Rockasteria

This British band is just the cup of tea for aficianados who demand virtuosity, progress and originality in their music. Gentle Giant's work is not easy listening or immediately enjoyable [what really fine music is?] Like many ambitious concept albums, The Power and the Glory takes some getting used to. The unifying themes are power, corruption and the human ramifications. Politics are of course implicit but not dealt with exclusively.

The conception of The Power and the Glory occurred during the making of Octopus [Columbia], GG's previous US release. That album is a masterpiece of juxtaposed idioms and striking freshness. Three brothers were in the group at that time--Ray, Derrick and Philip Schulman--the last of whom has since departed to pursue a teaching career. It was largely his influence that accounted for the literary historical base for much of Octopus' material, with songs inspired by Camus, Laing, Rabelais. Grad student rock.

The Power and the Glory is less esoteric and less diverse in scope as well. That minor complaint is my only one. Serious, complicated, and strangely beautiful, the album is a compelling exploration of power's use and illusory appeal.

I spoke to Ray and Derek at a meet-your-record-company bash the night before their appearance at last month's Traffic concert. About the album: they wished to stress that Watergate and current British political scenes were in no way motivations for The Power and the Glory: relevance is coincidental. Also, they intend that the songs be taken individually, appropriate in their own sense, if you do not consider them in their thematic unity. The cynical "Aspirations" for instance is contextually a song from the people begging their leaders for guidance, advice; out of context, it is a love song.

Instead of using a dramatic format, eight broad categories were decided upon for inclusion [one for each track]-- necessary as Ray noted, because a thorough exploration of the topic would require about 10 albums. The "message" if any comes at the end of the record when the cycle of dreams, promises, corruption, and power begins to repeat itself.

The brothers informed that "Proclamation", the opening cut, is a political speech. It is also meaningless doubletalk "rubbish". Still, afterwards and again at the record's close, the people cheer desperate "Hails!"

The brothers avoid commenting on their own political, individual commitments, wishing their music to remain wide open for interpretation. Derek sees their roles as humanistic chroniclers of the times rather than as advocates of a specific point of view. 'Existential' would probably come closest to characterize their outlook: they noted that this philosophy is an ideal, impractical intellectual one, necessary to consider but impossible to live.

GG has never been too interested in drugs either. Music is their way of life. Keyboardist-composer Kerry Minnear received the NIM degree in composition from the Royal Academy of Music--the first awarded in ten years. Ray has been studying classical violin for 14 years. Percussionist John Waters, from Wales, has played with Graham Bond and the Grease Band.

The material is written by the Schulman brothers and Minnear. a heuristic at heart, I tried to get the group to name influences, personal favorites. Though hesitant, they begrudged a few names: Stravinsky, Zappa, Steely Dan, Corea and Hancock, Norman Mailer. David Bowie? "Pleasant music, that's all", quipped Derek.

The music of GG is as important, intelligent and original as any being made today. Next project: a live album, guaranteed to blow heads---unfortunately an experience only hinted at by GG's recent encounter with David's shoddy-sound-system slingshot in the Colisseum. Too bad the Ebbetts Field rumors never materialized.

by GE, CAKE EATERS MAGAZINE 1974? BOULDER-DENVER

The Power And The Glory is a gem amongst gems, mixing Gentle Giant's restless energy and invention, with beautiful melodies and potent (complex) Rock riffage. This edition features 2014 stereo and 5.1 mixes by Steven Wilson, a flat transfer of the original mix, plus instrumental mixes and two bonus tracks.

Tracks
1. Proclamation - 6:56
2. So Sincere - 3:51
3. Aspirations (R. Shulman, Minnear) - 5:20
4. Playing The Game - 6:45
5. Cogs In Cogs - 3:09
6. No God's A Man - 4:27
7. The Face - 4:12
8. Valedictory - 3:22
9. The Power And The Glory (Bonus Track) - 2:59
10.Aspirations (Instrumental Out Take) (R. Shulman, Minnear) - 5:15
Music and Lyrics by Kerry Minnear, Derek Shulman and Ray Shulman, except where noted.

Gentle Giant
*Derek Shulman - Lead Vocals, Tenor Saxophone
*Kerry Minnear - Hammond Organ, Minimoog , Electric Piano, Mellotron , Marimba, Vibraphone, Cello, Vocals
*Ray Shulman - Bass, Violin, Electric Violin, Acoustic Guitar, Vocals
*Gary Green - Electric Guitar, Acoustic Guitar, Vocals
*John Weathers - Drums, Tambourine, Sleigh Bells, Cymbals

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IN MEMORY OF JACK BRUCE

The historical context for Wheels Of Fire needs no repetition here, as Cream’s history is so well documented. Suffice to mention that by the time they began recording it in early 1968 the wheels, so to speak, were already coming off, with a disillusioned Eric Clapton’s original vision of a purist blues trio with himself in the Buddy Guy role just a distant dream, Jack Bruce firmly in the driving seat as both composer and vocalist, and Bruce and Ginger Baker well and truly back at each other’s throats just as they had been in their Graham Bond days. The decision to break up the band had already been taken before the album’s completion, with just contractual live engagements and the makeshift fourth album to fulfil.

Despite all this antipathy the studio component of Wheels is a surprisingly high-quality collection which, as we all know, hit the shelves accompanied by a frankly turgid live set. The studio half – which in most countries was also released as a single album in its own right – is exhilarating proto-progressive rock with the odd bluesy afterthought and some stealthy jazz and classical overtones. Hardcore head-banging blues-rock aficionados may still wince when comparing it to Cream’s earlier studio efforts, and to the extended guitar jams on those songs that continued to make up most of their live set – only “White Room”, “Sitting On Top Of The World” and “Politician” from Wheels ever seeing the stage – but fans of Jack Bruce will acknowledge it as a worthy precursor to his highly successful solo career. What may come as a surprise is that three of the most leftfield numbers weren’t composed by Bruce, though he makes two of them his own both vocally and instrumentally, but by ill-fated British jazz composer and pianist Mike Taylor, with Baker providing the lyrics. Add to this the astonishingly diverse multi-instrumental talents of producer Felix Pappalardi, and you’ve got an engaging musical stew comparable to the Fabs’ White Album in its variation and experimentation.

All the tracks are well-known, but possibly overlooked highlights to listen out for in retrospective plays are Clapton’s eerie, brittle, reverbed guitar sound on “Sitting On Top Of The World”, produced from his single-pickup Gibson Firebird; Bruce’s hypnotic droning cello and modal acoustic guitar on “As You Said”; the instrumental break on “Politician” in which Bruce’s sludgy, rumbling bass underpins no fewer than three overdubbed intertwining guitar lead lines; Pappalardi’s gorgeous baroque trumpet figures which rescue the weakest track, Baker’s recitative “Pressed Rat And Warthog”, from mediocrity; and the splendid tuned percussion by Baker and Pappalardi on the sinuous, shifting “Those Were The Days”. Bruce’s near-operatic vocals on this album were among the best of his career.

by Len Liechti

Tracks

Disc 1

1. White Room (Bruce, Pete Brown) - 5:03

2. Sitting On Top Of The World (Walter Vinson, Lonnie Chatmon; Arr. Chester Burnett) - 5:02

3. Passing The Time (Baker, Mike Taylor) - 4:34

4. As You Said (Bruce, Brown) - 4:25

5. Pressed Rat And Warthog (Baker, Taylor) - 3:16

6. Politician 3 (Bruce, Brown) - 4:16

7. Those Were The Days (Baker, Taylor) - 2:58

8. Born Under A Bad Sign (Booker T. Jones, William Bell) - 3:14

9. Deserted Cities Of The Heart (Bruce, Brown) - 3:43

Disc 2
1. Crossroads (Robert Johnson, Arr. Clapton) 4:19 (Recorded March 10, 1968 At Winterland, San Francisco, CA. 1st Show)
2. Spoonful (Willie Dixon) 16:17 (Recorded March 10, 1968 At Winterland, San Francisco, CA. 1st Show)
3. Traintime 3 (Bruce) 7:03 (Recorded March 8, 1968 At Winterland, San Francisco, CA. 1st Show)
4. Toad (Baker) 16:17 (Recorded March 7, 1968 At The Fillmore, San Francisco, CA., 2nd Show)
5. Sunshine Of Your Love (Clapton, Bruce, Brown) - 6:58
6. N.S.U. (Jack Bruce) - 12:38

Cream
*Jack Bruce – Vocals, Lead Vocals, Bass, Cello, Harmonica, Calliope, Acoustic Guitar, Recorder
*Ginger Baker – Drums, Percussion, Bells, Glockenspiel, Timpani, Spoken Word On "Pressed Rat And Warthog"
*Eric Clapton – Guitar, Vocals
With
*Felix Pappalardi – Viola, Bells, Organ, Trumpet, Tonette

1966 Cream - Fresh Cream (SHM remaster)
1967 Cream - Disraeli Gears (SHM remaster)
1969 Cream - Goodbye (2010 SHM remaster)
1967-68 Cream - Live Cream (2010 SHM remaster)
1972 Cream - Live Cream II (2010 SHM remaster)
1969 Jack Bruce - Songs For A Tailor
1971 Jack Bruce - Harmony Row

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A complete change from his debut, '12 Songs' was a 'back to roots' album of sorts, following the mixed critical reception afforded his debut. Randy had worked with one of his heroes and influences, Fats Domino, in 1969 also contributing the arrangement to Peggy Lee's 'Is That All There Is' hit song. If 'Randy Newman Creates Something New Under The Sun' had featured literally dozens of music players, he chose a core group of musicians to assist him with his sophomore project.

Ry Cooder contributes guitar, Clarence White and Gene Parsons of The Byrds add their talents. Session ace Jim Gordon assists on drums, Lyle Ritz plays bass. I can't help but get the feeling however that Randy simply didn't have an abundance of songs at this time. The material here isn't quite as strong or 'cover friendly' as the debut, although this still remains a strong album and selection of material. 'Have You Seen My Baby' is a nice shuffling horn led country rock thing, and very listenable. 'Let's Burn Down The Cornfield' makes good use of Ry Cooder and his bottleneck, very atmospheric stuff with Randy speaking/singing/whispering through the introduction.

A lazy, laid back and most attractive feel permeates this. 'Mama Told Me Not To Come' is the most covered song of the set, 'Three Dog Night' being possibly the first to have a hit with the song. Tom Jones had a hit with 'Mama Told Me Not To Come' more recently. This is happy, Piano led stuff with Randy in fine voice - absolutely tons of catchy melody and well played guitar parts abound. 'Suzanne' sounds like the kind of song that might have appeared on his debut, only there is no orchestra here. It does sound pretty bare, but the Piano patterns are strangely hypnotic and Randy sings is his characteristic and distinctive way, wrapping himself around the words. 'Lovers Prayer' is a happy, bouncy little thing with great lyrics, 'Lucinda' a little blues thing.

'Underneath The Harlem Moon' is quite gorgeous, I absolutely adore the simple yet beautiful Piano parts, and once more Randy caresses the words, sings with absolute feeling for the song, and this is a highlight of the set. 'Yellow Moon' is another bluesy piece with that voice, and the character of Randy absolutely everywhere in a little story-telling thing. 'Old Kentucky Home' has delightful country guitar picking. Randy goes country, and it's no problem at all.

The man can do all things! Well, maybe not hard rock..... ooooh! I love the chorus of 'Old Kentucky Home' and this has to be Clarence White on guitar on this song. Clarence was a much underrated and now sadly missed, talent. 'Rosemary' has a little swing about it, a strong rhythm section, Piano, a few brass parts. Another happy, life-affirming piece. This is another excellent album, what was I saying earlier? Not as good as the debut? Well, no. For me, those orchestrations and the ballads on the Randy Newman debut, you know, something like 'I Think It's Going To Rain Today' are such special things, and there is nothing quite like that here. Pretty much everything that is here is good, even if a song like 'If You Need Oil' is a little weak by Randy Newman standards, and mere filler, even though it still works in the context of the album.

'Uncle Bob's Midnight Blues' is funny, very humorous. Randy once said in an interview that a song-writer should be able to write any kind of song to order. You can believe that he could do that, listening to this album here. I'm very tempted to give this a '9' but it falls just short. There are plenty of fun songs here, but not enough great, awe-inspiring songs for me, to tip this over the edge. Still damn fine, though.

by Adrian Denning

Tracks
1. Have You Seen My Baby? - 2:34
2. Let's Burn Down The Cornfield - 3:05
3. Mama Told Me Not To Come - 2:12
4. Suzanne - 3:11
5. Lover's Prayer - 1:58
6. Lucinda - 2:44
7. Underneath The Harlem Moon (Mack Gordon, Harry Revel) - 1:57
8. Yellow Man - 2:23
9. Old Kentucky Home - 2:39
10.Rosemary - 2:10
11.If You Need Oil - 2:59
12.Uncle Bob's Midnight Blues - 2:05
Words and Music by Randy Newman excpet where indicated.

Personnel
*Randy Newman - Vocals, Piano
*Clarence White - Guitar
*Ron Elliott - Guitar
*Ry Cooder - Slide Guitar
*Lyle Ritz - Bass
*Gene Parsons - Drums
*Jim Gordon - Drums
*Roy Harte - Percussion
*Al McKibbon - Bass
*Milt Holland - Percussion

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In the space of mere months, the soundscape of rock shifted radically from two- and three-minute danceable pop songs to comparatively longer works with more attention to technical and musical subtleties. Enter the unlikely all-star triumvirate of Al Kooper (piano/organ/ondioline/vocals/guitars), Mike Bloomfield (guitar), and Stephen Stills (guitar) -- all of whom were concurrently "on hiatus" from their most recent engagements. Kooper had just split after masterminding the definitive and groundbreaking Child Is Father of the Man (1968) version of Blood, Sweat & Tears. Bloomfield was fresh from a brief stint with the likewise brass-driven Electric Flag, while Stills was late of Buffalo Springfield and still a few weeks away from a more or less full-time commitment to David Crosby and Graham Nash.

Although the trio never actually performed together, the long-player was notable for idiosyncratically featuring one side led by the team of Kooper/Bloomfield and the other by Kooper/Stills. The band is ably fleshed out with the powerful rhythm section of Harvey Brooks (bass) and Eddie Hoh (drums) as well as Barry Goldberg (electric piano) on "Albert's Shuffle" and "Stop." The heavy Chicago blues contingency of Bloomfield, Brooks, and Goldberg provide a perfect outlet for the three Kooper/Bloomfield originals -- the first of which commences the project with the languid and groovy "Albert's Shuffle." The guitarist's thin tone cascades with empathetic fluidity over the propelling rhythms. Kooper's frisky organ solo alternately bops and scats along as he nudges the melody forward. The same can be said of the funky interpretation of "Stop," which had originally been a minor R&B hit for Howard Tate. Curtis Mayfield's "Man's Temptation" is given a brass-fuelled soulful reading that might have worked equally well as a Blood, Sweat & Tears cover.

At over nine minutes in spin time, "His Holy Modal Majesty" is a fun trippy waltz and includes one of the most extended jams on the Kooper/Bloomfield side. The track also features the distinct hurdy-gurdy and Eastern-influenced sound of Kooper's small electric keyboard-manipulated ondioline, which has a slightly atonal and reedy timbre much like that of John Coltrane's tenor sax. Because of some physical health issues, Bloomfield was unable to complete the recording sessions and Kooper contacted Stills. Immediately his decidedly West Coast sound -- which alternated from a chiming Rickenbacker intonation to a faux pedal steel -- can be heard on the upbeat version of Bob Dylan's "It Takes a Lot to Laugh, It Takes a Train to Cry." One of the album's highlights is the churning and scintillating cover of "Season of the Witch."

There is an undeniable synergy between Kooper and Stills, whose energies seems to aurally drive the other into providing some inspired interaction. Updating the blues standard "You Don't Love Me" allows Stills to sport some heavily amplified and distorted licks, which come off sounding like Jimi Hendrix. This is one of those albums that seems to get better with age and that gets the full reissue treatment every time a new audio format comes out.

This is a super session indeed.

by Lindsay Planer

Tracks
1. Albert's Shuffle (Al Kooper, Mike Bloomfield) - 6:43
2. Stop (James Ragavoy, Mort Shuman) - 4:23
3. Man's Temptation (Curtis Mayfield) - 3:25
4. His Holy Modal Majesty (Al Kooper, Mike Bloomfield) - 9:13
5. Really (Al Kooper, Mike Bloomfield) - 5:29
6. It Takes A Lot To Laugh It Takes A Train To Cry (Bob Dylan) - 3:30
7. Season Of The Witch (Donovan) - 11:07
8. You Don't Love Me (Willie Cobb) - 4:12
9. Harvey's Tune (Harvey Brooks) - 2:09

Personnel
*Mike Bloomfield - Electric Guitar (Side 1 Only)
*Al Kooper - Piano, Organ, Ondioline, Vocals, 12-String Guitar, Electric Guitar, Horn Arrangements
*Harvey Brooks - Bass
*Eddie Hoh - Drums
*Steve Stills - Electric Guitar (Side 2 Only)
*Barry Goldberg - Electric Piano
*Joey Scott - Horn Arrangements

Al Kooper
1968-69 I Stand Alone / You Never Know Who Your Friends Are
1969 The Kooper Sessions With Shuggie Otis
1970 Easy Does It
1973 Naked Songs ( Japan remaster)
with Blues Project
1966 Live At The Cafe Au Go Go (2013 Japan SHM double disc set)
1966 Projections (2013 Japan SHM two disc set)
1967 Live At Town Hall (Japan SHM edition)
1973 Reunion In Central Park (Japan SHM edition)
with Blood, Sweat And Tears
1968 Child Is Father To The Man

Mike Bloomfield's tapestry
1964 The Original Lost Elektra Sessions
1965 The Paul Butterfield Blues Band
1966 East West
1966 The Butterfield Blues Band - East-West (2014 Hybrid SACD limited adition)
1966-68 Strawberry Jam
1967 Electric Flag - The Trip
1968-69 Electric Flag - An American Music Band / A Long Time Comin'
196?-7? The Electric Flag - Live
1968 Al Kooper, Mike Bloomfield - The Lost Concert Tapes, Filmore East
1969 Mike Bloomfield And Al Kooper - The Live Adventures
1969 Michael Bloomfield with Nick Gravenites And Friends - Live At Bill Graham's Fillmore West
1969 Nick Gravenites - My Labors
1973 Bloomfield, Hammond, Dr.John - Triumvirate (Japan remaster)
1976 KGB - KGB
1976-77 Michael Bloomfield - Live at the Old Waldorf
1977 Prescription For The Blues

Steve Stills
1970 Stephen Stills - Stephen Stills (debut album, 2008 japan SHM remaster)
1972 Stephen Stills - Manassas (2006 HDCD)
1971-73 Manassas - Pieces (2009 release)
1975-76/78 Stephen Stills - Stills / Illegal Stills / Thoroughfare Gap
1976 The Stills Young Band - Long May You Run

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Watchpocket started out as a solo effort by former Gants frontman Sid Herring. When The Gants called it quits in 1971 Herring relocated to Memphis where he quickly found friends at Jerry Williams and Steve Cropper's TMI Studio.

Credited to Watchpocket, the 1972 single 'Mammy Blue' b/w 'Who Will It Be' (TMI catalog ZS7 9005) attracted considerable local attention, leading TMI to finance a supporting album.

Co-produced by Ron Capone, Cropper, and Williams, 1972's cleverly-titled "Watchpocket" served to showcase Herring's impressive soulful growling voice (if there was ever a young white guy who sounded like a 70 year old blues singer it was Herring), as well as the considerable talents of the TMI studio players. Largely penned by Herring with support from former Gants drummer Don Taylor-Wood the collection literally dripped with blue-eyed soul. Imagine The Gants had they been allowed to record more original material and you'd know what to expect here. With the exception of the bland MOR ballad 'Who'll Take Care of Me', there literally was not a bad song on the album.

Boasting an infectious hook and memorable chorus, 'People All Around Me' was the perfect early-1970s sensitive sing-along. A great mandolin song for people who don't like mandolins. As good as Herring's vocals were on 'Four Walls' the real highlights came from Steve Cropper's blazing guitar. Cropper's always been known for his tasteful and economic runs, and while this one reflected both of those traits, this time out he cut lose. Fantastic performance and my only complaint is that the song faded out just as Cropper was going into overdrive.

Had it been released a couple of years earlier, 'Love Shine' would have given The Box Tops a run for their money. One of the most commercial tracks on the album, but it already sounded somewhat old school at this point. Great support from The Memphis Horns.

'Good Time Tomorrow' was the song The Black Crowes were always trying to write. Blazing Memphis rocker with a hook that won't let go of your mind. J.A. Spell provided the killer keyboards. If you just have to wonder why this one was tapped as a single.I've always loved the opening guitar chords on this one; anyone know how they got the effect? Kind of a bluesy swamp-rocker this one was the perfect for Herring.

Side two opened up with the one misstep; in this case 'Who'll Take Care of Me' was an MOR ballad that was clearly written with a ear to radio play. Tom Jones should have picked it up. Co-written with Cropper, the mid tempo rocker 'Back Porch of My Mind' was the album's standout performance. This one had everything going for it including a great melody, Herring at his most soulful, fantastic backing performances, and another dazzling display by Cropper. Once again the only complaint was that the song faded out just as Cropper was starting to roll.

Ah, 'Love Will Be the Answer' found Herring tuning in his best Otis Redding imitation. The album's lone stab at old school soul, complete with prominent Hammond B3, and Gospel chorus, the results were wonderful.

The album closer 'On the Run' was a complete mystery to me. Written and sung by Bill Hodges, the song had a distinctive mid-1960s garage feel that was unlike anything else on the collection. Different style, different singer, different feel it almost sounded like it was an old Gants track. It almost appeared that TMI tacked it on to ensure the album had sufficient running time, though you were left to wonder why they didn't just add the precursor 'Mammy Blue' single. That's not to say the song wasn't good ... fantastic lead guitar credited to Herring.

Unfortunately for some reason, TMI elected not to include the earlier single 'Mammy Blue' on the album. Combined with RCA's lukewarm support for the collection, the end result was little in the way of sales. Herring actually put together a touring version of Watchpocket, but outside of the local area the band did little and within a year he'd walked away from the project, returning to his native Mississippi.

by Scott Blackerby

Tracks
1. People All Around Me (Sid Herring, Don Taylor-Wood) - 2:52
2. Four Walls (Mary V. Williams, Sid Herring, Don Taylor-Wood) - 4:18
3. Love Shine (Dan Sullivan, Gale Harris) - 3:30
4. Good Time Tomorrow (Sid Herring, Steve Cropper) - 2:29
5. Bad Water (Jackie DeShannon, Jimmy holiday, Randy Meyers) - 3:26
6. Who'll Take Care Of Me (Sid Herring, Betty Cropper, Don Taylor-Wood) - 3:08
7. Back Porch Of My Mind (Mary V. Williams, Sid Herring, Don Taylor-Wood) - 3:24
8. Love Will Be The Answer (Steve Cropper, Sid Herring) - 6:15
9. On The Run (Bill Hodges) - 3:01

Personnel
*Sid Herring - Lead Vocals, Guitar
*Bill Hodges - Vocals
*Steve Cropper - Guitar
*Paul Cannon - Guitar
*Jimm Johnson - Bass
*Danny Jones - Bass,Vocals
*Richie Simpson - Drums
*Don Taylor-Wood - Drums
*J.A. Spell - Piano
*David Beaver - Electric Piano, Vocals
*David Mayo - Back-up Vocals
*Pat Taylor - Back-up Vocals
*Sarah Fulcher - Back-up Vocals
*Susan Dotson - Back-up Vocals
*Lynn Pyron - Back-up Vocals
*Dee McMinn - Back-up Vocals
*The Memphis Horns

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There are two general truths I hold to be self-evident. The first: there is no good reason why anyone should start a cover band, unless they need to support themselves by playing weddings, jazz brunches, or Bar Mitzvahs. Something that is already really good doesn’t need to be redone. The second: New Jersey is the armpit of America, and other than a few notable exceptions (The Boss, Palmolive, Princeton University), nothing all that smashing has ever come out of it. Surely there are those of you who will disagree. But even before Bruce Springsteen recognized Jersey pride as a kind of counterintuitive selling point, four teenagers from suburban Tenefly somehow managed to topple both of these "truths" in one fell swoop.

Gandalf, also known as The Rahgoos, were one of those garage line-ups that first saw the light of day in a high school detention hall, when guitarist Peter Sando met bassist Bob Muller in 1958. Though it's hard to imagine there being much of a market for a high school cover band over in the big city next door, New York has always been one of those places where just about anyone can find a home. For The Rahgoos, that home was the Night Owl, a cramped storefront-turned-mythic-rock-cafe where the likes of John Sebastian and his Lovin’ Spoonful and The Blues Magoos packed in to watch acoustic sets by James Taylor and The Flying Machine. The ragtag Night Owl family, including owner Joe Marra, toothless doorman “Jack the Rat,” Pepe the openly gay cook, and Annie, the four-letter-word-slinging head waitress, realized early on that The Rahgoos were much more than what they appeared to be on paper. Before long, the band linked up with Spoonful producers Charlie Koppelman and Don Rubin to sign a record deal with Capitol.

Though The Rahgoos dissolved before their record was ever released, what they left behind is probably one of the most visionary cover albums in the history of pop. Not “visionary” in the sense of re-invention (Easy Star All-Stars’ “Dub Side of the Moon” and “Radiodread” coming to mind), but “visionary” in the sense of re-investment, as though these songs -- songs we’ve already heard a hundred times before -- had suddenly become re-possessed by the ghosts of their true authors. The band changed their name to Gandalf and the Wizards in 1967; this moniker, discovered by drummer Davey Bauer while flipping through Tolkien’s The Hobbit between sets, gives us some idea of the fresh alpine air they would breathe into pop vocal standards like "Nature Boy,""Golden Earrings," and "Scarlet Ribbons".

Whenever I play Gandalf for friends, I like to ask them what color they see. Even if they haven’t seen the album’s orange sleeve, they almost invariably cite a color ranging between red and burnished gold. Gandalf is one of those albums that has an almost synesthetic effect on its listeners, filling every room which it's played with a kind of heavy, perfumed fog. Peter Sando’s wind-kissed, reverb-dripping tenor is perhaps most responsible for this effect. As though his psychic identification with these old love ballads were too strong to be confined within the songs themselves, Sando swoops up from under each melody and wrestles it into the air, blasting the chorus of “Golden Earrings” on track one into a wingspan over an autumnal mountain range.

Perhaps you have already guessed it: Gandalf is one sexy record. Fuzz guitar, Hammond B3, electric sitar, vibraphone, and chunky, equally reverb-saturated bass ground Sando’s voice in a kind of clipped, baroque accompaniment, voluptuous in its restraint. Spaciousness is definitely the defining feeling of the album, but all of its elements seem to be hanging on a single, taught string. Which is what makes Gandalf’s music all the more debilitating when that string finally breaks, and a song that started off as a whispered fairy-tale (“Nature Boy,” sung by Nat and Natalie King Cole in their day) gives way to a drum fill and a guitar howl.

While it may come as a bit of a surprise, not all of the songs on Gandalf are covers. The lovely “Can You Travel in the Dark Alone" and “I Watch the Moon,” the opener and closer of the second side, were penned by Peter Sando himself. I mention this as a closing note, but it shouldn't be taken as a fact that somehow “redeems” the record in terms of authorship and originality. Even without these two songs, Gandalf is about as genuine as an album can get -- its sound so distinctive and unified that it's hard to tell (or care) who wrote what. Sando and his buddies from Tenefly High School did more than just recast a bunch of old yarns within the psychedelic era; they made them theirs.
by Emilie Friedlander

Tracks
1. Golden Earrings (J. Livingstone, V. Young) - 2:45
2. Hang on to a Dream (Tim Hardin) - 4:12
3. Never Too Far (Tim Hardin) - 1:50
4. Scarlet Ribbons (J. Begal, E. Danzig) - 3:02
5. You Upset the Grace of Living (Tim Hardin) - 2:38
6. Can You Travel in the Dark Alone (Peter Sando) - 3:07
7. Nature Boy (Eden Ahbez) - 3:06
8. Tiffany Rings (Garry Bonner, Alan Gordon) - 1:48
9. Me About You (Garry Bonner, Alan Gordon) - 4:53
10. I Watch the Moon (Peter Sando) - 3:50

Gandalf
*Peter Sando - Guitar, Vocals
*Bob Muller - Bass, Vocals
*Frank Hubach - Electric Piano, Piano, Organ, Harpsichord
*Dave Bauer - Drums

1969 Gandalf - Gandalf 2 (2007 Edition)

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(The approach developed in Open and Definitely What come to fruition in the release of Streetnoise (1969) oft cited as the first fusion recording. An impressive range of diverse influences results in the musical soundscape varying from some very funky organ freak outs, a hip cover of ''Flesh Failures'' (from the musical Hair) through to the mind blowing progressive jazz/rock of ''Ellis Island'' - and culminating in the haunting high point Driscoll's vocal version of Miles Davis'''All Blues'' a strange and haunting rendition that will undoubtedly open up ears all over again when heard for the first time.

Brian Auger's contribution to music has been considerable, someone who has demonstrated a rare devotion and dedication and who has always been prepared to make sacrifices for what he believed was right. Today, and perhaps belatedly, he is finally acknowledged as one of the most considerable influences in the development of new musical forms, based upon the fusion of two elements, pop and jazz.)

The final collaboration between singer Julie Driscoll (by that time dubbed as "The Face" by the British music weeklies) and Brian Auger's Trinity was Streetnoise in 1969, an association that had begun in 1966 with Steampacket, a band that also featured Rod Stewart and Long John Baldry. As a parting of the ways, however, it was to be Trinity's finest moment. A double album that featured 16 tracks, more than half of them with vocals by Driscoll, and the rest absolutely burning instrumentals by Trinity (which was Auger on organ, piano, electric piano, and vocals), Driscoll on acoustic guitar, Clive Thacker on drums, and Dave Ambrose on bass and assorted guitars.

"Tropic of Capricorn," an instrumental Auger original, kicks the set off in high gear. It's a knotty prog rock number that has near key change elements of Memphis R&B. it sounds better than it reads; it twists and turns all around a minor key figure that explodes into solid, funky major seventh grit with Thacker double timing the band. Driscoll enters next with "Czechoslovakia," a wide-open modal tune that hints at the kinds of music Driscoll would explore in the very near future on her debut 1969 and later with her future husband Keith Tippett. Broken melody lines and drones are the framework for Driscoll to climb over and soar above, and she does without faltering before she slides into the traditional gospel tune, "Take Me to the Water." And this is how this record moves, from roiling progressive rock instrumentals and art songs, rock style, to inspired readings of the hits of the day such as "Light My Fire,""Flesh Failures (Let the Sunshine In)" from Hair, and one of most stirring readings ever of Laura Nyro's "Save the Country" that closes the album. "Indian Rope Man," is a burning, organ-driven churner that fuses Stax/Volt R&B funkiness with psychedelic rock and jazz syncopation.

Driscoll's vocal is over the top; she's deep into the body of the tune and wrings from it every ounce of emotion possible and then some. Auger's organ solo is a barnburner; reeling in the high register, he finds the turnarounds and offers his own counterpoint in the middle and lower with enormous chords. The rhythm section just keeps the groove, funking it up one side and moving it out to the ledge until the coda. Another steaming rocker is "Ellis Island," with it's dueling Fender Rhodes and organ lines. it may be the finest instrumental on the album. "Looking in the Eye of the World" featured Driscoll in rare form singing in her voice's lower register accompanied only by Auger's piano on a blues moan worthy of Nina Simone.

Streetnoise was a record that may have been informed by its era, but it certainly isn't stuck there, especially as the 21st century opens. The music here sounds as fresh and exciting as the day it was recorded. The sound on the reissue is completely remastered and packed in deluxe form; it all adds up to a must-have package for anyone interested in the development of Auger's music that was to change immediately after this record with the invention of the Oblivion Express, and also for those interested in Driscoll's most brave, innovative, and fascinating career as an improviser who discovered entirely new ways of using the human voice. Streetnoise is brilliant.

by Thom Jurek

Tracks
1. Tropic of Capricorn (Brian Auger) 5:30
2. Czechoslovakia (Julie Driscoll) 6:45
3. Take Me to the Water (Nina Simone) 4:00
4. A Word About Colour (Julie Driscoll) 1:35
5. Light My Fire (John Densmore, Robby Krieger, Ray Manzarek, Jim Morrison) 4:30
6. Indian Rope Man (Richie Havens, Price, Roth) 3:00
7. When I Was Young (Traditional Arr. by Julie Driscoll) 7:00
8. Flesh Failures (Rado, Ragni, McDermot) 3:05
9. Ellis Island (Brian Auger) 4:10
10.In Search of the Sun (Dave Ambrose) 4:25
11.Finally Found You Out (Brian Auger) 4:15
12.Looking in the Eye of the World (Brian Auger) 5:05
13.Vauxhall to Lambeth Bridge (Julie Driscoll) 6:30
14.All Blues (Miles Davis, Oscar Brown) 5:40
15.I've Got Life (Rado, Ragni, McDermot) 4:30
16.Save the Country (Laura Nyro) 3:56

Musicians
*Brian "Auge" Auger - Organ, Piano, Electric Piano, Vocals
*Julie "Jools" Driscoll - Vocals, Acoustic Guitar
*Clive "Toli" Thacker - Drums, Percussion
*David "Lobs" Ambrose - 4, 6 String Electric Bass, Acoustic Guitar, Vocals

Brian Auger's Oblivion Express
1970 Brian Auger's Oblivion Express (2013 Japan SHM edition)
1971 A Better Land (2006 japan remaster)
1972 Second Wind (2006 japan remaster)
1973 Closer To It (2006 japan remaster)
With Julie Driscoll
1967 Open (2013 Japan SHM)

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One of the last great '60s bands hailing from the San Jose area, People followed in the homegrown tradition of such fabled South Bay combos as the Syndicate of Sound, Count Five, Chocolate Watchband, Mourning Reign and the E-Types.

Mikel Hunter Herrington, the legendary KLIV disc jockey known as Captain Mikey and the man who helped break the Syndicate of Sound's national smash "Little Girl" in 1966, agreed to manage People if they found a new lead singer. When high school pals Larry Norman and Gene Mason both sounded outstanding at an audition, Hunter suggested the band use both as frontmen. The rest of the classic People lineup would include guitarist Geoff Levin, Albert Ribisi on keyboards, bassist Robb Levin and drummer Denny Fridkin. Everybody agreed the name People-in contrast to the common practice of the day of anthropomorphic band names (Beatles, Animals, Byrds, Doors)-was a winner.

Produced by Captain Mikey, People's "I Love You" single vaulted into Billboard's Top 20 by the spring of 1968, then circled the globe as a chart-topper wherever it was released. Of course, "I Love You," originally a 1965 B-side by British pop maestros the Zombies, is a knockout. Penned by Chris White, bass player of the St. Alban's combo, the song, as were most Zombies melodies, is a minor-key gem, and it still resonates heavily today with Summer of Love vibrations.

But anyone who thinks People were just a vehicle for little-known Zombies songs should have a listen to I Love You, the San Jose outfit's first album. One of their debut LP's more remarkable tracks is Denny Fridkin's "Crying Shoes," which incorporates the familiar strains of Edward Elgar's "Pomp and Circumstance" march into a tune whose bridge is right out of the Absolutely Free album by Frank Zappa's Mothers of Invention.

And, not to be missed is "The Epic," a sprawling work-often compared to the Who's rock opera Tommy-that occupies the entire second side of People's debut longplayer. In reality, "The Epic," which features some dialogue in Spanish, wields a lighter touch than Tommy, more in the vein of an earlier extended work by the Who, "A Quick One While He's Away."

A full understanding of People also requires total immersion in Both Sides Of People, the band's second Capitol LP, cut in an era where albums not singles had the power to make or break an artist. Norman had left the band upon the 1968 release of their first album, reportedly because the record's name had been changed by the label from What We Need Is A Lot More Jesus And A Lot Less Rock 'n' Roll to what Capitol deemed a safer title: I Love You.

Although Larry Norman was gone, three of his tunes-in particular the brilliant, Small Faces-like "I've Got You On My Mind"-grace People's sophomore effort as testament to his songwriting prowess. But People soldiered on with Gene Mason now singing lead full-time, opening large concerts for the likes of the Doors, Janis Joplin and the Byrds. People had proved they belonged on the national stage, and they took full advantage of the opportunity.

by Jud Cost

Tracks
1. I've Got You On My Mind (Larry Norman) - 2:36
2. Hasty Heart (Larry Norman) - 3:23
3. You'll Never Know For Sure - 3:35
4. Think (Loman Pauling) - 3:02
5. Hey Sweetheart - 3:43
6. Lucky John - 4:12
7. She's A Dancer (Larry Norman) - 7:41
8. Pirate Bill - 6:00
All songs by People except where stated

People
*Denny Fridkin - Drums
*Jeoff Levin - Guitar
*Robert Levin - Bass
*Gene Mason - Vocals
*Larry Norman - Vocals
*Albert Ribisi - Organ

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There was a school in Surrey, England named Charterhouse. Attending this school there were two students named Tony Banks and Peter Gabriel. The two both had a love for music which caused them to form a band called The Garden Wall.

A nearby group named The Anon. Formed by Riverz Job (bass), Richard MacPhail (vocals), Anthony Phillips (guitar), and Rob Tyrell (drums). Later join by Mike Rutherford, The Anon was The Garden Wall's main competition.

The Charterhouse arranged a concert in 1967 that featured both The Garden Wall and The Anon. The Garden Wall stole the show away from The Anon (who were the concert's main feature. After this more than half The Anon left the band leaving Anthony Phillips and Mike Rutherford. Phillips and Rutherford went to their rivals and formed a new band. They later were joined by drummer Chris Stewart.

This new band put together a demo tape which they sent to producer Jonathan King (who was an ex-student of The Charterhouse). He liked this band's music so much and since they didn't have a name yet he gave them one: Genesis

In 1968 Stewart left Genesis. John Silver came in as Stewart's replacement

In 1969 they released their first album titled 'From Genesis To Revelation'. The album was only released in the UK. To put it nicely, the album was a bomb. It sold less then seven hundred copies. Part of the album's lack of success can be contributed to the fact that the album was thought to be Christian.

After this, Genesis went inactive in order to get out of it's one year contract with King (who thought their new music lacked). After a year, Genesis was free of King and Silver (who wanted to stay with King).

In March of 1970, Genesis met John Anthony who signed them with Charisma-Records.

This is actually their forst album release "From Genesis To Revelation", (with few bonus tracks from the 1967-1969 period and some new remixes from 2006) a magma o Bristish post psychdelia with progressive touches, it has nothing common with their later recordings except for the musicians, is more earthy, more accessible, however it is fascinating, velvet voices along with beautiful melodies, creating colorful ribbons, leaving finaly a sweet taste ...

Tracks

Disc-1

1. Where the Sour Turns to Sweet - 3:16

2. In the Beginning - 3:47

3. Fireside Song (Banks, Phillips, Rutherford)- 4:20

4. The Serpent (Gabriel, Banks) - 4:40

5. Am I Very Wrong? (Genesis) - 3:33

6. In the Wilderness - 3:33

7. The Conqueror (Genesis) - 3:42

8. In Hiding - 2:40

9. One Day - 3:22

10.Window - 3:35

11.In Limbo (Banks, Gabriel, Phillips) - 3:32

12.Silent Sun (Gabriel, Banks) - 2:15

All songs by Tony Banks, Peter Gabriel, Steve Hackett except where stated

Disc-2
1. A Place to Call My Own (Gabriel, Phillips) - 2:00
2. A Winter's Tale (Banks, Gabriel, Phillips) - 3:31
3. One-Eyed Hound (Banks, Gabriel, Phillips) - 2:31
4. That's Me (Banks, Gabriel, Phillips) - 2:38
5. Image Blown Out - 2:11
6. She is Beautiful - 3:46
7. Try a Little Sadness (Demo Version) - 3:18
8. Patricia (Demo Version of 'In Hiding') - 3:05
9. Where The Sour Turns To Sweet (2006 remix) - 3:19
10.The Silent Sun (2006 remix) (Banks, Gabriel) - 2:15
11.In The Wilderness (Rough Mix) (Banks, Gabriel) - 2:57
All songs by Tony Banks, Peter Gabriel, Steve Hackett except where noted

Genesis 1967-69
*Peter Gabriel – Vocals, Flute, Percussion
*Anthony Phillips – Guitar, Vocals
*Tony Banks – Organ, Guitar, Piano, Keyboards, Vocals
*Mike Rutherford – Bass Guitar, Guitar, Vocals
*John Silver – Drums, Vocals
*Chris Stewart – Drums on "Silent Sun"

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The U.K. folk scene was exploding with ambitious young singer/songwriters and acoustic pickers in the early ‘70s, when Rob Van Spyk first banded together with some similarly inclined pals to form a group that mixed rootsy sounds with often-political lyricism, the latter mostly supplied by Terry Friend. They self-released their first LP in 1974, under the name R.J. Van Spyk & Friends, but after expanding the lineup and their sound, they changed their name to Stonefield Tramp and unveiled another D.I.Y. album, Dreaming Again, that same year.

The album shifts back and forth between two modes. One has a folk-rocky, all-for-one collective feel, with the group's acoustic -- and occasionally electric -- axes riffing at length over the same vamp, while rough-hewn vocals deliver intense, socially conscious lyrics mostly written by Friend. The other is a more balladic folk singer approach, typified by "Social State Blues," a straightforward political folk song of the sort that had been filling coffeehouses all over England a few years earlier, but were likely in shorter supply by 1974.

by James Allen

Tracks
1. Dreaming Again (Rob Van Spyk) - 4:17
2. Bitter World - 10:09
3. Oh Mothers Tell Your Children - 5:33
4. Jaded Jane (Rob Van Spyk) - 5:27
5. Social State Blues - 3:32
6. Factory - 4:20
7. Theme From Follow The Sun (Rob Van Spyk) - 2:20
8. Doing Things Naturally - 2:21
All songs by Rob Van Spyk, Terry Friend except where noted

The Stonefield Tramp
*Terry Friend - Lyrics
*Brian Balster - Guitar, Vocals
*Dave Lloyd - Guitar
*Chris Sutoris - Bass
*Rob Van Spyk - Guitar, Vocals

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The Stone Angel story begins in December 1972. Guitarists Ken Saul and Paul Corrick were rehearsing for a spot at the Great Yarmouth Folk Club Christmas party, but all they could come up with was a guitar duet version of 'God rest ye Merry Gentlemen'. They invited singer Jill Child to join them, and worked on a couple of recently composed songs based on local legends, 'Sanctuary Stone' and 'The Skater'. That first performance was so well received that the trio decided to continue, the following two years seeing them perform at clubs, concerts and festivals throughout East Anglia and occasionally further afield, while still doing the resident slot at their local club.

During the summer of 1973 a demo recording of some of their songs was made, on which Midwinter were joined by Dik Cadbury (of 'Decameron' and 'Steve Hackett Band' fame) on bass, and Mick Burroughes on percussion. This was never released at the time, and in fact the master tapes remained in a box in Ken Saul's attic until they finally were issued by Kissing Spell in 1993 as the CD 'The Waters of Sweet Sorrow'.

Midwinter came to an end with Jill's departure to college, their farewell concert taking place back at the Yarmouth Folk Club on September 11th 1974. Some of their songs lived on, however, as a few months later Paul and Ken formed a new band, again including fellow musicians from the Yarmouth club. This new band had something of a rockier, more gothic, edge and a decidedly experimental approach to folk music: Stone Angel was born!

Stone Angel's first public performance, again at the Yarmouth Folk Club, was on December 20th 1974. The line-up consisted of Joan Bartle on vocals, flute, recorders and crumhorn; Mick Burroughes on bass and percussion; Paul Corrick on electric guitars and harpsichord; Dave Lambert on fiddle and mandolin; Ken Saul on vocals, guitars and dulcimer. Building on the reputation of Midwinter, they began to appear at numerous clubs and festivals around the area.

For a variety of reasons a decision was made to produce a self-financed recording, and this took place in February 1975. The band was assisted in this project by Eddy Green, who from time to time had deputised for various personnel in the live performances. Only three hundred and fifty of the projected five hundred albums were ever produced, and unfortunately these suffered from rather poor sound quality. A busy schedule followed, with the album being hawked around the live gigs, until the end of the summer when both Paul and Mick departed for university and art college respectively.

The resulting trio continued, but became entirely acoustic and more traditional in their choice of material, although still including 'The Skater' and 'Black-sailed Traders' in their set. The only recording from this period was a basic tape recording of a live concert in the village church at Filby, Norfolk, where Ken and Joan now lived. This too was to later be released on CD by Kissing Spell under the title 'The Holy Rood of Bromholm'. After spells working in Botswana and Southampton, Dave Lambert emigrated to Australia, where he continues to play as a member of Adelaide-based band 'The Legends'.

Stone-Angel

Tracks
1. The Bells Of Dunwich - 6:04
2. The Skater - 3:13
3. Pastime With A Good Company - 1:12
4. Traveller's Tale - 5:41
5. Black Sailed Traders - 5:04
6. Stone Angel - 3:38
7. Galliard Merrie England's Musicke Box - 2:02
8. The Gay Goshawk (Traditional) - 7:08
9. The Black Dog (Paul Corrick, Ken Saul) - 5:42
10.The Holy Rood Of Bromholm (Ken Saul) - 4:01
All compositions by Stone Angel except where indicated

Stone Angel
*Ken Saul - Vocals, Guitars, Dulcimer, Treble Recorder
*Joan Bartle - Vocals, Flute, Recorder, Crumhorn
*Mick Burroughs - Percussion, Bass, Jews Harp
*Dave Lambert - Violin, Mandolin, Rebec
*Paul Corrick - Electric Guitar, Bass

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Chrissy Zebby Tembo is the drummer of the Ngozi family. This time the album is under his name and Paul Ngozi is his guitarist. This album is so great, we left the best for the last Zam Rock release. Wild fuzz guitars all over (how do they get those sounds?), African beats and extra cool vocals. Complete stoned music. People say it is easily one of the best African psychedelic rock album ever recorded -- raw, rough, with a gaping charm and tons of front and center fuzz guitar over basic, ultra catchy rock/pop tunes reminiscent in style to maybe the Velvet Underground. The songs are sung in English. Original albums on Chris Edition are rare as gold dust.

Forced-Exposure

Tracks
1. My Ancestors - 3:27
2. Trouble Maker - 3:39
3. Lonely Night - 3:24
4. Coffin Maker - 3:48
5. Oh Yeh Yeh - 2:59
6. Fisherman - 3:31
7. I've Been Loosing - 3:19
8. Feeling Good - 3:28
9. Gone Forever - 3:08
All songs by Chrissy Zebby Tembo

Personnel
*Paul Ngozi - Guitars, Vocals
*Tommy Nwale - Bass
*Chrissy Zebby Tembo - Drums, Vocals

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Music inspired from weed, alcohol, or LSD is pretty different. Weed makes stoned kind of freak-out music, alcohol creates smoky kind of freak-out moments, while LSD keeps things clear, only adds elements that are supposed not to be there, or makes more from what is there. So, do I suppose that the Unfolding expresses some kind of LSD party ? Yes, something like that. It is in general much more British in sound than American, also because it has a certain humour, colourful, like a circus, showing lots of things, often several things at the same time. I can easily imagine with it, typical 70’s animation movies made of colourful collages, bringing us from one world into the next.

I don’t think this is directly inspired by drugs, but the idea to create a rich world of expression surely is exploited (with humour, I repeat, with humour). The freak-out party has two sections, I say rooms for the party to visit. I would say that there is the room of the hopeful, the living, partying with the music from the A-side : the ‘Acid Rock’ part, and then there’s also a chill-out room, for the hopeless, or for the consciously or unconsciously dying, who get the music from “the meditation site”. All wannebees will get there their legal doses of oriental meditations.

The Acid-rockers have a Hendrix-typed freak-out rock track, with wonderful lyrics like “I need to get high in the sky I wonder Why”, a freakbeat track with ’60 harmony vocals, another danceable west coast psychedelia track, and then, there is a special track for the special guest of the evening, the sexy opera singer Flora, where, while she is singing, others smoke giant sacks of marihuana, and while their flute, I mean some flute is playing with the singer, I mean flutes along with her vocals, creating a Russ Meyer kind of soundtrack and fantasy, which is my favourite track (and place?). Last track on this session is called “Love Surpreme Deal”, which is a psychedelic version with a marching-band-on-a-rolling-exercise-machine rhythm kind of folkrock, with a slightly unsteady rhythm, and a UFO sound in the background coming in here and there, ending with a real surreal circus ride.

The chill-out side has plenty of varied food for meditations. “Prana” has all the yin yang yoga mishmash, sitars, and kundallinis, oohs and aahs, gurus and guiding rituals, and everything with number 7, leading to the next track and Buddha state with more spoken word on “Electric Buddha” with OMmmms, klingklangs bells, and background chitchats. And also the “hare Krishna’s” are there, who, like innocent fools repeat themselves, in a state of psychedelic, with the ‘nonsense of the children’, making a ritual, with additional bongos and boneheads and a funny organ drone.

Last track, and final state for the end of the party is when hearing the parable, preparing yourself for a state of ultimate wisdom with flute improvisation : very entertaining. In all fun, everything on the record can be taken extremely serious. An entertaining album !

Psych-Music

It's easy to organize a FREAK-OUT PARTY, all you have to do is relax your mind and let things happen. Digging wild psychedelic colors, swinging with way-out sounds, grooving on yourself, grooving on everything at once. LOVE.

To set the scene for the party, spray pop bottles or an old chair with DAY-GLOW PAINT in bright colors, then light the whole room with DAY-GLOW light (you can buy these in any hardware or art-supply stores). This will make everything glow with weird luminous psychedelic colors. Guaranteed to blow their minds right away.

You can really turn your guests on with a mind-blowing light show with two things you probably have in your house right now: a TV set and a see-through kaleidoscope (not the kind with colored glass in the bottom). First put a rock and roll record on the phonograph. Turn on your TV and make the image jump in time to the music by turning the vertical knob all the way to the left or right. Now point the kaleidoscope at the TV screen. This is a guaranteed TRIP. Now play the same record at another speed. YOU ARE NOW FREAKING OUT. Enjoy it.

TURN ON yourself and your guests to an ancient Indian chant which brings ecstasy and peace of mind. When the chanting begins on the A side of this record join in. It will really BLOW YOUR MIND, a guaranteed trip into another dimension of consciousness. George Harrison has said of this chant (International Times No. 13) "...saying Krishna, Krishna, Krishna, Krishna...it's not the words you're saying, it's the sounds...sounds are vibrations and the more you can put into that vibration, the more you can get out...these vibrations that you get through yoga, cosmic chants...it's such a buzz, it buzzes you out of everywhere."

Hipwax

Tracks
Acid Rock
1. I've Got A Zebra / She Can Fly - 5:14
2. Play Your Game - 2:50
3. Girl From Nowhere - 3:05
4. Flora's Holiday - 1:45
5. Love Supreme Deal - 4:53
Meditations
6. Prana - 5:29
7. Electric Buddha - 4:23
8. Hare Krishna - 3:24
9. Parable - 4:48

Personnel
*Gary - Drums, Vocals
*Peter - Rhythm Guitar, Vocals
*Ken - Guitar, Bass, Vocals
*Steven Kapotvich - Narrator
*Victoria Sackville - Soprano Vocals
*Andrea Ross - Vocals
*David Dalton - Vocals

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The quintet of Paul Revere, Mark Lindsay, Drake Levin, Phil Volk and Mike Smith reunited for Dick Clark on national television in 1979 doing a medley of their biggest hits.

The punk rock and New Wave eras would see a wave of interest in the Raiders’ music; “I’m Not Your Stepping Stone” was covered by The Sex Pistols, Minor Threat, and Liverpool band The Farm (although The Monkees’ cover version was better known than the Raiders’ original), and later “Just Like Me” would be covered by The Circle Jerks, Joan Jett and Pat Benatar). David Bowie covered “Louie, Go Home” and The Who took that song and changed the title and lyrics to “Lubie, Go Home”. “Hungry” was also covered by Sammy Hagar and the new waver David Edwards did a cover of “Kicks.”

The Flamin’ Groovies tackled two Raiders songs (“Him or Me, What’s it Gonna Be?” and “Ups and Downs”) and The Morrells did a country-tinged arrangement of “Ups and Downs” as well. The Paisley Underground, garage rock revival, and grunge movements would all acknowledge the Raiders’ influence. “Kicks” was also covered by Mickey Dolenz and Peter Tork of the Monkees as one of three new recordings included on their 1986 compilation Then & Now… The Best of The Monkees.

Revere continued with a relatively stable lineup through the 80’s and 90’s, featuring longtime members Omar Martinez (drums and vocals since 1972), Doug Heath (guitarist for the Raiders since 1973), and Ron Foos (Allison’s replacement in 1975). Occasional new record releases included the self-produced “Special Edition” in 1983, with Bradley on vocals, and “Paul Revere Rides Again”, released in 1983 through Radio Shack stores. They even recorded a home video for MCA Universal in 1996 titled “The Last Madman of Rock ‘N’ Roll”. On October 4th 2014, Paul Revere passed in his sleep last night at his home in Caldwell, Idaho. Revere was 76.

Thisdayinrock

Tracks
1. Dead End Night (Foos) - 2:49
2. Do You Really Mind (Bradley, Foos) - 3:12
3. Magazine (Bradley) - 3:00
4. Don't Leave Me Tomorrow (Bradley) - 3:01
5. Somebody (Bradley) - 2:58
6. Louie Louie (Berry) - 3:20
7. Hungry (Mann, Weill) - 3:00
8. Steppin' Out (Lindsay) - 2:56
9. Just Like Me (Dey, Hart) - 2:28
10.Kicks (Mann, Weill) - 2:49
Tracks 6 and 10 recorded live in 1982 at Milwaukee Festival

The Raiders
*Paul Revere - Keyboards
*Michael Bradley - Guitar, Vocals
*Omar Martinez - Drums, Percussion, Vocals
*Danny Krause - Keyboards, Vocals
*Doug Heath - Guitar
*Ron Foos - Bass

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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Max Frost And The Troopers were a fictional group created for the 1968 hippie-exploitation movie, Wild In The Streets. Frost was actor Christopher Jones (passed away January 31, 2014), more interestingly, the Troopers’ drummer was a young Richard Pryor. Their role in the film was to gain voting rights for 14-year-olds. Frost is elected president of the USA at the movie’s climax, and he orders everyone over 30 into concentration camps, where they are forced to take LSD. His band’s songs were equally absurd semi-political rants (‘14 Or Fight’) save for one bona fide folk-punk classic, ‘Shape Of Things To Come’. Written by Barry Mann and Cynthia Weil, the song was actually recorded by a band called the 13th Power. However, it was released under the name Max Frost And The Troopers to capitalize on the movie’s success with the youth market, and eventually reached number 22 in the USA.

All-music

1968, garage rock, psychedelic sounds, mind expanding substances and wicked colorful fantastic movies pointing at a probably strange future or dealing with the then current dissatisfying political and social situation or with the abuse of drugs were the hottest topics of the time. The Vietnam War had reached a preliminary peak in its progress, the atmosphere was full of either love or fury. A great time to create a movie about a future society of young people taking over the reign in the USA and the first step on their path to success was a rockband, MAX FROST AND THE TROOPERS. Not much is known about the musicians who either participated on the soundtrack of the movie or on this sole album by MAX FROST AND THE TROOPERS. The band name TROOPERS is based on the term "troops," the designation Frost was used in the film to refer to his friends and followers.

What we get to hear on the new reissue of “Shape of things to come” at hand is both: the entire studio work of MAX FROST AND THE TROOPERS plus the entire soundtrack album for the “Wild in the streets” movie and it is getting enormously colored and from time to time quite bizarre. The musical range goes from fuzzed out garage beat via soulful high energy rock numbers to a small quantity of acid freak outs. The compositions show a straight and accessible structure with a decent dance groove as it was usual in the contemporary pop music of the day. Some tinges of psychedelia like howling fuzz guitars, darker harmonies and swirling sitar lines were added for the good measure.

All 19 songs here prove to be memorable pieces of late 1960s acid pop and despite the movie related revolutionary and political statements in the lyrics all tunes drive you into a state of sheer bliss when spinning the record. So if you are a fan of late 1960s acid pop and garage psyche in the vein of THE THIRD BARDO, THE SEEDS, THE STRAWBERRY ALARM CLOCK and THE MUSIC MACHINE, look no further ‘cause you’ve found the holy grail!

Captain-High

Tracks
1. Shape Of Things To Come (Mann, Weil) - 1:59
2. Lonely Man (Paul Wibier) - 2:36
3. Shine It On (Paul Wibier) - 2:34
4. It's Wrong (Barney Hector, Paul Wibier) - 2:17
5. Captain Hassel (Wibier, McClane, Martin, Beckner, Hector) - 2:25
6. Fifty Two Per Cent (Mann, Weil) - 2:30
7. Try To Make Up Your Mind (Paul Wibier) - 1:49
8. Let Your Mind Run Free (Paul Wibier) - 2:23
9. She Lied (Dale Beckner, Stewart Martin) - 2:28
10.A Change Is Gonna Come (Paul Wibier, Dale Beckner) - 2:39
11.Love To Be Your Man (Mann, Weil) - 2:10
12.Free Lovin' (Guy Hemric, Paul Wibier) - 2:17
13.Les Baxter - Psychedelic Senate (Les Baxter) - 2:14
14.Fourteen Or Fight (Mann, Weil) - 2:46
15.Jerry Howard - Wild In The Streets (Guy Hemric, Les Baxter) - 2:43
16.The Second Time - Listen To The Music (Mann, Weil) - 2:48
17.The Second Time - Sally LeRoy (Mann, Weil) - 2:38
18.The Gurus - Shelly In Camp (Les Baxter) - 1:39
19.Paxton Quigley's Had the Course (Chad Stuart, Jeremy Clyde) - 2:00
Bonus Tracks 11-19

Musicians
*Paul Wibier - Vocals
*Davie Allan - Guitar
*The Arrows
*The Hollywood Wrecking Crew

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The never-released 1969 live effort from Fever Tree! Gulf Coast punk phenoms the Bostwick Vines see Cream and Hendrix and bring their tough interpretation of that combination to Hollywood, California. With three unique studio albums to their name, Fever Tree splinters after this live gig in Texas, but not before laying down one final testament to their evermore worth as swooning psychedelic rockers.

Sharpening their chops on the Gulf Coast circuit, followed by a high-profile opening night gig at Hollywood’s legendary Kaleidoscope, Fever Tree developed a keen sense of musical drama and dynamics. This versatility is in sharp display on the concert’s rendition of their underground radio hit “San Francisco Girls (Return of the Native).” For the rest, Live 1969 focuses on groovers, a perfect set-up for the gliding fuzztones of lead guitarist Michael Knust, the sonic organ of Rob Landes, the thick rhythms provided by E.E. “Bud” Wolfe III on bass and John Tuttle on drumsand the dynamic, driving lead vocals of Dennis Keller.

“Don’t Come Crying to Me Girl,” a song originally found on the band’s second album, levitates the band beyond any earthly confines. Elsewhere, the set moves between a soaring cover of Donovan’s “Hey Gyp,” their own power pop “Grand Candy Young Sweet” and a whirlng psych take on Wilson Pickett’s “Ninety-Nine and One Half (Won’t Do).” Playing as if their lives depended on it, Live 1969 captures a band at the height of its powers, forever preserved on this final audio testament.

Sundazed

Tracks
1. Grand Candy Young Sweet (F. Davis) - 8:37
2. Ninety-Nine and One Half (Won’t Do) (E. Floyd, S. Cropper, W. Pickett) - 11:06
1. Don’t Come Crying to Me Girl ( R. Landes, S. Holzman, V. Holzman) - 8:15
4. Hey Gyp (D. Leitch) - 8:19
5. San Francisco Girls (Return of the Native) (Michael Knust, S. Holzman, V. Holzman) - 4:14

Fever Tree
*Dennis Keller - Vocals
*John Tuttle - Drums
*Rob Landes - Keyboards, Flute
*E.E. Bud Wolfe III - Bass
*Michael Knust - Guitar

1968-69 Fever Tree - Fever Tree / Another Time, Another Place
1969-70 Fever Tree - Creation / For Sale

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At first glance and hearing, The Zodiac: Cosmic Sounds might seem like an anomaly in the Elektra catalog. When it appeared in 1967, the label was recognized primarily for its eclectic catalog of folk recordings, and starting around 1965 for its run of extremely important folk-rock records by Love, Judy Collins, Tom Rush, Tim Buckley, and others. Just a couple of catalog numbers in advance of the album was the debut by the Doors, which would advance Elektra to a whole new level.

The Zodiac: Cosmic Sounds, however, was like none of those records. It was not so much the product of a group or artist as it was a collectively-hatched concept album, matching psychedelic mood music with spoken prose and all manner of exotic and electronic instrumentation. It was, as the subtitle boasted, "celestial counterpoint with words and music." And as the back sleeve instructed, in capital purple letters, it "MUST BE PLAYED IN THE DARK." Should there have been any doubt that it was serious, the astrological sign of each contributor listed on the back sleeve was announced, in parentheses, after each name, even for Elektra owner Jac Holzman. Artist Abe Gurvin and art director William S. Harvey concocted a suitably florid sleeve, with a mosaic of colors so bold and gaudy they nearly glowed in the dark, supplemented by huge wavy title lettering and a nocturnal backdrop.

Divided into 12 separate tracks, one for each astrological sign, it appeared just as both psychedelic rock and astrology itself were coming into vogue in the youthful counterculture. In some respects it was similar to other instrumental psychsploitation albums of the time, with a spacy yet tight groove that could have fit into the soundtrack of 1966 Sunset Strip documentaries, played in large measure by seasoned Los Angeles session musicians. In other respects, it was futuristic, embellished by some of the first Moog synthesizer ever heard on a commercial recording, an assortment of exotic percussive instruments, and sitar.

The arrangements were further decorated by haunting harpsichord and organ, along with standard mid-1960s Los Angeles rock guitar licks. For those who took the astrology as seriously as the music, there was the dramatic reading of narrator Cyrus Faryar, musing upon aspects of each astrological sign in a rich, deep voice without a hint of irony.

Only a few of the musicians involved in the album were listed on the back cover, and much mystery has surrounded the conception and realization of the record in the ensuing years. As it happens, though, the album featured some of the creme de la creme of the Los Angeles session musician clique, as well as some notable contributors with strong ties to the early-1960s folk music that had been Elektra's backbone prior to 1965. In addition, there were precedents for albums not tied to a particular artist in the Elektra discography.

Only two or three years before, the company had released a 13-volume series of Authentic Sound Effects, as well as records on how to play bass and blues guitar. The Zodiac: Cosmic Sounds was not an accidental one-shot aberration from an out-of-control producer, but in fact instigated by Elektra founder and president Jac Holzman himself.

Producing the album was Alex Hassilev, one-third of the Limeliters, the successful pop-folk group of the early 1960s who had recorded their debut LP for Elektra in 1960 (followed by numerous other ones for RCA). Hassilev had recently formed a production company with Mort Garson, who had arranged one of Alex's RCA albums (as well as doing some arranging for fellow Limeliter Glenn Yarborough).

Elektra was the type of label to take risks that others might have dismissed as reckless. "Jac, being a very adventurous guy, sonically speaking, really believed in finding new things," enthuses Hassilev. "He bought the idea of doing a kind of electronic score for this project. And Mort assembled this group of musicians, including Paul Beaver. Percussionist Richards boasted a staggering array of credits. Over the course of his lengthy career he has worked with everyone from Henry Mancini, Dizzy Gillespie, and George Harrison to Frank Zappa, Frank Sinatra, Marvin Gaye, Linda Ronstadt, and Herb Alpert, as well as on over 1700 Movies. It was the Moog that supplied the freakiest swoops and textures on The Zodiac, and the greatest challenge to capture on tape. "The Moog, while a wonderful instrument, had very unstable oscillators," explains Hassilev.

Filling out the personnel for The Zodiac on more conventional guitars, bass, and drums were top Los Angeles sessionaires, although unfortunately the precise names and details have been lost to memory. Hassilev is fairly certain that bassist Carol Kaye and drummer Hal Blaine--both at the very top of the list for rock, pop, and session calls in Los Angeles in the 1960s--comprised the rhythm section. Holzman thinks Blaine was on the date for sure; Cyrus Faryar remembers Bud Shank playing bass flute, and Mike Melvoin, who played on numerous jazz and pop sessions (including some harpsichord on the Beach Boys' Pet Sounds), contributing keyboards. Kaye, who did uncounted sessions in the 1960s (including some others with Garson, and some other dates with Beaver), recently confirmed after listening to the record that it is indeed her on bass: "That's me on the whole thing. [The] double paradiddles, tons of slides, and the octave licks [are] typical of my playing." Garson, she adds, "was an extremely talented arranger. I can see his face now, sort of smiling here and there as if he was up to some mischief."

Once the music was finished, Moog and all, one more component would be needed to put it to bed. This was the spoken astrological narrative, written by Jacques Wilson, and voiced by Cyrus Faryar. Like Hassilev, Faryar was a young veteran of the early-1960s folk boom, having played with Dave Guard and the Whiskeyhill Singers (led by ex-Kingston Trio member Guard, and also including Judy Henske) and the Modern Folk Quartet. Also a session musician who played on some of Fred Neil's finest records, he was well known to Hassilev. Over the years Faryar (who eventually recorded a couple of albums himself on Elektra in the early 1970s) came across admirers of The Zodiac and his narration in some of the most unexpected places. At one party he met the late Graham Bond, the brilliant but erratic British blues-jazz-rock musician noted for dabbling in the occult, who moved to the States in the late 1960s.

For years afterward, Hassilev had a studio in Los Angeles and continued to produce, working on projects as diverse as albums by Hoyt Axton and Ananda Shankar (Ravi Shankar's nephew, who combined traditional Indian music with modern electronics), a single by Seals & Crofts, and commercials with Van Dyke Parks. He's still playing as part of the Limeliters, and still proud of The Zodiac: Cosmic Sounds. "What I chiefly remember is that the recording of the music for me was just a joy," he summarizes. "Working with Cyrus was wonderful, and working with Jac was great too. Jac was there for all the sessions, supervising this whole project. In that period, he was the hands-on for everything."

by Richie Unterberger

Tracks
1. Aries - The Fire-Fighter - 3:17
2. Taurus - The Voluptuary - 3:38
3. Gemini - The Cool Eye - 2:50
4. Cancer - The Moon Child - 3:27
5. Leo - The Lord Of Lights - 2:30
6. Virgo - The Perpetual Perfectionist - 3:05
7. Libra - The Flower Child - 3:28
8. Scorpio - The Passionate Hero - 2:51
9. Sagittarius - The Versatile Daredevil - 2:06
10.Capricorn - The Uncapricious Climber - 3:30
11.Aquarius - The Lover Of Life - 3:45
12.Pisces - The Peace Piper - 3:19
Music by Mort Garson Lyrics by Jacques Wilson

Personnel
*Cyrus Faryar - Narration
*Paul Beaver - Moog, Electronic Instruments
*Emil Richards - Exotic Percussion
*Bud Shank - Bass Flute
*Hal Blaine - Drums
*Carol Kaye - Bass Guitar
*Mike Melvoin - Keyboards

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It’s very difficult to describe in only a few words the history of such a rich and underestimated pop-rock scene as existed in Greece in the sixties. This is especially true when this scene has been represented so poorly in the world of CDs, despite the glut of recent reissues. There have been a seemingly endless stream of compilations from the most obscure places on the planet, produced primarily, it seems, because those places are exotic and outrageous geographically, not because of the value of their music.

The classic beat/garage scenes of the UK, Holland, Germany, etc. have been exhausted, with the best 45s out (again and again), and the fans of this music numbed by the saturation approach of most reissuers. Now the time is ripe for all fans of beat/garage music to focus on the Greek scene, which up until now has languished in the dark shadows that could only result from sunshine so bright. Those fans, (and hopefully you who are reading this are one of them) will discover a unique sound— not just faithful mimicking or the typical European imitation of the American garage sounds! It all started in 1965 with the release of "Geronimo Yanka" by Forminx, an arrangement of a traditional Finnish song. In one year, this single sold more than 60,000 copies (!) and became the national anthem of every Mod teenager in Greece.

With Forminx (featuring future international superstar Vangelis Papathanasiou) now firmly established as the Beatles of Athens, other groups sprouted up from every neighbourhood, from every one of the many dark corners in Athens to try to make their mark. Many of these bands such The Idols contributing to the collection with two songs and including the most famous band member, Demis Roussos with great international career later, with Afrotide's Child and as a solo artist, The Juniors whose most members die in a car accident, while the remaining members - one week after the accident- played in a live show -in honor of deceased friends- with a young English guitarist who was dressed in black and his name was..... Eric Clapton!!

Noticeable is also the sound of the Zoo, a band that is rumoured that they were mostly students of American College of Athens, while the Bluebirds for many of critics and not only- is the most important Greek Band of their time, having released 13 singles. But not many of the bands were able to sign contracts with a label, except for the big names (Forminx, Olympians, Idols, Bluebirds etc.), the overwhelming majority of those groups were happy just to cut a single. After a few practice sessions, they would head for one of the very primitive local studios. These studios, tailored to record traditional Greek bouzouki music, supplemented their income by recording the wave of enthusiastic young musicians.

Techniques were extremely primitive (cardboard egg holders nailed to walls for acoustic panels, etc.), and the pressings were very small (approximately 100-200 copies), but the excitement was real. If the single became a hit (!) the group would cut an additional 500-1000 copies (a rare occurrence). With such small pressings, imagine how difficult it is now, more than thirty years later, to find copies of any of these singles in good shape. Within the next couple of years, a very active and respectable scene managed to develop and flourish. It was an underground phenomenon (there were no magazines devoted to the music scene), fueled by imported music, and the relentless enthusiasm of Rock and Roll aficionados.

Thanks to U.S. Armed Forces Radio (there were more than 5,000 American troops stationed in Greece), beat/garage fans were informed on a daily basis of the U.S. top ten. At night, on Greek radio, programs presented label showcases (Parlophone, EMI, etc.)— game shows that involved top ten songs, but also promoted independent Greek Rock and Roll groups. Occasionally, drawn by the prospect of Greek sunshine, European musicians visited and taught their Rock and Roll secrets to the hungry young musicians.

The influence of British and American rock (via songs like "Shake, Rattle and Roll" and the Swingin' Blue Jeans'"Shakin' All Over") produced the "Shake," a dance like the Twist, which became hugely popular in Greece and Italy. Unlike the north areas of Europe, which embraced R & B, the Greeks and Italians along the Mediterranean preferred the stirring sounds of Rock and Roll. "Shaking" became a part of the local talk, and parents feared that their darling children might go and "shake at the disco" or "shake at the club," instead of studying to become doctors, lawyers, or architects. For roughly three years (1964-'67), it was "shaking" that dominated the club scene, and "shake" that dominated the music.

This all but ended on April 21, 1967 when a junta took over the Greek government. Along with other political restrictions during the junta rule (1967-1974), they chased away all the long-haired Rock and Roll lovers, and concerts were prohibited (especially those with English lyrics). The Rolling Stones were allowed to come in 1967, but the concert was a disaster as fans nearly rioted in protest against the restrictions of the junta. The whole music scene collapsed. Certainly the development of Greek pop/rock music would have been very different if the political situation had not been repressive. But even under the pressure of those severe circumstances, many musical diamonds were created.

Tracks
1. The Knacks - Devil Doll - 2:36
2. Zoo - Go - 2:28
3. The Idols - Wanted by the Law - 2:44
4. The Crowns - You're My Only Love - 3:08
5. The Idols - He's the One - 2:37
6. New Hopes - I Found a Love - 2:36
7. The Blue Birds - Just Remember - 2:44
8. The Vikings - I'm Trying - 2:43
9. Olympians - Hopeless Endless Way - 3:00
10.Zoo - Six Miles From the Cage - 2:36
11.The Juniors - Miss Blue Jeans - 2:30
12.Phoenix - Senzamore - 3:09
13.Uptight - I Love You - 3:10
14.Nelli Manou - Crazy Girl - 2:44
15.The Blue Birds - Sweet Polly - 3:05
16.The Charms - It's My Life - 3:05

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1970’s A Lot of Bottle found the band both pursuing and eschewing the more expansive direction introduced on Plays On. Still signed to AIR, the group was shifted to EMI’s progressive-rock Harvest label, but the sound was once again more explicitly rooted in the blues, as on the debut record. Yet, like Plays On, A Lot of Bottle was almost entirely written by the group, making room only for Willie Dixon’s “Seventh Son,” and Muddy Waters’ “Louisiana Blues.” Chris Thomas returned, this time recording at AIR’s own facility.

A gentle acoustic opening song, “Country Hat,” showed one direction the band might have pursued, while “Brief Case” emphasized the saxophone in its arrangement. “Alright Blue?” turns attention to the blues-drenched harmonica, and the Muddy Waters cover even takes in country influences. “Reap What I’ve Sowed” was heavy guitar rock complete with a majestic Haycock solo. Esoteric adds four previously unreleased tracks to the original album. “Spoonful” paid homage again to Willie Dixon’s songbook, and three songs hailed from a 1971 show at London’s Blow-Up Club: “Flight,” Seventh Son” and “Reap What I’ve Sowed.”

The Climax Blues Band had its commercial breakthrough with 1975’s Stamp Album, and the central trio of Haycock, Cooper and Holt remained intact through 1983. Cooper stayed with the band until his death from cancer in 2008, but a new line-up continues to maintain the spirit of the original group. All three of Esoteric’s reissues of the band’s seminal early albums have been remastered by Ben Wiseman and annotated by Malcolm Dome.
by Joe Marchese

Tracks
1. Country Hat - 1:57
2. Everyday - 2:25
3. Reap What I've Sowed - 4:36
4. Brief Case - 4:02
5. Alright Blue?/Country Hat (Reprise) - 4:16
6. Seventh Son (Willie Dixon) - 6:50
7. Please Don't Help Me - 2:557
9. Morning Noon And Night - 2:36
9. Long Lovin' Man - 3:36
10.Louisiana Blues (McKinley Morganfield) - 5:20
11.Cut You Loose - 5:24
12.Spoonful (AIR Studios, London, 1970) (Howling Wolf) - 6:37
13.Flight (Live At Blow Up Club 1971) - 7:07
14.Seventh Son (Live At Blow Up Club 1971) (Willie Dixon) - 4:19
15.I Reap What I Have Sowed (Live At Blow Up Club 1971) - 3:40
All song by The Climax Chicago Blues Band except as otherwise noted.

Climax Chicago Blues Band
*Colin Cooper - Vocals, Saxes, Harmonica
*Pete Haycock - Vocals, Guitars
*Derek Holt - Vocals, Bass Guitar
*Arthur Wood - Keyboards
*Anton Farmer - Keyboards
*George Newsome - Drums

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While this compilation might prove mighty hard to track down, it's one of the better anthologies of raw, rare mid-'60s rock, concentrating exclusively on bands from the U.K. and Europe (i.e., this is not a "garage" compilation in the classic sense). Some of these groups enjoy a cult reputation, especially the Dutch ones (the Outsiders, Q65, Cuby & the Blizzards, the Motions); most will draw blanks even on the faces of specialist record store owners. Still, if you like the R&B/mod of the Pretty Things or the Who and are looking for stuff in that mode that's less polished, this is a good place to land.

The Red Squares'"You Can Be My Baby" is as good as the best London 1966 mod; the Buzz's "You're Holding Me Down" is one of British producer Joe Meek's hardest-rocking sessions; Jimmy Page plays a raunchy session guitar lead on Sean Buckley's "Everybody Knows"; and the Outsiders'"Won't You Listen" is one of the wildest, most unhinged beat/punk performances of all time. There's also a rare and basic unreleased mid-'60s song by the Kinks (who are identified as the "Muswell Ravens" on the cover), "All Aboard."

by Richie Unterberger

Tracks
1. Namelosers - But I'm So Blue - 1:43
2. The Red Squares - You Can Be My Baby - 2:17
3. The Motions - For Another Man - 1:48
4. Sean Buckley And Breadcrumbs - Everybody Knows - 2:08
5. The Boys Blue, The You Got What I Want - 2:06
6. The In Crowd - Things She Says - 1:46
7. The Cherokees - Little Lover - 1:59
8. The Outsiders - Won't You Listen - 2:48
9. The Kinks - All Aboard - 2:48
10.A Passing Fancy - I'm Losing Tonight - 2:32
11.The Outlaws - Keep A Knockin' - 2:32
12.Q-65 - It Came To Me - 2:24
13.The Golden Earrings - Chunk Of Steel - 2:27
14.Cuby And The Blizzards - I'm So Restless - 2:00
15.The Snobs - Heartbreak Hotel - 2:44
16.The Buzz - You're Holding Me Down - 3:16
17.Alan Pounds Get Rich - Searching In The Wilderness - 2:18

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Gentle Giant - The Power And The Glory (1974 uk, significant prog rock, 2014 24/96 remaster)

Cream - Wheels Of Fire (1968 uk, psych blues jam rock masterpiece, 2014 japan SHM remaster)

Randy Newman - 12 Songs (1970 us, outstanding blend of jazz blues and country rock, 2010 Audio Fidelity HDCD)

Mike Bloomfield, Al Kooper, Steve Stills - The Super Sessions (1968 us, psych blues jazz rock masterpiece, 2014 Hybrid Multichannel SACD 24/88)

Watchpocket - Watchpocket (1972 us, impressive guitar rock with blues and folk shades, feat Steve Cropper, 2011 korean remaster)

Gandalf - Gandalf (1969 us, superb psych rock with sunny flashes)

Brian Auger With Julie Driscoll - Streetnoise (1970 us, splendid rhythm 'n' blues, jazz prog rock, 2014 japan SHM remaster)

People - Both Sides Of People (1969 us, awesome psych rock with country traces, 2014 korean edition)

Genesis - The Early Of Genesis (1967-69 uk, brilliant baroque psych, early prog rock, 2006 double disc set)

Stonefield Tramp - Dreaming Again (1974 uk, magnificent acid folk rock, 2010 korean remaster)

Stone Angel - Stone Angel (1975 uk, ethereal traditional acid folk psych, 2014 edition)

Chrissy Zebby Tembo And Ngozi Family - My Ancestors (1974 zambia, essential rough stoned fuzzed psych, 2013 edition)

The Unfolding - How to Blow Your Mind And Have A Freak-Out Party (1967 us, fascinating trippy acid psych)

Paul Revere And The Raiders - Special Edition (1982 us, good rock with early 80's tints, Vinyl edition)

Max Frost And The Troopers - Shape Of Things To Come (1968-69 us, superb garage psychedelia, 2014 remaster)

Fever Tree - Live (1969 us, awesome heavy psych blues jam rock, 2011 Vinyl issue)

Zodiac - Cosmic Sounds (1967 us, imressive radiant psychedelic space rock)

Various Artists - Shakin' in Athens (1964-67 greece, garage beat)

Climax Chicago Blues Band - A Lot Of Bottle (1970 uk, splendid hard blues rock, 2013 remaster and expanded)

Various Artists - Searching In The Wilderness (1964-67 multinational, astonishing garage freak beat)