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Soft Shoe - For Those Alone (1978 uk, delicate folk rock with psych traces, 2007 issue)

May 23, 2016, 7:26 pm
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"For Those Alone" originally released in 1978, this incredibly rare privately pressed UK progressive folk album was the product of Ron Fellows and Paul Toplis, and features strong vocals and intriguing arrangements, superbly presented in 12" X 12" gatefold card sleeve with the disc mounted on a 12" card insert, housed in sticker-numbered PVC dust jacket!) Limited to 777 copies!

Elegant sensitive acoustic ballads, sometimes turns to electric, kneating with colored psychedelic reminiscences. There's one song with Italian lyrics, grafted with traditional local folk. 


Tracks
1. Say I Love You To Me Please - 3:52
2. Out On The Plain - 3:36
3. Anna - 3:11
4. Let Me Be The One - 3:00
5. She Dosn't Care About You Anymore - 3:34
6. For Those Alone - 5:02
7. Girl In A Million - 3:45
8. The Sky Is Crying - 5:11
9. Final Curtain - 4:01
10.Trailer - 4:27
Music and Lyrics by Ron Fellows, Paul Toplis

The Soft Shoe
*Ron Fellows - Vocals, Rhythm, 12 String Guitars, Mandolin, Percussion
*Paul Toplis - Vocals, Lead, Rhythm Guitar, Bass, Organ, Synth

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Various Artists - Heavy Prog Fallout (1969-73 uk, extraordinary downer rock melted with prog blues and psych, 2011 comp)

May 27, 2016, 10:48 pm
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A trailblazing compilation of rare, previously unreleased and live material recorded between 1969-73 by a number of obscure and unknown UK bands alongside some AA nuggets from our Prog-Rock catalogue. This collection spotlights ultra-rare material by Heavy Prog-Rock Blues outfits White Rabbit, Sweaty Betty and Spread Eagle with powerful additional material by Underground bands Khayyam, Cathedral and St James Infirmary. Other forgotten acts included are head-splitting Midlands rockers Stallion plus the Uriah Heep-esque Hot Air who few people know but will not forget when they hear this! A rare Necromandus demo is also included together with other blitzkrieg renditions by the likes of Argus and Chapel Farm plus a potent Slowbone studio recording of very high quality featuring some blistering guitar and exploding Hammond organ. 

A special live bonus track has been added showcasing legendary prog-rockers Fusion Orchestra weighing in at eight minutes. This contribution from the bands own archives is the only live and previously unreleased recording of this truly great band to be officially released and thus we are delighted to be able to round this CD off with their thunderbolt Winter Nights.


Artists - Tracks
1. Stallion - All Of The While - 4:40
2. Chapel Farm - Vacuum - 4:06  
3. White Rabbit - Mindworm - 5:38  
4. Sweaty Betty - Gunsights - 3:09  
5. St James Infirmary - Sunshine Help Me (Live) - 5:33  
6. Spread Eagle - Too Tired To See - 3:07  
7. Cathedral - Reflections In Black Glass - 4:41  
8. White Rabbit - It's A Fact - 5:09  
9. Khayyam - Collusion - 5:12  
10.Slowbone - The Last Goodbye - 4:31  
11.Hot Air - Goin' Away - 3:24  
12.Necromandus - Judy Green Rocket - 3:35  
13.White Rabbit - Still The Same - 4:22  
14.Cathedral - Passing Shadows - 5:58  
15.Argus - Road Of Life - 3:26  
16.Fusion Orchestra - Winter Nights (Live) - 8:10

Related Acts
1969  Levee Camp Moan ‎– Levee Camp Moan Plus Peacock Farm Free Concerts
1969  Rare Amber - Rare Amber  
1970-73  Various Artists - Downer Rock Genocide
1972-73  Three Headed Dog - Hound Of Hades
1973  Fantasy - Paint A Picture (with bonus tracks)
1973  Fusion Orchestra - Skeleton In Armour (2009 japan remaster)
1973/77  Argus - Argus

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Thee Image - Thee Image / Inside The Triange (1974-75 us, sparkling light prog rock with funky affects, 2014 remaster edition)

May 31, 2016, 10:41 pm
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Thee Image were formed in 1973 by former Blues Image, Iron Butterfly and Cactus guitarist Mike Pinera and keyboard player Duane Hitchings, formerly with Buddy Miles. Pinera's first band, Blues Image scored a US hit with the single "Ride Captain Ride" and had begun life as the house band of a Miami rock club called Thee Image. Pinera's skill as a guitarist meant he was a much in demand musician. After a spell in a reformed line-up of the hard rock group Cactus in 1973 Pinera formed Thee Image with Duane Hitchings on keyboards and talented drummer Donny Vosburgh (who had also played with Blues Image). The band was signed to Manticore  in 1974 by Mario Medius who had known Mike Pinera from his time at Atlantic Records in New York whilst Pinera was a member of Iron Butterfly.

Thee Image recorded their self-titled debut album at Criteria studios in Miami, producing a work of polished and sophisticated rock. The album enjoyed a release both in the USA and Europe (where Manticore was distributed by WEA Records).

Although "Thee Image" failed to chart, sales were encouraging enough for Manticore to continue to support the band with the recording of their next album, "Inside the Triangle" in 1975. Once again recorded at Criteria studios in Miami, the band's second album was released in the USA only and arguably fell victim to ELP's waning interest in Manticore as an entity. In hindsight, Motown Records were perhaps not best suited to distribute and market rock music. 

As result, despite gaining positive notices as a live act, sales of "Inside the Triangle" failed to live up to expectation and by 1976 Thee Image had cense' to exist. Mike Pinera soon embarked on a solo, career and would later work with Alice Cooper among others and remains a much respected and in demand session guitarist.

The demise of Thee Image seemed to pre-empt the demise of Manticore itself. Although the label was releasing some remarkable music by the middle of 1976 it was apparent that the label that had begun as a worthy outlet for the music of Emerson Lake & Palmer and other fine acts was swiftly becoming a burden. The harsh light of day revealed that aside from Emerson Lake and Palmer, few, if any of the other acts signed to Manticore had the commercial success hoped for them (with the possible exception of PFM). Greg Lake would later reflect; "At the beginning it was all very exciting having your own label, but quite soon we realized that it was a huge task running Manticore and also recording and touring as ELP in our own right. It was also unfair on the other acts we had signed as we simply didn't have the time to devote to the proper promotion of their albums. As a result, Manticore lasted only a few years, but in that time some wonderful music was released by the label". 

The final album released on the Manticore imprint was the album "Jet Lag" by PFM, issued in the early months of 1977. By now, the Punk rock explosion had begun and groups such as Emerson Lake and Palmer were the target of Punk's protagonists. Although lasting a little over three years. Manticore Records released a body of music that now bears much worthy reappraisal. The passage of time has been kinder to the music of the acts signed to the label.

This compilation gathers together the tracks from both albums Thee Image recorded for Manticore and is a fine collection of sophisticated rock music by three talented musicians.
by Mark Powell


Tracks
Thee Image 1974
1. Good Things (Mike Pinera) - 2:53
2. For Another Day (Mike Pinera) - 4:05
3. Drift Off Endlessly (Duane Hitchings) - 4:22
4. Love is Here (Mike Pinera, Duane Hitchings, Buddy Miles) - 4:05
5. So Hard to Say (Mike Pinera) - 3:45
6. It Happens All the Time (Mike Pinera, Ted Webb) - 3:07
7. Come to You (Duane Hitchings) - 3:02
8. Temptation (Donny Vosburgh, Mike Pinera) - 5:13
9. Show Your Love (Duane Hitchings, Mike Pinera, Donny Vosburgh) - 6:43
Inside The Triangle 1975
10.Fly Away (Mike Pinera) - 6:41
11.Far Away Places (Mike Pinera, Tommy Curtiss) - 3:03
12.High Time Feeling (Mike Pinera, Duane Hitchings) - 3:39
I3.I.O.U.'s (Mike Pinera) - 2:35
14.All Night Long (Mike Pinera, Donny Vosburgh, Duane Hitchings) - 4:19
15.Good To You (Mike Pinera) - 6:09
16.Alone With You (Mike Pinera) - 5:08
17.Rapture Of The Deep (Mike Pinera, Duane Hitchings) - 1:44
18.Nobody Wins 'Til the Game is Over (Mac Rice, B. Crutcher) - 4:14

Thee Image
*Mike Pinera - Guitars, Vocals
*Duane Hitchings - Keyboards, Moog, Keyboard Bass, Univox Synthesizers, Univox Stringman, Vocals
*Donny Vosburgh - Drums, Percussion, Vocals

Related Acts
1969-70  Blues Image - Blues Image / Red White and Blues Image 
1970  Iron Butterfly - Metamorphosis (Japan SHM edition)

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The Crazy People - Bedlam (1968 canada, intense experimental theatrical multi psychedelia, 2011 remaster)

June 4, 2016, 4:53 pm
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Little is known about this late-'60s band other than they were Canadian, recorded their sole album Bedlam on the Burnaby, British Columbia-based Condor exploit label (home to a wide diversity of bands, among them Latin Holiday, Blues Train, the Surf Riders, and the Jimmy Cole Unlimited), and were intensely weird even for the era. From there, perhaps appropriately enough, everything gets a bit fuzzy.

Much of the Crazy People legend is couched in mystery and subject to various rumors and speculation. It is thought, because of the label it is on, that the band was actually an exploitation studio project rather than a proper combo. The most plausible theory is that it is the brainchild of Johnny Kitchen, whose name may seem terribly arcane to the casual music fan but is well-known among '60s collectors despite the fact that his identity remains a complete enigma. What is known about Kitchen is that he was something of a poor-man's Kim Fowley. He had a hand in literally dozens of crazed and experimental underground records in America during the latter years of the decade. Ending up in Los Angeles in late 1968 or early 1969, he began making records on the Crestview label beginning with the self-titled Victims of Chance debut. He was also involved that year with the bizarre first album from certified schizophrenic and acid freakazoid Larry 'Wild Man' Fischer, Evening with Wild Man Fischer, which was released on Frank Zappa's Bizarre label.

This is where a connection turns up that is both veiled in conjecture and seemingly more than coincidental. Fischer's album shares not a few similarities with the Crazy People album. In fact, the two contain a couple identical elements, including an entire chorus and vocal on one song. Some attribute the shared moments to pure happenstance or perhaps musical borrowings. Others (among them Gear Fab head Roger Maglio in the CD reissue liner notes) have suggested that the two albums are possibly the work of a single man: Wild Man Fischer himself, who perhaps also used the pseudonym Johnny Kitchen for outside projects. Crazy People's Bedlam precedes Fischer's debut by nearly a year, and, in fact, it is known that Kitchen was in Canada during 1968, involved in another Condor release, The World With the Trio of Tyme. He has two songwriting credits on Bedlam as well. From there the guessing game gets muddier and more inexact, and other plausible names have been tossed around, including a local Vancouver personality, television weatherman Jack Millman, who also has several songs on the album. More than likely, however, the truth of the matter has lived and died with the 1960s themselves.

Inside the grooves of Bedlam lies some dramatically unhinged stuff, a schizophrenic, psychedelic mutation unlike any other from the era. From the opening few bars of "Parade at the Funny Farm," the direction of the album is evident -- that is, that there is no direction per se. If you borrowed all the weirder sound-collage stuff, satirical performance-art, and politico-comedic humor from the early work of the Mothers of Invention or the Firesign Theatre and superimposed it over some oddball, calliopic melodies and eclectic stylistic jump-cutting, you would begin to approach the mayhem of the sole effort by Crazy People.

For example, "After Six" is a really beautiful, swaying kaleidoscopic pop tune. Or it could have been pretty. Over top of the music, however, a stoned philosopher narrates an involved story (an amusing amalgam of fairy tale, cartoon, Bible epic, and Greek tragedy delivered, nevertheless, with an absolutely stony-faced tone) in a manner similar to Cream's kooky "Pressed Rat and Warthog.""Head Games and Other Assorted Crap" is a partly a sound collage a la the Beatles'"Revolution No. 9," but the collage arises out of a lovely sunshine-pop tune that ultimately gives way to bits of jazz and tribal music, and even a choir at one point. The album is very much a product of its times, and the humor very much endemic to the era, rendering Bedlam as a perfect, encapsulized historical record of the times: part bollocks, part inspiration, and all intriguing, even when it falls on its face. 
by Stanton Swihart


Tracks
1. Parade At The Funny Farm (Johnny Kitchen) - 8:24
2. Head Amusement (Ludie Priessman) - 0:35
3. Raunchy Boog-A-Loo (Jack Millman) - 3:04
4. After Six (Phillip Werber) - 2:33
5. The Truth (Jack Millman) - 3:14
6. Head Games And Other Assorted Crap (Jack Millman) - 6:13
7. Head Job (Ralph Morris) - 3:04
8. Happy Academy (Frank Morris) - 3:48
9. Trans Luv Airlines (Ludie Priessman) - 3:53
10.Let's Split (Johnny Kitchen) - 2:53

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Graham Bond - Live At BBC And Other Stories (1962-72 uk, splendid bebop jazz rhythm 'n' blues prog rock, 2015 four discs box set remaster)

June 6, 2016, 7:00 pm
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Many of the articles that have recently appeared around this four CD compilation of Graham Bond’s BBC sessions tend to assume that the reader will be aware of who Bond was. Unfortunately this is not the case. While talking to an acquaintance of similar vintage as myself a few weeks ago, I mentioned this latest box set from Repertoire. “Graham Bond, I don’t recall him…” resulted in disappointment more than surprise from my side. So, for those who were there but find that almost daily our memories are fading, but more importantly for those who weren’t around in the sixties here’s a few facts.

Graham Bond was an important (and imposing) figure in British music in the sixties and seventies. Bond was an innovator, on a par as those more celebrated British musicians such as Alexis Korner and John Mayall, who also served as a training ground for many musicians who are still rightly regarded highly half a century after they first took to a stage. Bond was initially known for playing alto saxophone while trying to scrape a living as a jazz musician on his chosen instrument. After a stint with Alexis Korner’s Blues Inc., Bond teamed up with fellow Korner members, Jack Bruce and Ginger Baker, and with guitarist John McLaughlin formed the Graham Bond Quartet before morphing into the Graham Bond Organization, dropping McLaughlin in favour of Dick-Heckstall-Smith on tenor sax while Bond played keyboards, heavily featuring the Hammond organ.

It was during this time that Bond, while never forsaking his jazz leanings, introduced the rhythm and blues stylings that were so popular in the mid-sixties into his music and in doing so built up a sizable following. But, even with two albums released in 1965, ‘The Sound Of ‘65’ and ‘There’s a Bond Between Us’, and a dedicated fan base that attended his live shows, although he gained the respect, he never achieved the glory that many of his fellow band-mates did. It’s felt that Bond was under-appreciated then and even though his albums have been available through the digital age he’s still not recognized as the innovator he truly was. Bond was, and still is, one of the most important figures in British R'n'B.

For Bond’s full and fascinating story there’s a book, ‘Graham Bond: The Mighty Shadow’ which was published in 1992 and is still available from the author, Harry Shapiro, which details the rise and fall of Bond’s life and music, and is simply one of the most compelling books about a musician ever written. It’s a must-have for any music fan.

Of course, Bond’s life was complicated and there was a darker side to him, not helped by his drug addiction and his obsession with the occult, but one thing is certain; his death, which many to believe to be suicide, at the age of thirty-six robbed the music scene of an immense talent.

Bond went through a succession of bands, all of which are covered in Shapiro’s book, and while his time on this earth was short he influenced and introduced the world to many fine musicians. Although some of his more popular albums have hardly been put of print, during the last few years Repertoire Records have finally given part of Bond’s body of work the respect it’s due.

In 2012 the label released ‘Wade In The Water’, a four CD box set lovingly put together by poet/lyricist Pete Brown, who is possibly best known for his work with Cream and another underrated artist who also provided the foreword for Shapiro’s book as well as actually working with and releasing music with Bond. That lovingly compiled box set covered all that was really required from Bond’s early years, remastered with his usual skill by Jon Astley. Now Repertoire have gone the extra mile and issued another four CD box set covering Bond’s live work at the BBC and a little more.

While not as elaborately presented as ‘Wade In The Water’ - the book-sized box has been abandoned for a couple of double standard CD jewel cases - the fact that this music is now available at all is a blessing. Pete Brown again supplies liner notes and Astley once again has remastered the set. There have been many negative comments about the quality of some of these sessions and it’s true that some tracks do suffer from imperfections, but rather that than never having the opportunity to hear or relive them. With Astley in charge of the sound, you can be certain that they’ll never be improved upon anyway.

‘Live at the BBC’ covers more ground than it’s (mainly) studio counterpart. There is a handful of tracks from the Bond and Brown period. Bond’s Initiation era is featured and, of course, both Bond’s Quartet and Organization work is covered. The earliest recordings are from 1962 and the latest from 1972. There are sessions from BBC’s Jazz Club with Bobby Breen, the Quartet backing Duffy Power, Bond backing the Brian Dee Trio and so much more.

It’s not just fascinating for Bond devotees; anyone who has an interest in or is discovering British R&B for the first time will find plenty to enjoy here. While some of the tracks do show their age and sound a little dated, there are those such as the Bond and Brown ‘Sounds of the Seventies’ sessions that still sound as fresh as the day they were recorded. It’s also good to hear Diane (Bond’s wife) singing on a couple of those songs. While for the most part it’s fascinating to hear the various DJs introducing the songs, Pete Drummond sounds like he’s just woken when presenting these particular cuts, but hearing John Peel, Steve Race and George Melly is a joy.

While the quality of the four songs taken from a bootleg of the BBC ‘Pop Goes the Beatles’ recorded at Aeolian Hall, London in 1963 is one of the sections that has been singled out for criticism due to the audio imperfections, for some it will be a highlight. With Duffy Power on vocals, McLaughlin on guitar, Jack Bruce playing the double bass, Ginger Baker on drums and Bond’s Hammond driving the songs along, it’s not only a collector's dream come true but a piece of history many thought was lost forever.

All those connected with this set, especially Repertoire Records, should be commended for making this music available and at a reasonable price. The amount of love, care and passion that has gone into both of Repertoire’s Bond box sets is a lesson as to how it should be done to much bigger labels. Now all we need is some young, hip artist to check out Bond’s not inconsiderable body of work and maybe he’ll finally receive the acclaim he so rightly deserves. 
by Malcolm Carter


Tracks
Disc 1
1. Bluesology (Milt Jackson) - 4:13
2. I'm Gonna Move To The Outskirts Of Town (Casey Bill Weldon, Roy Jacobs) - 3:56
3. Hello Little Girl (John Lennon, Paul McCartney) - 2:18
4. Spanish Blues (Graham Bond) - 4:13
5. Wade In The Water (Traditional Arr. Graham Bond) - 5:28
6. Hallelujah I Love Her So (Ray Charles) - 4:12
7. Every Day I Have The Blues (Pinetop Sparks, Milton Sparks) - 3:40
8. I Saw Her Standing There (John Lennon, Paul McCartney) - 2:26
9. I Got A Woman (Ray Charles, Renald Richard) - 4:32
10.Summertime (George Gershwin) - 3:59
11.Hallelujah I Love Her So (Ray Charles) - 2:06
12.Things Are Getting Better (Julian "Cannonball" Adderley) - 5:40
13.Elsie And Ena aka 'Bring Back The Burch' (Graham Bond) - 3:36
14.Richmond Festival (Don Rendell) - 6:15
15.Kelly Blue (Wynton Kelly) - 4:07
16.Troika (Burch) - 3:34
17.Kazeef (Burch) - 3:08
18.Persian Party (Don Rendell) - 4:05
Tracks 1-7 Graham Bond Quartet with Bobby Breen, BBC Jazz Club, at the Paris Cinema, 25th April, 1963
Tracks 8-11 Duffy Power with the Graham Bond Quartet, BBC 1963
Tracks 12-18 Don Rendell Quintet with guest Dick Heckstall-Smith, ‘Jazz Session’, at the Paris Cinema, 19th September, 1962

Musicians
Tracks 1-7
*Graham Bond - Vocals, Hammond Organ
*John Mclaughlin - Guitar
*Jack Bruce - Double Bass
*Ginger Baker - Drums
*Bobby Breen - Vocals
Tracks 8-11
*Graham Bond - Hammond Organ
*John Mclaughlin - Guitar
*Jack Bruce - Bass
*Ginger Baker - Drums
*Duffy Power - Vocals
Tracks 12-18 
*Don Rendell - Tenor, Soprano Saxophones
*Graham Bond - Alto Saxophone
*Dick Heckstall-Smith - Tenor Saxophone
*Johnny Burch - Piano
*Tony Archer - Bass
*Ted Pope - Drums


Disc 2
1. Wade In The Water (Traditional Arr. Graham Bond) - 4:43
2. Only Sixteen (Graham Bond) - 4:05
3. When Johnny Comes Marching Home (Traditional Arr. Graham Bond) - 4:50
4. Macumbe (DeLisle Harper) - 5:17
5. Milk Is Turning Sour In My Shoes (Pete Brown, Phil Ryan, Taff Williams) - 7:15
6. Beak Suite (Graham Bond) - 9:58
7. Improvisation - 2:42
8. Moses In The Bullrushourses (Pete Brown, Dick Heckstall-Smith) - 4:02
9. What’d I Say? (Ray Charles) - 9:40
10.Wade In the Water (Traditional Arr. Graham Bond) - 5:23
11.I Got A Woman (Ray Charles, Renald Richard) - 2:42
12.Cabbage Greens (Champion Jack Dupree) - 2:33
13.I Saw Her Standing There (John Lennon, Paul McCartney) - 2:27
14.Spanish Blues (Graham Bond) - 2:59
Tracks 1- 3 Graham Bond Organization, ‘Jazz Beat’, 22nd January, 1966
Tracks 4-6 Bond and Brown, BBC Radio Birmingham, 23rd March, 1972
Track 7 Graham Bond and Dick Heckstall-Smith, home tape, 1962
Track 8 Dick Heckstall-Smith Band, demo recording, 1972
Track 9 Graham Bond Organization, live recording, 1966-67
Track 10 Graham Bond Initiation, live recording, 1969-70
Tracks 11-14 The Graham Bond Quartet From A Bootleg of BBC “Pop Goes The Beatles” Recorded At Aeolian Hall London Broadcast 16th July 1963 

Musicians
Tracks 1-3
*Graham Bond - Hammond Organ, Vocals
*Dick Heckstall-Smith - Saxophones
*Mike Falana - Trumpet
*Ginger Baker - Drums
Tracks 4-6
*Graham Bond - Vocals, Hammond, Electric Piano
*Pete Brown - Vocals, Percussion
*Diane Stewart - Vocals, Percussion
*Delisle Harper - Bass
*Ed Spevock - Drums
Track 7
*Graham Bond - Alto Saxophone
*Dick Heckstall-Smith - Tenor Saxophone
Track 8
*Graham Bond - Hammond, Vocals
*Dick Heckstall-Smith - Saxophones
*Others Unknown
Track 9
*Graham Bond - Hammond, Vocals
*Dick Heckstall-Smith - Saxophones
*John Hiseman - Drums
Track 10
*Graham Bond - Hammond Organ, Alto Saxophone, Vocals
*Keith Bailey - Drums


Disc 3
1. Walkin’ In The Park-I Want You (Segue) (Graham Bond) - 7:17
2. Wade In The Water (Traditional Arr. Graham Bond) - 13:44
3. Love Is The Law (Graham Bond) - 8:16
4. Love Is The Law (Graham Bond) - 10:21
5. Magic Mojo (Graham Bond) - 9:52
6. The World Will Still Be Free (Graham Bond) - 8:23
7. Wade In The Water (Traditional Arr. Graham Bond) - 12:51
Tracks 1-3 Graham Bond Initiation BBC ‘Top Gear’, Maida Vale, 31st January, 1970
Tracks 4-7 Graham Bond Initiation, BBC John Peel Sunday show, Paris Theatre, London, 22nd March, 1970

Musicians
Tracks 1-3
*Graham Bond - Hammond Organ, Vocals
*Diane Stewart - Congas, Vocals
*Dave Usher - Flute, Tenor Saxophone, Guitar
*Nigel Taylor - Bass
*Keith Bailey - Drums
Tracks 4-7
*Graham Bond - Hammond, Vocals
*Dave Usher - Flute, Tenor Saxophone
*Nigel Taylor - Bass
*Keith Bailey - Drums
*Kevin Stacey - Guitar


Disc 4
1. Things Are Getting Better (Julian "Cannonball" Adderley) - 4:12
2. Blew Through (Philamore Lincoln) - 5:19
3. Sack O'Woe (Julian "Cannonball" Adderley) - 8:34
4. Mack The Knige (Kurt Weill, Bertolt Brecht) - 5:48
5. Work Song (Nat Adderley) - 13:30
6. Oleo (Sonny Rollins) - 15:14
7. Things Are Getting Better (Julian "Cannonball" Adderley) - 18:10
Track 1 Brian Dee Trio, From The EP “Jazz And Twist” Vaux VA 8, 1962
Track 2 Philamore Lincoln,  From The Album “The North Wind Blew South” Epic BN26497 1970
Tracks 3-7 With Ken Wray and The Joe Palin Trio Rehearsal / Jam Session Manchester, Club 43, 1962

Musicians
Track 1
*Graham Bond - Alto Saxophone
*Brian Dee - Piano
*Malcolm Cecil - Double Bass
*Tony Mann - Drums
Track 2
*Graham Bond - Keyboards, Saxophone
*Hal Blaine - Drums
Tracks 3-7
*Graham Bond - Alto Saxophone
*Ken Wray - Valve Trombone
*Joe Palin - Piano
*Bill Brown - Bass
*Dave Edwards - Drums

Related Acts
1965  The Graham Bond Organisation - The Sound Of '65 / There's A Bond Between Us
1970  Graham Bond - Holy Magick (Vinyl issue)
1972  Bond And Brown - Two Heads Are Better Than One (2009 remaster)
1969  Colosseum - Those Who Are About To Die Salute You
1969  Colosseum - Valentyne Suite
1970  Colosseum - Daughter Of Time
1972  Dick Heckstall Smith - A Story Ended (2006 Japan remaster)  
1970  Philamore Lincoln - The North Wind Blew South (2010 remastered edition)

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Bubble Puppy - Hot Smoke (1969/84 us, incredible heavy garage psych)

June 10, 2016, 8:43 pm
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Bubble Puppy was the second-most-famous '60s rock band named after writings by Aldous Huxley. Which isn't to diminish what the Texas psychedelic rock band accomplished during its four-year run, only to say that Bubble Puppy made one album with one formidable hit before bad business sunk the group. 

Bubble Puppy didn't last long enough but discerning '60s psychedelic rock enthusiasts still remember the band's hit "Hot Smoke and Sasafrass," a No. 14 single (more for its sound than spelling) in 1969. The band's sole album, "A Gathering of Promises," still sounds vibrant today; less trippy than much psychedelia, and more like a blueprint for '70s hard rock.

Bubble Puppy hit with "Hot Smoke" before it had an album, "another IA oversight," Fore says. Eventually, "A Gathering of Promises" was assembled, and the band had a record to promote. The cover is a brilliant relic of its era, with the four members dressed by a theatrical costume designer.

The band's trajectory at that point should've been upward. But International Artists was unable to capitalize on the success of "Hot Smoke," putting the group on strange tour routes that didn't maximize potential audiences. Bubble Puppy was on the same stage as the 1910 Fruitgum Company, a quintessential '60s bubble-gum band. Despite the differences in sound, the association was difficult to shake.

Bubble Puppy eventually shook free of International Artists, which was on the brink of collapse. The band moved to Los Angeles hoping to start anew, though it left things behind, including some recordings. Andy Bradley, chief engineer at SugarHill Studios, says a majestic 15-minute jam is in the studio's vaults.

The four men of Bubble Puppy didn't find fame out West. They made a terrific album in 1970 that documented the band making a transition from psychedelia into a more direct, powerful style of what would eventually become hard rock. "Demian" yielded no hits, but it remains a collector's item, with sellers seeking $50-$100 on eBay for a copy these days.

It was a self-titled recording because the band also left the name Bubble Puppy in Houston. When the group's members settled on "Demian," they became the second-most-famous band to pull a name from the writings of Herman Hesse, author of "Steppenwolf."

By the numbers, Bubble Puppy was a one-hit wonder. But that shouldn't be read as a pejorative. The band's output is rich and deeper than one song.

"A Gathering of Promises" and "Demian" boast a sound ahead of its time. Both deserve reappraisal and new discovery.
by Andrew Dansby


Tracks
1. Hot Smoke And Sassafras - 2:37
2. Lonely - 3:00
3. Grand Illusion - 4:25
4. Methedrine Blues - 4:44
5. Hard Livin' - 4:33
6. Bound To Pain - 3:59
7. The Puppy Jam-1984 - 13:49
All songs by Rod Prince, Roy Cox except track #6 written by Todd Potter

The Bubble Puppy
*Rod Prince ‒ Lead Guitar, Vocals
*Roy Cox ‒ Bass Guitar, Vocals
*Todd Potter ‒ Lead Guitar, Vocals
*David Fore ‒ Drums, Vocals

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Elizabeth - Elizabeth (1968 us, brilliant folk baroque psych rock, Vinyl edition)

June 14, 2016, 7:00 pm
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Elizabeth was an American psychedelic rock/progressive rock band that were active from 1967 to 1970. They were based out of Philadelphia and known for their unique musical and sonic blend of Baroque Music,Classical Music, Folk Music, American Rock, British Rock, Country Music, and Ragtime. Elizabeth's members were: Steve Weingarten (lead guitar, keyboards, backing vocals), who died in 2012; Bob Patterson (rhythm guitar, lead and backing vocals); Jim Dahme (flute, lead and backing vocals); Steve Paul Bruno (bass, organ, backing vocals); and, Hank Ransome (drums).

In 1968, the band recorded and released their self-titled album on Vanguard Records (produced by Sam Charters). Vanguard's artist roster at the time included Joan Baez, Buffy Sainte-Marie and Country Joe and the Fish. Elizabeth performed with Cream, Blue Cheer, Joni Mitchell, Ritchie Havens, The Chambers Brothers and many other musical luminaries of that era. Some of the bands' many Philadelphia area performances included concerts and sets at: The Main Point, The Second Fret, The Electric Factory, and most Be-INs at Belmont Plateau in Philadelphia's Fairmount Park.

As the band was starting to come together (nameless at that point), Steve and Robert "Stewkey" Antoni, band mates from Newport, RI, made an unexpected stop in Philadelphia on their way to Florida. After a week in the City of brotherly love, they decided to forgo Florida and help form Elizabeth. Some interesting guitarists auditioned for the band, including future rock star Todd Rundgren who was with Woody's Truck Stop at the time; and, Nick Jameson, soon to be a founder and guitarist of The American Dream (both were Philly bands).

Within a month or so of landing in Philadelphia, Stewkey left Elizabeth to join Todd's new band, The Nazz. Of note, Linda Cohen, a Philadelphia classical guitarist, was Elizabeth's first drummer (briefly). During the spring and summer of 1969, she teamed up with Michael Kac from Mandrake Memorial and, together, performed as a classical-pop fusion guitar-harpsichord duo. Linda died in 2009 of lung cancer. Mandrake Memorial and Elizabeth shared the stage many times.
Retro Revolution


Tracks
1. Not That Kind Of A Guy (Steve Weingarten) - 3:09
2. Mary Anne (Bob Patterson) - 2:38
3. Dissimilitude (Steve Weingarten) - 2:11
4. Similitude (Steve Weingarten) - 4:06
5. You Should Be More Careful (Bob Patterson) - 4:03
6. The World's For Free (Steve Weingarten, Steve Weingarten) - 3:00
7. Fields Of Home (Jim Dahmne) - 3:16
8. Alarm Rings Five (Bob Patterson) - 4:53
9. Lady L (Jim Dahmne) - 3:24
10.When All Else Fails (Bob Patterson) - 4:16

Elizabeth
*Steve Weingarten - Lead Guitar, Keyboards, Backing Vocals
*Bob Patterson - Rhythm Guitar (6, 12-String), Vocals
*Jim Dahmne - Flute, Vocals
*Steve Paul Bruno - Bass Guitar, Hammond B-3 Organ, Backing Vocals
*Hank Ransome - Drums, Percussion

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Essra Mohawk - Essra (1976 us, beautiful silk art groovy rock, 2003 japan release)

June 20, 2016, 11:25 pm
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Listening to my early albums, there seems to be a progression from ballads to uptempos that took place over the years. My first album is all ballads, my second album, Primordial Lovers, has a few rnidtempos and uptempos, and my third album is half ballads and half uptempos. This album, my fourth, is very different from the ones before it in that there are only two ballads: “Summersong” and “Hello Winter”. I seem to have switched  gears from ballads to uptempos as though I were gaining some kind of momentum. On the original vinyl release, "Summersong" appeared on one side of the record and "Hello Winter" was on the other side, just like winter and summer are opposite seasons.

"People Will Talk" appears twice (two different versions), the serious version began side one and the album ended with the sitly version. One day in the studio while recording my vocals, I spontaneously began cutting up just for laughs and when I looked up through the window to the control room, I couldn't see the producer (Jerry Ragavoy) or the engineer (Bruce Terguson). That's because they had dropped out of sight while they were rolling around on the floor laughing uncontrollably!! We all had such a good laugh over it, we decided to pat that version on the album as well and let everyone in on the joke. Laughter is good for body and soul!

"Holy Trinity" is a song about diversity and how all of the various kinds of people who make up this world could benefit each other  with the special and unique qualities that each brings into the mix. I particularly like the line, "It's happening slowly but surely. Pessimists, you prophesize so poorly."1 I have always believed optimism functions much better than pessimism. Imagine a captain determined to save his ship. If he didn' t believe he could keep it from sinking, would the ship have any chance of staying afloat? We kept my original reference vocal on the ride-out of "God Help It". Even I was amazed by the notes I reached that day! The band was smoking thanks to the amazing musicianship of bassist Richard Davis and Bernard Purdy on drums! My voice joined in rising to the occasion.

Some of you might’ ve seen me sing “Appointment With A  Dream” on TV when I Appeared on the Gong Show in 1977. No, I wasn’t gonged, thank goodness. In Fact, I scored a “23”, my lucky number, but I came in second to a guy who played two saxophones at once! Reruns of the show are still getting aired. Look for it!

Although "Don't Be Afraid" was recorded with the rest of the tracks for this album, it didn't make it on the original release. Fortunately, thanks to the fact that CDs are longer playing than the vinyl LPs, it can now be included as a bonus track. I wrote and sang it with my favorite male singer songeriter, Alan Gerber. We were almost in a band together. I was asked to join Rhinoceros when Paul Rothchild and Barry Friedman (Frazier Mohawk) were putting the superband together. Unfortunately, my manager at the time wouldn't let me join. Alan Gerber did join the band and I always hoped that one day we'd get another opportunity to do something together. Several years later we erote and recorded this song, but as I said it didn't make the album. Now finally, thanks to Air Mail, it is being rteleased and one of my fondest dreams gets to come true.
by Essra Mohawk


Tracks
1. People Will Talk - 3:52
2. I Wanna Feel Ya (Essra Mohawk, Duke Williams) - 4:35
3. Summersong - 2:53
4. Time To Start (Essra Mohawk, Harve Mann) - 2:13
5. Holy Trinity  - 4:19
6. God Help It  - 5:11
7. Appointment With A Dream (Essra Mohawk, David Stone) - 2:07
8. Hello Winter - 2:44
9. Hallelujah, I've Been Released - 3:24
10.People Will Talk - 3:37
11.Don't Be Afraid (Alan Gerber, Essra Mohawk) - 3:19

Personnel
*Essra Mohawk - Vocals, Keyboards
*Jonathan Kalb - Guitar
*Eric Gale - Guitar
*David Stone - Guitar
*Paul Griffin - Synthesizer
*Jereemy Steig - Flute
*Richard Davis - Bass
*Andy Newmark - Drums
*Bernard Purdy - Drums
*Howard Wyeth - Drums
*Arnold McCuller, David Lasley, Rhetta Hughes, Ula Hedwig - Vocals
*Sonny Burke - Strings Arrangment, Keyboards

1969  Sandy Hurvitz - Sandy's Album Is Here At Last!  
1970  Essra Mohawk - Primordial Lovers
1974  Essra Mohawk - Essra Mohawk (2010 bonus tracks edition)  

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P.F. Sloan - Songs Of Our Times (1965 us, classic folk psych, 2014 japan SHM remaster)

June 24, 2016, 6:48 am
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Sloan's solo debut unveiled a singer-songwriter of a more serious, not to say Dylanesque, mindset than was evident on the material he had written for other artists up to that point (and indeed on the material that he continued to supply for acts like Johnny Rivers, Herman's Hermits and the Grass Roots after this album). At times, the Dylan influence was obvious -- "What Exactly's the Matter with Me," for instance, sounds like a pop Dylan with a heavy streak of satirical self-pity. 

Yet the strongest half or so of the album revealed a composer of considerable talent. Sloan's own versions of "Eve of Destruction" and "Take Me for What I'm Worth" are starker than the hit covers by Barry McGuire and the Searchers respectively, and "The Sins of a Family" is one of his best and most penetrating works. Other tracks, such as "I Get Out of Breath" and "This Is What I Was Made For," show more of the pop tunesmith in Sloan, and his underrated voice is well-suited for the earnest charm of the material. 
by Richie Unterberger

P.F. Sloan passed away on November 15th 2015 at the age of 70.


Tracks
1. The Sins Of A Family (P.F. Sloan) - 3:05
2. Take Me For What I'm Worth (P.F. Sloan) - 2:50
3. What Exactly's The Matter With Me (P.F. Sloan) - 2:32
4. I'd Have To Be Out Of My Mind - 2:27
5. Eve Of Destruction (P.F. Sloan) - 3:15
6. This Mornin' (P.F. Sloan) - 2:42
7. I Get Out Of Breath (P.F. Sloan) - 3:19
8. This Is What I Was Made For - 2:24
9. Ain't No Way I'm Gonna Change My Mind - 2:50
10.All The Things I Do For You Baby - 2:01
11.Goes to Show Just How Wrong You Can Be - 2:07
12.What Am I Doin' Here With You - 2:45
All songs by P. F. Sloan, Steve Barri unless as else stated

*P.F. Sloan - Vocals. Guitar. Harmonica

1965-66  PF Sloan - Precious Time / The Best Of (vinyl edition)
1968  P.F. Sloan ‎- Measure Of Pleasure (2006 issue)

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Tower Of Power - Tower Of Power (1973 us, superb jazz funk brass rock, 2015 japan remaster)

June 28, 2016, 6:27 pm
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The Tower of Power finally found their ideal lead singer on this album. Lenny Williams came aboard and gave them both the up-tempo belter and convincing balladeer they had previously lacked. They landed their biggest single hit, "So Very Hard to Go," and also had two other top tunes in "What Is Hip" and "This Time It's Real." The arrangements and production were also excellent, and the horn section was at its explosive best. 
by Ron Wynn

This is the third album release for the Oakland-based Funk band Tower of Power. This is their most successful album to date, which was released in May 1973. The album peaked at No. 15 on the Billboard Top LPs chart and received a Gold record award for sales in excess of 500,000. The album spawned their most successful single, "So Very Hard to Go". The single peaked at No. 17 on the Billboard Hot 100. Two other singles from the album also charted on the Billboard Hot 100: "This Time It's Real" and "What Is Hip?".

It marked the debut of Lenny Williams being the lead vocalist (though Williams had a solo career prior to joining T.O.P., plus he co-penned the song "You Strike My Main Nerve" from the previous album Bump City. Tower Of Power also introduced the world to saxophonist and future Saturday Night Live band leader, Lenny Pickett, who was the youngest member of the band at the time, replacing original lead sax player Skip Mesquite. Also joining the lineup was organist/keyboardist Chester Thompson and guitarist Bruce Conte, who replaced original guitarist Willie James Fulton.
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Tracks
1. What Is Hip? (Emilio Castillo, Stephen Doc Kupka, David Garibaldi) - 5:08
2. Clever Girl (Emilio Castillo, Stephen Doc Kupka, Willie Fulton) - 2:56
3. This Time It's Real (David Bartlett, Emilio Castillo, Stephen Doc Stephen Doc Kupka) - 2:54
4. Will I Ever Find A Love? - 3:51
5. Get Yo' Feet Back On The Ground (Willie Fulton) - 4:52
6. So Very Hard To Go - 3:41
7. Soul Vaccination - 5:13
8. Both Sorry Over Nothin' (Emilio Castillo, Stephen Doc Kupka, Lenny Williams) - 3:25
9. Clean Slate (Emilio Castillo, Stephen Doc Kupka, Willie Fulton) - 3:22
10.Just Another Day (Bruce Conte) - 4:34
All Songs written by Emilio Castillo, Stephen "Doc" Kupka except where stated

Personnel
*Greg Adams - Trumpet, Flugelhorn, Backing Vocals, String Arrangements, Conductor
*Brent Byars - Bongos, Conga
*Emilio Castillo - Tenor Saxophone, Backing Vocals
*Bruce Conte - Guitar, Backing Vocals
*David Garibaldi - Drums
*Mic Gillette - Trombone, Trumpet, Flugelhorn, Baritone, Backing Vocals
*Stephen "Doc" Kupka - Oboe, Baritone Saxophone, Backing Vocals
*Lenny Pickett - Clarinet, Flute, Tenor Saxophone, Backing Vocals
*Francis "Rocco" Prestia - Bass Guitar
*Jay Spell - Acoustic Piano
*Bruce Steinberg - Harmonica
*Chester Thompson - Organ, Keyboards, Backing Vocals
*Lenny Williams - Lead Vocals

1970  Tower Of Power - East Bay Grease
1972  Tower Of Power - Bump City (Japan issue)

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The E-Types - Introducing... The E-Types (1965-66 us, splendid garage beat)

June 30, 2016, 11:06 pm
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In the mid-'60s, this group from Salinas, CA, (near San Jose) played a pleasant blend of British Invasion-inspired pop/rock and a touch of garage. With prominent keyboards, three-part harmonies, and original material with minor-keyed shifts, they sounded something like a mix between the Zombies and the Turtles. Very popular within their (pretty limited) stomping grounds, they made no impact whatsoever on a national level, issuing four singles on small labels (most of them with producer Ed Cobb, who also handled the Standells and the Chocolate Watch Band).

Certainly they were a promising outfit, capable of offering strong original material (most of which, oddly, was penned by a friend who wasn't in the band, Larry Hosford). They didn't have enough time to convert that promise into truly significant work, however. They disbanded in 1967, when their carefully executed pop/rock was falling out of fashion in California, in favor of psychedelia. 

Twenty-two tracks, including both sides of their four singles and previously unissued demos, outtakes, and live performances. The four singles are legimitately fine finds if you collect obscure '60s pop-garage. "Long Before,""I Can't Do It," and "Put the Clock Back on the Wall" are outstanding, and the cover of Lennon-McCartney's "Love of the Loved" (which the Beatles never officially released themselves) rates as one of the best unknown Beatle covers of the '60s. Most of the rest of this archival compilation is padding, though, consisting largely of faithful British Invasion covers and some outtakes that are markedly inferior to their singles. 

It's an enjoyable listen for collectors of mid-'60s rock, boasting considerably more pop-oriented material and accomplished production than the garage norm. But it couldn't be considered in the top drawer of this sort of thing. 
by Richie Unterberger


Tracks
1. I Can't Do It (Larry Hosford) - 2:35
2. Love Of The Loved (John Lennon, Paul McCartney) - 2:16
3. Live (Emitt Rhodes) - 2:37
4. Put The Clock Back On The Wall (Alan Gordon, Garry Bonner) - 2:47
5. Big City (John Walsh) - 3:08
6. She Moves Me (Edward C. Cobb) - 2:31
7. Back To Me (Craig Williams, Randy Barlow) - 2:50
8. No Milk Today (Graham Gouldman) - 2:50
9. 4th Street (Randy Barlow) - 2:49
10.Long Before (Larry Hosford) - 2:48
11.A Clown's No Good (Emitt Rhodes) - 2:39
12.Wait (John Lennon, Paul McCartney) - 2:07
13.Evil Hearted You (Graham Gouldman) - 2:23
14.Mister You're A Better Man Than I (Mike Hugg) - 3:20
15.Shapes Of Things (Jim McCarty, Keith Relf, Paul Samwell-Smith) - 2:30
16.Things We Said Today (John Lennon, Paul McCartney) - 2:36
17.Still In Love With You Baby (Ron Elliott) - 2:20
18.Just A Little (Robert Durand, Ron Elliott) - 2:25
19.Let's Not Talk About It (Larry Hosford) - 1:44
20.It's Better Than I Planned (Don Shephard, Larry Hosford) - 2:08
21.I Can't Do It (Larry Hosford) - 2:39
22.Don't Turn Your Back On Me (Jackie DeShannon) - 1:59

The E Types
*Danny Monigold - Bass
*Reggie Shaffer - Drums
*Don Shephard - Guitar, Vocals
*Bob Wence - Rhythm Guitar, Vocals
*Jody Wence - Keyboards, Vocals

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The Sonics - Psycho Sonic (1964-65 us, pioneer garage punk rock, 2003 remaster edition)

July 2, 2016, 8:00 pm
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Back in the mid-1960s, the legendary Sonics took rock'n'roll by the scruff of the neck and thrashed it to within an inch of its sorry life, leaving a legacy of some of the most savage, visceral recordings ever made. Compiling their no-holds-barred Etiquette sessions, "Psycho-Sonic" is the ultimate Sonics anthology.

One of the best selling Big Beat releases of recent years has been Psycho-Sonic, a comprehensive collection of all the sides the much-feted kings of garage rock recorded for the Etiquette label in 1964/65. Only the most cloistered of music fans would be unaware of the mighty Tacoma combo's influence and importance, now stronger than ever thanks to young bucks such as the White Stripes, Hives, Vines etc constantly dropping the band's name. 

With access to first generation tapes recently uncovered by Big Beat's ongoing celebration of the catalogue of Sonics' mentors, the Wailers, we figured it was time to give this decade-old compilation a spring clean. 

The newly upgraded Psycho-Sonic features vastly improved sound quality on all tracks, with many presented in ear-blistering true stereo remixes, but taken from the actual tape the band recorded onto, and mastered with Big Beat's customarily sensitive mastering. 

The set's sequencing and flow have also been improved, delivering an entertaining and invigorating programme from start to finish. Track for track, the first half-hour of this disc is the wildest, most visceral rock'n'roll listen you're ever likely to have. Also included is a far more in-depth overview of the group's career by reissue producer Alec Palao, based on fresh, first-hand interviews with the band and their associates, including the legendary Sonics' lead singer/ songwriter/ screamer Gerry Roslie. 
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Tracks
1. The Witch - 2:35
2. Boss Hoss - 2:23
3. He's Waitin' - 2:41
4. Psycho - 2:16
5. Louie Louie (Richard Berry) - 2:54
6. Strychnine - 2:16
7. Cinderella - 2:42
8. Shot Down - 2:12
9. Have Love Will Travel (Richard Berry) - 2:37
10.Don't Be Afraid Of The Dark 2:27
11.Dirty Robber (John Greek, Kent Morrill) - 1:59
12.Keep A Knockin' (Richard Penniman) - 2:06
13.Money (That's What I Want) (Berry Gordy Jr., Jamie Bradford) - 1:58
14.The Hustler - 2:15
15.Jenny Jenny (Enotris Johnson, Richard Penniman) - 2:18
16.Hitch Hike (Clarence Paul, Marvin Gaye, William Stevenson) - 2:43
17.Roll Over Beethoven (Chuck Berry) - 2:47
18.Skinny Minnie (Rusty Keefer, Bill Haley, Catherine Cafra, Milt Gabler) - 2:12
19.Do You Love Me (Berry Gordy Jr.) - 2:21
20.Walking The Dog (Rufus Thomas) - 2:43
21.Good Golly Miss Molly (John Marascalco, Robert Blackwell) - 2:05
22.Night Time Is The Right Time (James Oden, Roosevelt Sykes) - 2:57
23.It's Alright (Chris Andrews) - 2:11
24.Let The Good Times Roll (Leonard Lee) - 2:01
25.Don't You Just Know It (Huey Smith, John Vincent) - 2:51
26.Since I Fell For You (Buddy Johnson) - 3:58
27.The Witch (Alternate) - 2:47
28.Psycho (Live) - 2:03
29.The Witch (Live) - 3:00
All songs by  Gerald Roslie except where noted

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

1965  Here Are The Sonics (New Rose rare Vinyl issue)
1966  The Sonics - Introducing

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The Chocolate Watchband - Forty Four (1966-68 us, impressive acid garage psych)

July 4, 2016, 7:00 pm
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In the roll call of 1960s garage band heroes, the Chocolate Watchband reside at the very top. Their notoriety derives from the handful of singles and LPs that they made, balanced between the Watchband’s own intense Anglophilic blues wailing, and mysterioso studio trickery on the half of producer Ed Cobb. Their best-known cut is probably ‘Let’s Talk About Girls’, which appeared on the seminal 1972 garage band sampler “Nuggets,”, but the Chocolate Watchband have many more such gems within their vintage catalogue, all of which is available to you in fully remastered sound on Big Beat Records.

The original Chocolate Watchband was formed in the autumn of 1965 at Foothill College on the San Francisco peninsula, with a six-man line-up that featured guitarist Mark Loomis and drummer Gary Andrijasevich. Playing the R&B and folk rock of the day, the outfit did some recording, but outside of their unusual name, made little impression beyond local gigs in the San Jose area. The draft and the departure of key personnel rent the group asunder late in the year, but Loomis determined to reassemble the band with a new line-up, including rhythm guitarist Sean Tolby, bass player Bill Flores and on lead vocals, San Jose State student David Aguilar.

Though it had been Loomis’ group up until this point, Aguilar was the spark that moved the Watchband to the top of the class. Within weeks of this line-up getting together, they took San Jose by storm, blasting their way to the top of the local circuit with a scintillating, mesmerizing set of Americanized Stones, Yardbirds and Animals covers. Aguilar in particular was a master of dynamics, and the singer directed his mod-togged combo through sets that made the new Watchband the talk of the local circuit. In the summer of 1966 the group signed with manager Ron Roupe, whose connections included Ed Cobb of Green Grass Productions, then riding high in the chart with the Standells. In quick succession Cobb inked the Watchband and ushered them to Los Angeles to record.

Technically, the first release was ‘Blues Theme,’ a pseudonymous instrumental cover credited to The Hogs, but the Watchband’s debut proper was the Cobb-penned ‘Sweet Young Thing’, perfectly suited to the group’s arrogant punk stance. It was released in December 1966 on Tower Records’ R&B imprint Uptown, an unusual choice of label which meant that the group was subsequently perceived by some agents as a black act. The single’s flip was an atmospheric reading of Dylan’s perennial ‘It’s All Over Now, Baby Blue’. 

The '44' album was recorded between 1966 and 1968 all of the tracks were actually recorded by the group as opposed to the many sides issued under their name, but cut by session players. Great sounds from beginning to end and featuring the great I'm Not Like Anybody Else By the Kinks and the two Frank Zappa produced sides from the mega rare Hanna Barbera 45.
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Tracks
1. Don't Need Your Lovin' (Dave Aguilar) - 2:37
2. No Way Out (Ed Cobb) - 2:22
3. It's All Over Now Baby Blue (Bob Dylan) - 3:12
4. I'm Not Like Everybody Else (Ray Davies) - 3:44
5. Misty Lane (Martin Siegel) - 3:06
6. Loose Lip Sync Ship (David Aguilar, Mark Loomis) - 3:02
7. Are You Gonna Be There (At The Love In)  (E McElory, D Bennett) - 2:25
8. Gone And Passes By (D Aguilar) - 3:11
9. Sitting There Standing (David Aguilar, Gary Andrijasevich, Bill Flores,  Mark Loomis, Sean Tolby) - 2:21
10.She Weaves A Tender Trap (Ed Cobb) - 2:39
11.Sweet Young Thing (Ed Cobb) - 2:57
12.I Ain't No Miracle Worker (Annette Tucker, Nancie Mantz) - 2:52
13.Blues Theme (Mike Curb) - 2:08
Tracks 6 and 13 as The Hogs

The Chocolate Watchband
1965
*Ned Torney - Guitar
*Mark Loomis - Guitar
*Rick Young - Bass Guitar
*Pete Curry - Drums
*Jo Kemling - Organ
*Danny Phay - Lead Vocals

1966–1967
*Mark Loomis - Lead Guitar, Keyboards
*David Aguilar - Lead Vocals, Harmonica
*Gary Andrijasevich - Drums, Backing Vocals
*Sean Tolby - Rhythm Guitar
*Bill 'Flo' Flores - Bass, Backing Vocals

1967
*Sean Tolby - Lead Guitar
*Bill 'Flo' Flores - Bass
*Tim Abbott - Rhyhtm Guitar
*Mark Whittaker - Drums
*Chris Flinders - Vocals

1968
*Sean Tolby - Guitar
*Bill "Flo" Flores - Bass
*Mark Loomis - Guitar
*Gary Andrijasevich - Drums
*Ned Torney - Guitar
*Danny Phay - Vocals

1965-67  The Chocolate Watchband - Melts In Your Brain...Not On Your Wrist / The Complete Recordings
1967  The Chocolate Watch Band - No Way Out
1968  The Chocolate Watch Band - The Inner Mystique
1969  The Chocolate Watchband - One Step Beyond

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Snow - Snow (1968 us, lovely sunny folk baroque psychedelia)

July 6, 2016, 6:04 pm
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Snow was one of the lucky few bands that released an LP for a major record label, releasing one eponymous LP for Epic that included an interesting and often excellent mix of Beatles influenced psychedelica.

Snow was formed from the demise of Muthers Oats. MO members Jim Sikela and Dan Mahoney hooked up with Will Ryan and started writing and peforming original songs. The group got an audition with CBS who suggested they add a female singer. The group became Snow and recorded the LP for Epic. For some reason, live performances of this group were infrequent.

Around 1970, members of the group, minus the female singer, started performing around town using their surnames. Sometimes all four of them (Sikela, Morris, Ryan, and Mahoney), sometimes three, and sometimes solo. Sounding a bit like CSNY Probably not accidental. The sound was folk/rock. In the mid 70s Will Ryan formed a duo with Phil Baron called Willio and Phillio.


Tracks
1. Where Has My Old Friend Billy Jones Gone (Jim Sikela) - 3:07
2. The Golden Oldie Show (Tom Morris) - 2:35
3. Old Uncle Timothy's Flying Balloon (William Frank Ryan) - 4:14
4. Englebert (William Frank Ryan) - 4:35
5. You Let Me Know (Tom Morris) - 3:30
6. Song Of The Sirens (Tom Morris) - 4:12
7. The Flying Miraldos (William Frank Ryan) - 3:26
8. Sweet Dreams (Jim Sikela) - 2:22
9. Bab's Song (Jim Sikela, Sandy Linzer) - 3:00
10.Caterpillar (William Frank Ryan) - 3:41

The Snow
*Jim Sikela - Guitar
*William (Will) Ryan - Vocals
*Tom Morris - Vocals
*Dan Mahoney - Drums

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The Magic Mixture - This The Magic Mixture (1967-69 uk, brilliand psychedelic rock, 2008 extra tracks issue)

July 9, 2016, 12:33 am
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The Magic Mixture were a British psychedelic band comprised Terry Thomas (guitar/vocals), Melvyn Hacker (bass), Jack Collins (drums) and Stan Curtis (organ) . Mel and Terry were  both students at the Central Foundation Boys School in London in the early of 60's. After some line up changes they released their sole album in 1968. It is regarded as one of the better examples of the psych genre, featuring engaging instrumental work on tracks such as ‘(I’m So) Sad’, ‘Urge To Leave’ and ‘Slowly The Day’.

Originally released on Saga, this superb piece of psychedelic freakbeat should be in every record collection sharing section with UK psych gods like July, Skip Bifferty, Forever Amber, Five Day Week Straw People, The Open Mind and the likes

Even though according to The Tapestry Of Delights book the Saga LPs are supposed to have been recorded at a school premises rather than in a proper studio, this album has become a classic of the genre on its own, containing some killer psychedelic sounds delivered mainly by the guitar of leader Jim Thomas and his bandmate Stan Curtis' organ riffs The line up was completed with Jack Collins on drums and Melvyn Hacker on bass guitar.

The songs are all original Magic Mixture compositions, and they are all excellent samples of what was going on in the UK when the genres who had been en vogue during the sixties (modern jazz, folk, r'n'b, pop) were all put into the same cauldron in the search of a special mixture, eventually obtaining some great pop tunes played with a freakbeat edge and some early psychedelic sounds, all pretty simple and without many gimmicks or studio trickery, but amazingly lovely and very cool It is one of the most sought after Saga releases and one that commands high sums when it shows up on eBay Wah Wah's is the first ever legit reissue, with best sound quality and best sleeve quality ever.


Tracks
1. (I'm So) Sad - 4:13
2. Urge To Leave - 2:29
3. You - 2:57
4. Slowly The Day - 3:53
5. New Man - 2:59
6. Living On A Hill - 2:56
7. It's Alright By Me - 2:59
8. When I Was Young - 2:54
9. Hey Little Girl - 2:23
10.Tomorrow's Sun - 3:20
11.Motorbike Song - 2:32
12.Moonbeams - 4:05
13.It's Alright By Me - 3:03
14.Slowly The Day - 3:09
15.Captain Marvel - 4:10
16.Pearly Queen (Steve Winwood, Jim Capaldi) - 3:01
17.Fresh Garbage (Jay Fergusson) - 2:53
18.My Days Are Numbered (Al Kooper) - 3:53
All compositions by Terry Thomas except where indicated
Bonus Tracks 13-18

The Magic Mixture
*Terry Thomas - Guitar, Vocals
*Simon Kirke - Drums (Tracks 13-14)
*Stan Curtis- Organ, Vocals
*Melvyn Hacker - Vocals
*Jack McCulloch - Drums, Vocals
*Cliff ''Fifi'' Reuter - Drums (Tracks 15-18)

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Exit - Exit (1975 swiss, good blend of guitar drivin' psych prog and krautrock, 2008 digipak remaster)

July 10, 2016, 12:54 am
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Exit emerged in 1972 in the Swiss Frauenfeld. The band around guitarist Andy Schmid and drummer Kafi Kaufmann was live very hardworking, played the opening act for Birth Control and Jane and published in 1975 their first and only, self-titled album on their own. The group existed until 1979'

Schmid and Kaufmann were then further musically active. Schmid died in 2001 when he suffered a cerebral hemorrhage during a performance of his band in Cairo. Kaufmann published from time to time solo albums to date.

Originally produced "Exit" in an edition of 350 pieces of the band, was first published in 1993 by Black rills Records as LP again. In 2008, the album was released there as a CD, extended by a handful of bonus.

Electric guitar, organ, synthesizer, bass and drums there on "Exit" to hear. Then there is the not terribly remarkable singing, for no one wants to show responsibility in the credits. The short Beihefttext of CD reissues but you can see that it is Andy Schmid, who can here mostly sounded his institution. That exit with the two above mentioned German bands on tour, had already indicated some of the music that had the Swiss offer. A dominated by the organ, herbaceous Symphoprog with slight Hard Rock bonds there on "Exit" to hear the partly quite reminiscent of the somewhat earlier productions of Birth Control and Jane. Significantly keys-heavy music of the Swiss, however, slightly jazzy and coated with a thin, easy-fuzzy West Coast flair. In addition, Pink Floyd tracks have in this music left (which, for some numbers of Jane applies).

For the Year 1975, the music sounds but quite dusty. Rather, one would tap the late 60s or early 70s. Protoprog is thus almost what play Exit here tolerably varied rock numbers, provided with some ausladenderen key deposits, swirling organ excursions, jazzy sprinklings, instrumental Jamabschnitten and subdued synth escapades ( "Talk Around"). The music is quite timid and behaved as if the band would dare to rock never really. Accordingly, the pace of the events offered rather slowly (only the introductory "Paradise" has a little more momentum), which does not necessarily increase the listener's attention (the reviewer). This is for awakened by the occasionally quite amusing pronunciation of English texts (especially in "Balade of live" - ​​what should probably be called "Ballad of life").

The subsequent numbers of very neat sounding, originating from various studio sessions bonus material are slightly jazzy and funky occasional also failed ( "Take a little more time"). With Gallus Bachmann Sax another tone comes in the music, while Martin Beerli to the latest pieces (tracks 7-9) enhances the jazz-rock direction of music with a lively electric piano (in addition to the organ and synthesizer classic progressively employed). "II" is a varied instrumental number with nice, sounding slightly Canterbury Symphojazzrock that makes quite fun. With "Clarinetto" then provides the band with a not quite to the rest matching Dixie Swing pun for a humorous conclusion.

"Exit" is a somewhat half-baked disc, but at least shows that you could make quite a decent Key Programming in Switzerland in the 70s. However, had bands like crocodile, Iceland, Circus, Welcome or Kedama but much more interesting in the offer. 
by Adamus67


Tracks
1. Paradise - 7:59
2. Balade Of Live - 11:29
3. Talk Around - 11:55
4. Bad Gossip - 6:36

The Exit
*Roman Portail - Organ, Synthesizer
*Kafi Kaufmann - Drums, Percussion
*Edwin Schweizer - Bass
*Andy Schmid - Guitar, Harmonica

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Demian / Bubble Puppy - Demian / A Gathering Of Promises (1969-70 us, awesome heavy bluesy psych rock, 2008 digipak remaster)

July 12, 2016, 7:01 pm
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Bubble Puppy was a Texan psychedelic rock band, formed in 1966 in San Antonio, Texas, by Rod Prince and Roy Cox. Looking to form a "top gun rock band" based on the concept of dual lead guitars, Prince and Cox recruited Todd Potter, a gymnast, saxophone player and guitarist. With the addition of Danny Segovia, the original line up of Bubble Puppy was complete. Bubble Puppy's live debut was as the opening act for The Who in San Antonio.

After several line-up changes, the final roster for Bubble Puppy settled at Rod Prince and Todd Potter on lead guitars, Roy Cox on bass guitar and David "Fuzzy" Fore on drums. In 1967, Bubble Puppy moved to Austin, Texas, and signed a recording contract with Houston-based International Artists, home to the 13th Floor Elevators and the Red Krayola.

Bubble Puppy scored a Top-20 U.S. hit in 1969 with their single, "Hot Smoke and Sasafrass"; it peaked at number 14 on the Billboard 100.

In 1969, Bubble Puppy released their only full-length album, A Gathering of Promises. However, despite Bubble Puppy's early success with the "Hot Smoke and Sasafrass" single, they experienced numerous conflicts with International Artists, and parted ways with the label in 1970. Signing Nick St. Nicholas of Steppenwolf as a manager, Bubble Puppy moved to Los Angeles, changed their name to Demian and signed to ABC-Dunhill Records. 

Demian released one self-titled album in 1971, but its failure to perform on the charts led to financial difficulties with the label and, in 1972, Bubble Puppy split up.

The members of Bubble Puppy continued to be active in the music industry after the band's demise. Potter and Prince played with Sirius through the late 1970s, and Fore drummed with the Texas punk rock band, D-Day, co-writing their cult hit, "Too Young to Date". In 1987, the original Bubble Puppy lineup reunited, for their comeback LP, Wheels Go Round.

The name "Bubble Puppy" was taken from "Centrifugal Bumble-Puppy", a fictitious children's game in Aldous Huxley's Brave New World. Demian was named after Herman Hesse's 1919 novel, and "Hot Smoke and Sasafrass" was a line lifted from an episode of "The Beverly Hillbillies".
CD Liner-Notes


Tracks
1. Demian - Face In The Crowd (Roy Cox) - 2:56
2. Demian - Windy City (Roy Cox) - 5:20
3. Demian - Love People (Todd Potter) - 2:18
4. Demian - Coming (Rod Prince, Roy Cox) - 5:33
5. Demian - Todd's Tune (Todd Potter) - 3:21
6. Demian - No More Tenderness (Rod Prince, Roy Cox) - 3:53
7. Demian - Are You With Me Baby (Todd Potter) - 4:56
8. Demian - Only A Loner (Rod Prince, Roy Cox) - 4:37
9. Bubble Puppy - Hot Smoke And Sassafrass (Rod Prince, Roy Cox) - 2:33
10.Bubble Puppy - Todd's Tune (Todd Potter) - 3:13
11.Bubble Puppy - I've Got To Reach You (Roy Cox, Todd Potter) - 7:52
12.Bubble Puppy - Lonely (Rod Prince, Roy Cox) - 2:55
13.Bubble Puppy - A Gathering Of Promises (Mike Taylor, Rod Prince) - 2:25
14.Bubble Puppy - Hurry Sundown (Rod Prince, Roy Cox) - 4:00
15.Bubble Puppy - Elizabeth (Rod Prince, Roy Cox) - 2:56
16.Bubble Puppy - It's Safe To Say (Jim Mings) - 2:26
17.Bubble Puppy - Road To St. Stephens (Rod Prince, Roy Cox) - 4:07
18.Bubble Puppy - Beginning (Rod Prince, Roy Cox) - 3:54

The Demian / The Bubble Puppy
*Rod Prince ‒ Lead Guitar, Vocals
*Roy Cox ‒ Bass Guitar, Vocals
*Todd Potter ‒ Lead Guitar, Vocals
*David Fore ‒ Drums, Vocals

1969/84  Bubble Puppy - Hot Smoke  

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Lighthouse - Thoughts Of Movin' On (1971 canada, beautiful brass rock with prog traces, 2016 edition)

July 15, 2016, 9:53 pm
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This 1971 Lighthouse album was produced by Jimmy Ienner. The album starts out on a strong note with "Take It Slow (Out In The Country)." It boasts a memorable melody and an impassioned lead vocal by Bob McBride, and should have been a big hit. The same could be said for the song "I Just Wanna Be Your Friend," which was written by Keith Jollimore and Larry Smith. Another highlight of the album is the love song "I'd Be So Happy." That song was covered by Three Dog Night, but has inexplicably not appeared on any Lighthouse compilation.

The late Bob McBride wails away on the rockers "What Gives You The Right,""Fly My Airplane," and "Insane." Bob also turns in heartfelt vocals on the power ballads "I'm Gonna Try To Make It" and "Walk Me Down" (written by Bob McBride). My least favorite track is "You And Me," written and sung by Howard Shore. Howard is a much better saxophonist than a vocalist. 

The rocking "Rockin' Chair," co-written and sung by Skip Prokop, is almost a novelty song. Although somewhat uneven, this album is an essential purchase for all fans of Lighthouse, along with the albums "One Fine Morning" (1970), “Lighthouse Live!” (1972), and "Sunny Days" (1972). 
by Michael King 


Tracks
1. Take It Slow (Out In The Country) (Ralph Cole, Larry Smith, Keith Jollimore) - 3:12
2. What Gives You The Right (Howard Shore) - 3:23
3. You And Me (Howard Shore) - 4:51
4. Fly My Airplane (Paul  Hoffert) - 3:46
5. I'd Be So Happy (Skip Prokop) - 4:05
6. I Just Wanna Be Your Friend (Skip Prokop, Bob McBride) - 3:10
7. I’m Gonna Try To Make It (Larry Smith, Keith Jollimore) - 3:54
8. Rockin’ Chair (Skip Prokop, Ralph Cole) - 3:39
9. Walk Me Down (Bob McBride) - 3:51
10.Insane (Skip Prokop, Bob McBride) - 3:57

Personnel
*Skip Prokop - Drums, Percussion, Vocals
*Paul Hoffert - Keyboard, Vibes
*Ralph Cole - Guitar, Vocals
*Louie Yacknin - Bass
*Bob McBride - Lead Vocals, Percussion
*Don Dinovo - Electric Violina
*Dick Armin - Electric Cello
*Mike Malone - Trumpet, Flugelhorn
*Keith Jollimore - Sax, Flute, Vocals
*Howard Shore - Sax, Flute, Vocals
*Larry Smith - Trombone, Vocals

Lighthouse
1969  Lighthouse (2012 extra tracks edition)
1969  Lighthouse - Suite Feeling (2010 Korean remaster)
1970  Peacing It All Together (2010 korean remaster)
1971  One Fine Morning
1972  Sunny Days (2008 RDI issue)
1973  Can You Feel It?  (2008 RDI issue)
Related Acts
1967  The Paupers - Magic People
1968  The Paupers · Ellis Island  (2008 remaster)
1969  The Live Adventures Of Mike Bloomfield And Al Kooper
1969  Michael Bloomfield with Nick Gravenites And Friends - Live At Bill Graham's Fillmore West (2009 remaster and expanded) 

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The Gosdin Brothers - Sounds Of Goodbye (1968 us, country folk rock milestone, 2003 remaster)

July 19, 2016, 8:39 pm
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Once you've heard them, how can you not like the Gosdin Brothers? Their 1968 album SOUNDS OF GOODBYE is one of the most satisfying blends of country, pop and folk-rock that the era produced, yet because it was aimed at the country market rather than the hip scene, the record, and indeed the act's importance, has been overshadowed by the frankly more copy-worthy Byrds and Burritos. As charter members of the country rock brotherhood that included Clarence White, Gib Guilbeau and Gene Parsons - all of whom provided the sparkling musical support for the duos studio recordings - Vern and Rex Gosdin brought a knowing savvy to the music that was tempered by the innocent freshwater sensibilities of their stunning harmonies, and the unsurpassed warmth of Vern's lead vocal. With its array of fine songs, and sympathetic production by maverick Gary S Paxton, SOUNDS OF GOODBYE is a true jewel of early country rock.

On a personal level, this reissue has been a very long time coming. It was probably about 1982 that I first forked over a portion of my meagre student income to Alie at Rhythm Records in Camden High Street, in order to secure an original copy of SOUNDS OF GOODBYE. Like most neophytes, I knew the Gosdins only from their credit on Gene Clark's eponymous debut, a favourite record that even at that stage I had worn out almost as much as my treasured Byrds LPs. With its country-cool cover graphics and an intriguing tracklist, I reckoned this rarely-espied Gosdins album had to at least be worth a listen. I certainly wasn't prepared to fall so deeply in love with the voices, the songs, the sound. And in my amazement at Rex and Vern's complete lack of visibility in the vintage country-rock milieu, I felt just had to spread the word about this incredible duo.

In subsequent years I endeavoured to track down more of that magic Gosdin Brothers sound. I picked up copies of their mid-60s 45s, including the 1967 country hit Hangin' On, and the rare 1966 Edict Records single, produced by Chris Hillman. I somehow acquired lo-fi copies of unissued material from the same period. And most importantly, I learned of Vern Gosdin's enormous stature in the back to basics 'hard' country movement of the late 1980s and early 1990s, where he had numerous number ones and became known amongst his legions of fans as the Voice, all without altering one iota the style or sound he had espoused with brother Rex in the late 1960s.

Which brings us to this compilation, of which I am most proud. It collects together the contents of the SOUNDS OF GOODBYE album, plus the aforementioned non-LP singles on World-Pacific, Edict and Bakersfield International, and some truly stellar unissued sides. Foremost is Tell Me, an out-take from the Edict session featuring accompaniment from Hillman, Michael Clarke and Clarence White, the jaw-dropping final fifty seconds of which are concrete proof that technically and melodically, White was already in a class of his own on electric guitar. Yep, it's that good.

Putting this thing together has been a blast too, as it has been with all the Big Beat Bakersfield releases - whether it be remixing those fabled out-takes, gleaning words of wisdom from biz legends Gary S Paxton and former Byrds/Gosdins manager Jim Dickson, or hanging out with the brothers' former collaborators Chris, Gib and Gene. But perhaps the most fun of all was the time Cindy and I amusedly looked on as Vern, draped in enough chains and jewellery to make a rap star envious, held court in a Cracker Barrel restaurant near Opryland, enduring a never-ending procession of middle-aged fans ooh-ing and aah-ing over him - not to mention the repeated insistence of the waitress in passing on her latest demo tape. And Vern was loving every minute of it. I realised that, to these folks at least, the Voice is still very much a country music superstar. As he should be. Take a listen to SOUNDS OF GOODBYE and see if you don't agree.
by Alec Palao 


Tracks
1. Sounds Of Goodbye (Eddie Rabbit, Richard Heard) - 2:30
2. Tell Me (Vern Gosdin, Rex Gosdin) - 3:05
3. There Must Be A Someone (I Can Turn To) (Vern Gosdin, Rex Gosdin, Cathy Gosdin) - 2:41
4. Woman's Disgrace (Floyd Guilbeau, Wayne Moore) - 2:41
5. Multiple Heartaches (Kenneth Johnson, Don Hinson) - 2:17
6. Love At First Sight (Vern Gosdin, Rex Gosdin) - 1:48
1. The Victim (Vern Gosdin, Rex Gosdin) - 2:53
8, Uncommitted Man (Kenneth Johnson, Jan Paxton) - 2:58
9. Catch The Wind (Donovan Leitch) - 2:25
10.She's Gone (Jan Paxton. Clarence White) - 2:08
11.No Matter Where You Go (There You Are) (Floyd Guilbeau) - 2:41
12.Hangin' On (Buddy Mize. Ira Allen) - 2:51
13.Wishing (Vern Gosdin Rex Gosdin) - 1:54
14.Louisiana Man (Douglas Kershaw) - 2:27
15.I'll Live Today (Floyd Guilbeau) - 2:56
16.For Us To Find (Vern Gosdin. Cathy Gosdin) - 3:02
17.One Hundred Years From Now (Vern Gosdin, Rex Gosdin) - 2:48
18.Bowling Green (Trad An Terry Slater, Jaqueline Ertel) - 2:02
19.I'll Live With God (To Die No More) (Charlie Louvin, Ira Louvin, Eddie Hill) - 2:42
20.The First Time Ever I Saw Your Face (Ewan MacColl) - 3:06
21.Low, Of The Common People (John Hurley, Ronnie Wilkins) - 3:15
22.She Still Wishes I Were You (Paul Nuckles, Buddy Mize) - 2:48
23.Had A Lot Of Friends (Vern Gosdin, Rex Gosdin) - 1:53
24.Let It Be Me (Gilbert Becaud, Manny Curtis, Pierre Delanoe) - 1:57

Musicians
*Vern Gosdin - Vocals, Guitar
*Rex Gosdin - Vocals
*Gib Guilbeau - Guitar, Vocals, Fiddle
*Gene Parsons - Harmonica, Banjo, Drums
*Clarence White - Guitar
*Wayne Moore - Rhythm Guitar, Bass
*Chris Hillman - Guitar, Bass, Madolin
*Michael Clarke - Drums
*Gary Paxton - Keyboards
*Kenny Johnson - Piano
*Jim Troxel - Drums
*Jerry Scheff - Bass
*Mike Deasy - Guitar

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The Next Morning - The Next Morning (1971 trinidad, stunning psych rock)

July 22, 2016, 10:16 pm
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The late-1960s found guitarist Scipio Sargeant having left his native Trinidad for New York City.  Living in Brooklyn his lightening quick guitar began attracting attention, including that of  fellow Trinidadian/guitarist Bert Bailey.  Discovering a shared interest in hard rock, the pair decided to form a band, quickly recruiting keyboardist Earl Arthur, brother/drummer Herb Bailey and singer Lou Phillips.  With Scipio switching to bass the quintet began attracting attention on the city's club circuit.

Almost signed by Columbia, the group ended up with a recording contract on the Roulette Records affiliated Calla label.  Recorded at New York's Electric Lady Studios, their 1971 debut "The Next Morning" was produced by Dick Jacobs and clearly drew inspiration from Jimi Hendrix.  Propelled by Arthur's insane keyboards and Bert Bailey's wicked feedback drenched guitar, self-penned material such as "Changes of the Mind", "Life Is Love" and "Back To the Stone Age" offered up impressive slices of Hendrix-styled heavy rock. The overall performances were quite attractive, making for a first-rate set that should appeal to all guitar rock lovers.
Bad-Cat


Tracks
1. The Next Morning (Lou Phillips, Scipio Sargeant, Bert Bailey) - 4:56
2. Life (Lou Phillips, Bert Bailey) - 2:57
3. Changes Of The Mind (Lou Phillips, Scipio Sargeant, Bert Bailey) - 6:01
4. Life Is Love (Lou Phillips, Earl Arthur) - 5:33
5. Back To The Stone Age (Lou Phillips, Scipio Sargeant, Bert Bailey) - 5:28
6. Adelane (Lou Phillips, Bert Bailey) - 2:51
7. A Jam Of Love (Lou Phillips, Scipio Sargeant, Herbert Bailey, Bert Bailey, Earl Arthur) - 4:24
8. Faces Are Smiling! (Lou Phillips, Bert Bailey) - 6:28

The Next Morning
*Earl Arthur - Keyboards
*Bert Bailey - Guitar
*Herbert Bailey - Drums
*Lou Phillips - Vocals
*Scipio Sargeant - Bass, Guitar

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