Rockasteria

As far as homegrown prog bands went (with a couple exceptions), 1970's America was the home of the brave but doomed. Leviathan was one act that actually managed to get one proper album release before disappearing, probably to secure to themselves and their posterity the blessings of not starving to death. Not as derivative of big-name British acts as most of their contemporaries, Leviathan's release (LP Mach Records AMA 12501) instead demonstrates how much more blurred the line between heavy metal and progressive rock had already become in the Colonies than in the Old Blighty.

The opening track "Arabesque" is rife with crunchy guitar riffs, stomping drums and bass, and bluesy vocal melodies delivered with hard rock's throaty harshness and occasional caught-meself-in-the-zipper yells. On the other hand, these are interspersed with a more delicate and harmonically complex sections with acoustic guitar, quick organ cadenzas and especially swirling Mellotron swells. The effect resembles some of Kansas' early works, though the writing is less adventurous and the playing less dynamic. The rest of the album pendulates between these two elements, searching for a right balance with variable success.

On "Seagull" the effect created by the mellifluous middle section full of liquid piano and Mellotron strings and woodwinds in what is otherwise just a slow-grinding, chugalong rock tune is a bit too cut and paste to avoid sounding contrived. Others mix ingredients with greater skill, either giving a straight-forward song a rich prog-style coating and melodic shine ("Always Need You") or using heavy guitar and rhythm section for impressive dynamic swells on an otherwise brooding, classical composition ("Endless Dream"). "Angel of Death" pretty much ditches the prog element, and sounds much smoother - and duller - as a result. The other extreme is the gentle, non-metallic ballad "Angela", which is saved from MOR mundanity by a small but nice harmonic modulation and a frothy use of acoustic guitar and lapping Mellotron strings. It all finally comes together on the closer "Quicksilver Clay", a quite stylish amalgamation of progressive melodic and instrumental richness, and the vigour of an underlying metal base.

It's too bad things don't click more often, because it results in an unbalanced, lopsided album. Admittedly, I am not a fan of the metal style, but when it works, the synthesis of old-style heavy guitar and Mellotron as displayed here is quite novel and charming - certainly enough to make this album worthwhile. Those into heavy prog in the old sense of the word, without thrash riffs, neo-classical shredding or double bass drum havoc, should definitely investigate this one.

by Kai Karmanheimo

Tracks
1. Arabesque - 6:15
2. Angela - 6:40
3. Endless Dream - 9:58
4. Seagull - 5:00
5. Angel of Death - 4:07
6. Always Need You - 3:22
7. Quicksilver Clay - 7:28
8. Why I Must Be Like You - 3:00
9. I'll Get Lost Out There - 3:42
All compositions by Leviathan

Leviathan
*Wain Bradley - Bass, Guitars, Vocals
*Peter Richardson - Organ, Vocals
*Don Swearingen - Piano
*Grady Trimble - Guitars
*John Sadler - Mellotron
*Shof Beavers - Drums

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The genesis of Havenstreet goes back to 1969, when Phil Ridgway and Jeff Vinter played in The Gas, an experimental psychedelic band heavily influenced by Barrett-era Pink Floyd. The two friends started to write songs their own songs, ending up as a folk duo. With the offer to record some of their material at a friend's studio, they recruited more musical friends…so Havenstreet was born.

The influences had expanded now to bands and artists such as Peter Hammill, Strawbs, Traffic, Procol Harum, Stackridge, Keith Tippett, Bert Jansch…In the early-mid 70s they recorded a couple of albums which circulated as private cassettes among friends and relatives. In 1977, Havenstreet released "The End Of The Line", a self-released album in a private edition of 250 copies. It was collection of very English songs with evocative, literate lyrics and a stunning progressive folk-rock sound. It featured one of the earliest known tributes to Syd Barrett on the song "When the madcap meets the world".

This expanded double set reissue of Havenstreet's sought after album includes, the original "The End of the Line" album from 1977, a new album called "Perspectives" which presents the best tracks from the privately pressed cassettes The Autumn Wind (1974) and Transition (1976) plus rehearsal recordings for The End of the Line (1975/1976) and previously unreleased recordings for the group's projected fourth album (1979), which was never completed. These amazing tracks range from electric acid-folk to Barrett-esque psych-pop, pastoral folk and Caravan styled prog-rock.

Guerssen https://guerssenrecords.bandcamp.com/album/the-end-of-the-line-perspectives

Combining the back-to-basics acoustic feel of the nu-folk generation with a swirly, psychedelic vibe, "The End of the Line" could actually be an album that was made in 2014. But this album was privately released in 1977. Now finally remastered and brought into the present, the retrospective feeling is amplified and should appeal greatly to fans of 70s folk and progressive music. This reissue is a must have even for the lucky few who own an original copy of the album as it comes with a bonus disc, "Perspectives", that compiles non-LP tracks from 1974-79. The quality of the extra material shines through.

by Michael Bjorn (Strange Days Magazine)

Tracks

Disc 1 The End Of The Line

1. German Castles - 3:52

2. When The Madcap Meets The World (Francis Bassett) - 4:30

3. Old Ways And Schooldays - 2:51

4. Music In The Night - 2:45

5. Suspended Animation (Phil Ridgway) - 2:31

6. The H S B Song (Francis Bassett, Jeff Vinter) - 2:08

7. Yesterday Was Summer - 3:20

8. Rain - 3:14

9. The Castle - 3:15

10.Out Of The Fireglow - 4:14

11.The Keeper Of The Tower (Francis Bassett, Jeff Vinter, Phil Ridgway) - 3:16

12.The Photograph - 4:57

15.After Time (Francis Bassett) - 2:57

All compositions by Phil Ridgway, Jeff Vinter except where stated

Disc 2 Perspectites
1. Aftermath (Francis Bassett, Jeff Vinter, Phil Ridgway) - 5:00
2. Falling Leaves In Autumn - 4:19
3. Pat Old Engine - 2:21
4. Family Laughter - 2:38
5. Just An Illusion - 2:49
6. Kick - 4:46
7. Damascus - 4:14
8. Grasshopper - 2:44
9. Your Not Being There - 3:06
10.The Ballroom Of Despair (Francis Bassett, Jeff Vinter) - 4:59
11.Aftersong (Chris Summerfield, Jeff Vinter) - 2:35
12.Village Vespers - 4:27
All song by Phil Ridgway, Jeff Vinter except where noted

Personnel
*Richard Allan - Violin
*Francis Bassett - Piano, Clavinet, Organ
*Phil Ridgway - Acoustic Guitar, Vocals
*Andrew Russell - Flute
*Helen Russell - Vocals
*Robin Smith - Bass, Alto, Tenor Saxophone
*Jenny Tillyer - Rhythm Guitar
*Jeff Vinter - Vocals
*Pete Wills - Drums

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Wet Willie began as a thrown together blues-rock band during the magical Summer of 1969 "way down in Alabama"...(Mobile, to be precise). The original nucleus of the group that eventually became known as Wet Willie was called Fox. The first "gig" was a booking in Panama City, Florida at a club called the Oddessy, a geodesic dome right on the beach.

Jimmy Hall was out front, a triple threat on lead vocals, sax and harmonica; as one writer said, “Jimmy was who Mick Jagger wanted to be!” Ricky Hirsch played guitars and wrote or co-wrote much of the band’s material, with Jack Hall, Jimmy’s brother, on bass, Lewis Ross on drums and John Anthony on keyboards.

The band relocated to Macon, Georgia in 1970 where they were signed by Phil Walden’s Capricorn label, and got right to work on their self-titled first album. Upon its release later that year, Wet Willie began a relentless touring schedule, and soon became known as one of the hardest working bands of the Southern Rock era. As they put it, they “opened for everyone from A to Z: Allman Brothers to ZZ Top!”

Wet Willie's eponymous debut is a superb slice of Southern rock. The band occasionally is getting into bluesy improvised sections, but their main talent is for laidback Southern grooves.

Tracks
1. Have A Good Time (Maurice Richard Hirsch) - 3:41
2. Dirty Leg (Jack Hall, John Anthony) - 3:41
3. Faded Love (Frank Friedman) - 4:31
4. Spinning Round (Frank Friedman) - 4:18
5. Low Rider (Maurice Richard Hirsch) - 3:01
6. Rock And Roll Band (Maurice Richard Hirsch) - 2:48
7. Pieces (Maurice Richard Hirsch) - 3:12
8. Shame, Shame, Shame (Jimmy Reed) - 3:22
9. Beggar Song (Frank Friedman) - 4:18
10.Fool On You (Frank Friedman) - 7:17

The Wet Willie
*John Anthony - Organ, Piano, Vocals
*Jack Hall - Bass, Vocals
*Jimmy Hall - Harmonica, Percussion, Tenor Sax, Vocals
*Ricky Hirsch - Guitar, Vocals
*Lewis Ross - Drums, Percussion
With
*Donna Hall - Vocals

The Wet Willie Highway Ride
1972 Wet Willie - Wet Willie II
1973 Wet Willie - Drippin' Wet Live
1974 Wet Willie - Keep On Smilin
1975 Wet Willie - Dixie Rock
1976 Wet Willie - The Wetter The Better
1977 Wet Willie - Left Coast Live
1977/79 Wet Willie - Manorisms / Which One's Willie? (2013 Edition)

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The first album from Swallow was produced by Jean Paul Salvatori, who put together the excellent Bootleg Him! double LP of Alexis Korner material this same year, 1972. Jeff "Skunk" Baxter of Ultimate Spinach, later with Steely Dan and the Doobie Brothers, appears on "Come Home Woman," an original from bassist Vern Miller Jr., who was part of the band who opened for the Beatles in 1966, the legendary Barry & the Remains. Miller's presence adds collectability to this debut. "Come Home Woman" would have been perfect for Alexis Korner, come to think of it, a bluesy lament which begins with Baxter's wonderful guitar work and picks up steam, letting George Leh open up and battle the horns -- the voice and instruments stir things up so fine.

"Aches and Pains" is one of the four Vern Miller Jr./George Leh co-writes, and it is gospel-tinged blues which spills over onto "Common Man." There's real personality here, music perhaps a little too earthy for the Blood, Sweat & Tears crowd, but authentic to the max. Recorded and mixed where Aerosmith cut "Dream On" and where Jonathan Edwards of Orphan tracked "Sunshine,""Out of the Nest" is post-Bosstown serious singing and playing. When it is all instrumental, as on pianist/tenor saxman David Woodford's "Shuffle," Boston veteran Parker Wheeler gets a chance to give a counterpoint to J. Geils Band harp player Magic Dick.

The harmonica on "Shuffle" admirably replaces George Leh's distinctive vocal. Leh's got that Nick Gravenites gravel growl on "Something Started Happening," a tune with charging dynamics, perhaps this band's strong suit. Miller's "Brown Eyed Baby Boy" is a plea for love with a solid hook that would work well for the Remains since that group started recording again in the new millennium. The Staple Singers' composition "Why Am I Treated So Bad," also covered by Cannonball Adderley and the Sweet Inspirations, adds another dimension to the mix, the organ of Bob Camacho getting to have its say. Mick Aranda's creative drumming is also worthy of note. Out of the Nest is an excellent document of early-'70s Boston roots rock/blues music with just a touch of jazz. This would make a nice two-fer with its follow-up, 1973's self-titled Swallow.

by Joe Viglione

Tracks
1. Something Started Happening (V. MIller, G. Leh) - 3:35
2. Brown Eyed Baby Boy (V. Miller) - 4:44
3. Jason (V. Miller, G. Leh) - 2:43
4. Why Am I Treated So Bad (K. Staples) - 7:02
5. Confusion, Sadness, Trouble (V. Miller, G. Leh) - 4:48
6. Come Home Woman (V. Miller) - 5:05
7. Aches And Pains (V. Miller, G. Leh) - 4:08
8. Common Man (V. Miller, G. Leh) - 3:02
9. Shuffle (D.Woodford) - 3:22

Swallow
*George Leh - Lead Vocals
*Parker Wheeler - Vocals, Harp
*Vern Miller Jr - Bass, Guitar, Vocals
*David Woodford - Tenor Sax
*Phil Green - Guitar
*Mick Aranda - Drums
*Bob Camacho - Keyboards
*Jay Dewald - Trumpet
*Andy Harp - Trumpet
*Kerry Blount - Sax
*Gordan Kennedy - Trombone
*Jeff Baxter - Steel Guitar On "Come Home Woman"

1973 Swallow - Swallow (2010 issue)

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Jesse Winchester was one of the top singer-songwriters of his generation. This talented artist was born and raised in the American South, but relocated to Canada to avoid being drafted. His early inability to tour in the US may have permanently stunted his commercial success as a recording artist, since he never achieved sales commensurate with his artistic achievements.

After growing up in Memphis, Winchester received his draft notice in 1967 and moved to Montreal, Canada, rather than serve in the military. In 1969, he met Robbie Robertson of the Band, who helped launch his recording career. In the same way that James Taylor's history of mental instability and drug abuse served as a subtext for his early music, Winchester's exile lent real-life poignancy to songs like "Yankee Lady," which appeared on his debut album, Jesse Winchester (1970). He became a Canadian citizen in 1973.

Jesse's debut was released in a fold-out LP jacket that featured the same sepia-toned portrait (which looked like one of those austere Matthew Brady photos from the Civil War era) on each of its four sides. Winchester emphasized the dichotomy between his southern origins and his northern exile in songs like "Snow" (which Robertson co-wrote), "The Brand New Tennessee Waltz" ("I've a sadness too sad to be true"), and "Yankee Lady." Jesse Winchester was timely: it spoke to a disaffected American generation that sympathized with Winchester's pacifism. But it was also timeless: the songs revealed a powerful writing talent (recognized by the numerous artists who covered them), and Winchester's gentle vocals made a wonderful vehicle for delivering them. [Originally released by Ampex in 1970.

His two-and-a-half-years-in-the-making follow-up was in some ways even more impressive. Without the influence of Robbie Robertson, Winchester, who produced most of the album himself (three tracks were handled by Todd Rundgren), gave it a homemade feel, using small collections of acoustic instruments, an appropriate setting for a group of short, intimate songs that expressed a deliberately positive worldview set against an acknowledgement of desperate times. Winchester found hope in religion and domesticity, but the key to his stance was a kind of good-humored accommodation. "If the wheel is fixed," he sang, "I would still take a chance. If we're skating on thin ice, then we might as well dance." The album was littered with such examples of aphoristic folk wisdom, adding up to a portrait of a man, cut off from his very deep roots and yet determined to maintain his dignity with grace and even occasionally a goofy sense of humor.

by William Ruhlmann

Tracks
Jesse Winchester 1970
1. Payday - 2:55
2. Biloxi - 3:21
3. Snow - 2:24
4. The Brand New Tennessee Waltz - 3:09
5. That's A Touch I Like - 2:50
6. Yankee Lady - 4:03
7. Quiet About It - 2:30
8. Skip Rope Song - 2:27
9. Rosie Shy - 3:06
10.Black Dog - 4:44
11.The Nudge - 3:34
Third Down 110 To Go 1972
12.Isn't That So? - 2:29
13.Dangerous Fun - 2:08
14.Full Moon - 2:06
15.North Star - 2:02
16.Do It - 1:31
17.Lullaby For The First Born - 2:57
18.Midnight Bus - 2:20
19.Glory To The Day - 3:50
20.The Easy Way - 1:33
21.Do La Lay - 1:57
22.God's Own Jukebox - 1:44
23.Silly Heart - 2:55
24.All of Your Stories - 2:38
All songs by Jesse Winchester except track #3 which is co-written with Robbie Robertson

Musicians
1970 Jesse Winchester
*Jesse Winchester - Guitar, Keyboards, Piano, Vocals
*Guy Black - Drums
*Bob Boucher - Bass, Keyboards, Standup Electric Bass
*Al Cherney - Violin
*Levon Helm - Drums, Mandolin
*Dave Lewis - Drums
*Ken Pearson - Keyboards, Organ, Piano, Vibraphone
*David Rea - Guitar, Vibraphone, Vocals
*Robbie Robertson - Guitar

1972 Third Down, 110 to Go
*Jesse Winchester - Guitar, Keyboards, Piano, Vocals
*Charles Viber - Violin
*Doug Schmolze - Guitar
*N.D. Smart II - Drums
*Jimmy Oliver - Bass
*Gordie Fleming - Piano
*Ron Frankel - Drums
*Amos Garrett - Guitar, Vocals
*Sam Kelly - Bongos, Conductor, Congas
*Don Abrams - Percussion
*André Benichou - Guitar
*Bob Boucher - Bass
*Gene Cotton - Bass

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Marc Ellis and William H. Yergin were high school friends, In the fall of 1967, Ellis told him about a friend from Suffern, N.Y., on the Hudson River, who was looking for other band members. So, that summer, Yergin and five others jammed together. Halfway through the summer, they auditioned in New York City at the same theater used by Ed Sullivan.

The band subsequently logged its first contract in middle of the summer of 1968. The recording company, Mr. G, was a division of Audio Fidelity Records, Inc., which was the first company nationally to release a true stereo record, a revelation in the mono-heavy time. Cashbox and Record World magazines, which featured industry news, named Rainbow Press picks of the week. The band’s record company wanted a second album, “Sunday Funnies,” which was recorded around Christmas 1968 and released in the spring of 1969.

“There's A War On” is excellent late '60s soft rock with more than just a touch of psychedelia about it. The ten well-crafted songs are all original, and are delivered smoothly by a tight 6-piece band dominated by Groff's superb vocals. The album's name and the eponymous track are as close as we get to political posturing, which is a great relief as the lack of prosletising let's the strength of the song writing and the band's performance shine through. There are loads of tight vocal harmonies, and plenty of fuzz guitar liberally dispensed throughout this polished and very enjoyable record."

The second LP "Sunday Funnies" was recorded during Christmas vacation at the 8 track studio A&R in NYC. It was released in the Spring of 1969, with the release of the single "Great White Whale". The Rainbow Press was truly a studio band, never going on the road to perform as the Rainbow Press. The group went its separate ways that summer. Yergin went to Case Western Reserve University and became a dentist. Marc and Larry are still in the music industry, Dave uses his musical abilities in his career.

the Maple Leaf

Tracks
There's A War On 1968
1. Step Aboard (Marc Ellis) - 3:10
2. A Simple Way (Marc Ellis) - 2:33
3. Cyclic Epic (The Song Of The Barnegat Mosquito) (Larry Milton) - 4:10
4. Better Way (Marc Ellis) - 2:38
5. The Girl That Cannot Love (Marc Ellis) - 4:49
6. There's A War On (Marc Ellis) - 4:20
7. Lightning Streak (Larry Milton) - 2:41
8. I've Found Someone (Larry Milton, Dave Troup, Joe Graff) - 3:14
9. Our Country's Still O.K. (Marc Ellis) - 3:51
10.No One Follows The Daytime (Larry Milton) - 3:38
Sunday Funnies 1969
11.Sightseeing (Marc Ellis) - 3:15
12.Great White Whale (Marc Ellis) - 2:35
13.The Lost Platoon (Ellis, Milton) - 4:30
14.I'll Cry Instead (John Lennon, Paul Mccartney) - 3:28
15.You Warmed Up My Life (Marc Ellis) - 3:45
16.As I Went Out One Morning (Bob Dylan) - 3:44
17.Have You Ever (Larry Milton) - 3:11
18.Sing Your Song (Larry Milton) - 3:22
19.Definitions (Larry Milton) - 3:59
20.Smitty's Rainfall (Larry Milton, Siegal) - 3:41

The Rainbow Press
*Dave Troup - Electric Bass
*Larry Milton - Electric Piano, 12 String Guitar
*Joe Groff – Tambourine, Maracas
*Marc Ellis - Guitar
*Charlie Osborne - Organ
*Bill Yergin - Percussion

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Howard Werth kick-started his music career with The Lloyd Alexander Blues Band in the sixties (and he doesn't remember it because he was there!), playing a range of music covering the r'n'b / soul / Motown / psychedelia spectrum, and gigging round the circuit at that time, which included such West End all-night haunts as the Flamingo and the Whiskey A (Jo-Go (later to become The Wag Club), as well as thriving suburban venues such as the Blue Opera Clubs. These places all attracted the Motown mods, the art school blues and psychedelic crowds that dominated what was the burgeoning underground scene of that time.

The Lloyd Alexander Blues Band supported U.S. blues legends such as Jimmy Reed, and were the house band at the Uppercut Club in Fast London at a time when artists such as Otis Redding and Jimi Hendrix played there (Hendrix wrote Purple Haze in the dressing room).

Howard was searching for a new set of cultural references and musical triggers to draw from, which culminated in him forming Audience in 1 969. After a debut album for Polydor (reissued on CD by RPM Records). Audience recorded three more great albums for Charisma (now available through Virgin, along with a compilation). At the end of a very productive and hard working four years - w h i c h saw Audience play extensively around Britain, Europe and America (supporting Rod Stewart and The Faces in 1971) - the band were exhausted and in need of new impetus, and split up.

It was at this point that Howard began to work on his first solo album "King Brilliant". Gus Dudgeon produced and the core of the Elton John band provided the hacking, with the help of Bob Weston, fresh from his lime with Fleetwood Mac. The first two tracks to be laid down were ''Lucinda", a single that received a lot of airplay , and "Fading Star", which were recorded with members of Kokomo plus Davey Johnstone from Elton's band. Because of the limitations of vinyl , the track "Mechanical Dream", recorded during the sessions, had to be left off- and this hidden gem (which had never even been mixed) appears here for the very first time. A haunting, atmospheric piece, it sits perfectly with the rest of the material.

It was during the making of this album that Howard was approached by The Doors and asked to fill the space left by Jim Morrison. The Doors flew to England, and Howard spent some time rehearsing with them, but after some agonizing and deliberation, Ray Manzarek decided against The Doors reforming and the project floundered.

However Howard was later to reunite with Ray in Hollywood, where they worked together extensively on Howard's songs, some of which would later be re-worked to form the basis of the album "Six Of One", which was originally released on Howard's own METABop! label.

Howard has stayed involved with music and following the reissue of these two classic solo albums, will be issuing a brand new recording on Luminous shortly. He is also planning to go back on the road playing selected gigs. He will also he contributing to an upcoming Doors tribute album at the request of Ray Manzarek....

Liner-Notes

Tracks
1. Cocktail Shake - 2:59
2. Got To Unwind - 4:50
3. The Embezzler - 4:28
4. A Human Note - 2:47
5. Ugly Water - 6:03
6. Midnight Flyer - 4:12
7. Fading Star - 3:03
8. Dear Joan - 3:12
9. Roulette - 3:28
10.The Aleph - 5:48
11.Lucinda - 3:07
12.Mechanical Dream - 4:21
All songs by Howard Werth

Personnel
*Howard Werth - Vocals, Guitar
*Bob Weston - Guitar
*Mike Moran - Piano
*Freddy Gaudy - Bass
*John Gustafson - Bass
*Roger Pope - Drums

Audience discography
1969 Audience (2002 remaster edition)
1970 Friends, Friends, Friend
1971 House On The Hill
1972 Lunch

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Ray Materick is a Canadian singer-songwriter, particularly popular in the 1970s, who continues to perform and create music.

Ray Materick is the son of an evangelical preacher, who had previously played saxophone, trumpet and clarinet in his own dance band, during the 1940s and 1950s.

Originally from Brantford, Ontario, Ray Materick came from a musical household, where his father played in a dance band prior to becoming an ordained preacher in the early '60s. But although the trumpet was pushed on him as a child, he found his brother's love of Elvis, Buddy, and Chuck Berry, more appealing. As a teen he turned to the guitar (which he'd tried around age 8, but found it 'too difficult.') and became interested in the songwriters, like Gordon Lightfoot, Kris Kristofferson, and Bob Dylan.

His first group was while still a teen, in The Chevron Sextet, which only lasted doing high school dances until he moved to Toronto in 1970. Two years later, after gaining some experience on-stage on coffee house circuit, he signed a deal with Kanata Records (argued as one of Canada's first truly indie labels).

London picked up the distribution, and working with producer David Bird, he released his debut solo album, SIDESTREETS later that year. Roots-based folk with a fresh approach, it produced a pair of singles that both made the Canadian top 40 - "Season Of Plenty" b/w "Goodbye," and "Hard Life Alone." Hailed by the critics.

Ray Materick's first album was released on Kanata Records, the first indepdent label of Canada in 1972. Sidestreets received appraisal by many critics and regarded as a masterpiece. With his gritty, gravelly voiced and brilliant lyrics, it is truly deserved so. Includes 4 bonus tracks.

Tracks
1. Home From Parade - 4:48
2. Season Of Plenty - 4:02
3. One Thing I'll Never Ask Is Why - 5:06
4. Final Fire - 3:44
5. Goodbye - 3:12
6. Dear Christine - 2:38
7. Hard Life Alone - 3:58
8. Morning Song - 4:46
9. Cherylee Rose - 2:52
10.Sidestreets - 3:41
11.Sidestreets (Demo) - 3:44
12.Cherylee Rose (Demo) - 2:38
13.I Think I'll Try Tomorrow (Unreleased) - 2:36
14.It Ain't That Easy (Unreleased) - 3:14
Words and Music by Ray Materick

Musicians
*Ray Materick - Vocals
*Paul Mills - Guitar
*Michael Renzi - Bass
*Guido Basso - Trumpet, Flugelhorn
*Don Thompson - Piano
*Terry Clarke - Drums

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In the 1970’s radio was playing great talent on the air as part of the CanCon requirements, and one such group was Toronto’s Dr. Music. An eclectic freeform jazzy R&B group, they fluctuated between 7 and 15 members. Dr. Music was truly the creation and dream of noted arranger/keyboardist Doug Riley.

Riley’s music experience had started years before, when he was recruited to get musicians for CTV’S ‘The Ray Stevens Show’ for season 1969-1970. That was the birth of Dr. Music. When the show was cancelled, Dr. Music decided to stay together, release recordings and tour to support their music.

The first release under the Dr. Music moniker was "I'd Like To Teach The World To Sing" on RCA Records, a split single with The Laurie Bower Singers for a Canadian version of the international Coca-Cola jingle.

This led to a partnership with British engineer/producer Terry Brown and the duo of Brown and Riley led to the their collaboration to form Toronto Sound Recording studio for jingle production. It also included working with then a new Canadian label, GRT Records. Having previously released his solo album 'Foxy Lady' (featuring vocalist Terry Black) on GRT, Riley was able to get the label's backing to release Dr. Music's self-titled debut LP featuring the first single, "Try A Little Harder", and its hit follow-up "Sun Goes By" (both written by Motherlode's Steve Kennedy) in 1972. Dr. Music disbanded at this point as Doug Riley was immersed in his new studio position, and the struggle to do both ventures well led to this decision.

Doug Riley died suddenly on August 28, 2007 of heart failure Doug Riley was at the Calgary airport on route to his home in Little Pond, P.E.I. when he died suddenly of heart failure. He was 62 years old.

by Sandy Graham

Tracks
1. Rollin' Home (Doug Riley) - 6:16
2. Sun Goes By (Steve Kennedy) - 3:50
3. One More Mountain To Climb (Neil Sedaka, Howard Greenfield) - 3:16
4. Find Me Some Wine (Wingfat) - 3:31
5. When You Believe (Steve Kennedy) - 4:53
6. Glory Glory (Brian Russell) - 4:20
7. Try A Little Harder (Doug Riley) - 2:48
8. Dreams (Brenda A. Gordon) - 3:53
9. Don't Wait Too Long (Doug Riley) - 4:16
10.Road To Love (Steve Kennedy) - 6:08

Personnel
*Don Thompson - Bass, Vibes, Percussion
*Doug Riley - Organ Bass, Keyboards
*Kenny Marco - Guitars
*Doug Mallory - Guitars
*Terry Bush - Guitars
*Michael Kennedy - Congas
*Dick Smith - Congas
*Terry Black - Harmonica
*Bruce Cassidy - Trumpet, Flugelhorn
*Barm Tollman - Trombone
*Steve Kennedy - Tenor Sax, Flute
*Gary Morgan - Baritone Sax, Alto Flute, Clarinet
*Terry Clark – Drums
*Mouse Johnson - Drums
*Rhonda Silver - Vocals
*Brenda Cordon - Vocals
*Laurel Ward - Vocals
*Terry Black - Vocals
*Steve Kennedy - Vocals
*Brian Russell - Vocals
*Michael Kennedy- Vocals

1974 Dr. Music - Bedtime Story

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Roger "Jellyroll" Troy, Musician, Singer, Bass Player, Songwriter, Producer, affectionately known as "Roll" to his peers, was a very well respected and talented musician, known by many fans, musicians and producers alike for his great vocals, writing and producing, and solid funky bass playing. Pull window down to see more below.

He was originally from Cincinnati, Ohio, later relocating to San Francisco, and played in numerous groups including "The Fendermen", "The Hollywood Argyles", his own group "Jellyroll" and record on Kapp records in or around 1969' entitled "jellyroll"-which included members Roger Troy (lead vocals bass), Tim Heding (keyboards, background vocals), Ed Setser (guitar), Stu Perry (drums, percussion), Lee Asch (alto-tenor-baritone saxophones), Dave Parkinson (tenor saxophone) and Bob Thorne (trumpet), also featured on the album is Cosme Joseph Deaguero on Conga.

Jellyroll joined The Electric Flag reunion band around 1973' and was on their subsequent record "The Band Kept Playing" and was a excellent record with Michael Bloomfield, Buddy Miles, Barry Goldberg, Nick Gravenites, and others, with producer great-Jerry Wexler, in 1974'...

He went on to play the next several years with "Michael Bloomfield and friends" groups, including "Try It Before You Buy It", "Life In The Fast Lane", "Between A Hard Place And The ground", "Count Talent and The Originals", "Live At The Old Waldorf", "Analine", "if You Love These Blues, Play Them Ad You Please", "Bloomfield-A Jellyroll had a solo record he did on RCA records in 1976, which featured such top-notch studio musicians such as James Gadson, Sonny Burke, Larry Goshorn, Ernie Watts, and others.

Roll worked into the late 70s and 80s with such artists as Maria Muldour, Mick Taylor, Lonnie Mack, Nick Gravenites, Jerry Garcia & Howard Whales("Hooteroll" tour), Mike Finnigan, Timmy Goshorn and Larry Goshorn of Pure Prairie League, Dave Widow and many others too numerous to mention...He had several songs covered by artists such as Tracy Nelson, Jose Feliciano, Carlene Carter, and others.

Roger, was 45 when he died of heart problems resulting from a heart surgery and later complications, he died in 1991. Roll, was a "card", and a practical joker, always pulling one on someone, for a good laugh...Bless his soul...When he was on top of his game he was one-bad to the bone-Musician, and would often make the hair on the back of my neck-stand up, when he would sing...roll was a powerful singer with great melody and articulation, with a sometimes Gospel-like feel, and a blues and rock and roll soul. .He was like a white Bobby Blue Bland.
by Dave Widow

Tracks
1. Restless Feeling (Roger Troy, Richard Podolor, Jellyroll) - 2:24
2. Seach For A Memory (Roger Troy, Richard Podolor, Jellyroll) - 2:56
3. Strange (D. Hoagland) - 2:29
4. Trying To Forget Someone Too (Roger Troy) - 4:09
5. Quick Trip (T. Hending) - 1:18
6. Help Me Over (Roger Troy, Richard Podolor, Jellyroll) - 3:00
7. Come On Baby (Roger Troy, Jellyroll) - 3:17
8. Follow Me (Roger Troy, Richard Podolor, Jellyroll) - 2:52
9. At The Beginning Of Tomorrow (Roger Troy) - 3:07
10.Hard Times (Roger Troy, Richard Podolor, Jellyroll) - 4:40
11.Standing On The Inside (Roger Troy, Ed Setser) - 3:31

The Jellyroll
*Roger Troy - Lead Vocals, Guitar
*Tim Heding - Keyboards, Vocals
*Ed Setser - Guitar
*Stu Perry - Drums, Percussion
*Les Asch - Alto, Tenor, Baritone Saxophones
*Dave Parkinson - Tenor Saxophone
*Bob Thorne - Trumpet
With
*Cosme Joseph Deaguero - Conga

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If you go by the liner notes, this late-1960s quartet was a multi-national affair, the four members coming from Australia (James O'Connor), England (Paul Muggleton), Portugal (Glen Mello) and the States (Andy Newmark). In spite of the accents, one got the feeling this was little more than a goofball studio project, probably masterminded by Bob Crewe, whose DynoVoice label released their sole LP.

Produced by Andy Denno, 1969's "The Bermuda Jam" was one weird affair. Complete with sound effects and spoken word snippets, musically the set found the quartet all over the spectrum. "Hold Me" and "Who Put the Sun In Your Eyes (Who Put the Fly In Your Soup)" offered up harmony rich top-40 pop; "Up Down, Turn Around" found the band turning in a decent blue-eyed soul effort, while "Forever Young" had a C'n'W feel. Nothing here was terribly wrong, nor with the exception of the meltdown "Good Trip Lollipop" was there anything particularly right.

Back to "Lollipop" - complete with meltdown keyboards, LSD drenched vocals (the hysterical laughter and nursery rhyme fragments were a sweet touch) and crunching guitar, it was easily the most psych-oriented effort and the standout track, it's too bad the rest of the LP wasn't as memorable. As you'd expect, the set vanished without a trace, followed in short order by the band. (Nice pajamas guys ...)

Tracks
1. Hold Me (Paul Muggleton) - 2:37
2. Forever (Paul Muggleton) - 2:56
3. Good Trip Lollipop (An Antihystathmn) (Paul Muggleton) - 4:48
4. Who Put the Sun In Your Eyes (Who Put the Fly In Your Soup) (Paul Muggleton) - 4:08
5. Forever Young (Andy Denno) - 3:53
6. Up Down, Turn Around (Andy Denno, B. Campo) - 2:22
7. I Want To Love You (Andy Denno, Glenn Mello) - 3:03
8. Easy To Say (But So Hard To Do) (Andy Denno) - 2:32
9. Medley - 10:24
.a.Down In the Valley (Andy Denno, Glenn Mello, Paul Muggleton, James O'Connor)
.b.Getting Ready for the Heartbreaks (L. Weiss, L. Edwards)
.c.Don't Fight It (Wilson Pickett, Steve Cropper)
.d.I Who Have Nothing (J. Bryant)

The Bermuda Jam
*Glenn Mello - Bass, Guitar
*Paul Muggleton - Guitar, Vocals, Keyboards
*Andy Newmark - Drums
*James O'Connor - Guitar

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A seminal figure in the evolution of West Coast pop, singer/songwriter P.F. Sloan composed and produced some of the most enduring records of the 1960s. While his solo efforts remain folk-rock cult classics, they were barely promoted by longtime label Dunhill, and his subsequent exit from the company was the start of a fall from grace that culminated in a three-decade absence from the studio. Born Philip Gary Schlein in New York City on September 18, 1945, he spent the lion's share of his adolescence in Los Angeles. While browsing the Sunset and Vine music store Wallich's Music City, the 12-year-old met Elvis Presley, who agreed to an impromptu introductory guitar lesson. Within a year Sloan signed to Aladdin Records, issuing his debut single, "All I Want Is Loving," to little notice.

The Mart label effort "She's My Girl" met a similar fate, but in 1961 he resurfaced as a staff songwriter with Screen Gems, which teamed him with fellow composer Steve Barri under the supervision of producer Gary Usher. As the Fantastic Baggys, Sloan and Barri capitalized on the budding surf craze with "Tell 'Em I'm Surfin'." They also co-wrote the Round Robin hit "Kick That Little Foot, Sally Ann," and when Screen Gems exec Lou Adler broke ranks to found his own label, Dunhill, he brought Sloan and Barri with him to write and produce. Throughout the mid-'60s, the Sloan/Barri partnership proved a hitmaking force to rival the likes of Bacharach/David or Goffin/King. Smashes like Johnny Rivers'"Secret Agent Man," the Turtles'"You Baby," and the Grass Roots'"Where Were You When I Needed You" were instrumental in defining the sound of Southern California rock 'n' roll.

Sloan's most influential composition was the Bob Dylan-inspired "Eve of Destruction," a number one hit for Barry McGuire in the fall of 1965. The song, which drew fire from conservatives and liberals alike, nevertheless became one of the defining protest anthems of the growing counterculture movement, and its success spurred Sloan to renew his own recording career in full. His comeback effort, "Sins of a Family," a bleak, poignant tale of teen prostitution, spent less than two weeks on the pop charts in late 1965, and the LP Songs of Our Times suffered backlash from a folk-rock community that dismissed Sloan as little more than a studio hack jumping on the latest commercial trend. Moreover, Dunhill execs blanched at the thought of losing their most successful songwriter, and spent virtually nothing on promoting his solo career.

A 1966 follow-up set, Twelve More Times, fared no better, and a frustrated Sloan demanded release from his contract. Dunhill finally agreed, but forced him to sign away all songwriting royalties past, present, and future. Sloan's talent and integrity inspired fellow pop tunesmith Jimmy Webb to write a glowing tribute, "P.F. Sloan," but he remained persona non grata on the pop charts. His 1968 Atco debut, Measure of Pleasure, tanked, and he relocated to New York City, moving in with his parents and plotting his next move. Sloan did not resurface until 1972, releasing the much-maligned Raised on Records on the tiny Mums label. In the decade to follow, he battled depression and catatonia, finally resurfacing in 1985 with a handful of New York club dates. Sloan nevertheless resisted overtures to cut a new LP until 2006, teaming with producer Jon Tiven and guests including Lucinda Williams and Frank Black to record the Hightone release Sailover.

by Jason Ankeny

Tracks
1. This Precious Time (PF Sloan, Steve Barri) - 2:41
2. Eve of Destruction - 3:08
3. The Sins Of A Family - 3:01
4. Here's Where You Belong (PF Sloan, Steve Barri) - 3:02
5. This Is What I Was Made For (PF Sloan, Steve Barri) - 2:17
6. What Exactly's the Matter With Me - 2:27
7. I Get Out Of Breath - 3:13
8. From A Distance - 3:04
9. The Man Behind The Red Balloon - 2:15
10.What Am I Doin' Here With You (PF Sloan, Steve Barri) - 2:41
11.Take Me For What I'm Worth - 2:45
12.Lollipop Train (You Never Had It So Good) (PF Sloan, Steve Barri) - 3:08
13.When The Wind Changes - 4:23
14.Halloween Mary - 2:32
All songs by PF Sloan unless otherwise.

*PF Sloan - Vocals, Guitar

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With the exception of "Secret Agent Man", nearly all of P.F. Sloan's best-known songs appear on his mid-'60s Dunhill records. While Songs Of Our Times and Twelve More Times endure as classic folk-rock albums, and "Take Me For What I'm Worth" as first-rate songwriting, Measure Of Pleasure sounds far more modern as a piece of recording than the Dunhill LPs. Produced in 1968 by Tom Dowd and recorded in Muscle Shoals with a band that included Steve Cropper, Measure was overlooked upon its release. Still, Sloan's rich tenor and controlled falsetto mark him as a completely credible pop-soul singer. "New Design" stands with his best work, and on "Country Woman" he sings, "Everything I could hope for/Is waiting for me down in Tennessee," and sounds convincing. The idiomatic backing tracks are superb, and Sloan sings as though he needs nothing more than a hot meal and a warm Tennessee woman.

by Edd Hurt

The brilliant first Atlantic album by PF Sloan blend of New York folk and rougher roots, all recorded at the Sun Studios in Memphis, with some great help from a backing group that includes Steve Cropper on guitar! Sloan's folkie tendencies are nicely undercut by the harder Memphis groove here – one that's got some slightly soulful undercurrents, and which works beautifully with the poetry of his original compositions. The blend is one that helps keep the record from sounding too much like any of Sloan's contemporaries – although at one level, it's also a conduit for so a huge amount of different musical ideas and options that were opening up to American singers at the end of the big folk boom of the 60s. Elements of Tim Hardin, Tim Buckley, and Fred Neill certainly surface here – but there's a sense of self that's all Sloan's own, and which makes us wish he'd followed up with work as strong as this!

Tracks
1. One Of A Kind - 3:02
2. New Design - 3:58
3. (What Did She Mean When She Said) Good Luck - 2:59
4. How Can I Be Sure - 4:45
5. Star Gazin' - 3:10
6. Miss Charlotte - 3:53
7. Champagne - 3:36
8. And The Boundaries Inbetween - 3:15
9. Above And Beyond The Call Of Duty - 3:40
10.Country Woman (Can You Dig It All Night) - 4:15
Words and Music by P.F. Sloan

*P.F. Sloan - Guitar, Vocals

1965-66 PF Sloan - Precious Time / The Best Of (vinyl edition)

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“A Scene In-Between” is the story of a group who fell through the cracks.An act with the Stained Glass’s capabilities should have been huge.Mid-60s San Jose, California had a thriving music scene, but was overshadowed by that of neighbouring San Francisco.

Compared to the garage stylings of the Chocolate Watchband or Count Five, the Glass boasted a quirky and melodic demeanour, one which captured the European beat group zeitgeist better than other local groups.

They had progressive and innovative material, the product of the fertile imagination of bass player Jim McPherson.A singular talent quite without compare on the local scene, McPherson threw musical curveballs that caught the ear, and pollinated each lyric with an intriguing worldview.These were not the thought processes of the typical garage band.

Jim’s songs also benefited enormously from the assistance of drummer Dennis Carrasco and guitarist Bob Rominger.The pair’s superlative vocal and instrumental capabilities drew out the melodic possibilities of the arrangements.Just as important was the founding member of the Stained Glass, Roger Hedge; without his drive the band’s repertoire may never have reached the general public.

The quartet began as the Trolls in 1964, issuing the fantastic punk item ‘Walkin’ Shoes’ themselves before a run of singles on RCA which included the pop-psych gems ‘My Buddy Sin’ and ‘A Scene In-Between’.Although the Glass later signed to Capitol for two albums, including 1968’s acclaimed “Crazy Horse Roads”, our collection focuses on their first incarnation, and presents the best of their released tracks from then, along with a swathe of exceptional unissued recordings that reveal their smart songwriting and innovative sound.Highlights include several sides cut as the Trolls; the rocking out-takes ‘Broken Man’ and ‘Bubble Machine’; intriguing demos such as ‘Second Day’ and ‘Revenge Is Sweet’; and some raw live tracks that further showcase their abilities.All songs are from master tape, and the heavily-illustrated booklet delves into the Stained Glass’ career with great detail.

There are some projects I have toiled at for years, waiting patiently for a break in which to move forward.This particular set has been in my mental In Box ever since I found a copy of ‘Walkin’ Shoes’ in an Oakland disc emporium, not long after moving to the Bay Area over a quarter-century ago.I subsequently located the other Stained Glass records, all of a high standard, but it wasn’t until I investigated their unreleased material some years later that I appreciated how special they were.As each year dragged on, patiently waiting for the various permissions required, I got to know the various parties: Jim McPherson’s supportive widow Evy, the affable Mr Carrasco and the erudite Mr Rominger.Then, as we moved into the home stretch, as if by magic the enigmatic Roger Hedge materialized from the ether.He not only handed me the long-thought-lost Trolls master tapes, but also spun tales of his days when he was a national badminton champion.

Thus with the release of “A Scene In-Between”, this long, strange trip has a most satisfying resolution.Jim McPherson’s aptitude was evident, confirmed by his later association with local SF rock heavies which included John Cipollina’s Copperhead and a successful writing career for others such as Jefferson Starship.His work with the Stained Glass was viewed largely as an apprenticeship, his “baby pictures”, if you will.But the short few years documented on this collection reveal his one-of-a-kind talent was in full flower even at that early stage.And to a man, his fellow travelers: Dennis Carrasco, Bob Rominger and Roger Hedge brought that talent to life with their essential contributions.Any musician should be proud of baby pictures such as these.

by Alec Palao

Tracks
The Trolls
1. Walkin' Shoes - 2:08
2. She's Not Right - 2:17
3. How Do You Expect Me To Trust You? - 2:51
4. No Rhyme Or Reason (Roger Hedge) - 2:21
5. Sweeter Than Life - 2:27
6. Such Good Friends - 1:46
The Stained Glass
7. Broken Man - 2:38
8. Lonely Am I (Bob Rominger) - 2:25
9. If I Needed Someone (George Harrison) - 2:12
10.My Buddy Sin - 2:55
11.Vanity Fair - 3:01
12.Revenge Is Sweet (Bob Rominger) - 2:07
13.We Got A Long Way To Go (Barry Mann, Cynthia Weil) - 2:34
14.Inside Ouch - 2:14
15.Too Fit To Be Tied (Demo) - 3:39
16.Dollar Sign Friends (Demo) (Bob Rominger) - 2:18
17.Second Day (Demo) - 2:44
18.Bubble Machine - 2:55
19.Mediocre Me - 2:45
20.A Scene In-Between - 2:38
21.Mr Martyr - 2:21
22.You Keep Me Hangin' On (Live) (Brian Holland, Lamont Dozier, Eddie Holland) - 2:54
23.My Flash On You Live (Arthur Lee) - 3:00
24.2120 S.Michigan Avenue (Live) (Mick Jagger, Brian Jones, Keith Richards, Charlie Watts, Bill Wyman) - 5:28
All Tracks written by Jim McPherson except where noted

The Stained Glass
*Jim McPherson - Bass, Harmonica, Keyboards, Vocals
*Bob Rominger - Guitar, Vocals
*Roger Hedge - Rhythm Guitar, Vocals
*Dennis Carrasco - Drums, Vocals
With
*Billy Mure - Harmonica
*Don Peake - Guitar

1969 Stained Glass - Crazy Horse Roads
1969 Stained Glass - Aurora

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The beginning of Sitting Bull is closely linked to the musical history of bandleader Bernd Zamulo. Bernd Zamulo grew up near Bremen where he played with a few local bands. At a Lords concert in 1965 he met the band and they clicked from the start and at another gig Bernd was invited to play bass with them. It was a perfect performance and he sung the classic "Boom Boom". Later on that year the Lords bassist, Lord Knut, had a bad accident and was unable to continue playing so they asked Bernd to take his place for the rest of the tour. In the autumn of 1965 Bernd left his band Rhythm Brothers, and joined the Lords. With his other talents as a pianist, guitarist and singer he was quite a find for the Lords.

The following years saw the Lords produce many hit singles arid albums making a lot of money in the process. Bernd was getting restless though and wanted to leave the mainstream and take a change towards more progressive music. He was in a quandary though as he was good friends with the other band members but could not realize his musical ambitions with them.

In the beginning of 1971 he made his decision and left the Lords which in turn led to the break-up of the band who in fact reformed years later. The break-up of the Lords created a furor in press but could not hold Bernd back from his decision and he went looking for new musicians, which didn't take long. Bernd's interest in American Indians led to the group being called Sitting Bull. His past career with the Lords put him in good stead with the music industry making it easier to find a record deal.

To avoid record company influence the band decided to produce their record themselves but this was a costly matter and the money had to come from somewhere. Although Bernd made a lot of money with the Lords he also lived well and his lifestyle had to change, lie moved away from the costly Dusseldorf and moved to a hunting cottage in Oldendorf outside Bremen and sold off some of his luxurious possessions that he accumulated with the Lords.

With a record company advance from CBS Sitting Bull moved into Hamburg's Windrose studio to record their debut LR The band were able to use the excellent facilities and were able to emulate their contemporizes from Britain and America and record whenever they felt like it. They were able to do exactly what they wanted in this top studio and were not bothered about making their music commercial, the love of music was enough. As the sessions were lengthy and costly the band had to move out of their hotel and into an empty house.

When the LP finally arrived CBS took two songs for a single and arranged a promotion tour which proved impossible to finish because the band's lifestyle was so chaotic they were not even able to turn up for some of the dates! The record company was not too pleased about this and the band broke up after being together for nearly two years. With a changed line-up they recorded two singles for Philips. Two titles we have chosen as bonus tracks.

Bernd Zamulo decided to take a break and in 1975 joined up with his former colleagues from the newly reformed Lords where he has stayed until today. Compared with other German bands the Sitting Bull album was a success and entered the LP charts accumulating positive press critique on the way. The autonomy of the music was praised especially the long improvised epic Krautrock songs.

The title song of the album. "Trip Away'' was over ten minutes long and showed the clear structural and musical abilities of the band. Untypical for German bands of the time Sitting Bull were influenced by West Coast music which when given the German treatment was a special experience.

by Manfred Steinheuer

Many thanks to B. Zamulo for his kind help.Translation: Trevor Wilson

Tracks
1. Trip Away (Pit Schimkat, Sabine Schöffler) - 10:19
2. Song Of Junk (Bernd Zamulo, Pit Schimkat, Sabine Schöffler) - 3:51
3. Every Time (Pit Schimkat, Sabine Schöffler) - 3:17
4. Indian Fate (Pit Schimkat, Sabine Schöffler) - 3:55
5. Hopeless Love (Bernd Zamulo, Pit Schimkat, Sabine Schöffler) - 2:50
6. Too Many Stops (Jochen Jaschinski) - 4:24
7. For Me For You (Jochen Jaschinski) - 4:26
8. Business Woman (Pit Schimkat, Sabine Schöffler) - 3:47
9. Lonely Lover (Bernd Zamulo, Pit Schimkat, Sabine Schöffler) - 3:57
10.Clean Survival (Bernd Zamulo, Jochen Jaschinski) - 4:01
11.Motorcycle Mama - 2:07
12.Your Lovin' Man - 1:47

The Sitting Bull
*Piet Schimkat - Vocals
*Bernd Zamulo - Bass, Vocals, Piano
*Rolf Brockhorst - Guitar
*Achim "Zotty" Brierley - Drums
Guests
*Jochen Jaschinski - Additional Vocals, Compositions
*Sabine Schoffler - Lyrics

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Playing a well behaved version of San Francisco west coast and Midwestern hippie rock with slight progressive moves, 'Miracle Licks' will appeal to those who long for the hazy days of Grand Funk Railroad, early REO Speedwagon and more importantly Quicksilver Messenger Service. 'Honey I Do' is standard '70s good time rock, pleasant enough blue-jean boogie and the type of thing that backed-up clogged airwaves in the early part of the decade, but it's the final track on this side that wins points for creativity. 'The Sun Keep Right On Shining' with its well placed use of Mellotron and haunting melody makes searching for this record all the more worthwhile.

As shamefully post-Woodstock a title as 'Everybody's Got to Have A Song' is, you would be forgiven for expecting the worse but it's actually a very good tune with excellent vocals from John Micaleff who shines on much of the record. 'Never Felt Better' sounds like an REO Speedwagon/ Neal Doughty styled rocker featuring a prairie burning organ solo and barroom piano with 'Take A Look At Yourself' closing out the album along similar lines making for a slightly above average album of groovy Midwest rock- New York style.

Thirty Days Out bass player Monte Melnick ended up as tour manager for New York punk darlings The Ramones, but trying to find much else on this east coast band is next to impossible. The group released a self-titled album in 1971 sent to record stores not in shrink wrap, but housed in a poster of a Steamliner. A novel idea and it received a lot of attention from store owners and record buyers, but the band's second album 'Miracle Lick' didn't fare quite as well and the band folded shortly thereafter.

Bad-Cat

Tracks
1. Honey I Do (Jack Malken, John Micallef) - 3:54
2. I Need You - 3:23
3. Any Other Day (Phil Lowe) - 3:14
4. Tupelo (Jack Malken, John Micallef) - 2:53
5. The Sun Keeps Right On Shining - 5:40
6. Everybody's Got to Have A Song - 5:25
7. Phoenix - 2:49
8. Never Felt Better - 4:11
9. Take A Look At Yourself - 6:08
All compositions by John Micallef except where stated

Thirty Days Out
*Phil Lowe - Drums, Vocals
*Jack Malken - Lead Guitar, Vocals
*Monte Melnick - Bass, Keyboards, Vocals
*John Micaleff - Vocals, Guitar
*Nicky Harrison - strings
*Bing McCoy, Teddy Taylor - keyboards, mellotron
*Madeleine Bell, Doris Troy, Lisa Strike, Christine Ohlman - background vocals

1971 Thirty Days Out - Thirty Days Out (2010 edition)

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Mason Proffit were an unknown country-rock band that released 5 good albums between 1969 to 1973. They originally formed out of the ashes of Sounds Unlimited, a hard edged Chicago garage band with a good sense of melody and song structure. Mason Proffit had strong elements of blue grass and folk in their sound but could also rock hard when the mood suited them. They were all excellent musicians and wrote poetic lyrics that occasionally reflected the times (war, protest, and religion).

Wanted was one of the first country-rock records, released off the Happy Tiger label (Dunwich) in 1969. Terry (guitar and vocals) and Johnny Talbot (guitar and vocals) were the foundation of Mason Proffit and often sang beautiful tenor harmonies. Wanted should really be up there with the country rock innovators but many feel that Mason Proffit lacked notoriety because their records were released off small independent labels. It’s an ambitious album to say the least and similar to latter period Byrd gems The Ballad of Easy Rider (1969) and Untitled (1970).

Two Hangmen is a folk-rock song that received lots a radio exposure back in the late 60’s and is now considered a folk-rock classic. It’s by far the most popular song on this record that has many more impressive moments throughout its 30 minutes plus running time. Some songs have sweeping orchestrations, such as the excellent country-rocker, You’ve Finally Found Your Love and a sensitive banjo ballad, Till The Sun’s Gone. Other tracks such as Voice of Change and Rectangle Picture are tuneful, quality songs that skillfully integrate political views and protest the current Vietnam War. A personal favorite is Sweet Lady Love, a pounding bayou rocker with pedal steel guitar and a great acid fuzz solo towards the end. It almost sounds like a great lost Creedence Clearwater Revival track and justifies purchasing this album alone.

For many years Wanted was unavailable but in 2006 the Water record label gave this great album a new lease on life. Mason Proffit would go on to make 4 other fine records though Last Night I Had The Strangest Dream (1971) is often quoted as their masterpiece.

by Jason Nardelli

Tracks
1. Voice Of Change - 2:55
2. A Rectangle Picture - 2:22
3. You Finally Found Your Love - 4:23
4. Sweet Lady Love - 3:53
5. Stewball (Traditional) - 3:32
6. Two Hangmen - 5:01
7. Buffalo - 2:04
8. Walk On Down The Road - 2:57
9. It's All Right - 2:33
10.Till The Sun's Gone Down - 3:26
11.Johnny's Tune - 1:16
All songs by John Talbot, Terry Talbot except track #5

Musicians
*Tim Ayers - Bass
*Rick Durrett - Piano
*Johnny Frigo - Fiddle, Violin
*Art Nash - Drums
*Ron Schuetter - Guitar, Vocals
*Johnny Talbot - Banjo, Electric, Steel, Acoustic Guitars, Vocals
*Terry Talbot - 12 String Acoustic, Electric Guitars, Jew's-Harp, Percussion, Vocals
*Dave Chausow - Strings Direction

1974 Mason Proffit - Come And Gone

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The 1968 self-titled debut by California based country rock group Southwind is a rather obscure little gem. The unique combination of country, psych, soul, funk, and just good old rock & roll turns this record into a stew of great listening, and really makes this record stand out.

The band’s origins can be traced back to Norman, Oklahoma, while members were attending the University of Oklahoma. Coming together first as a rockabilly-flavored band known as “The Disciples,” the group comprised John “Moon” Martin (guitar, vocals), Jim Pulte (bass, vocals), Phil Hope (organ), and Eric Dalton (drums). Soon after forming, the band scored an opportunity to play at several venues in Wisconsin to delighted audiences. In 1967, the band headed out for the musical promised land of Los Angeles, with The Disciples changing their name to the more contemporary-sounding “Southwind.”

The newly-named band started incorporating psychedelic rock, country, blues, soul, and funk into their sound. After playing gigs in and around L.A. for a while, in 1968, Southwind were signed to the tiny MGM subsidiary Venture records, which was a label known for giving lesser-known soul/R'n'B acts a shot. Nevertheless, the band headed into the studio and laid down tracks for their debut.

The opening tune, the outstanding cover of Bob Dylan’s “You Been On My Mind,” is a blend of country-tinged pop with lush strings. The song features wonderfully beautiful and expressive vocals, and doesn’t sound too far from something an early Nitty Gritty Dirt Band may have cut. Next up is the rave-up soul flavored number “Get On Board The Train,” which asks the listener to get on board of the soul (love?) train before it takes off, undoubtedly leaving them behind in the dust. Track three is the rather dark “I’m Proud To Be,” and is a bit of a psychedelic mini-masterwork, containing very creepy sounding vocals and guitar playing.

The last track on side one is also another stand-out, “Got To Get Myself Together,” a plaintive tune of love gone bad and the choice of finally moving on. To my ears, the best track on the album is on side two. “New Orleans (Mardi Gras)” is a song that was deserving of hit status, and was also recorded by Del Shannon for his “The Further Adventures Of Charles Westover” album. The song had the typical late ’60’s flower power sound, complete with very hallucinatory and vivid lyrics, and eerie and dissonant harpsichord and guitar work. The song gives off a definite “loss of glory and happiness of days gone by” vibe. This whole album is full of great tracks.

Southwind released this and a handful of singles before replacing organist Phil Hope with longtime pal Dugg (Fontaine) Brown as a full time member. The group left Venture records for the eccentric and now-legendary Blue Thumb label, releasing their second album “Ready To Ride” in 1970. Southwind’s final effort was the more blues-influenced “What A Strange Place To Land” album in 1971, and not long after the release, the group disbanded.

John Martin (now going by his newly-adopted first name of “Moon”) went on to back artists such as Linda Ronstadt and later recorded several solo albums, all of which received little attention. Martin is probably best remembered for writing Robert Palmer’s huge hit “Bad Case Of Lovin’ You (Doctor, Doctor).” Jim Pulte made a couple of solo albums for United Artists, and virtually dropped out of radar. Little is known of the whereabouts of original organist Phil Hope or drummer Eric Dalton. Dugg (Fontaine) Brown has been in the music scene for years, and was at one time connected to music legends Del Shannon and Bob Seger. Brown still writes and records music today.

by Katie Kanitz

Tracks
1. You Been On My Mind (Bob Dylan) - 2:47
2. Get On Board The Train (Doug Brown, Vicki Basemore) - 2:36
3. I'm Proud To Be (Leon Ware, Vicki Basemore) - 3:18
4. Highway One (Jim Pulte, John Martin, Phil Hope) - 2:46
5. I'm Moving On (Willie Hutch) - 3:02
6. Got To Get Myself Together (Doug Brown, Jim Pulte, John Martin, Phil Hope) - 2:42
7. Hollywood Honeys (Jim Pulte, John Martin) - 2:19
8. Tryin' To Fly My Kite (In Rainy Weather) (Calvin Arnold, Willie Hutch) - 3:27
9. You're Gonna Blow My Mind (Willie Hutch) - 3:04
10.New Orleans (Mardi Gras) (Jim Pulte) - 3:10
11.Fresh As A Daisy (Leon Ware, Vicki Basemore) - 2:44
12.My Baby Was Never Lonely (Doug Brown) - 2:54

The Southwind
*Phil Hope - Keyboards, Harpsichord
*Jim Pulte - Bass, Vocals
*Eric Dalton - Drums
*John "Moon" Martin - Lead Guitar, Vocals

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Corbitt was performing as a folksinger in the Cambridge, MA area when he met and started playing with Jesse Colin Young. Young already had a burgeoning career with two albums to his name but, in 1965, the two started to tour in Canada under the name The Youngbloods. The two eventually added Corbitt's friend, bluegrass musician Lowell "Banana" Levinger, and drummer Joe Bauer to flesh out their act into a full band.

The Youngbloods would become the house band at Cafe Au Go Go and signed with RCA Records where they released their self-titled first album in early 1967. A single from the set, the Corbitt written Grizzly Bear, went to number 52 and the follow up, the Chet Powers song Get Together, stalled at 62. The band followed with Earth Music later that year and 1969's Elephant Mountain, none of which broke into the mainstream. Their big success came when New York DJ Dan Ingram used the song Get Together behind a public service announcement he recorded for the National Conference of Christians and Jews. The renewed interest in the track propelled it back up the charts to a peak of numbers.

Corbitt left the Youngbloods in 1969 before the recording of Elephant Mountain to work on a solo career. His first success came in 1971 touring with Charlie Daniels in the duo Corbitt and Daniels. While he did record a couple of solo albums, his main work from the 70's on was in production, starting with Don McLean's Castles in the Air and going on to work with such artists as Pete Seeger, Buffy St. Marie, Janis Ian, Charlie McCoy, Ramblin' Jack Elliot, Joy of Cooking, Sonny Terry and Brownie McGee, Felix Pappalardi and many others. He also worked on numerous movies, TV shows and commercials.

Jerry Corbitt, passed away on Saturday March 9, 2014 at his home in Smiley, Texas of an undisclosed cause.

CD Liner-Notes

Tracks
1. Let The Music Come Inside (Jerry Corbitt) - 2:08
2. Out Of The Question (Jerry Corbitt, Larry Heald) - 5:07
3. Country Girl (Jerry Corbitt) - 1:48
4. Delight In Your Love (Jerry Corbitt) - 3:25
5. Queen Of England (Jeffrey Cain Stevens) - 1:51
6. The Psong (Jerry Corbitt, Jeffrey Cain Stevens) - 3:17
7. I Love You All (Jerry Corbitt, Jeffrey Cain Stevens) - 2:22
8. The Rain Song (Jerry Corbitt, Felix Pappalardi, Gail Collins) - 2:39
9. Banned In Boston (John Morier) - 3:26
10.Tribulations (Terri Garthwaite) - 2:04
11.Kahuna Song (Jerry Corbitt) - 3:09

Musicians
*Jerry Corbitt - Vocals, Guitar, Mouthharp
*Charlie Daniels - Bass, Fiddle, Guitar, Mandolin
*Rick Turner - Bass, Guitar
*Gregory Leroy Dewey - Drums, Percussion
*Ron "M'Bula" Wilson - Congas
*Bernie Krause - Synthesizer (Moog)
*Ed Bogas - Synthesizer (Moog)

1967/69 The Youngbloods / Earth Music / Elephant Mountain (2014 Japan Blu Spec Edition)
1969 Elephant Mountain (Sundazed expanded and 2014 Japan Blu Spec Edition)
1970 The Youngbloods - Rock Festival
1971 Beautiful! Live In San Francisco (Sundazed edition)
1972 High On A Ridge Top (Sundazed remaster)

Jesse Colin Young releases
1972 Together
1973 Song For Juli (2009 remaster)
1974 Light Shine
1976 On The Road (Japan remaster)

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Louisiana Rock 'n' Roll wriggle out from the muddy swamps of Potliquor's home state and straddled the line between country, blues, southern rock and hard rock...all the while throwing in horns just to keep things fresh. With a powerful singer in George Ratzlaff, Potliquor were able to muster some pretty inspired moments on vinyl. "Pot Liquor was a top regional touring act.

Like many great bands, they never sold records like they should have. But they did tour, and expose many young southerners to what amounts to some of the first "southern rock" bands. Some of the best music, ever! And, the best name ever for a southern rock band! As for "Louisiana Rock and Roll", it rocks! From the opening of "You Can't get there form Here, to the closing track, "Guitar Boogie", this is one of the finest rock and roll records.

Tracks
1. You Can't Get There From Here (Casey Kelly) - 3:15
2. Waitin' For Me At The River (George Ratzlaff) - 4:21
3. Taj And Jimmy's Blues (Taj Mahal, Jimmy Reed) - 5:38
4. Rip It Up (Les Wallace, Loretta Wallace) - 2:34
5. H (Les Wallace, Loretta Wallace) - 4:48
6. Louisiana Rock & Roll (George Ratzlaff) - 3:20
7. St. Jude's Blues (Jerry Amoroso) - 2:57
8. Born Under A Bad Sign (William Bell, Booker T. Jones) - 5:20
9. Guitar Boogie (George Ratzlaff) - 3:36
10.For You (Les Wallace) - 4:33

The Potliquor
*Jerry Amoroso - Drums, Percussion, Vocals
*Les Wallace - Guitar, Vocals
*George Ratzlaff - Keyboards, Guitar, Vocals
*Leon Medica - Bass, Vocals
*Guy Schaeffer - Bass, Vocals
Additional Musicians
*Glenn Spreen - Moog Synthesizer
*Cy Frost - Strings, Clavinet, Piano
*Unkle Back Wood - Fiddle
*Lee Fortier, Art DeCesare, Bud Brasher - Strings
*Peter Verbois, Bill Ludwig, Nic Rousse, Charlie Deruy - Strings

1970 Potliquor - First Taste (2010 edition)
1972 Potliquor - Levee Blues (2010 issue)

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Leviathan - Leviathan (1974 us, sensational heavy prog rock with epic shades, 2012 bonus tracks edition)

Havenstreet - The End Of The Line / Perspectives (1974-77 uk, brilliant progressive folk rock, 2014 two disc set)

Wet Willie - Wet Willie (1971 us, superb southern rock, hard funky rhythm 'n' blues, 2015 japan SHM remaster)

Swallow - Out Of The Nest (1972 us, awesome brass jazz blues funky rock, 2010 edition)

Jesse Winchester - Jesse Winchester / Third Down 110 To Go (1970-72 us / canada, amazing folk country bluesy rock, 2012 remaster issue)

The Rainbow Press - There's A War On / Sunday Funnies (1968-69 us, beautiful groovy psych, 2005 edition)

Howard Werth And The Moonbeams - King Brilliant (1975 uk, smart glam prog rock)

Ray Materick - Sidestreets (1972 canada, stunning sharp folk rock, 2009 korean remaster)

Dr Music - Sun Goes By (1972 canada, amazing art jazz spiritual blues rock)

Jellyroll - Jellyroll (1971 us, remarkable brass jazz blues rock, 2015 korean remaster)

The Bermuda Jam - The Bermuda Jam (1969 multinational, marvelous vivid psychedelia, 2015 issue)

PF Sloan - Precious Time / The Best Of (1965-66 us, impressive protest folk, vinyl edition)

P.F. Sloan ‎- Measure Of Pleasure (1968 us, tremendous folk rock, 2006 issue)

The Stained Glass - A Scene In Between (1965-67 us, exciting garage beat folk psych, 2013 issue)

Sitting Bull - Trip Away (1971 germany, spectacular west coast influenced heavy psych with prog shades, 1994 and 2002 bonus tracks editions)

Thirty Days Out - Miracle Lick (1972 us, awesome groovy rock, 2010 issue)

Mason Proffit - Wanted (1969 us, gorgeous country folk rock with psych traces, 2006 issue)

Southwind - Southwind (1968 us, marvelous r 'n' b psych rock, 2015 korean remaster)

Jerry Corbitt - Corbitt (1969 us, awesome acid folk psych with country and classsic rock shades, 2015 korean remaster)

Potliquor - Louisiana Rock 'n' Roll (1973 us, excellent hard southern boogie 'n' roll, 2010 edition)