud fuzzed out guitars and melodic vocals. Engineered by Martin Birch (B. Sabbath, D. Purple, B.O.C.) and produced by Derek Lawrence (D. Purple, Green Bullfrog).


Tracks
1. Nightmare (R. Alexander, W. E. Kimber) - 3:30
2. One Night Stand (J. Taylor , R. Alexander, W. E. Kimber) - 2:49
3. I'm Still Trying (J. Taylor , R. Alexander, W. E. Kimber) - 4:50
4. What's Your Number (E. Jordan, J. Taylor , R. Alexander, W. E. Kimber) - 2:46
5. Rat Race (R. Alexander, W. E. Kimber) - 2:58
6. Seventeen (J. Taylor , R. Alexander, W. E. Kimber) - 5:23
7. Wish You'd Never Been Born (J. Taylor , R. Alexander, W. E. Kimber) - 3:06
8. It's No Good (R. Alexander, W. E. Kimber) - 3:12
9. Pushing (D. James, R. Alexander, W. E. Kimber) - 3:50
10.There's Still Time (J. Taylor , R. Alexander, W. E. Kimber) - 4:36

Jodo
*Earl Jordan - Lead Guitar, Vocals
*Rod Alexander - Bass, Keyboards, Vocals
*Jon Taylor - Guitar
*Bill Kimber - Vocals
*Chico Greenwood - Drums

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