Singer songwriter John Buck Wilkin's second and last album from 1971, in diversed styles, kind of folk country rock delivered in a very smooth style, sometimes harder with a use of wah wah guitar. John Buck Wilkin has a soft voice and the songs are very good with meaningful lyrics.
Tracks
1. I'm Free - 2:02
2. Going On - 2:47
3. Get Up - 4:04
4. Down On Music Row - 2:24
5. Star Spangled Girl - 5:03
6. Money (Berry Gordy, Janie Bradford) - 4:13
7. Sun Moon And Stars - 4:09
8. Johnny B. Goode (Chuck Berry) - 3:39
9. Look At Me Mama - 2:59
10.God Save The Queen - 2:49
Words and Music by John Buck Wilkin except where indicated
The first thing that strikes you about this new 2CD live album from Colosseum, professionally recorded across several shows in early 1971, is how sensational it sounds. Vibrant, clear, sparkling, dynamic and alive. Mixing/mastering engineer Eroc (one Joachim Ehrig, a pro recording artist in bands and solo, as Eroc, from the 70s to the 90s, now a mastering maestro) has done an astounding job!
It’s a blistering performance, too. For those who don’t know much about Colosseum, their sound is – to my mind – part of a peculiarly British sort of jazz/rock blend, involving the likes of brass, Hammond and vibraphones, that thrived briefly for roughly a year either side of 1970. It’s a sound world that had its origins in the Graham Bond Organisation of the middle 60s – in which Colosseum mainstays Jon Hiseman (drums) and Dick Heckstall-Smith (saxes) both played – was influenced by the absurdist songwriting of Pete Brown with Jack Bruce in Cream, and that was developed by Jack Bruce’s ‘Songs for a Tailor’ (1969) album arrangements (again, featuring both Hiseman and DHS) and his 1971 touring band (which reunited him with Bond), by the Keef Hartley Band (a briefly flourishing drummer-led band with horn section), by Neil Ardley’s New Jazz Orchestra (which collaborated with Colosseum on some live shows), by the first two albums by jazz/rock arranger Michael Gibbs (1970-71) and his live band, and by one or two other acts of that brief period. It wasn’t ‘jazz-rock’ as represented by the likes of Nucleus in Britain or the Mahavishnu Orchestra in the US; rather, it was a kind of progressive rock music with jazz players and influences involved and, in Hartley and Colosseum’s cases, based more around songs than instrumentals.
If this new 2CD is so sensational, one might ask why it has languished so long in the late Colosseum bandleader Jon Hiseman’s archive, although really that question refers specifically to Disc 1, recorded live at a university in Canterbury on 12 February 1971. Let me explain…
During a British tour in early 1971, Colosseum, with doubtful enthusiasm from their management and label, set about recording shows with the Granada mobile, with the intention of capturing their onstage magic, and a clutch of hitherto unrecorded numbers, on a live album (Jon feeling their three studio albums to that point had lacked something of this). In Jon’s 2010 autobiography ‘Playing the Band’, it is explained that while nobody could by then recall how many shows had been recorded, the first was at Canterbury, the third was at Manchester University on 13 March, there was another at Manchester University on 18 March and the final recording was made at the Big Apple in Brighton on 27 March. Somewhere in between, there had also been a recording made at Bristol. The second show in Manchester – a free gig – was put on because the band had felt the first one was below par, with a ‘huge row’ in the dressing room after, and they were desperate to try and get something good on tape.
After the Brighton show, their manager, Gerry Bron, pulled the plug on more live recordings and Jon became despondent. However, they all listened again to the first Manchester show at Lansdowne Studios and realised it was much better than they’d reckoned at the time. Thus, five tracks from Manchester on March 13, and one from Bristol (date not given, track not identified) – according to Jon in his book, the only one from a show other than Manchester that they thought was any good – became the June 1971 double LP ‘Colosseum Live’. It would be their last album, bar a compilation of oddities, until reforming in 1994.
In Jon’s book, bar a passing mention, there is no discussion of the Canterbury show. The presumption is that, for whatever reason, it was simply not considered for release and everyone moved on to the next gig recording (and the next…).
Emails with Eroc reveal that the original multi-track recording from Canterbury was rather weak and needed a lot of work. Clearly, his results with today’s technology would not have been possible in 1971. Indeed, the eventual ‘Colosseum Live’ 2LP that was mixed back in the day, from the first Manchester show, was often thought to be an imperfect, rather gritty presentation, albeit capturing the energy Jon was after (the 2016 Esoteric Records expanded edition of the album, remastered by Ben Wiseman, significantly enhanced the sound). So, one presumes that technical issues rather than any questions about the performance were why the Canterbury show was never considered for release in 1971, and nor for a disc’s worth of further drawings from the well of these 1971 tapes that appeared in 2009 (more of which below).
So, what’s on the new album? Well, in different order, Disc 1 comprises Canterbury versions of five of the six (Manchester) numbers on the 1971 LP – Mike Gibbs’ ‘Tanglewood ‘63’, Jack Bruce’s ‘Rope Ladder to the Moon’, Graham Bond’s ‘Walking in the Park’ and band originals ‘Skellington’ and ‘Lost Angeles’. The 1971 LP’s sixth number* was ‘Stormy Monday’ – famously, an entirely spontaneous encore version (after that dressing room contretemps) of the classic T-Bone Walker blues. It was immediately added to the Colosseum repertoire – but, of course, it had been absent at Canterbury. The sixth number on the Canterbury disc of the new 2CD set is a barnstorming 15-minute ‘The Machine Demands a Sacrifice’ (incorporating Jon’s ‘Time Machine’ drum solo).
(* Note: ‘I Can’t Live Without You’, recorded at the first Manchester show, was added as a seventh track to all CD versions of ‘Colosseum Live’ from 1992–2004; indeed, a 1990 Japanese CD edition of the album remains the only one to NOT feature this extra.)
Disc 2 of the new 2CD ‘Live ‘71’ comprises five numbers over its 73 minutes (Colosseum specialising in rather long items) that have been released before in two contexts: firstly, as a live disc of previously-unreleased tracks in the 2009 4CD Colosseum box set ‘Morituri Te Salutant’, presumably mixed by Jon Hiseman and certainly mastered by Peter Reynolds; secondly, as the second disc in Esoteric’s 2016 2CD edition of ‘Colosseum Live’, mastered by Ben Wiseman. These are: ‘Rope Ladder’ and ‘Skellington’ from Brighton; ‘I Can’t Live Without You / Time Machine / The Machine Demands a Sacrifice’ from the first Manchester show (the ‘I Can’t Live’ section being the bit added to those 1992-2004 single CD editions of the original live album, mentioned earlier); ‘The Valentyne Suite’ from the second Manchester show; and ‘Stormy Monday’ from Bristol.
Is Eroc’s mastering of the items on this disc better than the previous two outings? I believe it is. Others with more time can do a more comprehensive A/B, but from a few minutes each of two tracks compared between the Esoteric release and the Repertoire one, it’s clear that there is more warmth and depth in Eroc’s mastering without sacrificing any of the presence; Wiseman’s mastering on the Esoteric release is good, but chooses to emphasise the top end, with a slight harshness (albeit plenty of punch). At the very least, Eroc brings something fresh to the tracks on this disc.
It is Disc 1, however, the 74 minutes of magic from Canterbury, that make this release essential for anyone interested in British progressive rock. To reiterate: the performance is great and the mixing and mastering are sensational. In short, a deftly covered Chris Farlowe fluffed entry into one track aside, it’s better in my view than the released-at-the-time ‘Colosseum Live’, which is itself a classic of the era.
‘Colosseum Live ‘71’ is one of five (!) Colosseum live albums that Repertoire has just released – the others being a ‘best of the bootlegs’, from quality amateur recordings made between 1969–71 at Boston, Montreux, Turku and Rome, and newly mastered (also by Eroc). The first three of these are probably of most interest to fans, in featuring vocalist Chris Farlowe’s predecessors James Litherland and Dave Clempson along with a diversity of material. The Rome 1971 set, with Chris, comprises four numbers familiar from the pro-recorded Canterbury set. Seventies ‘Melody Maker’ personality and uber Colosseum fan Chris Welch contributes notes to all of these releases.
If I’ve mentioned Eroc a few times, it’s partly to put right an administrative error: in contrast to the revamped bootleg albums, he is not mentioned at all in the ‘Live ‘71’ booklet, where his work was many times more demanding. (A more minor error in the ‘Live ‘71’ package miscredits the Disc 2 ‘Stormy Monday’ as being from Manchester rather than Bristol.)
by Colin H, 19/07/2020
Tracks
Disc 1
1. Tanglewood '63 (Michael Gibbs) - 13:09
2. Rope Ladder To The Moon (Jack Bruce, Pete Brown) - 8:39
3. Walking In The Park (Graham Bond) - 8:13
4. Skellington (Dave "Clem" Clempson, Jon Hiseman) - 13:21
5. The Machine Demands A Sacrifice (Jon Hiseman, James Litherland, Dick Heckstall-Smith, Pete Brown) - 14:59
6. Lost Angeles (Chris Farlowe, Dave Greenslade, Dick Heckstall-Smith) - 15:53
Recorded live at the University of Kent, 12 February 1971
Disc 2
1. Rope Ladder To The Moon (Jack Bruce, Pete Brown) - 11:14
2. Skellington (Dave "Clem" Clempson, Jon Hiseman) - 14:18
3. I Can't Live Without You-The Time Machine-The Machine Demands A Sacrifice (James Litherland, Jon Hiseman, Dick Heckstall-Smith, Pete Brown) - 21:37
4. The Valentyne Suite (Jon Hiseman, Dave Greenslade) - 21:13
5. Stormy Monday Blues (Aron T. Walker) - 5:12
Tracks 1-2 recorded live at the Big Apple, Brighton 27 March 1971
Tracks 3,5 recorded live at Manchester Univercity 13 March 1971
Track 4 recorded live at Manchester Univercity 18 March 1971
Sky King formed in Ann Arbor Michigan in about 1974 and their first and only album in 1975. Their nucleus ((Chris Brubeck, David Mason, Peter Ruth) had all played together in “New Heavenly Blue" who had released two albums, "Educated Homegrown” (1970) and “New Heavenly Blue” (1972).
Chris Brubeck: A multi-instrumentalist (fretless electric bass, bass trombone, piano), vocalist, composer and orchestrator, and the son of jazz legend Dave Brubeck, born March 19, 1952 in Los Angeles, California. His resume includes stints in The Brubeck LaVerne Trio, New Heavenly Blue, Sky King, The Brubeck Brothers Quartet, The Dave Brubeck Quartet, The New Brubeck Quartet, Triple Play, and Two Generations Of Brubeck
David Mason: an American guitarist, violinist, vocalist from NYC (not to be confused with English guitarist Dave Mason) who had worked with Dave Brubeck in the early 1970s as well as being a member in “New Heavenly Blue”. Rick Jacobi: guitar. Ostensibly a commercial artist he only seems to have played in this band. Chris Coan: vocals. Coan seems to have come from theatre with no musical band experience prior to this.
Richie Morales: a jazz drummer who had played with Dave Brubeck (in Two Generations of Brubeck) and many others. Peter "Madcat" Ruth: is an American harmonica player, based in Ann Arbor, Michigan, born in Chicago 1949. He played with Dave Brubeck, was in New Heavenly Blue, and done a lot of session work with people like Bootsy Collins, Ken Nordine, and Blackfoot.
For this debut album they added the full horn section from Oakland, California’s R&B-based soul, jazz and funk band “Tower of Power” (Stephen MacKenzie Kupka: saxophonist and composer, Emilio Castillo: saxophonist, Lenny Pickett : alto and tenor saxophonist), Greg Adams: Trumpet, Flugelhorn) as well as Jerry Bergonzi: Jazz saxophonist, who had played with Dave Brubeck in Two Generations of Brubeck
Perry Robinson: a free jazz and klezmer clarinettist who was in many jazz groups including the Galaxie Dream Band in the 70s,and Two Generations of Brubeck with Chris Brubeck and Peter Ruth. He has done much session work as well as solo. Lee Pastora: a conga player who has done much session work with jazz acts (especially Don Ellis) and rock bands.
Joshie Armstead: backing vocalist. In the early 1960's she was a member of the Ike & Tina Turner Revue as one of the original Ikettes. From 1964 -1967 she was part of a songwriting team with Nickolas Ashford and Valerie Simpson, co-writing songs such as 'Let's Go Get Stoned' and 'I Don't Need No Doctor' by Ray Charles)
Maretha Stewart: backing vocalist. She is a singer and voice actress, known for The Wiz , Schoolhouse Rock! and The Muppets. She has done much session work and is perhaps best known for her improvised backing vocals on the track "If Dogs Run Free" from Bob Dylan’s “New Morning”.
Cissy Houston: backing vocalist. The legendary Cissy (mother of Whitney and sometimes Elvis backup singer), vocalist in The Drinkard Singers and the Sweet Inspirations as well as a lot of solo pop and gospel.
The music is really jazz rock though incorporating folk, blues, jazz, country, funk and experimental asides.
The album was produced by Martyn Ford and an uncredited Steve Cropper (tracks: 1-4, 6, 8). Guitarist rick Jacobi says, “By the way, most of the album was actually recorded and produced by Steve Cropper at his studio in Memphis. He recorded us for free on spec (including paying for us to stay at a motel for two weeks), and eventually sold the material to Columbia. We finished the recording in NY at Columbia's "A" studio; Martyn Ford was assigned to produce us, and we more or less steamrollered right over him as much as possible. Cropper really deserves most of the credit, but as I recall, he and Columbia were kind of "on the outs" at the time. Cropper was a super-nice guy, and a real pleasure to work and hang out with”.
Singer/guitarist J. Steve Soles had been a member of Jeff Barry's stable of mid-'70s songwriters working with a broad array of acts ranging from The Archies to Dusty Springfield. He and keyboard player Ned Albright had placed a pair of songs on The Monkees' final studio album - 1970's "Changes".
In the early '70s the two were members of the New York based band Tidbits which attracted the attention of Artie Ripp. Ripp signed them to his short-lived Family Records. Released in 1973, "Greetings from Jamaica" found Soles and Albright fronting a true band showcasing the talents of drummer Tali Jackson, and bass player David Kapell. Self-produced, the album was interesting if for no other reason than Soles and company were groundbreakers, being one of the first American bands I know of to record an album in Jamaica (Kingston's Dynamic Sound Studios).
The funny thing is even though the recorded the album with Carlton Lee engineering and help from various local musicians, with the exceptions of 'My Friend Maude' and 'Jamaican Sunset' reggae influences were far and few between. So if there wasn't much reggae, what was on this one? Well, the answer was a relative straightforward and quite impressive collection of English inspired pop and rock material. Largely penned by Soles and Albright (Soles then-wife/actress P.J. Soles co-wrote two tracks), selections such as 'Carol' and 'It's a Come On' were full of Badfinger, Emitt Rhodes, and Paul McCartney influences.
And here's where it got weird. In 1976 Morris Levy's infamous Tiger Lily Records reissued the album as a Soles product - "Steve Soles and Friends". The cover art was different, but the album featured the same eleven songs in the same track order as the 1973 Tidbits LP.
Culpeper’s Orchard were formed around 1969 in Denmark. The band’s original line up consisted of singer Cy Nicklin, guitarist Neils Hendriksen, bassist Michael Friis and drummer Rodger Barker. Throughout the 1960s, Nicklin had been performing with Sandy Denny and the Strawbs, along with Day of Phoenix. After meeting Hendriksen, Culpeper’s Orchard were soon formed. While the band would go through several line ups during their time together, Nicklin and Friis would be the band’s lone two consistent members.
Along with featuring the band’s three albums for Polydor Records, there’s an essay included in the set’s booklet written by journalist Malcolm Dome. In the essay are exclusive interviews with members of the band, who all help tell the story of the band. With there being close to nothing on the band’s story online, this is a great thing to have for those who might be new to the band.
Released in March 1971, the band’s first album received some buzz. Today, the original vinyl is now a sought out collector’s item and is usually regarded as an overlooked album in the psychedelic/progressive sub genres. Listening to this album, the band are an amazing amalgamation of various genres. The nine songs on this album range from heavy psychedelic rockers (“Mountain Music”) to progressive rock mini-epics (“Tea Party for an Orchard”)- with a side of US West Coast folk rock (“Blues Day Morning”). From beginning to end, Culpeper’s Orchard is a mind-bending psychedelic trip. If any of this sounds interesting to you, then you really owe it to yourself to listen to this album. It truly is a feast for the ears.
Second Sight is a surprisingly pleasant album. By this point, the band had stripped down a little bit on their heaviness- leaning more towards a progressive rock/folk rock sound. If the debut was a psychedelic/acid rock trip, this is an overall folk rock driven album. Examples include the pleasantly folk sounds of “Julia” and the West Coast psychedelic jam “Classified Ads.” If you want a little bit of everything, look no further than the album’s nine-minute epic “Mind Pollution”- a progressive/psychedelic rocker that sounds like it could’ve been on the first album, albeit lighter production. Overall, this is not a bad follow up.
Going for a Song doesn’t seem to have been released on CD before. For their third album, the band headed towards a more country rock sound- which feels off compared to the first two albums. While most of this album is a snooze, there are a few decent songs here. “Trying to Find a Home” and “Couldn’t Be Better,” while more commercial, are decent pop tunes- with the latter being a tad bit funky. Of the ten songs on here, “Roger and Out” comes the closest to sound like something from the first two album- given its soaring electric guitar riffs and slight psychedelic feel.
Culpeper’s Orchard were soon dropped by Polydor Records shortly after the release of Going for a Song. Despite this, the band kept performing live. By 1977, the band released a fourth studio album- All Dressed Up & Nowhere to Go– on Sonet Records. This was not released under the Culpeper’s Orchard name- with the band’s name now shortened to Culpeper. Given that it wasn’t released by Polydor Records, All Dressed Up is not included in this set.
by Aaron Conn, October/2020
Tracks
Disc 1
1. Banjocul (Cy Nicklin) - 0:46
2. Mountain Music (Part 1) (Cy Nicklin) - 6:27
3. Hey You People (Cy Nicklin) - 1:29
4. Teaparty For An Orchard (Cy Nicklin, Michael Friis, Thomsen) - 6:10
5. Ode To Resistance (Cy Nicklin, Michael Friis) - 5:50
6. Your Song And Mine (Cy Nicklin, Nils Henriksen) - 5:34
7. Gideon's Trap (Michael Friis) - 5:44
8. Blue Day's Morning (Nils Henriksen) - 2:10
9. Mountain Music (Part 2) (Cy Nicklin) - 7:27
10.Steamhouse (Michael Friis) - 2:34
11.Julia (Cy Nicklin) - 3:17
12.Keyboard Waltz (Cy Nicklin, Michael Friis) - 4:24
13.Classified Ads (Cy Nicklin) - 4:13
14.Late Night Woman Blues (Nils Henriksen) - 6:40
Tracks 1-9 taken from the album "Culpeper's Orchard" released in 1971
Track 10 released as a single 1971
Tracks 11-14 taken from the album "Second Sight" released in 1972
Disc 2
1. Mind Pollution-Weather Report (Cy Nicklin) - 9:36
2. Autumn Of It All (Michael Friis) - 4:08
3. Satisfied Mind (Andrew Jackson Rhodes, Joe Herman Hayes) - 6:08
4. Trying To Find Home (Cy Nicklin) - 3:41
5. She's Back Again (Michael Friis, Tom McEwan) - 3:20
6. Good Days (Cy Nicklin, Gary Nicklin) - 2:34
7. Alone In Pain (Cy Nicklin, Nils Tuxen) - 4:12
8. Time Flies (Niels Vangkilde, Tom McEwan) - 6:17
9. Sailor (Cy Nicklin, Gary Nicklin) - 6:27
10.Couldn't Be Better (Cy Nicklin, Gary Nicklin) - 4:16
11.Roger And Out (Cy Nicklin, Gary Nicklin) - 3:54
12.Before It Begun (Michael Friis, Tom McEwan) - 2:54
13.New Day New Day (Cy Nicklin) - 1:37
14.Raving (Cy Nicklin) - 5:13
15.Satisfied Mind (Andrew Jackson Rhodes, Joe Herman Hayes) - 5:41
16.Good Days (Cy Nicklin, Gary Nicklin) - 3:35
Tracks 1-3 taken from the album "Second Sight" released in 1972
Tracks 4-13 taken from the album "Going For A Song" released 1972
Track 14 taken from the compilation "Dansk Arbejde 2" released in 1972
Tracks 15-16 recorded live at the Holmenkollen open-air concert 1973
Culpeper's Orchard
*Cy Nicklin - Lead Vocals, Rhythm, Acoustic Guitars, Percussion
*Nils Henriksen - Lead, Acoustic Guitars, Piano, Harpsichord, Lead Vocals
*Michael Friis - Bass, Organ, Flute, Two Finger Piano, Percussion
One of America’s best loved bands of the early 1970s. Frijid Pink came from Detroit and specialised in a brand of soulful rock typical of the city that gave birth to Motown. After they hit the charts with ‘House Of The Rising Sun’ they were often compared by many critics to the MC5 and the Stooges.
Second album ‘Defrosted’ was first released in 1970. It is more blues-based hard rock, verging towards heavy metal than its predecessor, yet still contains their characteristic signature ‘fuzz guitar’ sound that featured prominently on the group’s debut LP.
‘Defrosted’ is packed with rocking performances featuring Kelly Green (vocals), Gary Ray Thompson (guitar) and Rich Stevers (drums) on original compositions such as ‘Black Lace’ and the Zeppelin-esque ‘Sing A Song For Freedom’.
This was the last album to feature founders Green and Thompson, as their shock departure from the group soon followed, and subsequent albums changed musical style.
Tracks
1. Black Lace (Gary Ray Thompson, Tom Beaudry) - 6:11
2. Sing A Song For Freedom (Gary Ray Thompson, Richard Stevers, Tom Beaudry) - 3:02
3. I'll Never Be Lonely (Gary Ray Thompson, Tom Beaudry, Tom Harris) - 5:03
4. Bye Bye Blues (Gary Ray Thompson, Tom Beaudry) - 4:57
5. Pain In My Heart (Gary Ray Thompson, Tom Beaudry) - 8:22
6. Sloony (Gary Ray Thompson, Richard Stevers, Tom Harris) - 3:38
7. I'm Movin' (Gary Ray Thompson, Tom Beaudry) - 4:54
8. I Haven't Got The Time (Gary Ray Thompson, Tom Beaudry) - 4:23
9. We're Gonna Be There (Gary Ray Thompson, Richard Stevers, Tom Beaudry, Tom Harris, Vinny Testa) - 2:29
10.Shorty Kline (Gary Ray Thompson, Tom Beaudry) - 2:22
11.I Love Her (Craig Webb, Jon Wearing, Larry Zelanka, Richard Stevers, Tom Harris) - 2:46
12.Lost Son (Craig Webb, Jon Wearing, Larry Zelanka, Richard Stevers, Tom Harris) - 2:20
