CMU - Open Spaces (1971 uk, brilliant prog, jazz, blues, folk rock with marvelous female vocals, 2008 Esoteric remaster)

CMU stands for Contemporary Music Unit (no less), and were one of the few progressive rock bands to feature both male and female vocals. With influences mainly from psych and blues, their debut "Open Spaces" occasionally reminds a bit of Affinity, especially on the passages sung by Larraine Odell.

The opener "Henry" is one of the better tracks, based in a nice melody and with tasteful, atmospheric arrangements consisting of piano, guitar, bass, drums and some almost inaudible flute. "Voodoo Man" sounds like something Arthur Brown could have done, and the heavy chorus in the middle introduces the raspy voice of James Gordon, who together with guitarist Ian Hamlett is the main reason for the bluesy touch of this album. Hamlett really proves that point on the instrumental "Slow and Lonesome Blues" that is actually a bit faster and more energetic than what you would expect from such a title. "Chantecleer" starts slow, dark and moody with some haunting pairing of vocals from Odell and Gordon, but builds quickly up to a fast, organ-driven and almost funky tune where an influence from Arthur Brown again can be detected.

The second side opens with "Japan", an attempt at traditional Japanese folk music that sounds surprisingly authentic, especially when considering that the band just used their usual instruments. "Clown" is a lightweight and whimsical tune, but catchy enough to be worthwhile, and Gordon's vocals has an unusual operatic twist here. One of the most best melodies on the record can be found in "Mystical Sounds", a ballad dominated by Hamlet's flute and Odell's voice. The title-track is a lengthy, mystical and atmospheric journey with lots of dreamy, wordless vocals from the two singers, and keyboardist Terry Mortimer also contributes with some spooky violin here
Vintage-prog

Tracks
1. Henry (L. Odell, R. Odell) - 4:42
2. Voodoo Man (L. Odell, R. Odell) - 4:35
3. Slow And Lonesome Blues (Ed Lee) - 5:06
4. Chanticleer (J. Gordon, L. Odell, Ed Lee, T. Mortimer) - 6:10
5. Japan (Sanders, arr. CMU) - 2:44
6. Clown (J. Gordon, Ed Lee) - 2:34
7. Mystical Sounds (L. Odell, R. Odell) - 3:11
8. Open Spaces (Ed Lee, T. Mortimer) - 11:34

CMU 
*Jim Gordon - Vocals, Guitar, Keyboards
*Ian Hamlett - Guitar
*Larraine Odell - Vocals
*Leary Hasson - Keyboards
*Roger Odell - Drums
*Ed Lee - Bass
*Terry Mortimer - Guitar, Fuzz Guitar, Organ, Piano

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B.B.Blunder - Workers' Playtime (1971 uk, splendid heavy psych with blues shades, 2009 double disc remaster)

B.B. Blunder's story is a most confusing one for such a short-lived and little-known band. The group was essentially an offshoot of the Blossom Toes, one of the best underground British rock acts of the '60s, noted for both their droll psychedelic pop and a heavier, dual-lead guitar-oriented sound.

When the Blossom Toes broke up at the end of the '60s, guitarist Brian Godding and bassist Brian Belshaw continued to play together, sometimes in association with singer (and Godding's sister-in-law) Julie Driscoll. Eventually, Kevin Westlake, who had drummed on the Blossom Toes' first LP, joined them, and the trio recorded an album, with Driscoll helping out on vocals.

Although the group could have just as well been called Blossom Toes as B.B. Blunder, their sound was in fact significantly different than what they'd played on the Toes' albums. The songwriting was, well, loose, and unfocused. The record's principal attractions are the multi-layered guitars, which have a certain just-post-Abbey Road charm, with lengthy electric-acoustic passages bordering on jams.

After it was issued as Workers Playtime in 1971, Reg King (formerly of mid-'60s cult mod band the Action) joined the group for live work. The enterprise was basically a non-starter, though. Westlake soon quit, new members joined (including Reg King's brother and fellow Action veteran Bam King), and the group fell apart by the end of 1971.

To add to the confusion surrounding this none-too-tight aggregation, in 1989, their sole album was reissued under the title New Day by Decal, who attributed the recording to "Blossom Toes '70 (formerly B.B. Blunder)." This is why this none-too-interesting one-shot record also shows up in the Blossom Toes discography.
by Richie Unterberger

Tracks

Disc 1

1. Sticky Living! - 6:33

2. You’re So Young - 5:26

3. Lost Horizons (Brian Godding, Brian Belshaw, Kevin Westlake) - 2:06

4. Research (Brian Godding, Brian Belshaw, Kevin Westlake) - 4:34

5. Rocky Yagbag (Kevin Westlake) - 3:59

6. Seed - 5:28

7. Put Your Money Where Your Mouth Is (Brian Godding, Brian Belshaw, Kevin Westlake) - 3:32

8. Rise - 5:04

9. Moondance (Brian Godding, Brian Belshaw, Kevin Westlake) - 1:23

10.New Day - 4:40

All compositions by Brian Godding except where indicated

Disc 2
1. Backstreet (Brian Godding) - 3:55
2. Freedom (Brian Belshaw) - 5:42 
3. Black Crow's Nest (Kevin Westlake) - 3:30 
4. When I Was In The Country (Kevin Westlake) - 4:43
5. A Hard Day's Night (John Lennon, Paul McCartney) - 4:21 
6. Come On Eyes (Kevin Westlake) - 7:17 
7. Snippet With Tippett (Keith Tippett) - 0:25
8. Square Dance (Brian Godding, Brian Belshaw, Kevin Westlake) - 5:38 
9. Earache (Brian Godding, Brian Belshaw, Kevin Westlake) - 8:05 
10.Robots (Brian Godding, Brian Belshaw, Kevin Westlake) - 4:58 
11.Waltz (Brian Godding, Brian Belshaw, Kevin Westlake) - 6:02

The B.B.Blunder
*Brian Godding - Vocals, Guitar, Piano
*Kevin Westlake - Vocals, Acoustic Guitar, Drums
*Brian Belshaw - Vocals
With
*Julie Driscoll - Vocals
*Marc Charig - Trumpet
*Nick Evans - Trombone
*Chris Kimsey - Piano
*Keith Tippett - Piano
*Barry Jenkins - Piano
*Mick Taylor - Bass
*Brian Auger - Piano

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Felt - Felt (1971 us, fantastic psych rock with bluesy and jazzy spots, 2010 remaster)

Felt was formed in Alabama in the late '60s around the talents of Myke Jackson (guitars), Mike Neel (drums), Tommy Gilstrap (bass), Stan Lee (guitars), and Allan Dalrymple (keyboards). The band's self-titled album, released on the small Nasco label in 1971, contains half-a-dozen original songs written for the most part by Jackson.

The mostly blues-styled songs on this album are full of great guitar work and contain fine Beatles-esque harmony vocals. While most of this album has a blues feeling to it, some of the songs hint of progressive rock with swirling keyboards, intense drumming, and blistering guitar solos. The album has recently been discovered for its musical excellence and has become a very rare collectors' item.
by Keith Pettipas

Tracks
1. Look At the Sun (Myke Jackson) - 3:18
2. Now She's Gone (Myke Jackson, Mike Neel) - 5:29
3. Weepin' Mama Blues (Myke Jackson) - 4:40
4. World (Myke Jackson, Mike Neel) - 5:36
5. The Change (Myke Jackson) - 10:10
6. Destination (Myke Jackson) - 6:43

Felt
*Myke Jackson - Guitars
*Mike Neel - Drums
*Tommy Gilstrap - Bass
*Stan Lee - Guitars
*Allan Dalrymple - Keyboards

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Nightcrawlers - Little Black Egg (1967 us, great garage psych beat rock)

The Nightcrawlers found themselves surrounded by a heap of controversy when this single was first released and started to gain a respectable measure of regional airplay in 1965. A few paranoid and uptight buzzcut/flattop/flatland station managers feared it was a surreptitious, “Louie, Louie”-styled 45 as word got around that “The Little Black Egg” held thinly veiled lyrics that housed the far larger degenerate call-to-arms of, (gulp) interracial sex (I ask you...)

Well, it was 1965 in the deep, deep south and although this ridiculous projection of a lurking racial subtext got it banned throughout regional stations in The Nightcrawlers’ home state of Florida, its orbit returned when it was reissued on Kapp in 1967 in a “Space Oddity” type reissue boomerang effect. “The Little Black Egg” would have been just another sub-Beau Brummels-styled folk rock jingle-jangle xerox if not for the supremely non-plussing lyrics that centred around the lead singer’s ultra-possessiveness about his “little black egg with the little white specks.” Interracial sex, my ass: this guy’s found a magic egg, and yikes, he’s REAL particular about it! Musically, it’s kind of like The Daily Flash if they had a vocalist who delivered in a practically hoarse, non-quavering Buddy Holly style the following words under the thrall of said mysterious egg:

“I don’t care what they say/I’m gonna keep it anyway/I won’t let them stretch their necks/To see my little black egg/with the little white specks.” And those vocals get even more hoarsely desperate on the flipside “You’re Running Wild” where The ‘Crawlers turn things up a many notches higher in velocity in a far more garage-informed manner as chunks of surf drums get chucked in for good measure. A roaming dummy of a bass line threatens the rattling, tinny din of drums in a total Battle of The Bands triumph.

The drummer strives to keep up and drive the thing as the singer brusquely drools over two spindly guitars that can barely stand on their own all about his dream doll and her “luvvlee bodee I looong to touch” as the surfin’ drums curl and break in the background. The two guitars just continue to spindle out with just the skinniest of strumming and barely a solo, but it is all-spirited with every sweated-out note.

Said singer continues pining and drooling senselessly away, braying out uncontrollably, “You’re running wild! You’re running wild!” which actually translates more to a single, run-on sentence approximating “Yerrunwile! Yerrunwile!” as he’s kicking himself in both the head and the ass for not knowing what he did or did not do to lose a girl so fine. He finally resigns his lyrics of repetitive heartbreak to close resignedly with “So lonely...AH, uh so lonely...girl, a-so lonely...AH! Wuh, a-so lonely!’ as his heart takes the last westbound train out of town at dusk to beat the setting sun with the setting of his own heart.

Big Beat recently reissued The Nightcrawlers’ sole album, “The Little Black Egg” on CD with many bonus cuts and so forth, and the title track pops up on the “Nuggets” 4 CD set. But it is worth pointing out that the original single sounds far superior...and can be found for half the cost of a single CD. This single was the best thing The Nightcrawlers ever laid down. The choice is yours...

Tracks
1. The Little Black Egg
2. A Basket Of Flowers
3. Sally In The Alley
4. Who Knows
5. Me For Me
6. If You Want My Love (Undubbed Version)
7. I Don't Remember
8. If I Were You
9. The Last Ship
10.Show Me The Way
11.What Time Is It
12.You're Running Wild
13.Washboard
14.Sticks And Stones
15.He Shouldn't Hurt You
16.Cry
17.(Get Your Kicks On) Route 66
18.All Day And All Of The Night
19.Grown Up Wrong
20.Oh! Baby (We Got A Good Thing Goin')
21.Sea Of Love
22.It's All Over Now
23.Washboard (Early Version)
24.Heart Of Stone

The Nightcrawlers
*Tommy Ruger - Drums
*Rob Rouse - Vocal, Harmonica Tambourine
*Charlie Conlon - Bass, Vocals
*Sylvan Wells - Lead Guitar
*Pete Thomason - Rhythm Guitar, Vocal

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Sir Douglas Quintet - The Best Of ....Plus (1964-1966 us, exciting garage roots 'n' roll)

Recorded between 1964 and 1966, this set is a companion to THE SIR DOUGLAS QUINTET IS BACK! The Sir Douglas Quintet came off more like a gritty amalgam of every strain of music that drifted through the airwaves of Texas.

Leader Doug Sahm had wide-ranging musical tastes but he attached himself to every performance with such pure and utter confidence that the tendency to label his music falls away as its wonderful wholeness becomes apparent. "She's About a Mover," the number that put the Quintet on the map, opens things up. Delights abound--from the riveting "The Rains Came" to the bluesy drama of "In The Pines."

The breadth found in this timeless music can be heard as the blueprint for Doug Sahm's music career over the following three decades. Restless, reverent, honest and bold, this is an essential Sir Douglas Quintet songs collection from their early period (it's not an all-time best of compilation despite its title)

Tracks
1. She's About a Mover - 2:23
2. Beginning of the End - 2:58
3. Tracker - 2:33
4. You're out Walkin' the Streets Tonight - 2:16
5. In the Pines - 2:22
6. In the Jailhouse Now #2 - 2:22
7. Quarter to Three - 1:45
8. One Way Out - 3:12
9. Rains Came - 2:14
10. Please Just Say So - 2:25
11. We'll Take Our Last Walk Tonight - 2:44
12. You're out Walkin' the Streets Tonight - 1:50
13. Sugar Bee - 2:19
14. Blue Norther - 2:17
15. Story of John Hardy - 2:42
16. In Time - 2:15
17. Bacon Fat - 2:26
18. She's Gotta Be Boss - 2:11
19. Love Don't Treat Me Fair - 1:32
20. She Digs My Love - 2:47
21. When I Sing the Blues - 2:31

The Sir Douglas Quintet
*Doug Sahm - Vocals, Guitar
*Jack Barber - Bass Guitar
*Augie Meyers - Keyboards
*Frank Morin - Saxophone, Percussion
*Johnny Perez - Drums

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Parish Hall - Parish Hall (1970 us, excellent hard blues rock)

Parish Hall was a power trio from the California Bay Area. The band consisted of Gary Wagner (guitar, piano, vocals), John Haden (bass), and Steve Adams (drums). Specializing in a hard rock/blues rock sound, their album was originally released near the end of 1970 on a small local California record label.

Reminiscent of the sound of another popular trio of the day, the Jimi Hendrix Experience, Parish Hall had begun to gain the recognition of some European collectors by the late 1990s, and originals have fetched high prices in collector's markets. All songs on this album are originals written by Wagner and hold up well when compared to other hard rock acts.
by Keith Pettipas

Tracks
1 My Eyes Are Getting Heavy - 5:16
2 Dynaflow  3:06
3 Ain't Feelin' Too Bad - 2:50
4 Silver Ghost - 2:53
5 Skid Row Runner - 3:19
6 Lucanna - 2:32
7 We're Gonna Burn Together - 2:37
8 Somebody Got the Blues - 3:02
9 How Can You Win? - 2:53
10 Take Me with You When You Go - 2:55
All songs written by Gary Wagner

Parish Hall
*Gary Wagner -Vocals, Guitar, Piano
*Steve Adams - Drums
*John Haden - Bass

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Stark Naked - Stark Naked (1971 us, great hard rock with prog jazz traces, expanded issue)

Crate-crawling rock fans who have only encountered the band Stark Naked on record declare them a dark prog rock band that flirted with hard rock, but their Long Island, NY, hometown fan base also remember them as having a huge, theatrical stage show that acts like Kiss and Alice Cooper would later emulate.

Members Lyne Bunn (vocals), Richard Belsky (lead guitar), Jim Monahan (guitar), Tom Rubino (bass), Paul Venier (keyboards), and John Fragos (drums) were either in their teens or early twenties when their band's self-titled debut was issued by RCA in 1971. The album climbed to the number six slot on the charts but while on a tour supporting the release, the band's money disappeared.

They accused their missing manager of making off with the cash, became disillusioned with the music business, and soon broke up. Venier and Fragos weren't out of the business long before teaming once again in the band Salty Dog, a hard rock and somewhat prog outfit that recorded and toured throughout the '70s. Venier would later become a standup comedian and return to music in 2003 with his soft rock band, V, and their debut full-length, Better Late Than Never.
by David Jeffries

Tracks
1. All of Them Witches (P. Venier, J. Monahan, J. Fragos) - 8:55
2. Done (P. Venier) - 5:48
3. Sins (R. Belskin, L. Bunn) - 4:46
4. Look Again (P. Venier) - 11:04
5. Wasted Time (P. Venier, J. Monahan) - 4:48
6. Iceberg (P. Venier, J. Fragos, T. Rubino) - 5:12
7. Done (Mono 45 Version) (P. Venier) - 2:53
8. Sins (Mono 45 Version) (R. Belskin, L. Bunn) - 2:57

Stark Naked
*Richard Belskin - Guitar
*Lyne Bunn - Percussion, Vocals
*John Fragos - Percussion, Drums, Gong
*Jim Monahan - Guitar, Vocals
*Tom Rubino - Bass
*Paul Venier - Percussion, Keyboards, Vocals

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Blues Dimension - Blues Dimension (1968-69 holland, great psych blues jazz rock, 2002 bonus tracks edition and 2014 remaster)

One of the better rhythm'n'blues groups from Eastern Netherlands. Founded in 1967 in Zwolle by Leen Ripke (v, ex-Mozarts) and Rudy van Dijk (s, ex-Jazz Prophets, later in Erwin Somer Group, Flash & Dance Band and Farrago) and named after the American group the Fifth Dimension. In the beginning, it consisted of the above plus Jaap de Gronde, Karel v.d. Velde, Dirk-Jan v.d. Boogaard (tr, soon replaced by Chiel Scholder) and Jaap van Eyck (b, ex-Moans, to Sound Magics).

By the time they began recording, the line-up had changed to: Leen, Rudy, Helmig v.d. Vegt (o, p, ex-Vara Dansorkest, to Cuby & Blizzards), Herman Deinum (b, ex-Special Set and Mozarts, also to Cuby), Cees de Best (g), Michel Sardoen (tr) and Hans Lafaille (dr, ex-Jailhouse Jazzband, to Cuby; in 1969 replaced by Herman van Boeijen, ex-George Cash, to Fullhouse). In 1969, the group's breakup was announced in the title of their last LP; on this record, Jaap van Eyck can be heard once again.

Tracks
1. Get Ready (Ray Robinson) - 2:14
2. Wonderland (Helmig K. Van Der Vegt, Leendert Ripke) - 3:15
3. Your One And Only Man (Otis Redding) - 3:39
4. Things I Remember (Helmig K. Van Der Vegt, Leendert Ripke) - 2:49
5. Twilight Mood (Helmig K. Van Der Vegt, Leendert Ripke) - 2:44
6. Don't Wanna Lose Her (Helmig K. Van Der Vegt, Rudy Van Dijk) - 2:22
7. Sticks And Stones (Titus Turner) - 1:50
8. Blues Dimension (Helmig K. Van Der Vegt, Rudy Van Dijk) - 9:20
9. Lovely Adorable Sue (Blues Dimension) - 3:01
10.Baby I Need Your Lovin' (Helmig K. Van Der Vegt, Rudy Van Dijk, Leendert Ripke) - 2:24
11.Double Deal (Helmig K. Van Der Vegt, Rudy Van Dijk, Leendert Ripke) - 3:11
12.Stay (Helmig K. Van Der Vegt, Leendert Ripke) - 3:32
13.Battle-Field Of Love (Helmig K. Van Der Vegt, Rudy Van Dijk, Leendert Ripke) - 4:43
14.Ivory Tower Of Utopia (Jaap Van Eik, Leendert Ripke) - 3:13
15.Supernational Powers (Helmig K. Van Der Vegt, Leendert Ripke) - 2:38
16.I Ain't Superstitious (Willie Dixon) - 4:47
17.Society's Child (Janis Ian) - 4:48
18.B.D. Is Dead, Long Live B.D. (Jaap Van Eik, Leendert Ripke) - 3:37
19.Shapes Of Things (Jim McCarty, Keith Relf, Paul Samwell-Smith) - 4:42
20.Cornflakes (Helmig K. Van Der Vegt, Leendert Ripke) - 3:49
21.Drift Into Space (Helmig K. Van Der Vegt, Leendert Ripke) - 2:27

Musicians
*Cees de Best - Guitar
*Hans Lafaille - Drums
*Helmig van der Vegt - Keyboards
*Herman Deinum - Bass
*Leen Ripke - Vocals
*Michel Sardoen - Trumpet
*Rudy van Dijk - Saxophone
*Dirk Jan van de Boogaart - Trumpet

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Blue Mountain Eagle - Blue Mountain Eagle (1970 canada/us, excellent folkish garage psych, 2012 remaster and expanded)

In July of 1969, Canadian-born drummer Dewey Martin -- the last remaining original member of Buffalo Springfield -- left the very last incarnation of that group (who were, by then, calling themselves New Buffalo) for a solo deal with UNI. Meanwhile, as the remaining members -- bassist Randy Fuller (ex-Bobby Fuller Four), and guitarists David Price and Bob ("B.J.") Jones -- already had interest from Atco Records, they decided to soldier on, finding drummer Don Poncher (ex-Don & the Good Times) a more-than-suitable replacement.

They also recruited guitarist/keyboardist/lead vocalist Joey Newman (also formerly of Don and the Good Times and Touch), and decided on a new name, Blue Mountain Eagle, taken from a newspaper published in Fox, ID. The band began recording their eponymous album in L.A., in August and December of 1969. It was released in early 1970, and during this same time, the group played on bills in the L.A. area with Love, Eric Burdon & War, Pink Floyd, and Jimi Hendrix.

Ultimately, inner band struggles for leadership proved to be their undoing of this volatile ego-charged "supergroup." Fuller was the first to decide that he'd had enough, leaving the group in May 1970. (Incidentally, he re-joined Dewey Martin, who had formed Dewey Martin & Medicine Ball in November 1969; at the time Fuller joined the band, they were in the midst of finishing up the recording their first album, Dewey Martin & Medicine Ball.) Soon, the rest of Blue Mountain Eagle were calling it a day too.

David Price, Bob Jones, and Don Poncher went on to work with Augie Meyers (the Sir Douglas Quintet) for his Western Head Music album in 1973. Jones later joined Harvey Mandel, on guitar and vocals. Price became a recording engineer, while Poncher became a successful session man, working with Bobby Whitlock, Jim Price, Chris Jagger, Joe Cocker, and (briefly) joined the lineup of Arthur Lee's Love, appearing on Lee's Vindicator album in 1972.

by Bryan Thomas

Tracks
1. Love Is Here - 4:23
2. Yellow's Dream - 2:46
3. Feel Like A Bandit (David Price) - 3:04
4. Troubles (Carol Meyer) - 3:06
5. Loveless Lives (Don Poncher) - 3:31
6. No Regrets (Don Poncher, David Price) - 4:12
7. Winding Your String - 2:56
8. Sweet Mama (Randy Fuller) - 4:18
9. Promise Of Love - 3:03
10.Trivial Sum (Richard Bowen, Terry Furlong) - 3:15
10.Marianne (A Side Single) - 2:32

Blue Mountain Eagle
*Joe Newman - Guitar, Keyboards, Vocals
*Randy Fuller - Bass, Guitar, Vocals
*Don Poncher - Drums, Vocals
*David Price - Guitar, Rhythm Guitar, Vocals
*Bob Jones - Guitar, Vocals

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Phantasia - Phantasia (1972 us, fantastic psychedelic rock)

Reissue of US psychedelic ultra rarity recorded 1971/72. The original albums (a complete one and a one-sided) are legends for all psychedelic/garage collectors, only 25 copies pressed of each -- not many people have the pleasure of having seen a copy.

The music is creeping slowly and sensitively in your mind, whether stoned or not φ it takes you wherever you want. Those are the complete sessions, 55mins in mastertape quality presented the first time to the public -- extremely informative booklet (20 sided), with outstanding artwork and colour photos.

One of the best Psychedelic albums, playing in the same league as Fraction, Music Emporium, Hunger, Mystic Siva, Damon. Later the band changed into Trizo 50! Here are the complete sessions in mastertaped quality with 20sided informating booklet, including outstanding artwork and photos!

David Johnson wrote:
Hello my name is David Johnson. I am the lead guitar and vocalist for Phantasia back in the day. Bob Walkenhorst is living in Kansas City and plays around there solo. Plus The Rainmakers are back together and have been for a few years. They play in KC too but also all over. They have been back to Norway a couple times just last year. Norway was where they had such a big fan base and have been welcome there with open arms. As for me I have played with different groups all threw my life and finally retired from playing in January 2017. Hope I helped with some information for you.

Tracks
1. Transparent Face (John DePugh, David Johnson) - 3:09
2. Winter Wind - 2:55
3. I Talk To The Moon - 3:35
4. Chasing Now The Flying Time - 4:54
5. Featheredge - 3:39
6. Genena - 9:21
7. Willow Creek - 5:48
8. Give Life Another Try (John DePugh, David Johnson) - 3:51
9. I Talk To The Moon (Diff. Version) - 4:30
10.Winter Wind (Diff. Version) - 2:57
11.Chasing Now The Flying Time (Diff. Version) - 5:11
12.The Saddest Song I Know - 5:44
All compositions by John DePugh, Bob Walkenhorst except where noted.

Phantasia
*Bob Walkenhorst - Rhythm Guitar, Lead Guitar, Vocal, Acoustic Guitar, Piano, Tympany
*Jim Clapper - Bass Guitar, Vocals, Claves
*David Johnson - Lead Guitar, Lead Vocals
*John DePugh - Drums, Bongos, Maracas

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The United States of America - The United States of America (1968 us, baroque psych milestone, remaster edition with bonus tracks)

It takes balls —well, at least, something like that— to call your band The United States of America. And the San Francisco-based eggheads who dared to do so in the late-'60s were doing so with no little irony. At a time in which their country was waging a hated war and opposition to it was steeped in "all you need is love" delusion, their name had a mocking quality to it.

It hardly endeared them to the establishment, including their own record label, Columbia. "There was," USA mastermind Joseph Byrd would later recount, "scant enthusiasm from the executives for a band whose name they hated, whose music they didn't understand, and whose politics they thought treasonous."

That sense of treason extended to their approach to popular music. These United States were a band of serious avant-gardists; young composers and scholars who were students of modern-composition titans John Cage and Karlheinz Stockhausen. Even though none had a background —or, even, a sensibility— in rock'n'roll, Byrd decided that they should try their hand at a rockband.

And they were like no band ever before assembled. Rather than electric guitar, The United States of America employed a bizarre arsenal of instruments: circus calliope, harpsichord, scrapes of atonal violin, a ring modular, and electronic oscillations all being used to assault the 'sacred' form of the rock'n'roll song.

It was part subversion, sure, but The United States of America weren't simple provocateurs. Listening to their one-and-only album —a 1968 self-titled album that sunk quickly without a trace— and what stands out isn't its sense of invention or its preponderance of experimentation, but the way that its experimental edge works with its surprising, charming tunefulness.

Whilst The United States continually deconstruct the sanctity of songs —passages of white noise, eerie atmospheres, and cacophonous collage derailing the forward progression of verse/chorus— they don't shy away from the sweetness of songcraft. With Dorothy Moskowitz's voice as their most melodic instrument, Byrd and his crew composed tunes that were tuneful; be they raucous, psychedelic rockers, or eerie, barely-there lullabies.

Since this album has been rediscovered by a new generation, it's those sparse songs that've most entranced modern audiences; the marriage of Moskowitz's gentle singing, scrapes and wails of Gordon Marron's violin, and sci-fi squalls of electric circuitry make for most modern-sounding compositions on cuts like "Cloud Song."

The influence of the spectral side is apparent on their biggest new-millennial boosters, Broadcast, the amazing English electro minimalists who've cited The United States of America as their chief influence. In many ways, this album makes more sense over 40 years on than it would've in its day; even if the band were an obvious product of their era.
by Anthony Carew

Tracks

1. The American Metaphysical Circus (Joseph Byrd) - 4:56

2. Hard Coming Love (Joseph Byrd, Dorothy Moskowitz) - 4:41

3. Cloud Song  (Joseph Byrd, Dorothy Moskowitz) - 3:18

4. The Garden Of Earthly Delights  (Joseph Byrd, Dorothy Moskowitz) - 2:39

5. I Won't Leave My Wooden Wife For You, Sugar  (Joseph Byrd, Dorothy Moskowitz) - 3:51

6. Where Is Yesterday  (Gordon Marron, Ed Bogas, Dorothy Moskowitz) - 3:08

7. Coming Down  (Joseph Byrd, Dorothy Moskowitz) - 2:37

8. Love Song For The Dead Che  (Joseph Byrd) - 3:25

9. Stranded In Time  (Gordon Marron, Ed Bogas) - 1:49

10.The American Way Of Love - 6:38

...Metaphor For An Older Man (Joseph Byrd)

...California Good Time Music (Joseph Byrd)

...Love Is All  (Joseph Byrd, Dorothy Moskowitz, Rand Forbes, Craig Woodson, Gordon Marron) - 6:38

11.Osamu's Birthday  (Joseph Byrd) - 2:59

12.No Love To Give  (Dorothy Moskowitz) - 2:36

13.I Won't Leave My Wooden Wife For You, Sugar (Joseph Byrd, Dorothy Moskowitz) - 3:45

14.You Can Never Come Down  (Joseph Byrd) - 2:32

15.Perry Pier  (Dorothy Moskowitz) - 2:37

16.Tailor Man  (Dorothy Moskowitz) - 3:06

17.Do You Follow Me  (Kenneth Edwards) - 2:34

18.The American Metaphysical Circus  (Joseph Byrd) - 4:01

19.Mouse (The Garden Of Earthly Delights)  (Joseph Byrd, Dorothy Moskowitz) - 2:39

20.Heresy (Coming Down)  (Joseph Byrd, Dorothy Moskowitz) - 2:32

The United States Of America
*Joseph Byrd – Eectric Harpsichord, Organ, Calliope, Piano
*Dorothy Moskowitz – Lead Vocals
*Gordon Marron – Electric Violin, Ring Modulator
*Rand Forbes – Electric Bass
*Craig Woodson – Electric Drums, Percussion
Guest Musician
*Ed Bogas – Occasional Organ, Piano, Valliope

Related Act

1969  Joe Byrd and the Field Hippies - The American Metaphysical Circus (2004 reissue)

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Pearls Before Swine- The Use Of Ashes (1970 us, psych folk rock, 2003 water issue)

For their second Reprise Records outing, Pearls Before Swine worked primarily with Nashville-based musicians, including a small orchestra who provide a stately feel to the highly intimate nature of the material. According to Tom Rapp's comments in the liner booklet accompanying the Jewels Were the Stars (2003) box , the songs were written while he and his wife were living in the Netherlands, which Rapp said contributed significantly to the air of romanticism throughout.

"Jeweller" opens the album with an exquisite tale that exemplifies Rapp's remarkable abilities to draw upon disparate metaphors such as shining coins and worshiping God, both involving the Use of Ashes -- hence the title. The rural mood created by the notable Music City USA stalwarts effortlessly fuses with David Briggs' baroque-flavored harpsichord on the delicate "From the Movie of the Same Name," featuring Rapp and spouse Elisabeth on non-verbal vocalizations as they "da-da-da" the melody.

Although "Rocket Man" predates the Elton John cut by a couple of years, Bernie Taupin cites it as his inspiration for the lyrics behind John's 1972 Top Ten hit. The words are credited as having been influenced by a Ray Bradbury novella that dealt with the universal emotion of loss. Again, Briggs' keyboard runs relate the story with subdued refinement. By contrast, "God Save the Child" is one of the more amplified inclusions, making good use of session heavies Kenneth A. Buttrey (drums) and Charlie McCoy (guitar), especially when placed against the restrained string section.

Another sonic texture in the tapestry is the jazzy "Tell Me Why," shimmering with an uncredited vibraphone lead gliding beneath Rapp's whimsical lines. These tracks are offset by the noir "When the War Began," the ethereal love song "Margery," and the mid-tempo retelling of the "Riegal," a ship whose 4,000 inhabitants perished during World War II.

Rapp's juxtaposition of stark imagery reveals that while Pearls Before Swine might not have continued the bombastic direction set about on their earlier protest works "Uncle John" or "Drop Out," they maintained social and political relevance.
by Lindsay Planer

Tracks
1. The Jeweler - 2:48
2. From the Movie of the Same Name - 2:21
3. Rocket Man  (based on a short story by Ray Bradbury) - 3:06
4. God Save The Child (Elisabeth helped) - 3:08
5. Song About A Rose - 2:21
6. Tell Me Why - 3:43
7. Margery - 3:03
8. The Old Man - 3:16
9. Riegal - 3:13
10.When the War Began - 5:07
All words and music by Tom Rapp

Musicians
* Tom Rapp - Vocals, Guitar
* Elisabeth - Vocals
* Charlie McCoy - Dobro, Guitar, Bass, Harmonica
* Norbert Putnam - Bass
* Kenneth Buttrey - Drums
* Buddy Spicher - Violin, Cello, Viola
* Mac Gayden - Guitars
* David Briggs - Piano, Harpsichord
* John Duke - Oboe, Flute
* Hutch Davie - Keyboard
* Bill Pippin - Oboe, Flute

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Pearls Before Swine - One Nation Underground (1967 us, great psychedelic folk rock, japan remaster)

Tom Rapp, an 18 year-old draft resistor and college dropout living in Eaugallie, Florida, sent a small unsolicited reel of tape to ESP. Bernard Stollman invited him to bring his musicians to New York, where they recorded their acclaimed debut, One Nation Underground in 1967.

This is still a stunning piece of work, from the nightmarish sleeve art -- the "Hell Panel" from Hieronymus Bosch's 15th century painting "Garden of Delights" -- to the strange yet powerful songs. - Peter Kurtz
by Peter Kurtz

Tracks
1. Another Time - 3:05
2. Playmate (Saxie Dowell) - 2:17
3. Ballad To An Amber Lady (R.Crissinger, T. Rapp) - 5:13
4. (Oh Dear) Miss Morse - 1:52  
5. Drop Out! - 4:07  
6. Morning Song - 4:05  
7. Regions Of May - 3:25  
8. Uncle John - 2:52  
9. I Shall Not Care (Teasdale, R. Tombs, T. Rapp) - 5:10
10.The Surrealist Waltz (L. Lederer, R. Crissinger) - 3:27
All compositions by Tom Rapp except where indicated

Pearls Before Swine
*Tom Rapp - Vocals, Guitar
*Wayne Harley - Autoharp, Banjo, Mandoline, Vibraphone, Audio Oscillator, Harmony
*Lane Lederer - Bass, Guitar, English Horn, Swinehorn, Sarangi, Celeste, Finger Cymbals, Vocals
*Roger Crissinger - Organ, Harpsichord, Clavioline
*Warren Smith - Drums, Percussion

Pearls Before Swine
1967 One Nation Underground (Japan remaster)
1968  Balaklava (Japan remaster) 
1969-70  Pearls Before Swine - Use Of Ashes / These Things Too (2011 remaster issue)
1971  Beautiful Lies You Could Live In
1971  City Of Gold

Tom Rapp
1972  Tom Rapp - Stardancer (2009 Lemon edition)
1973  Sunforest (2009 Lemon edition)

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Joseph - Stoned Age Man (1970 us, heavy fuzzy psych rock)

What can we say except ...Classic Stoner (heavy fuzz) bluesrock!!!This is a rare album indeed and much sought after, originallyreleased on the Scepter label (SPS 574) in 1970 and recordedin Memphis at the legendary American Sound Studios.

The “Joseph” was in fact Joseph Long or Joseph Longeria,discovered by the albums producer and A & R man SteveTyrell playing in Houston in a battle of the blues competition!!This is the only know foray into recording that Longeria madeand he was a superb guitar player to boot!!Stoned Age Man contains some of weirdest lyrics ever written.

Tracks
1. Trick Bag - 4:32
2. I Ain't Fattenin' No More Frogs For Snakes (Joseph Longeria, Glen Spreen, Mark James, Steve Tyrell) - 3:36
3. Cold Biscuits And Fish Heads - 3:37
4. Stone Age Man - 3:26
5. I'm Gonna Build A Mountain - 2:10
6. Mojo Gumbo - 2:53
7. The House Of The Rising Sun (Traditional) - 2:23
8. Gotta Get Away (Gregg Allman, John Hurley, Ronnie Wilkins) - 2:40
9. Come The Sun Tomorrow (D. Collins, S. Walton) - 2:53
All songs by Joseph "Long" Longeria, Glen Spreen, Mark James except where noted

Joseph
*Joseph "Long" Longeria - Vocals, Guitar
*Glen Spreen - Keyboards

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Black Oak Arkansas - High On The Hog (1973 us, excellent tough southern rock)

This is probably the best-known album in the Black Oak Arkansas catalog, thanks in large to part to its hit cover of the LaVern Baker R&B classic "Jim Dandy." This effective update combines a countrified touch, some electric guitar fireworks, and a frenetic double-time tempo with the inimitable hillbilly vocals of Jim "Dandy" Mangrum to create a song that became a hit with both country and pop listeners. It is definitely High on the Hog's undisputed highlight, but the other tracks surrounding it also have plenty to offer.

Although they were too eccentric a band to fit a strict "Southern rock" label Lynyrd Skynyrd, Black Oak Arkansas did have an ability to dish up both country and rock sounds with style. For instance, "Red Hot Lovin'" is a punchy rocker about the joys of loving a red-haired woman, while "Back to the Land" is a tribute to rural life delivered in a convincing, pure country style. Elsewhere, the group also shows a surprisingly ability to mix elements of pure funk into their country-rock stew: "Swimmin' in Quicksand" glides along on some funky wah-wah guitar licks that could have been lifted from a Funkadelic record.

The band also gets a solid showcase for their chops on "Moonshine Sonata," a tasty little instrumental that starts off as sprightly country-rock rave-up before shifting into a down-home ballad tempo for a surprisingly lovely and mellow finale. In the end, High on the Hog probably won't appeal to anyone who isn't already a Southern rock fan, but anyone who enjoys this genre will find plenty to like on this album.
by Donald A. Guarisco

Tracks
1. Swimmin' In Quicksand - 3:20
2. Back To The Land - 2:26
3. Movin' - 3:13
4. Happy Hooker - 5:28
5. Red Hot Lovin' - 2:47
6. Jim Dandy - 2:39
7. Moonshine Sonata - 5:27
8. Why Shouldn't I Smile - 2:23
9. High 'N' Dry - 2:27
10. Mad Man - 3:49

Black Oak Arkansas
*James "Jim Dandy" Mangrum - Vocals
*Ricky Reynolds - Twelve Sring Guitar, Vocals
*Harvey Jett - Lead Guitar, Banjo, Piano, Vocals
*Stan Knight - Lead Guitar, Steel Guitar, Organ, Vocals
*Tommy Aldridge - Drums

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Black Oak Arkansas - Black Oak Arkansas (1971 us, great southern rock, debut album, Wounded Bird edition)

Born and raised in the neighbouring hamlets of small town of Black Oak, Arkansas, school friends Jim 'Dandy' Mangrum and Ricky Reynolds formed their first band whilst in High School. September 1965 witnessed the group's first live show at Reynolds Park Community Centre in Pasragould, Arkansas. During 1969, after having been finally chased out of town thanks to a reputation for hell raising and ripping off the neighbourhood in order to pawn their ill-gotten gains for new band equipment the boys wound up in New Orleans.

Relocated, the group (originally known as THE KNOWBODY ELSE) was signed to Hip Records and issued a self-titled album (re-issued by the Stax label in 1974 as 'The Early Times') before attracting the interest of the Atlantic label after a show in Los Angeles. By the time they released their major label debut in 1971, produced by the IRON BUTTERFLY duo of MIKE PINERA and Larry Dorman at Paramount Recording Studios and Gold Star Recording Studios in Hollywood, California, the group had changed their name to BLACK OAK ARKANSAS in honour of their roots.

The initial BLACK OAK ARKANSAS roster included vocalist Jim 'Dandy' Mangrum, guitarist Rickie 'Ricochet' Reynolds, guitarists Stan 'Goober' Knight and Harvey 'Burley' Jett, bassist Pat 'Dirty' Daugherty and drummer Wayne 'Squeezebox' Evans. The debut album struck an immediate chord with the American Rock public; especially the renewed attitude the band gave the GUY MITCHELL hit 'Singin' The Blues'. Touring to promote the record included support dates to GRAND FUNK RAILROAD before the band journeyed to Florida to cut follow up 'Keep The Faith'.

Tracks

1. Uncle Elijah - 3:17
2. Memories At The Window - 3:05
3. The Hills Of Arkansas - 3:45
4. I Could Love You - 6:10
5. Hot And Nasty (Black Oak Arkansas, Endsley) - 2:55
6. Singing The Blues (Melvin Endsley) - 2:17
7. Lord Have Mercy On My Soul - 6:15
8. When Electricity Came To Arkansas - 4:26
All songs written by Black Oak Arkansas, except where stated.

Black Oak Arkansas
* Jim "Dandy" Mangrum - Lead Vocals, Washboard
* Rickie "Ricochet" Reynolds - 12 String Rhythm Guitar, Vocals
* Pat "Dirty" Daugherty - Bass Guitar, Vocals
* Harvey "Burley" Jett - Lead Guitar, Banjo, Piano, Vocals
* Stanley "Goober" Knight - Lead,  Steel Guitar, Organ, Vocals
* Wayne "Squeezebox" Evans - Drums

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Taste - Live Taste (1971 ireland, awesome hard blues rock, 2009 japan SHM)

To many thousands of people, Taste meant hours of enjoyment in small-packed sweaty clubs up and down the country. They meant that three piece group from Ireland, who did what few groups ever do by making the top on merit of their music. Taste meant three brilliant soloists who, together, formed one of the tightest groups around. But above all, they simply meant Taste the magic of whom it was impossible to catch with words.

Take this piece of  "plastic", put it on your player, close your eyes and let your imagination run. This, their third release -and first live album-, is what Taste were all about.

Live Taste' as the title implies was recorded live in Montreux by the technical department of Swiss Radio.  Broonzy and Jackson were heavy influences on Rory's guitar playing and song writing. The LP was released after Rory went solo and was an attempt to ride his coat tails as he was becoming very popular in Europe at this time.

Tracks
1. Sugar Mama (Traditional) - 8:12
2. Gamblin' Blues (Melvin Jackson) - 6:21
3. I Feel So Good (Part 1) (Big Bill Broonzy) - 3:41
4. I Feel So Good (Part 2) (Big Bill Broonzy) - 3:59
5. Catfish (Traditional) - 10:45
6. Same Old Story (Rory Gallagher) - 5:43

Taste
*Rory Gallagher - Guitars, Vocals, Saxophone, Harmonica
*Richard McCracken - Bass
*John Wilson - Drums

Taste
1970  On The Boards (Japan SHM edition)

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Taste - Live At Isle Of Wight (1971, irish blues rock feat Rory Gallagher)

The festival at the Isle of Wight was to Europe what Woodstock was to the USA. Many problems came about as more rock fans than tickets available came to this usually peaceful island just off the coast of Portsmouth, England. The festival was held at East Afton farm in Freshwater, on the 13- by 23-mile island off the coast of Southern England. This was considered the last monster tribal gathering -- the five-day 1970 Isle of Wight Festival -- where 600,000 mostly stoned flower children turned ugly in obnoxious displays of hippie self-righteousness."

Many of the biggest rock stars of the time appeared at this festival including The Who, Free, Donovan, Ten Years After, The Moody Blues, Joni Mitchell, Joan Baez, Leonard Cohen and Jethro Tull, and ELP. Jimi Hendrix and Jim Morrison of the Doors made their last live stage appearance here.

Taste played through the madness of this giant concert where those who did not have tickets rushed and crashed the gates. 'Taste Live at the Isle of Wight' has some wonderful songs by Rory Gallagher and a cover for blues star Broonzy in "I Feel So Good."

Tracks 
1 What's Going On (Gallagher) - 5:38
2 Sugar Mama (Gallagher, Traditional) - 10:08
3 Morning Sun (Gallagher) - 4:36
4 Sinner Boy (Gallagher) - 5:30
5 I Feel So Good (Broonzy) - 10:08
6 Catfish (Gallagher, Traditional) - 14:16

Taste
* Rory Gallagher - Guitars, Vocals, Saxophone, Harmonica
* Richard "Charlie" McCracken - Bass Guitar
* John Wilson - Drums

1970  Taste - On The Boards

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Crystalaugur - Terranaut (1972 us, striking fuzz, psych, prog rock)

The story of Crystalaugur is a strange one: the obscure Native American band Crystalaugur recorded this album in Singapore between 1972 and 1973, orginally pressing a mere 200 copies for a private label (Warped Rec) and the ridiculously small pressing made the original album an unbelievable rarity.  The fuzz guitar and space rock vocals definitely put this LP in the psychedelic realm with an interesing primitive backdrop.

This is reissue of the 1974 release  by BMI SINGAPORE of a one-off album done as highschool project by 4 Americans in Singapore, that only has been sold to classmates, family and friends. A weird mix of Kaleidoscope / Velvet. Underground and eastern vibes with fuzz-guitar all over! Sorta prog-folk-garagy vibe, hypnotising and repetitive. A great psych rock fuzz album .

Tracks
1. Terranaut (Kim Bengs) - 5:18
2. I'll Remember (Kim Bengs, Howard Kukla) - 4:07
3. Cosmic Journey (Howard Kukla) - 4:21
4. You've Got to Rap (Howard Kukla) - 3:11
5. Uppachit Creek (Kim Bengs) - 2:22
6. Easy Term Pleasure (Howard Kukla, Kim Bengs) - 4:41
7. Pam's Song (Howard Kukla) - 4:42
8. Number 4 (Kim Bengs) - 5:00
9. Goodbye (Kim Bengs, Watson) - 1:25

The Crystalaugur
*Kim Bengs - Lead Guitar, Slide Guitar, Piano, Vocals
*Howard Kukla - Rhythm Guitar
*Bryan Hall - Drums
*Guy Rittger - Bass Guitar

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Truth And Janey - No Rest For The Wicked (1976 us, power hard rock)

The late-'60s power trio format made famous by Cream and the Jimi Hendrix Experience sent inspirational shockwaves across the rock and roll universe, and among the most isolated examples of its influence must have been eastern Iowa's extremely obscure cult hard rock band Truth and Janey.

Taking their name from the seminal Jeff Beck Group album, vocalist/guitarist Billy Janey, vocalist/bassist Steven Bock, and drummer Denis Bunce (original percussionist John Fillingsworth lasted less than a year) began penning original material, recorded a pair of singles in 1972/1973, and then evolved into Truth and Janey when informed that another band already held rights to the Truth moniker before them. Arduous roadwork in the neighboring states kept the band busy in years to come, but the absence of a major record deal eventually drove them to finance their own album -- a fierce and bluesy hard rocker to be entitled No Rest for the Wicked -- at a studio in nearby Ames, IA.

This they released through a local independent label, and its 1,000-unit pressing quickly sold out among their dedicated fans in the region -- but that was it. With no apparent career-advancing prospects in their near future, Truth and Janey disbanded the following year, with main man Janey turning to blues and adding a "Lee" to his name before recording several albums throughout the '80s and '90s.

Truth and Janey's modest legacy was kept alive by their few cult followers and eventually led to an official CD pressing of No Rest for the Wicked by Monster Records (which added all four of their single A- and B-sides, to boot), and a legendary live performance released in 2004 as Erupts!
by Eduardo Rivadavia

Tracks
No Rest for the Wicked
1. Down the Road I Go
2. The Light
3. I'm Ready
4. Remember a) A Child b) Building Walls
5. No Rest for the Wicked
6. It's All Above Us
7. Ain't No Tellin
8. My Mind
9. Midnight Horseman*
10. Around and Around*
11. Under My Thumb*
12. Straight Eight Pontiac*
* bonus tracks

Truth And Janey
*Billy Lee Janey - Guitar, Vocals
*Steven Bock - Bass, Vocals
*Denis Bunce - Drums

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