Rockasteria

The Crossroads saw the first light, in the second half of the 70's, in Arkansas. In 1979 they released their first record, under the title "Southern Strutter", this is precisely the tone of their music, sounds from the south with obvious influences, especially, by Lynyrd Skyrnyrd and Allman Brothers (post Duane Allman era, “Brothers and Sisters” etc.), there are times when the melodies have a lighter texture flirting with the mainstream. Nice record, of the kind that won’t dissapoint you, considering of the time it’s released, just before the threshold of the 80’s.

Tracks
1. Sowin' Our Wild Oates (K. Wheaton, J. Echols) - 4:26
2. Angel (J. Echols) - 3:57
3. Which Way From Here (B. Rogers, K. Wheaton, M. Taylor) - 3:07
4. Allison (K. Wheaton) - 3:53
5. Southern Strutter (K. Wheaton, J. Echols) - 3:55
6. Warm Day In The Winter (B. Rogers) - 3:48
7. Music On Our Mind (K. Wheaton, B. Rogers, M. Taylor, J. Echols) - 3:43
8. Soul Searchin' (M. Taylor, Bill Bradbury) - 3:47
9. Many Times (B. Rogers, K. Wheaton, M. Taylor) - 4:10

Crossroads
*Ken Wheaton - Lead Guitar
*Bobby Rogers - Lead Guitar, Vocals
*John Echols - Lead Vocals, Rhythm Guitar
*Mike Taylor - Keyboards, Vocals
*Wayne Winston - Bass
*Joe Laster - Drums

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Home Stretch Blues represents a high point in the Sextet's history. Within a few days our Trio also recorded 'Cold Mountain' (available on Vocalion CDSML 841 5) in the same studio behind Gloucester Place - and things felt good. We did both IPs in two 3-hour sessions. Kevin Daly, Harley Usill's producer for Argo, was encouraging and enthusiastic.

We had our dear friend Don Rendell on some of the tracks, a truly inspirational presence. I brought in my home-made harpsichord in my Reliant three wheeler, and we were all surprised that it actually worked (the harpsichord that is: we weren't so sure about the three-wheeler). You hear it pinging away on Fire Opal and Blue Poppies. John Smith's poem Co/ours for Jan te Witt was the spark that ignited the suite (reproduced on page 6). We'd recently had a trip in two cars to the northernmost tip of Scotland (Thurso), four in a big Vauxhall, Trevor Tomkins and I in a mini-van - the "scout car". It was he who invented the service ranks you see on the cover. It was, for us, very funny because of the relationship between our real characters and the ranks he chose.

Home Stretch Blues itself was born of those interminable hours on the motorway driving back at night from gigs, the rhythm reflecting the punctuation of the passing street lamps. With our bogus service ranks in place we built a fantasy of being marooned on King's Cross station after VE Day without a train in sight; hence the photograph (taken by Mick Rock) with clothing hired perfectly to fit courtesy of Argo Records. We had a tricky moment with Don, who refused to wear the Padre's dog-collar (in the end he wore his own shirt back to front), and Trevor who, as a US Army lieutenant, was spat at as he came along the platform. Sunday morning, too! We went straight from the photo-shoot to the BBC to record a "Jazz in Britain" programme. No one there so much as raised an eyebrow. We used to sing Tennyson's lullaby (in its original setting) "Sweet and Low" at junior school, together with "Golden Slumbers".

No one writes such lovely things any more ("Golden Slumbers" is temporarily misplaced.) Epiphany began - like Troppo - with a bass figure of Dave Green's. It turned into a late arrival for the Jazz Praises Ball, but nonetheless we had great fun with it, especially the whoops. I imagine it's our little pranks in the middle of "serious jazz" that sometimes puzzles people. Don't worry about it - our hearts are in the right place. I've loved all the groups I've been involved in, but this one particularly. As Norma Winstone says, it was like a family.

by Michael Garrick 2006

Tracks
1. Home Stretch Blues - 9:03
2. Sweet And Low (Garrick, Words By Tennyson) - 6:14
3. Epiphany (Garrick; Green) - 9:35
Fire Opal And Blue Poppies A Sequence Of Visions
4. Fire Opal - 4:16
5. Retribution - 3:25
6. Wishbone - 5:54
7. Blue Poppies - 6:18
8. Limbo Child - 4:18
All compositions by Michael Garrick except where noted.

Musicians
*Norma Winstone - Vocals
*Michael Garrick - Piano, Harpsichord
*Trevor Tomkins - Drums
*Dave Green - Bass
*Art Themen - Soprano Sax, Tenor Sax, Clarinet
*Henry Lowther - Trumpet, Flugelhorn, Violin
*Don Rendell - Tenor Sax 'Home Stretch Blues' And 'Epiphany' Only

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Often associated with the Power Pop genre given to Ardent Label Mates Big Star, Cargoe projected more of a stylized artistic nuance to their songwriting and performing, with harmonies exhibiting a strong American/Southern Roots cultural influence.

The band recorded their Album CARGOE with Terry Manning producing at, John Fry's Ardent Studios. They scored numerous Billboard and Cashbox Top 100 listings, and reviews from 1970 through 1973, along with major radio play of their first single “Feel Alright” and follow-up “I Love You Anyway”. The band’s studio LP CARGOE was even featured, with Isaac Hayes Shaft, which won an Academy Award/Oscar that year for Best Original Song, in a Special Edition section of Billboard’s June 3, 1972 “The Deck is STAX” promotion.

The band began a west coast tour the summer of 1972, but was caught up in the distribution and bankruptcy label problems at Stax/Volt, who distributed the album and owned the masters. Distribution was sold to Columbia Records who failed to include Cargoe in their catalog, which meant that listeners who heard the hit couldn't actually buy the record. “Feel Alright” and their debut CARGOE LP fell off the charts instantly.

The same label troubles caused both Cargoe and Big Star to disband within a short time. Big Star went on to become one of the most beloved and influential bands of the entire decade, while Cargoe pretty much disappeared out of the popular memory.

Ardent Records contracts for distribution with Stax/Volt gave Stax ownership of the master tapes. When Stax went bankrupt in the mid-'70s, ownership of the masters eventually wound up in the hands of Fantasy Records Saul Zaentz, and no one's been able to get the tapes for domestic release.

It's certainly worth noting that after nearly 40 years of producing and engineering countless hit records including ZZ Top, Led Zeppelin, George Thorogood, Celine Dion, Björk, Lenny Kravitz, Mariah Carey, Shania Twain, and many others, Terry Manning to this day regards Cargoe as “the great record he helped make that no one ever discovered”..

by Frank Gutch Jr.

Tracks
1. Come Down (Bill Phillips) - 3:59
2. Feel Alright (Tommy Richard) - 2:33
3. Horses And Silver Things (Tommy Richard, Max Wisley) - 2:49
4. Scenes (Max Wisley) - 3:46
5. Things We Dream Today (Bill Phillips) - 2:44
6. Time (Bill Phillips, Max Wisley) - 4:09
7. Feelin Mighty Poorly (Tim Benton) - 5:35
8. Thousand Peoples Song (Tommy Richard) - 4:13
9. Heal Me (Tommy Richard, Max Wisley) - 3:11
10.I Love You Anyway (Tommy Richard) - 4:02
11.Leave Today (Bill Phillips) - 5:14
12.Tokyo Love (Bill Phillips, Jim Peters) - 3:51

Cargoe
*Bill Phillips - Hammond B3, Rhodes, Grand Piano, Vocals
*Tommy Richard - Guitar, Vocals
*Max Wisley - Bass, Vocals
*Tim Benton - Drums, Vocals

1972 Cargoe - Live In Memphis!

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Paul Revere and The Raiders has been a veritable army of musicians, whose major career began in 1963 and lasted through 1975. Paul managed the group's internal workings, Mark Lindsay lent his voice, writing and producer talents, and I managed the external affairs: Columbia Records, a television career, and touring. An ambassador of sorts.

From the 'essential' Raiders surrounding Paul and Mark, namely Phil Volk, Drake Levin, Mike Smith and Jim Valley, Paul created an entertainment machine that is still well oiled, with occasional new parts. Keith Allison, Freddy Weller, Charlie Coe and Joe Correro Jr. joined over time; others even later.

The '60s Raiders became television stars and Teen Idols. Dick Clark gave them television time on Where The Action Is and Happening (ABC-TV). They were Rock Stars with "Personality, and immense record sales followed. They dominated the teen magazines as well. Group photographer Gino Rossi's photos were popping up everywhere The Ed Sullivan Show, Johnny Carson, The Smothers Brothers, plus many Specials followed, even a cameo role on Batman.

By the mid '70s, Paul and Mark had seen a run of success that would be hard to duplicate by any other group, with millions of records sold, literally hundreds of television appearances, and tours to the biggest U.S. venues of the time. These two albums, Collage and Indian Reservation represent the culmination of The Raiders success, artistically and commercially, with Mark in the studio, and Paul on the road to make it happen.

These albums represent what Paul Revere and The Raiders, in the beginning, never imagined could happen. We played our roles by ear, instinct, hard work and believability, and it worked. However, the group ended its encampment in Hollywood by the end of 1975.

The group dissolved and all went their way. Paul moved back to his beloved Idaho, I had moved to Spain, and Mark stayed in Hollywood for the time. Everyone looked for a new niche in music. Paul reformed his band in 1978 and is still on the road. Their era of rock-stardom would end, but memories of years supercharged with more success than ever imagined linger on, and the stories are still being told.

by Roger Hart (Personal Manager at the time, and Consultant to Paul to date)

Tracks
1. Indian Reservation (The Lament Of The Cherokee Reservation Indian) (John D. Loudermilk) - 2:54
2. The Shape Of Things To Come (B. Mann, C. Weil) - 3:24
3. Prince Of Peace (L. Russell, G. Dempscy) - 3:30
4. Heaven Help Us All (Ronald Miller) - 3:25
5. Take Me Home (Terry Melcher) - 4:10
6. Just Remember You're My Sunshine (Mike Settle) - 2:44
7. Come In, You'll Get Pneumonia (H. Vanda, G. Young, T. Cahill) - 3:12
8. Eve Of Destruction (P.F. Sloan) - 3:19
9. Birds Of A Feather (Joe South) - 2:52
10.The Turkey (Mark Lindsay) - 4:06
11.Save The Country (Laura Nyro) - 3:17
12.Think Twice (M. Lindsav, K. Allison) - 3:52
13.Interlude (To Be Forgotten) (M. Lindsay, K. Allison) - 2:47
14.Dr. Fine (Mark Lindsay) - 4:06
15.Just Seventeen (Mark Lindsay) - 3:51
16.The Boys In The Band (Mark Lindsay) - 3:11
17.Tighter (M. Lindsay, T. Melcher) - 2:10
18.Gone Movin' On (M. Lindsay, T. Melcher) - 3:01
19.Wednesday's Child (M. Lindsay, K. Allison) - 2:26
20.Sorceress With Blue Eyes (M. Lindsay, K. Allison) - 5:01
21.We Gotta All Get Together (Freddy Weller) - 4:57
22.Country Wine (E. Villareal, V. Watkins) - 2:31
23.Powder Blue Mercedes Queen (Mark Lindsay) - 2:55
Bonus Tracks 22-23

The Raiders
*Mark Lindsay - Vocals
*Paul Revere - Keyboards
*Freddy Weller - Guitar
*Keith Allison - Rass, Guitar
*Mike Smith - Drums (1-10. 22, 23)
*Joe Correro Jr. - Drums (11-21)

Paul Revere And The Raiders
1963-65 Mojo Work Out (Sundazed issue)
1965-67 Evolution to Revolution: 5 Classic Albums (2013 double disc remaster)
1967 A Christmas Present... And Past
1968 Goin' To Memphis (Sundazed remaster)
1968 Something Happening (Repertoire digipack remaster and expanded)
1969 Alias Pink Puzz (Sundazed remaster)
1969 Hard 'N' Heavy With Marshmallow (Sundazed issue)
Related Act
1970 Mark Lindsay - Arizona / Silverbird

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It was 1969 when Mike Huey introduced his friend, Spencer Clark, to his brother Rick Huey, and the three of them started a "garage band" called Evolepoh. In 1970, Craig Gysler joined the band, now renamed Lorien, and they started composing original tunes and working toward playing live shows.

In the Spring of 1972, Spencer (lead guitar, lead vocals, song writer) - , Mike (drums, backing vocals, artistic promoter, lyricist) - , and Craig (keyboards, rhythm guitar, lead vocals) - were about to graduate high school, although Rick (bass, backing vocals, song writer-uri-diculous) - had graduated two years prior. Soon the boys were landing opening spots with MC5, Captain Beefheart, and The Amboy Dukes (Ted Nugent) - at a local Houston venue called "of Our Own". They were not yet in their Progressive Zone, but were listening to and influenced by bands such as King Crimson, ELP, Peter-Gabriel-Era Genesis, and Yes.

By 1975 the band had changed their name to Chameleon, and were playing gigs around Houston and surrounding Texas cities. Widely known and praised as a Progressive Rock band, they shared the stage with other notable Houston bands such as Eeze (later known as Automatic) - , La Paz, The Electromagnets with Eric Johnson, Heyoka, One Hand Clapping, and Oz Knozz. Chameleon rehearsed 4 or 5 nights a week out at Spencer's place west of Houston, (a converted barn) - and that is where they fine-tuned their progressive style.

Mike left the band in 1978, and Marty Naul from Oz Knozz joined as drummer, backing vocalist, director, and "crazy-Ass Insane Chauffer") - Chameleon began to increase the vision of being a Prog Rock band, and recorded the now famous "Barn Tapes" during this period.

By 1981, the band Chameleon had run its course, and although the five spirits of Spencer, Craig, Rick, Mike and Marty that comprised the band's soul went their separate ways, all of the recordings they left behind are still here, fully restored and presented to you now for enjoyment and remembrance.

CD Liner-notes

Tracks
1. Texas Cyclone (Craig Gysler) - 9:41
2. Follow Your Love (Paradise Lost) (Craig Gysler, Spencer Clark) - 3:57
3. Pilot Thoughts (Spencer Clark, Mike Huey) - 7:24
4. Brave New Way (Spencer Clark, Craig Gysler) - 4:08
5. Drool Away (Spencer Clark) - 4:36
6. Pass Thru The Columbian Mountains (Spencer Clark) - 6:43
7. Everyday Everyway (Spencer Clark, Craig Gysler) - 5:56
8. Mirkwood Forest (Craig Gysler, S. Clark, Mike Huey, Rick Huey) - 6:53
9. In The Heart (Craig Gysler) - 5:26
10.Saturate (Spencer Clark, Craig Gysler) - 4:49
11.Midnight Matinee (Spencer Clark) - 5:29
12.Life Positions (S. Clark, Craig Gysler, Rick Huey, Marty Naul) - 9:26
13.In My Own Way (Craig Gysler) - 3:14

Chameleon
*Spencer Clark - Guitars, Vocals
*Craig Gysler - Keyboards, Vocals
*Mike Huey - Drums
*Rick Huey - Bass, Vocals
*Marty Naul - Drums (1978-80)

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Gerald Cranston Frederick Loughran was born on the 19th July 1942 in the Yeotmal province of the central plains of India. He was the youngest of eight children, having three brothers and four sisters.

Gerry's forefathers emigrated from Ireland to India around 1800. Gerry's father's lineage included English and Indian as well as Irish, while his mother was born of a Scottish father and Indian mother.

Gerry spent the earliest years of his life growing up on the family farm, however, was also sent away to board at the Wynberg Allen Memorial School in Mussoorie, a small village in the Himalayas. Music was an important part of Gerry's early life - his father played violin and his brother David played the guitar.

However, after the death of his father, Gerry's family emigrated to England. Running the farm, as well as continuing to bring up a young family proved to be extremely difficult for Gerry's mother, especially in the face of the rapidly changing political climate in India.

round April 1965 Gerry changed the spelling of his surname from Loughran to Lockran for stage purposes. His British live schedule at this time also included a package tour called 'Kings of the Blues' with Long John Baldry, Alexis Korner and Duffy Power.

The Half Moon pub in Putney, South West London, presented Gerry with his first major opportunity to run his own folk and blues club. It was on August 6th 1965, that Gerry, together with his old friends Cliff Aungier and Royd Rivers, first opened 'Folksville', a folk and blues club at the Half Moon. This music venue continues to thrives into the year 2000 - 35 years after being started by Gerry, Cliff and Royd!

Other young performers who played live at 'Folksville' were: Ralph McTell, Wizz Jones and Martin Carthy. Indeed, Ralph, Wizz and Martin would still play live at the Half Moon during the 1990s. 'Folksville' also booked American blues legends, including Champion Jack Dupree, who remarked to Gerry after hearing his opening floor spot, that he was the closest thing he had ever heard to Big Bill Broonzy!

However, Gerry needed to develop his career further by recording and releasing records.

In 1966 Gerry secured a recording contract which resulted in the release of his first LPs Hold 'On-I'm Coming!' , featuring Danny Thompson on double bass.

Gerry followed this release with 'Blues Vendetta' in 1967, which featured his powerful fingerpicking style on self -penned compositions like 'Guitar Boogie' and 'Jason's Blues' (written for his three year old son). In 1969 'The Essential Gerry Lockran' was released and Gerry also featured on 'The Blues at Sunrise' compilation with Redd Sullivan and Dave Travis.

Gerry continued to write, record and release records up to the end of his career in 1981.

In 1968, Gerry, Bobbi and young Jason moved to East Molesey, Surrey where they remained for the rest of Gerry's life.

n 1970 Gerry and Bobbi's second son, Jethro, was born. Young Jethro and his older brother Jason were immortalised in Gerry's song 'Jonas and the whale', recorded on Gerry's 1976 LP 'Rags to Gladrags'.

In the early 1970s, Gerry's career took a further turn when he started being managed by Nigel Thomas, who also represented Joe Cocker, The Grease Band, Rod Stewart and The Faces, Chris Stainton and Juicy Lucy.

During 1972 and 1973 Gerry toured the US, Canada and Europe as part of huge package tours featuring these artistes. After years of performing at the small clubs and pubs of the folk and blues circuit, Gerry was suddenly playing an opening set in front of crowds of tens of thousands of people.

The US and Canadian tour headlined by Joe Cocker lasted three months and involved 40 concerts at venues, including Madison Square Gardens in New York and The Forum in Los Angeles. This was followed by a two month European tour through France, Holland, Italy, Germany and England.

Being under the same management as Joe Cocker, The Grease Band, Rod Stewart and The Faces also resulted in Gerry recording two LPs, featuring a stellar cast of accompanying musicians. These included: Ronnie Wood, Mick Ralphs, Henry McCulloch, Neil Hubbard, Alan Spenner, Philip Chen, Pete Wingfield, Mel Collins, Bruce Rowlands and his old friend Cliff Aungier, amongst others.

These LPs, 'Wun' (released in 1972) and 'Rags to Gladrags' (released in 1976) represented a new direction for Gerry. His self-penned compositions came to the fore including introspective and family-inspired songs such as 'Father to your children', 'My brother', 'Temptations' and the chilling elegy 'She was a very good friend of mine' (written about his late mother).

However, the association with Nigel Thomas was not to last and Gerry soon discovered new audiences on mainland Europe, where he concentrated his live work from the mid 1970s. After six years struggle he suffered a fatal heart attack on 17th November 1987. He was survived by his wife, Bobbi, and two sons, Jason and Jethro.

Gerry Lockran net

Tracks
1. Father To Your Children - 4:17
2. Maybe Not Up - 2:56
3. Tired Neal Groans - 2:43
4. She Was A Very Good Friend Of Mine - 4:33
5. Stop On The Red - 3:55
6. Summertime (Gershwin, Heyward) - 6:27
7. That's Alright Mama (Crudup) - 3:04
8. Twice Are - 1:59
9. Sooner Or Later- 2:44
10. Woman Lover Blues (McGhee) - 2:10
Words and Music by Gerry Lockran except where stated.

Personnel
*Gerry Lockran - Vocals, Guitar
*Israel Zacota - Guitars
*Bryn Haworth - Guitars
*Chris Stewart - Bass Guitar
*Rod Dawes - Harp,Acoustic Guitar
*Bruce Rowland - Drums,Piano
*Mick Ralphs - Guitars
*Junior Kerr - Guitars
*Andy Pyle - Bass Guitar
*John Large - Keyboards
*Ron Berg - Drums
*Chris Mercer - Saxes
*Nick Pearson - Guitar
*Ron Wood - Slide Guitars
*Neil Hubbard - Guitar
*Alan Spenner - Bass Guitar
*Cliff Aungier - Acoustic Guitar,Vocals
*The Mario Warner Four - Vocals

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“Aaron Lightman is a young singer-composer-actor from Philadelphia. Although in his twenties, his child-like appearance and slight build (100 pounds soaking wet on a good day!) tend to make people think he is much younger. Realising that we are all children in an ageing world, his songs are like his appearance. They take delight in simple things: a misty dawn, merry-go-rounds, rainy afternoons, a young girl’s hair, summertime, squirrels and the sea. Some of these songs were brought to the attention of the producers, who were looking for a vehicle to unite their classical background with popular music. The result is this album; a modern cantata utilising a chamber orchestra instead of a vocal choir; a flow of undefinable music telling a story that need not start or finish in any specific time or place or travel along a precise linear road; the thoughts and voice of one man as he journeys through the timeless flowing of the mind to discover his humanity”

1970 Original Liner Notes

Aaron Lightman is likely more well known in contemporary times than when he was an active musician. Hailing from Philadelphia, his slight and short build portrayed him as a much younger person, with a supposed childlike appearance and slight hundred-pound build, which also typified his singing style. Lightman's voice itself was described as a cross between the Gibb brothers from the Bee Gees and Donovan Leitch.

Owing no small allegiance to the '60s psychedelic era, Lightman's music was very orchestrated, similar to certain songs of the Beatles or the Moody Blues in a melodic baroque pop vein. He co-wrote songs with Dean Christopher and with producer Ron Frangipane, who also worked with Melanie, Janis Ian, the Monkees, John Lennon, Dusty Springfield, and the Rolling Stones. The Poppy label, distributed by MGM, issued his eponymous debut album in 1970, and the single "Down to the Sea" b/w "Now Is the Time." He worked with string players Gene Bianco, George Ricci, and Gene Orloff; drummer Al Rogers; flutist Romeo Penque; and acclaimed jazz woodwind player Phil Bodner.

Lightman's record does not seem to have attracted much attention when it was first issued, but upon its reissue in 2008 by the Fallout label, Lightman enjoyed renewed interest.

by Michael G. Nastos

Tracks
1. (Interlude) Out Of The Morning - 18:17
.I..(Interlude) They Call Me Traveler
.II.(Interlude) None For Me
2. On Monday Me - 2:14
.I..(Interlude) I Have A Little Friend
.II.(Take 74 Interlude)
3. Little Girl (Interlude) - 11:21
4. The Morning After - 6:10
.I...(Interlude) Down To The Sea
.II..Something Simple
.III.Fragrances
5. (Interlude) Now Is The Time - 3:23
Words and music by Aaron Lightman

Musicians
*Aaron Lightman - Vocals
*Hugh MacCracken - Electric Guitar
*Romeo Penque, Irving Horowitz, Phil Bodner, Joe Grimm, Leon Cohen, George Berg - Woodwind
*Don Currado, Joe De Anglis - French Horns
*Al Rogers - Drums
*Joe Mack - Bass
*Ronald Frangipane - Harpsichord
*Sal Di Troia - Solo Classical Guitar
*Max Ceppos, Irving Spice, David Rothschild, Joe Mallen, Manny Green, Gene Orloff, Lou Stone, Arrianna Brun - Violin
*David Saxon, Seymore Burman, Harry Lefkowki - Viola
*Seymour Babarb, George Ricci, Charles MacCracken - Cello
*Gene Bianco - Harp

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Freedom's album 'Freedom' original released on vinyl in 1970. This is the follow up album to 'At Last' and is the 2nd album from the power trio of Bobby Harrison, Roger Saunders and Walter Monagham and has been a long sought after item by collectors. Roger Saunders struggle with cancer in early 2000 came to a sad end and the British Rock scene lost an excellent and underrated guitarist.

'Freedom' shows a more mature, rehearsed group where a lot of emphasis was put on vocal harmonies. "We all sang" Harrison said. "We were all lead vocalists so though we were a three piece band we had a pretty big sound". If anyone should find a certain USA West Coast Influence on this Freedom album, Harrison would agree. "That was what we were aiming at I suppose. We were touring a lot in US at that time, supporting Jethro Tull and then we returned to the UK touring with Black Sabbath and Curved Air". Freedom disbanded in 1972 with Bobby forming Snafu.

Tracks
1. Nobody (Bobby Harrison, Roger Saunders) - 3:57
2. In Search Of Something (Bobby Harrison, Roger Saunders) - 6:23
3. Dusty Track (Roger Saunders, Walt Monaghan) - 7:55
4. Man Made Laws (Bobby Harrison, Roger Saunders) - 3:25
5. Ain't No Chance To Score (Bobby Harrison, Roger Saunders) - 5:41
6. Pretty Woman (Williams) - 5:39
7. Freedom (Bobby Harrison, Walt Monaghan, Roger Saunders) - 5:12
8. Frustrated Woman (Bobby Harrison, Walt Monaghan, Roger Saunders) - 4:59

Freedom
*Bobby Harrison - Vocals, Drums
*Roger Saunders - Guitar, Vocals
*Walt Monaghan - Bass, Vocals

1969 Nero Su Bianco / Black On White
1973-74 Snafu - Snafu / Situation Normal

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After a mere three albums in just under three years, Cream called it quits in 1969. Being proper gentlemen, they said their formal goodbyes with a tour and a farewell album called -- what else? -- Goodbye. As a slim, six-song single LP, it's far shorter than the rambling, out-of-control Wheels of Fire, but it boasts the same structure, evenly dividing its time between tracks cut on-stage and in the studio.

While the live side contains nothing as indelible as "Crossroads," the live music on the whole is better than that on Wheels of Fire, capturing the trio at an empathetic peak as a band. It's hard, heavy rock, with Cream digging deep into their original "Politician" with the same intensity as they do on "Sitting on Top of the World," but it's the rampaging "I'm So Glad" that illustrates how far they've come; compare it to the original studio version on Fresh Cream and it's easy to see just how much further they're stretching their improvisation.

The studio side also finds them at something of a peak. Boasting a song apiece from each member, it opens with the majestic classic "Badge," co-written by Eric Clapton and George Harrison and ranking among both of their best work. It's followed by Jack Bruce's "Doing That Scrapyard Thing," an overstuffed near-masterpiece filled with wonderful, imaginative eccentricities, and finally, there's Ginger Baker's tense, dramatic "What a Bringdown," easily the best original he contributed to the group. Like all of Cream's albums outside Disraeli Gears, Goodbye is an album of moments, not a tight cohesive work, but those moments are all quite strong on their own terms, making this a good and appropriate final bow.

by Stephen Thomas Erlewine

Tracks
1. I'm So Glad (Skip James) - 9:08
2. Politician (Jack Bruce, Pete Brown) - 6:17
3. Sitting On Top Of The World (Walter Vinson, Lonnie Chatmon, Arr. Chester Burnett) - 5:01
4. Badge (Eric Clapton, George Harrison) - 2:45
5. Doing That Scrapyard Thing (Jack Bruce, Pete Brown) - 3:14
6. What A Bringdown (Ginger Baker) - 3:56
Tracks 1–3 Recorded Live At The Forum, Los Angeles, 19 October 1968

Cream
Jack Bruce – Bass Guitar, Piano, Organ, Vocals
Ginger Baker – Drums, Percussion, Vocals
Eric Clapton – Guitars, Vocals
With
Felix Pappalardi – Bass, Piano, Mellotron
George Harrison (Credited As "L'Angelo Misterioso") – Rhythm Guitar

1966 Cream - Fresh Cream (SHM remaster)
1967 Cream - Disraeli Gears (SHM remaster)
1969 Jack Bruce - Songs For A Tailor
1971 Jack Bruce - Harmony Row

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No one ever squeezed more juice out of the basic rock-band lineup than The Sonics did when they cut the earsplitting teenage anthems found on Infroducing The Sonics. The album (actually the band's third longplayer, not their first) features the classic Sonics lineup: razorblade-gargling lead vocalist/ keyboard man Gerry Roslie, apocalyptic guitarist Larry Parypa, honking tenor saxman Rob Lind, leather-fingered bassman Andy Parypa, and caveman drummer Bob Bennett. And lefs get one thing straight here:

The Sonics were, hands down, the most powerful band ever to come from the Pacific Northwest. The Tacoma quintet didn't just play songs, they assaulted mem with the heartstopping howl of someone who's accidentally pulled the hair dryer into the bath tub along with them on Saturday night.

Just look at these boys on the cover: gathered 'round somebody's swimming pool in their cool haircuts, cutaway bolero jackets, gnarly vests, stubby neckties, pencil- thin drainpipe trousers with high-rise, toreador cuffs, and Cuban heels pointy enough to impale unsuspecting passersby.

They have the look of teenage assassins, ready to blow the minds (and eardrums) of every kid lucky enough to stagger into Saturday's dance at the local armory after downing a bottle of Ripple out in the parking lot. When Reddy Kilowatt saw The Sonics coming, he must have ducked over to the other side of the street, pulled up his collar and pretended to be window-shopping in deference to these scary newfound Kings of High Voltage.

Has anybody ever kicked off an album with a song hatf as smoking as The Sonics' monstrous garage killer "The Witch?""She's gonna make you itch/Cuz she's the witch," shrieks Roslie as every kid in the crowd makes up his own rhyming couplet to the song mat would become a regional smash.

"You Got Your Head On Backwards" is a deep bow in the direction of "I'm A Man" by Mr Bo Diddley and The Yardbirds, complete wilh scathing put-down out-chorus: "The way you're walkin' talkin,' it ain't lookin' right/The way you've been actin' is too far outta sight." Hey, everybody knows some stuck-up girl just like that, and it's about time she got what was coming to her. And if you dug that, have a listen to the real, bona fide "I'm A Man," with screaming guitar, thumping drums, howling organ, and wailing harp-all coming together in the traditional, orgasmic conclusion that'll leave you gasping for breath and lighting a coffin nail.

John Sebastian's sweat-stained Lovin' Spoonful tale of life in the fast lane, "On The Road Again," gets the complete Sonics wakeover, as our heroes rip through me tune like they just wrote it on the back of a ketchupstained paper napkin over a 3:00 a.m. lumberjack breakfast. Ihe legendary "Psycho"-another Sonics smasheroo-finds Roslie letting go with one of his all-time best howls, art earwax-melting blast guaranteed to keep your pad pest-free for at least a year.

Everybody's gotta take a deep brealfi now and then, and "Love Lights" does very nicely as a back seat make out ballad for the over stim ulated teens who've just spent the night shaking like crazy to the frantic sounds of The Sonics. "I'm Going Home" is a wailing, Eric Burdonlike lament about being treated bad in the big city. Come on home, boys. Tacorna will always welcome you with open arms. "High Time" lets you know The Sonics mean business. As if there was any other time for these guys than high time! “I’mARogingStone" is one of those soulful, mid-tempo things, kinda like, uhh, The Rolling Stones, but carried into the stratosphere by Lind's paint-blistering sax and Roslie's ultra-cool, roller-rink organ.

As the man says: "I've been wearing real long hair/ What people say, baby, I don't care." You bet. The carbon monoxide fumes fairly swirl on garage wailer "Like No Other Man," until Larry Parypa cuts loose with an air-sucking guitar run that would put the lid on the fire inside Mt. Vesuvius. "All the birds love me, they know I'm a star," snickers Roslie on "Maintaining My Cool" while his pals croon, "Wine, women and song" in the background.

Next up, four monstrous bonus tracks, not found on the original LP. "Bama Lama Bama Loo”, written by Georgia Peach and King Of Screech, Little Richard, finds Lind's volcanic tenor erupting here like he just stepped off the Greyhound bus, elbowed Mr. Penniman's sax-man off the bandstand, and started blowing like somebody had o gun to his head. "Leave My Kitten Alone"- produced by Jerry Dennon and engineered by Kearney Barton (tike everything here except for "The Witch" and "Psycho"}- serves as fair warning to anybody contemplating meddfing in the love life of these fair-haired boys.

Man, you'd have to be crazy to even think about it! The insinuating "Dirty Old Man" slinks through the back alleys of Tacoma like some old geezer with an oversized raincoat and a sticky stack of French postcards, while Roslie and his boys cackle like dazed octogenarians. "Diddy Wah Diddy"-a tune that could have been written just for The Sonics-gives versions by The Remains, Bo iddley, and Captain Beefheart a run for heir money, no mean feat.

If there were any justice in the world, the Sonics would have been inducted into the Rock & Roll Hall Of Fame long ago and be living as tax exiles in the south of France, sipping vintage wine and playing baccarat while bikini-clad nubiles bring them frosty drinks. Instead, they can rest easy knowing full well that they created a small body of napalm-hot rock ‘n’ roll that can stand up to anybody's. And I mean anybody's.

by Jud Cost, Santa Clara, CA

Tracks
1. The Witch (Gerald W. Roslie) – 2:39
2. You Got Your Head Oh Backwards (Gerald W. Roslie, Andy Parypa, Larry Parypa, Rob Lind) - 2:20
3. I'm A Man (Ellis McDaniel) – 2:57
4. On The Road Again (John Sebastian) - 1:44
5. Psycho (Gerald W. Roslie) – 2:09
6. Love Lights (Gerald W. Roslie) – 2:43
7. I'm Going Home (Gerald W. Rosle, Larry Parypa) - 2:23
8. High Time (Gerald W. Rosle, Andy Parypa) - 2:03
9. I'm A Rolling Stone (Gerald W. Roslie, Andy Parypa, Larry Parypa) - 2:21
10.Like No Other Man (Gerald W. Roslie) – 1:59
11.Maintaining My Cool (Gerald W. Roslie) – 1:50
12.Bama Lama Bama Loo (Richard Penniman) – 2:38
13.Have My Kitten Alone (Willie John, James McDougal, Tumer Titus)- 2:41
14.Dirty Old Man (Gerald W. Roslie) – 2:14
15.Diddy Wah Diddy (Andy Christensen) - 2:25
Bonus tracks 12-15

The Sonics
*Gerry Roslie - Organ, Piano, Lead Vocals
*Andy Parypa - Bass Guitar
*Larry Parypa - Lead Guitar, Vocals
*Rob Lind - Saxophone, Vocals, Harmonica
*Bob Bennett - Drums

1965 Here Are The Sonics (New Rose rare Vinyl issue)

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Toronto's Max Webster blended metal, prog, and rock elements into a genre-defying blend that won the group a cult following in the mid- to late '70s. Formed in 1973, the band's sound focused on the contrast between vocalist/guitarist Kim Mitchell's aggressive attack and vocalist/keyboardist Terry Watkinson's more melodic approach, with drummer Gary McCracken and bassist Mike Tilka providing a propulsive backdrop. Additional lyricist Pye Dubois was considered the band's fifth member, adding extra theatrical flourishes to Max Webster's concerts.

by Heather Phares

Max Webster was an unusual beast as bands go. They seemed to try for a sound that bordered on anthemic arena rock and progressive rock. However, the textures of the music made it feel like they just barely missed. The group had a sound that was quite quirky and off-kilter, while still trying for those more accessible rock sounds. This disc, their debut, certainly shows off all of those textures.

The material ranges from hard-edged straightforward metal to rock ballads and fun, almost punky, territory. The final track on the album, "Lily," is an extended progressive rock jam that is the strongest piece on the disc. That cut seems to embody sounds of such groups as Yes and Rush, but still with a touch of Max Webster's weirdness. If you are looking for an intriguing take on the arena rock/prog territory, give these guys a chance, but remember that their sound is definitely on the quirky side.

by Gary Hill

Tracks
1. Hangover - 4:36
2. Here Among The Cats - 3:07
3. Blowing The Blues Away (Terry Watkinson) - 3:33
4. Summer Turning Blue - 3:05
5. Toronto Tontos - 3:40
6. Coming Off The Moon - 3:38
7. Only Your Nose Knows - 4:16
8. Summer's Up - 2:45
9. Lily (Kim Mitchell) - 7:42
All songs by Kim Mitchell, Pye Dubois except where indicated

Max Webster
*Kim Mitchell - Guitars, Lead Vocals
*Paul Kersey - Drums, Percussion
*Mike Tilka - Bass, Vocals
*Terry Watkinson - Keyboards, Vocals
*Pye Dubois - Lyrics

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The one unifying factor coursing through Max Webster's magnificent premiere was a rural warmth that evoked images of. I dunno. Carved cherry wood. In comparison, High Class In Borrowed Shoes, although no heavier, evokes a sheen of polished aluminum, with its bright, uncompromising headphone-ready drum sound, its everlite, dewdropped piano work, and its painstakingly perfect execution.

But High Class sails the same passionate seas of wanton adventure, offering arguably four metal or hard rock works, most panoramic, scorching and insistent being America's Veins and the swooping and snatching title track, the song improbably combining boogie and pomp until circumstance breeds good fortune. Lyricist Pye Dubois, although not an official noise-making member of the band (in the great tradition of The Dead's Robert Hunter), continues to be the Max Webster's philosophical engine and perfect, crucial soulmate to Kim Mitchell's fluid guitar mathematics, Pye offering memorable yet cryptically cast aspersions on society's ills and man's monologue with respect to his allotted space.

And as was the case with the debut, all points of the compass lead to the heart no matter what the action level, the album scrubbed clean then chiming by way of elegant Terry Watkinson keyboard work, and absolutely top-of-the-line pride in craftsmanship on the part of the whole circus. It seems almost a mixed symbol that the band would so plainly embrace controversy with the gender-bending weirdness of the cover art, given that all parties involved, including producer Terry Brown, worked so hard to make Max's challenges so warmly inviting and simultaneously so state-of-the-art. It basically stands as more evidence that the complexities of both Max's message and its medium were beyond marketing comprehension, and unfortunately, as history would bear out, beyond the market.

by Martin Popoff, from his book " The Collectors Guide to Heavy Metal - Volume 1: The Seventies"

Tracks
1. High Class In Borrowed Shoes - 4:00
2. Diamonds Diamonds - 3:18
3. Gravity - 4:53
4. Words To Words - 3:34
5. America's Veins - 4:08
6. Oh War! - 4:25
7. On The Road - 3:25
8. Rain Child (Terry Watkinson) - 4:22
9. In Context Of The Moon - 5:13
All Songs written by Kim Mitchell, Pye Dubois, except where noted.

Max Webster
*Kim Mitchell - Guitars, Lead Vocals
*Terry Watkinson - Keyboards, Vocals,
*Mike Tilka - Bass Guitar, Arp Bass, Vocals
*Gary Mccracken - Drums, Percussion

1976 Max Webster

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The Max machine keeps ascending further into the bright blue with this cooler, darker, and mellower release, fashioned sorta like a dry Martini intravenous. The boys are sounding more like a Steely Dan entombed in ice, Kim's Strat coming out to play less often and less inflamed, preferring quieter, intimate moments with the nether bits of the listener's mind.

With respect to the more aggressive cuts, The Party finds the band in free-form, progressive heaven, closest in acerbic kinship with Zappa, while Lip Service rides a jagged funk edge through to its bluesy Fripp-riffed finale. Both hoser anthems became concert favourites as Max traversed Canada and let squeal its laughing gases into every nook, cranny and tiny mining town of the band's vast, empty homeland.

Of the mellower material, Astonish Me is the most heartening, small and jewel-like with Watkinson's Freddie Mercury-poignant piano stylings leading the star search and wish list. Overall, call this another fine but disturbed and slightly hostile Max project, one that finds the band perhaps a bit too self-aware of its oddity yet comfortable with it, never alienating their strange fanbase, Kim and troupe offering up what can only be seen as an integral piece of the band's moonscaped psyche-caressing fuzzy wuzzy puzzle.

by Martin Popoff

Tracks
1. Lip Service (K. Mitchell, P. P. Dubois) - 4:02
2. Astonish Me (Terry Watkinson) - 4:49
3. Let Your Man Fly (Terry Watkinson) - 2:46
4. Water Me Down (K. Mitchell, P. Dubois) - 3:13
5. Distressed (K. Mitchell, P. Dubois) - 4:12
6. The Party (K. Mitchell, P. Dubois) - 4:46
7. Waterline (K. Mitchell, P. Dubois) - 4:08
8. Hawaii (K. Mitchell, P. Dubois) - 3:03
9. Beyond The Moon (K. Mitchell, P. Dubois) - 6:17

Max Webster
*Kim Mitchell - Guitars, Vocals
*Gary McCracken - Drums, Percussion
*Dave Myles - Bass Guitar
*Terry Watkinson - Keyboards, Vocals

1976 Max Webster
1977 High Class In Borrowed Shoes

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Pulse was led by Bronx born songwriter, drummer and vocalist Carlo Mastrangelo, who'd been a founder member of Dion and The Belmonts, with whom he sang, bass and drummed. As such he was on the poorly orfanized ill-fated tour during which Buddy Holly was killed in February 1959 (it has been reported that the bus they usually travelled on was so cold that Mastrangelo had to light newspapers in the aisle for woarmth). Dion later recalled that Holly was so impressed by Mastrangelo's drumming that he'd offered him twice what he was being paid to defect to him.

After the Belmonts split in 1963, Mastrangelo recorded a few solo 45s on Laurie, the worked with bands named The Demilles and Carlo's Crown Jewel (who issued a 45 on Tower later in the decade).

Pulse are through to have been intially called Endless Pulse, and had a hard rock sound far removed from the Belmonts' doo-woop ballads. The quartet consisted of Mastrangelo Vovals, Drums, Richie Goggin Guitars, Vocals, Kenny Sambolin Bass, Vocals and Chris Gentile Organ, though Bill Golden also contributed some Keyboard parts.

Their sole LP was recorded in New York late in 1971, and its producer was the legendary Orrin Keepnews (who'd been responsible for jazz classics by Bill Evans, Thelonius Monk, Wes Montgomery and many others.) Issued on the tiny Thimble label in the spring of 1972, it sank like a stone, through it stands up well today.

The band issued no further recordings, though Sambolin is known to have continued in the music industry, penning for Mahogany Rush in the early '80's, while Mastrangelo currently lives in West Palm Beach Florida, and continues to play Drums.

CD Liners-notes

Tracks
1.Understanding - 6:05
2.Peace I - 1:11
3.I Want To Live - 4:43
4.I’ll Cry Tomorrow - 6:45
5.Why Can’t She See Me? - 3:54
6.Peace II - 1:11
7.She’s Coming Home - 3:06
8.Break Of Day - 4:29
9.Long Ago - 6:32
10.Peace III - 1:07

Pulse
*Carlo Mastrangelo - Vocals, Drums
*Richie Goggin - Guitars, Vocals
*Kenny Sambolin - Bass, Vocals
*Chris Gentile - Organ
With
*Bill Golden - Keyboards

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The start of the Seventies was an uncertain time for lovers of grown-up popular music. Monterey had led to Woodstock, which had become Altamont. Much of that deep and meaningful West Coast stuff had turned to self-indulgence, and the deaths in quick succession of Joplin, Morrison, Hendrix, etc., had heralded the emergence of Glam Rock and the increasing influence of heavy metal.- Fortunately, however, in the early Seventies there were acts who followed their own inclination, ignoring current fashions .and just doing;:what seemed to come naturally. One such was Storyteller, a quintet who were probably closer to folk vain than any other genre, although we are not talking about finger in the ear traditional folk, but more the art of songwriter who wants to make a point or tell a story.

Perhaps appropriately Storyteller’s two albums were released by Britain's then foremost folk label, Transatlantic, their eponymous debut LP in 1970, and their last will and testament, 'More Pages' in 1971. These were not chart albums (far from it), bat particularly the first LP remained a pleasant memory for over 25 years until that nine, Mr.Dane asked me whether there were any Transatlantic album that he might consider reissuing.

As Storyteller seemed to have been forgotten by everyone but me that was my recommendation. Write a sleeve note, then sure, if you can tell me where to find them. The Group's focal point was probably Caroline Attard, and if memory serves, she was married to Andy Bown, who used to be in The Herd with Peter Frampton in the Sixties, then joined a group which achieved rather less than was expected of it called Judas Jump. Storyteller threw in the towel in 1971, Terry Durham returned to Leeds in Yorkshire, Caroline became mrs Bown, and Andy became permanent keyboard player with Status Quo, also released some solo albums.

by John Tobler

Tracks
1. Floor Of The Park (Durham, Moon) - 3:18
2. Man In The Moon Passage Song (Durham, Moon) - 4:15
3. Alice Brown (Moon) - 2:47
4. The Lake (Durham, Moon) - 2:35
5. Ginger Bread Man (Moon) - 1:16
6. Over The Hills (Moon) - 2:22
7. Story (Durham) - 1:13
8. First Week In January (Moon) - 4:03
9. Has Been (Clark) - 3:18
10.Morning Glow (Durham, Bown) - 3:23
11.Ballad Of Old Three-Laps (Durham, Bown) - 3:23
12.Song For Buster (Durham, Moon) - 2:57
13.Love's A Blind (Durham, Moon) - 3:50
14.Night Games (Durham, Bown) - 3:07
15.Bosworth Field (Durham, Moon) - 3:50
16.Laugh That Came Too Soon (Durham, Moon) - 2:45
17.Beautiful Affair (Moon) - 4:40
18.Wolf In The Water (Durham, Bown) - 2:58
19.Fall In All Directions (Moon) - 3:00

Storryteller
*Caroline Attard - Vocals
*Rodney Clark - Vocals, Electric Bass
*Roger Moon - Vocals, Acoustic Guitar
*Mike Rogers - Vocals, Steel Guitar
*Terry Durham - Vocals
With
*Henry Spinetti – Percussion
*Harold Becket - Trumpet, Flugel Horn
*Andrew Bown - Producer

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All is silky, ethereal, and crisp as winter snow on Max's most polished piece of studio jewelry, the band's lightest footprinted excursion. A Million Vacations chimes clear as a bell, the album lovingly layered with keyboards, buoyant with bright guitars and lush, letter-perfect harmonies. Highlight of the collection comes with what proved to be the band's biggest hit Paradise Skies, a masterwerk of dynamics and uncompromising professionalism with one of the most gushingly enjoyable drum sounds ever plucked from, then tweaked for, the airwaves.

Other aural sculptures that spot and dot Max's moving target of offbeat inversion include the whacked-out Rascal Houdi, the live and unkempt Research (At Beach Resorts), the spring water-pure Charmonium, and last but not least, the good feeling boogie rockin' title track. The sounds on this truly awesome head trip simply ebb and flow as if the band were wrapped in a dream, all the while firmly rooted in an earthly and knowing pride in its obvious accomplishment, creating high upon high, working with a shared love of quality craftsmanship, eye askance to big brothers Rush for professional guidance.

The final result is evident within the grooves, rhythms which just sing with enthusiasm, no small thanks to the album's state-of-the-art Maxmix. As history would have it, A Million Vacations is largely considered Max Webster's quintessential, defining work, most likely due to its maturity, accessibility, and seemingly elliptical but somehow comfortable cohesion, not to mention the (Canuck) hit status of no less than four songs: Paradise Skies, copasetic pop hummer Let Go The Line, airy prog masterpiece Night Flights, and to a lesser extent the title track. But to my mind, putting side such base and shackling commercial concerns, the record is merely yet another masterpiece comprising a body of work that baffles, elates, provokes and charmingly, good-naturedly pokes fun.

by Martin Popoff

Tracks
1. Paradise Skies (K. Mitchell, P. Dubois) - 3:15
2. Charmonium (Terry Watkinson) - 4:15
3. Night Flights (Watkinson, P. Dubois) - 3:02
4. Sun Voices (K. Mitchell, P. Dubois) - 4:50
5. Moon Voices (K. Mitchell) - 3:05
6. A Million Vacations (Gary McCracken, P. Dubois) - 3:10
7. Look Out (K. Mitchell, P. Dubois) - 4:53
8. Let Go The Line (Watkinson) - 3:25
9. Rascal Houdi (K. Mitchell, P. Dubois) - 3:28
10.Research (At Beach Resorts) (K. Mitchell, P. Dubois) - 4:45

Max Webster
*Kim Mitchell - Guitars, Vocals
*Gary McCracken - Drums, Percussion
*Dave Myles - Bass Guitar
*Terry Watkinson - Keyboards, Vocals

1976 Max Webster
1977 High Class In Borrowed Shoes
1978 Mutiny Up My Sleeve

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The closest me an' the buds ever came to viewing Max in the flesh (until '96's brief reunion tour) was being denied entrance (underage) at one of the band's near final shows at some bar in Nelson, B.C. We obviously missed a legend, a classic, cagey, canny circus act that cut its collective fangs on the cornerstones of technical brilliance, humour, artful restraint when required, and an uncommon attention to detail.

So it's no surprise that Live Magnetic Air is a well-recorded and well-executed romp through some of Max's celebratory anthems, a veritable love-in of sound and galactic obtusion, a record demonstrating demonstrably a deft kid-gloving of heavy and light through the free 'n' easy juxtaposition of all the delicate hits with about a third of the band's acerbic noiseniks. I look into my crystal ball and pronounce that Max Webster will forever find a welcome home on Canadian classic rock airwaves, the band's sparkling arch-Canuck observations possessing the ability to reveal new hopeful possibilities for advancing waves of generations inexorably drawn to the fringes.

by Martin Popoff

Tracks
1. America's Veins (K. Mitchell, P. Dubois) - 4:09
2. Paradise Skies (K. Mitchell, P. Dubois) - 3:34
3. In Context Of The Moon (K. Mitchell, P. Dubois) - 5:20
4. Night Flights (Terry Watkinson, P. Dubois) - 3:20
5. Lip Service (K. Mitchell, P. Dubois) - 4:14
6. Sarniatown Reggae (K. Mitchell, P. Dubois) - 1:25
7. Here Among The Cats (K. Mitchell, P. Dubois) - 3:48
8. Gravity (K. Mitchell, P. Dubois) - 4:47
9. Waterline (K. Mitchell, P. Dubois) - 4:30
10.Charmonium (Watkinson) - 4:37
11.Hangover (K. Mitchell, P. Dubois) - 5:41

Max Webster
*Kim Mitchell - Guitars, Vocals
*Gary McCracken - Drums, Percussion
*Dave Myles - Bass Guitar
*Terry Watkinson - Keyboards, Vocals

1976 Max Webster
1977 High Class In Borrowed Shoes
1978 Mutiny Up My Sleeve
1979 A Million Vacations

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Initially released by the obscure Evolution label in 1969, the self titled album by Arzachel has long been regarded as one of the best lost gems of the British psychedelic and progressive rock scene. The album bombed when it first came out due to lack of promotion, and the surviving copies of the original LP can command ridiculous sums of money.

Confusingly enough, the Arzachel record was not recorded by a band called Arzachel at all. The grooves on this record were put down by Uriel, a group which contained guitar virtuoso Steve Hillage along with the three members of the progressive group The Egg: Dave Stewart on organ, Mont Campbell on bass and Clive Brooks on drums.

Uriel - Steve Hillage / Dave Stewart

Formed by Steve Hillage and Dave Stewart in 1967, Uriel were a straight psychedelic outfit with a summer residency on the Isle of Wight. When Hillage left for University in 1968, the remaining remembers stayed together and started playing original material. This subsequently led to a contract with Decca records and a change of name to The Egg.

Shortly after they had signed to Decca, they were offered a day in the studio to record a psychedelic album by Zackariya Enterprises. Since they were already under contract with Decca, Hillage was brought back and Uriel was reformed.

The album they recorded was later released in 1969 under the name of Azachel, and for contractual reasons all of the musicians on the album were given fake names and biographies in the notes.

It’s incredible that this album was put together in just one day and recorded “just for a laugh” as Hillage once remarked. The musicianship never falls below awe-inspiring throughout, which is an extraordinary feat in itself as not one of the players was in their twenties.

The sense of fun is evident throughout the album, especially on side one. “Garden of Earthly Delights” kicks things off with some very Deep Purple sounding organ swathes under crunching power chords and fat drum breaks, before descending into pleasing psych-pop territory, with decidedly English, whimsical vocals and a soaring guitar workout from Hillage.

“Azaroth” is more sinister, with Stewart’s organ set to “church” and some melodramatic vocals. The instrumental “Queen St Gang” has long been a favourite of beat diggers, with its lazy break-beat and heavy funk bass-line. With swathes of organ and an incessant groove, the track comes across as a slick piece of cosmic sixties soul and could quite happily find its way onto any KPM library record.

“Leg” begins with a fairly ludicrous, carnival-esque organ line before exploding into a heavy blues riff and pounding drums. It’s fairly derivative of the other blues rock groups of the sixties, but nevertheless it’s an awesome track, full of fire and fury and some memorable guitar solos.

Metempsychosis

The second half of the album is more experimental than the first, the two cuts being more in the vicinity of wild cosmic jams. “Clean Innocent Fun” is an epic blues rock number. Campbell and Brooks lay out a slow rhythm for Hillage to wax lyrical over Stewart’s organ chords, before quickening the pace and turning the track into a full on psychedelic jam.

The massive sprawling “Metempsychosis” closes the album with its 16 minutes of Pink Floyd-esque experimentation. There are some true moments of inspiration and inventive playing on this track, and the fact that the band holds it all together over the course of the 16 mins is a testament to the sheer musicality of the group.

The Arzachel album is rightly lauded as a lost gem of British rock and it is an important and essential album not least because it bridges the gap between the psychedelic lunacy of Pink Floyd and the beginning of the Progressive music of the Canterbury scene. It is a highly entertaining and highly recommended piece of work.

Arzachel Collectors Edition by Uriel (2007, Egg Archive CD69-7201), released directly through Egg's own private archive label. Original Arzachel album (first released on vinyl in 1969) remastered, plus six previously unavailable bonus tracks. Includes 18 page booklet with extensive band history & recollections written by band members, along with numerous previously unseen photographs.

by Gerard Fannon

Tracks
1. Garden of Earthly Delights (M.Campbell) - 4:26
2. Azathoth (D. Stewart, M. Campbell) - 4:26
3. Soul Thing (Mansfield arr. M. Campbell) - 4:32
4. Leg (S. Hillage, Vinall) - 5:49
5. Clean Innocent Fun (S. Hillage, Vinall) - 10:34
6. Metempsychosis (Uriel) - 16:58
7. Introducing the Bass Guitarist (Mr Campbell and son) - 0:21
8. Egoman (M.Campbell) - 4:12
9. Swooping Bill (D.Stewart) - 3:19
10.The Salesman Song (M. Campbell) - 2:56
11.Saturn, The Bringer of Old Age (Holst arr. M. Campbell) - 3:45
12.The Stumble (F. King) - 0:46

Uriel
*Dave Stewart - Organ, Piano
*Mont Campbell - Bass, Vocals, French Horn, Tuba
*Clive Brooks - Drums
*Steve Hillage - Guitar, Vocals

1969-72 The Metronomical Society
1971 Egg - The Polite Force (2008 Esoteric remaster)
1969-70 Egg (2008 Esoteric remaster)
1976 Steve Hillage - L (2007 remaster)
1979 Steve Hillage - Open (2007 remaster)

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The group was formed in 1962 in Stockholm and called The Janglers. When Ola Håkansson joined the band in 1963 changed the name to Ola and The Janglers. At that time members were Ola, vocals, Ake Eldsäter. bass, John Olsson. organ, Christer Idering. guitar and Leif Johansson on drums. Idering replaced in December 1965 by Claes "Clabbe" Af Geijer, who also became the group's songwriter.

In spring 1964, the group won the second place in Nalens Pop Artists Competition and also appears in several gigs. Their first single was Little Girl with I'll Stand By Your Side B side released on the label, Warner Brothers.

Ola and The Janglers breakthrough came in early 1965 when single She's Not There was released on record label Gazell. It went up on the Top Ten in on March 27 at 10th place. In September it was time for No No No on both Top Ten and Kvällstoppen with a 5th place as best in Top Ten.

Their first number one came through "Clabbes" song Land of a 1000 Dances which entered the Top Ten March 5, 1966 and remained for 8 weeks. And it was during 1966 as Ola and The Janglers was in class with the Hep Stars, Shane and Tages in popularity. Six singles were released this year, including five ended up on the Top Ten and four in the evening peak.

Their third album, released in late 1966 with titled Limelight. Ola and The Janglers was at its peak during 1966 and 1967 released five singles in 1967 and two LPs.

In 1968 they recorded a version of Chris Montez’s hit Let's Dance, another Top Ten. Let's Dance also became the band's biggest hit and the first Swedish pop hit in U.S. (Billboard Hot 100 in May 1969), reached at #93 and stayed three weeks on top100.

Even so that wasn’t enough to keep the band together for a long time, after couple of singles the band call it quits in 1971.

PS. Yesterday was a sad day for me. I lost my best friend (bloodbrother) -he was 52y- a great man and remarkable musician, guitar palyer. This is dedicated to his memory. Thank you Pavlos, for all the good time we lived together, all the music we enjoyed together, you're are now part of Heaven's big band.

Tracks
1. Light Of Lime (Claes "Clabbe" Af Geijerstam) - 3:06
2. Mary Come Home (J. Olsson, C. Af Geijerstam) - 2:42
3. Now I Like Her (J. Olsson, C. Af Geijerstam) - 2:16
4. No One Knows What Happens Round The Corner (C. Af Geijerstam) - 2:28
5. How Come (J. Olsson, C. Af Geijerstam) - 2:27
6. Poetry In Motion (Paul Kaufman, Mike Anthony) - 2:35
7. Alex Is The Man (C. Af Geijerstam) - 2:53
8. Chained And Bound (Otis Redding) - 3:22
9. Our Love (C. Af Geijerstam) - 1:56
10.Bird's Eye View Of You (C. Af Geijerstam) - 3:11
11.Heart (J. Olsson, C. Af Geijerstam) - 2:19
12.We've Got A Groovy Thing Goin' (Paul Simon) - 2:14

Ola And The Janglers
*Ola Håkansson - Vocals, Tambourine, Maraccas
*Claes "Clabbe" Af Geijerstam - Guitar
*Johannes Olsson - Hammond Organ, Electric Piano, Vibes, Harp
*Åke Eldsäter - Bass
*Leif Johansson - Drums

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The band had started to diversify and develop its sound on the albums Collage (1970) and Indian Reservation (1971), something they continued with the final studio album for Columbia Records, Country Wine. Lead singer Mark Lindsay had also taken over production duties from the band's 1960s mentor, Terry Melcher (eulogised in the groovy soul-jazz instrumental Terry's Tune', the B-side to Indian Reservation'), and his confidence in the studio was reflected in the quality of the material on offer, 'Country Wine' was an up-tempo pop-rock number, the equal of anything they'd recorded previously.

The single B-side, Lindsay's 'It's so Hard Getting Up Today', was a smouldering jazz-blues number not that far removed from what Leon Russell was doing at the same time. The crunching “Powder Blue Mercedes Queen', also written by Lindsay, found the band taking on the riff-heavy sound of Mountain's 'Mississippi Queen' and coming up with an effective example of the heavy metal form. The irony here is that Columbia was intent on promoting new hard rock signings like Blue Oyster Cult and Aerosmith while the Raiders' Country Wine album and subsequent singles got lost in the rush.

It's worth investigating the band's line-up changes circa the early to mid 1970s, The back cover of the Country Wins album shows the band comprising Mark Lindsay (lead vocals), Paul Revere (keyboards), Keith Allison (bass and guitar, who had replaced Phil Volk), Freddy Weller (guitar, who had replaced Jim Valley) and Mike "Smitty" Smith (drums, who had replaced Joe Correro Jr. in 1970 and had already been a member during the 1960s).

After 'Indian Reservation' had become a hit, they added musicians to the live band so they could more readily reproduce the sound of the record. Omar Martinez (drums) and Bob Wooley (keyboards), both ex- Peach, joined the touring Raiders In late 1971.

Smitty left at the end of 1972 and Martinez became an official band member. Weller departed in early 1973 to be replaced by Doug Heath, whose first session with the band was for the'... All Over You' single.

Lindsay left in early 1975 and Martinez was promoted to lead singer (from behind the drums), Allison left in April to be replaced by Ron Foos. The band reverted to the moniker of Paul Revere and the Raiders, with the line-up of Revere, Martinez, Wooley, Heath and Foos touring until the end of 1976. The final single for Columbia, 'Your Love (Is the Only Love)' b/w 'Gonna Have a Good Time', featured this post-Lindsay line-up and doesn't fit on this collection.

Over the decades, a large amount of mystique has built up around the Raiders’ final Columbia album. Between 1972 and 1973, the Raiders had recorded enough material for a full album which the label chose not to release. The tracks were: “Song Seller”, “A simple Song”., “Love Music”, Goodbye No9”, “seaboard Line Boogie”, “Tobacco Road”, “Angels of Mercy”, “Chain Of Fools”, “Kept It In The Family”, “Billy Come Down” and “Union Man”

A number of the tracks appeared on singles; 'A Simple Song' as the B-side to 'Song Seller' and 'Goodbye, No. 9' as the B-side to love Music', white the jaunty R&B country song 'Seaboard Line Boogie' later showed up as the B-side to'.,. “All Over You” although that was a totally different take. Much later, the terrific covers of John D. Loudermilk's 'Tobacco Road', Rallene Ellison's 'Angels of Mercy' and Don Covay's 'Chain of Fools' saw release on the 1990 double CD collection The Legend of Paul Revere.

From the late 1970s onwards, various groups from the punk movement, the Paisley Underground and the garage rock revival have acknowledged the Raiders' influence (specifically their 1965-1967 recordings). Tracks such as 'Steppin' Out', 'Just Like Me', 'Kicks', 'Hungry', 'I'm Not Your Stepping Stone', 'Good Thing', 'Him or Me - 'What's it Gonna Be' and 'Ups and Downs' still hold up as bold and unpretentious pop classics, as durable as anything by the Roiling Stones, Them, the Who, the Rinks, the Standells, the Music Machine and dozens of other 1960s bands of that ilk.

The Raiders’ latter day albums displayed a more mature pop-rock direction but have tended to be overlooked. So alongside Collage and Indian Reservation, Country Wine is now ripe for serious re-evaluation.

by Ian McFarlane

Tracks
1. Country Wine (E. Villareal, W. Watkins) - 2:33
2. Powder Blue Mercedes Queen (Mark Lindsay) - 3:07
3. Hungry For Some Lovin' (Robert Siller) - 3:16
4. Baby Make Up Your Mind (John P'Andrea, John Porter) - 3:17
5. Take A Stand (Mark Lindsay, Keith Allison) - 4:05
6. Where Are Your Children (Leslie Ward Chandler) - 2:46
7. Ballad Of The Unloved (P. Weiss, S. English) - 3:29
8. American Family (Alan Earle O'Pay) - 3:43
9. Golden Girls Sometimes (M. Lindsay, K. Allison) - 2:38
10.Farewell To A Golden Girl (Mark Lindsay) - 2:46
11.Terrystune (Mark Lindsay) - 3:19
12.It's So Hard Getting Up Today (Mark Lindsay) - 2:42
13.Song Seller (Jimmy Webb) - 3:33
14.A Simple Song (Mark Lindsay, John D'Andrea) - 3:01
15 Love Music (Dennis Lambert, Brian Potter) - 3:43
16.Goodbye, No. 9 (Mark Lindsay) - 2:58
17.(If I Had To Do It All Over Again, I'd Do It) All Over You (Bob Dylan) - 2:43
18.Seaboard Line Boogie (Mark Lindsay, Keith Allison) - 3:10
19.Tobacco Road (John D. Loudermilk) - 3:30
20.Angels Of Mercy (Rallene Ellison) - 3:30
21.Chain Of Fools (Don Covay) - 3:12

The Raiders
*Mark Lindsay - Lead Vocals
*Paul Revere - Keyboards
*Keith Allison - Bass And Guitar
*Freddy Weller - Guitar
*Mike "Smitty" Smith - Drums
*Omar Martinez - Drums
*Bob Wooley - Keyboards
*Doug Heath - Drums
*Ron Foos - Guitar

Paul Revere And The Raiders
1963-65 Mojo Work Out (Sundazed issue)
1965-67 Evolution to Revolution: 5 Classic Albums (2013 double disc remaster)
1967 A Christmas Present... And Past
1968 Goin' To Memphis (Sundazed remaster)
1968 Something Happening (Repertoire digipack remaster and expanded)
1969 Alias Pink Puzz (Sundazed remaster)
1969 Hard 'N' Heavy With Marshmallow (Sundazed issue)
1970-71 Indian Reservation / Collage (2009 remaster)
Related Act
1970 Mark Lindsay - Arizona / Silverbird

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Crossroads - Southern Strutter (1979 us, good southern rock)

Michael Garrick Band - Home Stretch Blues (1972 uk, excellent vocal jazz)

Cargoe - Cargoe (1972 us, brilliant melt of power pop, southern, classic rock with prog traces, japan remaster)

The Raiders - Indian Reservation / Collage (1970-71 us, fantastic blend of country folk beat psych and classic rock, 2009 remaster)

Chameleon - Rising (1973-78 us, exceptional hard prog rock, 2013 release)

Gerry Lockran - Wun (1972 india / uk, amazing blues rock with classic tinges)

Aaron Lightman - Aaron Lightman (1970 (us, delicate orchestrated baroque folk psych, Fallout edition)

Freedom - Freedom (1970 uk, fantastic hard psych)

Cream - Goodbye (1969 uk, classic heavy blues psych rock, 2010 SHM remaster)

The Sonics - Introducing (1966 us, inspiring trailblazer garage 'n' roll, Sundazed issue)

Max Webster - Max Webster (1976 canada, awesome hard prog rock with glam shades)

Max Webster - High Class In Borrowed Shoes (1977 canada, great heavy prog rock)

Max Webster - Mutiny Up My Sleeve (1978 canada, stunning prog rock)

Pulse - Pulse (feat. Carlo Mastrangelo) (1971 us, terrific hard rock with prog jazz elements, 2010 Relics issue)

Storyteller - Storyteller (1970-71 uk, fabulous dual vocals in an aethereal folk silk flight, korean remaster)

Max Webster - A Million Vacations (1979 canada, fine prog rock)

Max Webster - Live Magnetic Air (1979 canada, excellent prog rock)

Uriel - Arzachel (1969 uk, remarkable psych prog rock, 2007 remaster, collectors edition)

Ola And The Janglers - Lime Light (1966 sweden, marvelous r 'n' b, beat psych, Vinyl issue)

Raiders - Country Wine...Plus (1971-74 us, spledind melt of classic rock, country and r 'n' b, 2010 remaster and expanded)