Grand Funk - Closer To Home (1970 us, classic heavy rock, 3rd album, japan remaster with bonus tracks)

Closer to Home, the trio's third album, was the record that really broke them through to the commercially successful level of metal masters such as Led Zeppelin and Black Sabbath. Rather than rushing headlong into their typical hard, heavy, and overamplified approach, Grand Funk Railroad began expanding their production values.

Most evident is the inclusion of strings, the acoustic opening on the disc's leadoff cut, "Sins a Good Man's Brother," as well as the comparatively mellow "Mean Mistreater." But the boys had far from gone soft. The majority of Closer to Home is filled with the same straight-ahead rock & roll that had composed their previous efforts. The driving tempo of Mel Schacher's viscous lead basslines on "Aimless Lady" and "Nothing Is the Same" adds a depth when contrasted to the soul-stirring and somewhat anthem-like "Get It Together."

The laid-back and slinky "I Don't Have to Sing the Blues" also continues the trend of over-the-top decibel-shredding; however, instead of the excess force of other bands, such as MC5, Grand Funk Railroad are able to retain the often-elusive melodic element to their heavy compositions.
by Lindsay Planer

Tracks
1. Sin's A Good Man's Brother
2. Aimless Lady
3. Nothing Is The Same
4. Mean Mistreater
5. Get It Together
6. I Don't Have To Sing The Blues
7. Hooked On Love
8. I'm Your Captain
9. Mean Mistreater (Alternate Mix)
10.In Need (Live)
11.Heartbreaker (Live)
12.Mean Mistreater (Live)

Grand Funk
*Mark Farner - Guitar, Keyboards, Vocals
*Mel Schacher - Bass Guitar
*Don Brewer - Drums, Vocals

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John Lee Hooker And Canned Heat - Hooker 'N' Heat (1971 us, superb blues rock, MFSL ultra gold double disc)

Canned Heat are hands down the best back-up band John Lee Hooker has recorded with since those hot shot country groups that blazed anonymously through the studios in the early Fifties. And despite the cover billing, they are very much a back-up group, for this is really a John Lee Hooker album, and one of his best in a long while.

    

Much of the credit goes to the Heat's planning and programming. They have caught Hooker in a variety of settings: soloist in his own characteristic idiom; playing a fantastic series of duets with the late Al Wilson; and fronting the entire band (minus Hite, who worked on the project, and spread his infectious good humor, from the control booth) for some righteous, raunchy boogie. Canned Heat have made no secret of the fact that their entire boogie series, spread over some three albums, draws its inspiration from Hooker's work, so the combination is a natural. The second album in this two-record set is given over to band numbers, and it's the best of the two.

    

Wilson's presence doesn't need to be overadvertised; he is very strong throughout, mostly in a very subtle way. Hooker has noted his admiration for Wilson several times, and their generation-spanning empathy is very evident here, especially on side two, which is given over mostly to Hooker with Wilson's harp and piano. Hooker remarks. "I don't know how that boy keeps up with me." It's no easy trick, keeping up with John Lee, but that's just what Alan does, laying down some amazing playing, especially on harp, in the process.

 Vestine, who had recently rejoined the band when these sides were cut, is also very strong, even though he like Wilson is subservient to Hooker's thing. Henry once told an interviewer his greatest ambition was to record with John Lee Hooker and with Albert Ayler. With the release of Ayler's Music Is The Healing Force Of The Universe, and Hooker 'N Heat, Henry has fulfilled his ambitions at a very young age; there's no place for him to go but up.

 Mention should be made of the earth-moving power of Antonio de la Barreda and Adolfo de la Parra. the Heat's south-of-the-border rhythm section, and of the engineering, which may still be a little too clean for Hooker, but then, nobody records in barns anymore. Hooker fans are going to dig this record, and so are Heat fans, and that includes a lot of people. Let 'em boogie!

by Bob Palmer

Tracks

Disc-1

1. Messin' with the Hook - 3:23

2. The Feelin' Is Gone - 4:32

3. Send Me Your Pillow - 4:48

4. Sittin' Here Thinkin' - 4:07

5. Meet Me in the Bottom - 3:34

6. Alimonia Blues - 4:31

7. Driftin' Blues - 4:57

8. You Talk Too Much - 3:16

9. Burnin' Hell" (Bernard Besman, Hooker) - 5:28

10.Bottle Up and Go - 2:27

Disc-2

1. The World Today - 7:47

2. I Got My Eyes on You - 4:26

3. Whiskey and Wimmen' - 4:37

4. Just You and Me - 7:42

5. Let's Make It - 4:06

6. Peavine - 5:07

7. Boogie Chillen No. 2 - 11:33

All songs written by John Lee Hooker except as noted.

Musicians

*John Lee Hooker - Vocals, Guitar, Percussion

*Bob Hite - Vocals

*Henry Vestine - Guitar

*Alan "Blind Owl" Wilson - Guitar, Piano, Harmonica

*Antonio De La Barreda - Bass

*Adolfo De La Parra - Drums

Other Canned Heat 

1968  Livin' The Blues 

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Howlin' Wolf - The Real Folk Blues / More Real Folk Blues (1966-67 us, blues master, 2002 release)

The Real Folk Blues, originally released by Chess in 1966 to capitalize on the then-current folk music boom. The music, however -- a collection of Howlin' Wolf (born Chester Arthur Burnett), singles from 1956 to 1966 -- is full-blown electric, featuring a nice sampling of Wolf originals with a smattering of Willie Dixon tunes.

Some of the man's best middle period work is aboard here; "Killing Floor," "Louise," the hair-raisingly somber "Natchez Burning," and Wolf's version of the old standard "Sitting on Top of the World," which would become his set closer in later years.

The Mobile Fidelity version sounds as sonically sharp as anything you've ever heard by this artist and its heftier price tag is somewhat justified by the inclusion of two bonus cuts. But those on a budget who just want the music minus the high-minded audiophile concerns will be happy to note that this is also available as a Chess budget reissue.

More Real Folk Blues,  was issued in 1967 (after the Wolf  had appeared on network television with the Rolling Stones, alluded to in the original liner notes) and couldn't be more dissimilar in content to the first one if you had planned it that way. Whereas the previous volume highlighted middle-period Wolf, this one goes all the way back to his earliest Chess sessions, many of which sound like leftover Memphis sides. The chaotic opener, "Just My Kind," sets a familiar Wolf theme to a "Rollin' & Tumblin'" format played at breakneck speed, and what the track lacks in fidelity is more than made up in sheer energy. 

For a classic example of Wolf's ensemble Chicago sound, it's pretty tough to beat "I Have a Little Girl," where the various members of his band seem to be all soloing simultaneously -- not unlike a Dixieland band -- right through Wolf's vocals. For downright scary, the demonic-sounding "I'll Be Around" is an absolute must-hear. Wolf's harp solo on this slow blues is one of his best and the vocal that frames it sounds like the microphone is going to explode at any second. As soul singer Christine Ohlman commented upon hearing this track for the first time, "Boy, I'd sure hate to be the woman he's singing that one to."

by Cub Koda

Tracks

1. Killing Floor - 2:48

2. Louise - 2:41

3. Poor Boy - 2:32

4. Sitting on Top of the World - 2:30

5. Nature - 2:44

6. My Country Sugar Mama - 2:33

7. Tail Dragger (Willie Dixon) - 2:55

8. Three Hundred Pounds of Joy (Willie Dixon) - 3:02

9. Natchez Burning - 2:09

10.Built for Comfort (Willie Dixon) - 2:35

11.Ooh Baby (Hold Me) - 2:36

12.Tell Me What I've Done - 2:47

13.Just My Kind - 2:52

14.I've Got A Woman - 2:55

15.Work For Your Money - 2:12

16.I'll Be Around - 3:14

17.You Can't Be Beat - 3:10

18.No Place To Go (You Gonna Wreck My Life) - 2:56

19.I Love My Baby - 2:57

20.Neighbors - 2:45

21.I'm The Wolf - 2:52

22.Rockin' Daddy - 3:03

23.Who Will Be Next - 2:34

24.I Have A Little Girl - 2:34

All songs by Chester Burnett except where indicated

Songs recorded between 1953-65

Musicians

*Howlin' Wolf - Vocals, Guitars, Harmonica

*Andrew McMahon - Bass

*Arnold Rogers - Tenor Sax

*Donald Hankins - Baritone Sax

*Johnny Jones - Piano

*Hubert Sumlin - Guitar

*Andrew Palmer - Electric Bass

*Willie Dixon - Bass

*Alfred Elkins - Bass

*Sammy Lay - Drums

*Earl Phillips - Drums

*Hosea Lee Kennard - Piano

*Otis Spann - Piano

*Jody Williams - Guitar

*Willie Johnson - Guitar

*Junior Blackman - Drums

*J.T.Brown - Tenor Sax

*Lafayette Leake - Piano

*Buddy Guy - Guitar

*Otis "Smokey" Smothers - Guitar

*Fred Below - Drums

*Lee Cooper - Guitar

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B.B. King - Lucille (1967 us, blues legend, MFSL ultra disc)

In December 1967, B.B. King entered the studio with noted jazz producer Bob Thiele to record what eventually became LUCILLE. Named after King's guitar, this record finds B.B. adding some fresh ingredients to his already potent stew of traditional blues. With its biting brass and female back-up singers, "You Move Me So" is a funky, spiritual workout, whereas "I Need Your Love" finds King combining Sam Cooke-flavored vocalizing with a dash of rambling country-flavored piano.

As for the blues, Riley B. King has 'em and isn't afraid to share. He digs deep and bathes Ivory Joe Hunter's "No Money No Luck" in heavy pathos. The title track is the most impressive and spontaneous number on this record despite its near-ten-minute length. Done in a talking blues style, "Lucille" started out with King telling the story of his guitar while noodling around on her during a break. Correctly sensing that blues gold was being freshly served up, an excited Thiele had the engineer flip on the record button, preserving a conversation between a man and his guitar for posterity.

Tracks
1. Lucille - 10:16
2. You Move Me So - 2:03
3. Country Girl - 4:25
4. Mo Money, No Luck Blues (Ivory Joe Hunter) - 3:49
5. I Need Your Love (Walter Spriggs) - 2:22
6. Rainin' All the Time - 2:56
7. I'm with You - 2:31
8. Stop Putting the Hurt on Me - 3:04
9. Watch Yourself (Sidney Barnes, Louis Gross, George Kerr) - 5:47
All tracks by B. B. King, except where noted.

Musicians
*B.B. King - Guitar, Vocals
*Irving Ashby - Guitar
*David Allen - Bass
*Lloyd Glenn - Piano
*Jesse Sailes - Drums
*Maxwell Davis - Leader, Organ
*Bobby Forte, Bob McNeely, Cecil McNeely - Saxophone

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Blood Sweat And Tears - No Sweat (1973 us, great fusion jazz rock, 2005 issue)

David Clayton-Thomas replaced by the blind singer Bobby Doyle, once leader of the Bobby Doyle Trio. Joe Henderson replaces Fred Lipsius and guitarist George Wadenius, a member of the Swedish group "Made in Sweden", joins the band. The new lineup fails to gel and they start to look for another lead singer.

Jerry Fisher is at this time recording singles in New York with "New Design", a subsidiary of Columbia Records (the BS&T label). His newly tracked recording session prompted an invitation to have a jam session with the group. After that, he's invited to join the band. Prior to joining BS&T, Jerry Fisher performed the nightclub circuits in Las Vegas, Tahoe, parts of his native Oklahoma and Texas. He had a sizeable following and was considered by one Texas music critic as "probably the greatest white blues singer in the business".

All these changes mean time rehearsing and reorganizing instead of recording and Columbia Records releases a "Greatest hits" package. Eleven selections, seven singles chart entries, plus two album tracks from the celebrated debut album when Al Kooper lead the group, and two more from the Grammy-winning multi-platinum second album.The album contained the singles edits of the songs.

The personal changes continued. Joe Henderson is replaced by Lou Marini Jr. Dick Halligan calls it a day and Larry Willis takes over as keyboard player. In the summer of '72, Blood, Sweat & Tears went in the studio again to record a new album. This time they choose mostly covers. At the end of August, the first new material to be released in 13 months, the single "So Long Dixie" is released, but stalls out at #44. The album is released a month later. A discouraged Steve Katz leaves the band along with Chuck Winfield, who is replaced by Tom Malone. There is no replacement for Steve Katz.

As touring continued, Blood, Sweat and Tears begin gathering material for yet another album and in the spring of 1973 they are once again in the studio to record. The result "No Sweat" was released in June the same year and contained both originals and cover songs. The album this time is more rocking with "Roller Coaster" released as a single. The LP scores at #42 and another single, "Save Our Ship" is released from the album.

The touring continues and so are the personal changes within the band. Longtimer Jim Fielder leaves and is replaced by Ron McClure, Lou Marini JR is replaced by Bill Tillman. Tom Malone leaves and Tony Klatka takes over. Lew Soloff also leaves the band. Jerry LaCroix, formerly a member of the Edgar Winter group, joins the band on sax and flute. He also sings, but Jerry Fisher is still the lead singer.

Tracks
1. Roller Coaster (M. James) - 3:23
2. Save Our Ship (George Wadenius, Cynthia Weil) - 3:43
3. Django (An Excerpt) (John Lewis) - 2:08
4. Rosemary (Randy Newman) - 3:13
5. Song for John (Lou Marini) - 2:53
6. Almost Sorry (Jeff Kent, Doug Lubahn) - 6:26
7. Back Up Against the Wall (Buddy Buie, James Cobb) - 3:21
8. Hip Pickles (Marini) - 1:31
9. My Old Lady (Wadenius, Weil) - 3:15
10.Empty Pages (Jim Capaldi, Steve Winwood) - 3:15
11.Mary Miles (Michael Rabon) - 2:26
12.Inner Crisis (Larry Willis) - 5:40

Blood Sweat and Tears
*Jerry Fisher - Vocals
*Dave Bargeron - Trombone, Tuba, Bass Trombone, Baritone Horn, Background Vocals
*Bobby Colomby - Drums, Percussion, Background Vocals
*Jim Fielder - Bass, Background Vocals
*Lou Marini - Woodwinds
*Lew Soloff - Trumpet
*Tom Malone - Trumpet, ARP, 12-String Fiddle
*George Wadenius - Guitar, Background Vocals
*Larry Willis - Keyboards
Guest Musicians
*Paul Buckmaster - Synthesizer, ARP, Horn Arrangements, String Arrangements
*David Hentschel - Synthesizer, ARP
*Steve Katz - Guitar
*Chuck Winfield - Trumpet, Flugelhorn, French Horn
*Jimmy Maelen - Percussion
*Frank Ricotti - Percussion
*Joshie Armstead - Background Vocals
*Valerie Simpson - Background Vocals
*Maretha Stewart - Background Vocals

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Al Kooper - Easy Does It (1970 us, noble psychedelic, blues, folk jazz rock, 2008 remaster)

This is the third solo effort from rock & roll wunderkind Al Kooper.  Originally issued as a two-LP set, Easy Does It (1970) is a diverse album that reveals the layer upon layer of musicality that has become synonymous with the artist. He draws deeply upon his skills as a multi-instrumentalist, songwriter, and equally engaging arranger. 

The extended run-time of the double album format likewise allows Kooper to thoroughly exhibit his wide-ranging and virtually mythical adaptability as an artist whose sheer talent defies the boundaries of genre or style. The set kicks off with the youthfully optimistic rocker "Brand New Day."

This is the first of two tracks Kooper used in his score for Hal Ashby's directorial cinematic debut, The Landlord, a highly affable counterculture classic starring Beau Bridges.  The haunting "The Landlord Love Theme" is also included, and is poignantly dovetailed with one of the disc's profoundly affective epics. "Buckskin Boy" is an uptempo rocker that lyrically offers a brutally honest assessment of the Native American situation, which was quickly becoming a national plague upon the social conscience of the country in the early '70s. 

The song is replete with Kooper's dynamic chord changes and trademark phrasing. The "morning after" fallout from a particularly potent experience with LSD is credited as the inspiration behind "Sad, Sad Sunshine." The cut features some heavily Eastern-influenced lead sitar work reminiscent of the sounds of Donovan circa Hurdy Gurdy Man (1968) and the burgeoning Canterbury-based progressive folk movement of the late '60s and early '70s. 

There is a decidedly Yankee contrast on the country-rocker "I Bought You the Shoes (You're Walking Away In)" as well as the cover of John Loudermilk's "A Rose and a Baby Ruth." Other well-placed cover tunes include a classy, soulfully subdued reading of Ray Charles "I Got a Woman'" as well as the spacy and well-jammed-out version of "Baby Please Don't Go." Throughout the 12-plus minute side there are definite recollections of the extended instrumental interaction that defined Kooper's former band, the Blues Project, as well as some of the inspirational improvisation heard on the original Super Session (1968). 

This performance alone is more than worth the time and effort of seeking out Easy Does It. 

by Lindsay Planer

Tracks
1. Brand New Day (Al Kooper) - 5:10
2. Piano Solo Introduction to I Got a Woman - 2:00
3. I Got a Woman (Ray Charles, Renald Richard) - 4:30
4. Country Road (James Taylor) - 4:22
5. I Bought You The Shoes (You're Walking Away In) (Bob Brass, Irwin Levine, Kooper) - 1:57
6. Introduction - 0:50
7. Easy Does It (Kooper) - 5:25
8. Buckskin Boy (Kooper, Charlie Calello) - 3:10
9. Love Theme from The Landlord (Kooper) - 3:12
10.Sad, Sad Sunshine (Kooper) - 5:04
11.Let the Duchess No (John Gregory, Jim Roberts) - 3:17
12.She Gets Me Where I Live (Kooper, Calello) - 3:34
13.A Rose and a Baby Ruth (J.D. Loudermilk) - 3:29
14.Baby, Please Don't Go (Big Joe Williams) - 12:26
15.God Sheds His Grace on Thee (Kooper, Calello) - 3:27

Musicians
*Rick Marotta - Drums, Vocals (Background)
*Wayne Moss - Guitar
*Joe Osborne - Bass
*Earl Palmer - Drums, Guitar (Steel)
*Alexis Rodgers - Guitar, Drums
*Al Rogers - Drums
*Stuart Scharf - Guitar
*Tommy Tedesco - Guitar
*Stu Woods - Bass, Vocals (Background)
*Charlie McCoy - Bass, Harmonica
*John Miller - Bass
*Joe Jr. Corero - Drums
*Stu Scharff - Guitar
*Lyle Ritz - Bass
*Keith Allison - Guitar
*Pete Drake - Pedal Steel, Guitar (Steel)
*John Miller - Bass
*Freddy Weller - Guitar
*The Blossoms - Vocals, Background Music
*Louie Shelton - Guitar
*Peter Ivers - Harp
*Kenneth A. Buttrey - Drums
*Charlie Daniels - Bass, Guitar
*Bobby Colomby - Conga, Drums, Vocals
*Tom Cosgrove - Guitar, Guitar (Electric)
*George Devens - Percussion
*Milt Holland - Percussion, Tabla
*Larry Knechtel - Piano, Keyboards
*David Bromberg - Guitar, Guitar (Steel), Pedal Steel
*Al Kooper - Organ, Guitar, Keyboards, Vocals, Electronic Effects, Ondioline, Vibraphone, Vocals (Background), Sitar, Guitar (Electric), Piano
*Joe Beck - Guitar
*Fred Lipsius - Saxophone, Soloist

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The Sorrows - Take A Heart (1965-67 uk, effective mod freak beat, 2006 double disc edition)

The Sorrows’ roots can be traced back to Coventry (around 1963), where Don Fardon (vocals), Pip Whitcher (lead guitar), Terry Jukes (rhythm guitar), and Philip Packham (bass) played in various local beat groups. While plying their trade in the local night clubs the group was discovered by John Schroeder, Picadilly’s label manager. Their first Picadilly (owned by Pye) single, “I Don’t Want To Be Free/Come With Me,” was an excellent Kinks-like number, full of power chords and tough, soulful vocals. Another quality single leaked out (“Baby”) but success seemed to elude the boys.

It wasn’t until “Take A Heart” that the Sorrows had their big top 20 smash. Originally written by songwriter Miki Dallon and recorded by the Boy Blues, “Take A Heart” for my money, is one of the UK’s greatest rock n roll singles. The song’s arrangement gradually builds up into an explosion of speedy guitar work, charging rhythms, and violent lead vocals (Fardon was a great vocalist). Without question, this 45 is one of the true classics. To capitalize on the single’s success Pye released the Take A Heart LP in December of 1965. The LP is consistently good, featuring originals, a few more tracks written by Miki Dallon and some interesting R&B covers. Standouts include their ferocious take on “Teenage Letter,” the trashy mod pop of “Come With Me,” a couple of strange beat ballads (“How Love Used To Be” and “We Should Get Along Fine”), and a Dylan influenced folk-rocker titled “Don’t Sing No Sad Songs For Me.” Another great cut is their cover of “Let Me In,” a track that rocks really hard and features impressive fretwork. Take A Heart is right up there with the early Stones’ output, the Pretty Things first two LPs, and the Small Faces debut; it’s that good.

The Sorrows released a few more 45s from the lp but none of them made the charts. At this point Fardon decided it was best that he leave the group to pursue a solo career. The Sorrows would soldier on, releasing an excellent early psych 45 in 1967 (“Pink, Purple, Yellow, Red”) and then relocate to Italy. It was around this time that the group cut an LP titled Old Songs, New Songs in 1968. A respectable LP, Old Songs, New Songs was a mixture of group originals and covers of then popular tracks by Traffic, The Small Faces and Family.
by Jason (The Rising Storm)

Tracks
- The Singles
1. I Don't Wanna Be Free - 2:35
2. Come With Me - 2:35
3. Baby - 2:26
4. Teenage Letter - 2:35
5. Take A Heart - 3:14
6. We Should Get Along Fine - 2:28
7. You've Got What I Want - 1:59
8. No, No, No, No - 2:35
9. Let The Live Live - 2:06
10.Don't Sing No Sad Songs For Me - 2:22
11.Let Me In - 2:47
12.How Love Used To Be - 3:27
13.Pink Purple Yellow Red - 2:48
14.My Gal - 2:48
15.Gonna Find A Cave * - 2:25
16.I Take What I Want * - 2:47
17.Baby All The Time * - 2:30
18.Baby *** - 2:59
19.Nimm Mein Herz (Take A Heart In German) - 3:12
20.Sei War Mein Girl (We Should Get Along Fine In German) - 2:26
21.Mi Si Spezza II Cuore (Take A Heart In Italian) - 3:09
22.Vivi (Baby In Italian) - 2:51
23.Verde, Rosso, Giallo, Blu (Pink, Purple, Yellow, Red In Italian) - 2:50
24.No, No, No, No (In Italian) - 2:33
25.Zabadak - 2:59
26.La Liberta Costa Cara (How Love Used To Be In Italian) - 3:19
27.Hooky ** - 2:28
28.You're Still Mine ** - 2:00
29.Armchair King ** - 2:47
30.Smoke Gets In Your Eyes ** - 2:47
* (unreleased at the time)
** (previously unissued)
*** (previously unissued '66 version)

- 1965 - Take A Heart (The Album)
1. Baby - 2:26
2. No, No, No, No - 2:36
3. Take a Heart - 3:17
4. She's Got The Action - 1:51
5. How Love Used To Be - 3:23
6. Teenage Letter - 2:26
7. I Don't Wanna Be Free - 2:39
8. Don't Sing No Sad Songs For Me - 2:21
9. Cara-Lin - 2:41
10.We Should Get Along Fine - 2:29
11.Come With Me - 1:59
12.Let Me In - 2:46

The Sorrows
*Don Maughn - vocals
*Philip "Pip" Witcher - lead guitar
*Wez Price - rhythm guitar
*Philip Packham - bass guitar
*Bruce Finlay - drums

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The Collectors - The Collectors / Grass And Wild Strawberries (1967-68 canada, magnificent avant garde psych rock with great arrangements)

The Collectors were formed in Vancouver, Canada in 1961 and originally known as the C-Fun Classics and released many local records. They adopted the name C-FUN Classics when they gigged to promote local Vancouver, BC radio station CFUN-AM. The group were featured as the house band on 'Let's Go', a weekly TV show. In 1965, they released two singles as the Canadian Classics -- 'Til I Met You' (Jaguar 2002A) and 'I Don't Know' (Valiant 723).

With former horn player Howie Vickers handling the lead vocals, they cut 'Eyes' and 'Don't Feel Bad' -- both of which later appeared on the History of Vancouver Rock and Roll, Volume 4 (VRCA 004; 1991). 'Eyes' -- a fine folk tune seasoned with tasty guitar and just a dash of psychedelia -- is easily the better track. 'Don't Feel Bad' has a vague 'On Broadway' feel. More elaborately produced, it also seems a less genuine effort.

In 1967, The Collectors released the Vancouver smash hit single 'Looking at a Baby' (New Syndrome 16, 1967, subsequently reissued on the History of Vancouver Rock, Volume 3 VRCA 001, 1983) along with two other 45s - 'Fisherwoman' and 'Fat Bird'.

The Collectors were drawn towards US west coast venues where they established a positive reputation for their complex arrangements, soaring harmonies and extended improvisations.

Dave Hassinger was the mutual producer of both The Electric Prunes and The Collectors. Having just participated in the recording of The Collectors' epic 'What Love (Suite)', an entire side of their first Warners album, The Collectors immediately came to mind to Hassinger, who also "owned" the name The Electric Prunes.

But although ready and willing to be session performers, The Collectors had already established themselves as Canada's hottest group with their original material and didn't really want to divert from their own artistic awesomeness. So, after the recording of 'Mass in F Minor', the Prunes were reformed with a completely new line-up to record 'Release of an Oath' with David Axelrod.

After, The Collectors collaborated with George Ryga and released the 'Grass and Wild Strawberries' LP which was based on Ryga's stage play of the same name.

During this period, The Collectors also provided the soundtrack music to three Canadian based films - Don't Let the Angels Fall (1968) along with David Hassinger, Canada the Land / Canada, pays vaste (1969) and The Land (1969). Further information regarding these films can be obtained from The Collectors's entry at the National Film Board of Canada's web site.

Although their imaginative use of of time signatures and woodwind garnered critical plaudits, this was not transferred into sales, and the Collectors' career ebbed with two non-album singles.

The departure of Howie Vickers in 1969 prompted an internal rethink and the remaining quartet abandoned the name and emerged as Chilliwack in 1971 with Bill Henderson taking over lead vocals.
Shadwell-Tripod

Tracks
1967  The Collectors
1. What Is Love - 3:51
2. She (Will-O-The-Wind) - 3:51
3. Howard Christman's Older - 5:08
4. Lydia Purple - 2:47
5. One Act Play - 3:42
6. What Love (Suite) - 19:06
1968  From Grass And Wild Strawberries
7. Overture - 4:49
8. Grass And Wild Strawberries - 2:01
9. Things I Remember - 2:46
10.Don't Turn Away (From Me) - 3:10
11.Teletype Click - 2:55
12.Seventeenth Summer - 3:29
13.The Long Rain - 2:57
14.My Love Delights Me - 2:23
15.Dream of Desolation - 2:30
16.Rainbow of Fire - 2:52
17.Early Morning - 3:28
18.Sheep on the Hillside - 4:17

The Collectors
*Howie Vickers - Lead Vocals
*Bill Henderson - Lead Guitar, Lead Vocals, Keyboards
*Claire Lawrence - Saxophone, Flute, Keyboards, Harmonica & Vocals
*Glenn Miller - Bass and Vocals
*Ross Turney - Drums
Guest Musicians
*Larry Knechtel - Piano, Harpsichord
*Norm Jeffries - Vibes
*Jesse Erlich - Cello

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The Plastic Cloud - The Plastic Cloud (1968 canada, exceptional garage/ psych)

The Plastic Cloud were a psychedelic rock band based out of Bay Ridges, Ontario. Had their homebase been located elsewhere (San Fran, NYC, or LA) things may have been very different for the Plastic Cloud but instead this sole album has languished in obscurity. Psych fans and collectors remain divided, however: collectors consider Plastic Cloud one of Canada’s best psych albums (or indeed the best from anywhere) while some jaded day-trippers merely find it just ok/ nothing special. All lyrics were written by guitarist/vocalist Don Brewer but other members were drummer Randy Umphrey, bass player Brian Madill, and guitarist Mike Cadieux.

At first listen I was not impressed with the Plastic Cloud’s only offering. After reading all the hype about mind-jarring fuzz guitars and John Lennon-like vocals I found the disc rather mediocre and unimpressive. After several more spins I began to appreciate the band’s intensity and lysergic charm: this disc truly does deliver the goods if you’re into hardcore, late-night psych sounds. Two of the tracks (“Civilization Machine” and “You Don’t Care”) come close to or exceed the ten minute mark and both are repetitive but also very good. “You Don’t Care” features nasty eastern style fuzztone and powerful drum work that never bores despite its 10.5 minute length. Other tracks like “Epistle To Paradise” and the superb “Bridge Under The Sky” show a dreamy, softer folk-rock side which is equally appealing. These tracks have a nice trippy production and attractive ringing guitars. Another gem, the “Dainty General Rides Again” sounds like a lost British psych pop nugget and features a nice brief fuzz guitar break. While not a major classic, Plastic Cloud is surely one of the better Canadian psych albums and is consistently good throughout. The guitarists’ tones vaguely remind me of Jorma Kaukonen’s work with the Jefferson Airplane: these guitar tones coil, uncoil, and burrow deep into your head like all great psych guitar solos should. Once again, if you enjoy great, ripping fuzz guitar and sinister vocals (check out “Shadows Of Your Mind”) this album is definitely for you.

Originals came out on Allied in 1968 and are very expensive. The group also released a single off Allied in 1968 (“Shadows Of Your Mind” coupled with “The Dainty General”). The best and only official cd reissue I know of is by Pacemaker (from 2005) although it offers nothing in the way of liner notes, just a couple of photos. If Canada produced acknowledged, underrated classics like Spirit Of Christmas’ Lies To Live By (prog), The Guess Who’s It’s Time (garage/beat), The Sinners Vox Populi (psych pop/garage) and Kensington Market’s Aardvark (psych pop) then Plastic Cloud is just a notch or so below these records but still a great album.
by Jason Nardelli

 Tracks
1. Epistle To Paradise - 3:25
2. Shadows Of Your Mind - 4:10
3. Art's A Happy Man - 3:05
4. You Don't Care - 10:25
5. Bridge Under The Sky - 4:25
6. Face Behind The Sun - 4:43
7. Dainty General Rides - 4:05
8. Civilization Machine - 8:55

The Plastic Cloud
*Don Brewer - Vocals, 12-String Guitar
*Brian Madill - Bass
*Mike Cadieux - Guitar
*Randy Umphrey - Drums

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Dschinn - Dschinn (1970-72 germany, remarkable krautrock with powerful arrangements and impressive vocals)

Back to the spring of 1970. Influenced by the Beatles and their musical revolution, a whole generation stepped into a new feeling and created a creed of another future. Therefore the angloamerican rock-dreams also forced a lot of creative sub-culture living and progressive sounds in Germany.

The story of  Dschinn started in the heart of Hessen/Germany, near the city of Marburg, when a bunch of creative, young musicians decided to found a rockband. The Hurricanes were born. With their own songs and explosive stage shows they were after a career in music business. By setting such a high goal they played live concerts everywhere - at clubs, universities and of course at countrywide pop-festivals.

The result of these efforts: they gained a lot of awards at up-and-coming-rock-festivals, national performances at famous beat-clubs such as the StarDust (formerly called StarClub) in Hamburg. It also was on stage, as they were discovered by an influentual businessman. In sympathy with their first producer, who just had become both their greatest fan and financial supporter the band had to change their former name into Dischas. They could soon release their first single "Here What I Say/Come Back To Me", which shot into the Austrian charts and even was placed in the Top-ten for a couple of weeks.

Despite of further singles placed in the charts and further performances on stages such as SWF Baden-Baden and Funkausstellung Berlin, the band decided to change their music style radically. Due to this decision, not only their contract had been released, but also their former group-name had become too old-fashioned., so they now called themselves Dschinn, which sounded much more sophisticated - as a symptom of those times. Of course-from now onwards the band entered the progressive musicgenre, too.

Dschinn started with a brandnew set of remarkable songs with powerful arrangements and impressive vocals. All tracks we recorded at Tonstudio Mitte Bremen. Even though recording-quality should be rated as rather poor, the nusicial output must be honoured as real Krautrock-jewls, that stood out against the efforts of some other contemporary artists in Germany. Looking for a new record-company, the Band contacted Bacillus records, a subsidary of Bellaphon, Frankfurt and sow their first and only album "Dschinn" was released 10 years after the band had been founded.

Unfortunately this little masterpiece was no big success as it disappeared in the great oversupply of music. Finally, in 1972 the rockgroup disbanded. The last musically sign of Dschinn was their track "Rock ‘n’ Roll Dschinny”, a marvelous highlight, which had been placed two years later on a Bellaphon-sampler.

Tracks
1. Freedom - 4:48
2. Fortune - 4:56
3. I'm In Love - 4:46
4. Train - 4:56
5. Let's Go Together - 3:11
6. Smile Of The Devil - 4:24
7. I Wanna Know - 3:34
8. Are You Ready - 4:03
9. For Your Love  - 4:11)
10.Rock'n Roll Dschinny - 3:07
11.Day After Day (Outtake) - 2:43
12.Give Me A Little Love (Outtake) - 2:58
13.Can't You See (Outtake) - 3:11
14.Road Tune - 2:20
15.Woman - 2:26
16.Hurry Up - 3:39
17.Take Me Back - 3:27
18.Never, Never - 2:52
19.Let's Go Together Alt - 2:18
20.Come On Come Back - 2:31
21.Hear What I Say - 2:54
Bonus Tracks 9-21
Tracks 14-21 as  Dischas

Dschinn
*Bernd Capito - Lead Guitar, Vocals
*Peter Lorenz - Lead Vocals Rhythm Guitar
*Silvio Verfurth - Bass, Vocals
*Athanasios Paltoglou - Drums, Percussion
*Uli Mund - Drums, Percussion

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Borealis - Sons Of The Sea / Professor Fuddle's Fantastic Fairy Tale Machine (1970-74 canada, fine psychedelic rock, korean remaster with bonus tracks)

Audar Records produced the Borealis In July 1972. It was the first rock album recorded in the Atlantic provinces. The record company was kind of expecting the usual country or folk materials, normal during that time, but we had other things in mind, although we did not mislead them. Song 1, "In the end". made the Top Ten for two months in St. Johns, Newfoundland.

However, a lack of promotion by the hand members, who thought record companies did such duties, soon consigned this LP to collector's shelves and bargain bins in Woolworth deportment stores. Nevertheless, for many years the hand relieved (CAPAC cheques of varying amounts, indicating repeated airplay someplaces, somewhere in Canada. "business", song one on side two was a funky sendup of local business practices, as experienced by the band, it was thought to be the most worthy, as satire. and was designated to be the first "single". Instead, the record company pressed it has to be the "B" side, with "In the end” as the "A" side.

The company then mastered the LP with "In the end" as song one, side one, perhaps because it was the least jarring to the region's many country fans. The album was recorded the night before Borealis opened for the famed Lighthouse band. The recording company's timetable would not be overthrown by a group of young musicians who professed So be opening for a supergroup the next day! And so, a weekend passed, I remember most of it the ports when 1 was awake. It was worth every second!

Professor Fuddle's Fantastic Fairy Tale Machine
The « Fuddle album was inspired following an idea by Alan Ball, who went on to join the Canada Arts Council. Alan had the idea of writing a play than explain, to children, how computers work. Nowadays, of course, children toil adults how computers work, but such was not the way of the world back in 1971 Personal computers had not been invented. Computers were, in tact, huge complex machines, taking up entire floors of space, in places like universities.

Teams of “programmers” operated these humming contraptions, feeding the machinery with cards on which data was “computed” by perforating, or piercing, the cards with strategically olaced holes. But in digress. The story of the play is a 1070's fairy tale, set in a fishing hamlet in Newfoundland ('New-fun-Land'), Canada's most easterly island province. Jeff, a young boy of about 12. visits his uncle, Professor Fuddle, who has acquired an old union hall in the hamlet, in which to build his experimental 'computer'.

The opening tune introduces and animates the huge machine, which takes up the entire width of the stage. As Jeff arrives, the professor is seated before the machine's controls at centre stage. He is testing the machine's capability to produce 'holographs' of storybook characters. Snow White appears from the machine's 'good' side, hiding from a wicked queen in a haunted forest, singing the LP's second song. 'Rain's my name', and dreamily dancing to the computer's generated music of Philomel, from Shakespeare's 'Macbeth'. Snow White's 'Seven Dwarfs' arc produced from the computer's 'good' side, during song 5, as 'dancing masters', local wooden dolls, normally suspended on sticks (the amchine appears to have absorbed the local culture).

From the 'evil' side of the computer, ghosts of mermaids from seagoing mythology, haunt the witch into recanting her ways, via the song 'The opera cracks the bell'. As forgetful old professors might do, Professor Fuddle has forgotten to 'teach' it to count - a major flaw, the audience learns, when two huge actors appear as the 'dancing masters', supposedly portraying the 'Seven Dwarfs'. So, Jeff and his assembled characters encourage the audience to help them program, or 'teach' the computer to count, and to 'learn' tho difference between 'big' and 'small', by singing the 'Count Comprison Song'. Songs 'Indigo Evening' and 'Sonnet Song (Plenylunios)' add mood and moral purpose to the plot, as presentations for younger minds were supposed to do, back in the 1970's.

The witch's 'evil bell' cracks, to the tune 'The Opera Cracks The Bell', and the spell of her thousand year reign of evil is broken. The play, staged at the St. John's Arts & Culture Center as its Christmas presentation, was a success, according to the next day's reviews. Alan's play wont on to be included in a Collage of Canadian Children's Plays. Following which, every child around the world over the age of three learned to make computers sing and talk, and we adults slunk back to our caves. The rest, as they say, is History. And so is this forgotten LP.
by Paul Bradbury

Tracks
Sons Of The Sea 1970-72
1. In The End - 2:30
2. Broke - 3:14
3. Sons Of The Sea - 3:49
4. Higher - 3:23
5. Another Boy - 5:06
6. Business - 4:42
7. The Politician - 3:28
8. Old Age - 3:00
9. Tomorrow Morning - 5:17
10.Lucky Day - 3:06
Professor Fuddle's Fantastic Fairy Tale Machine 1974
11.Professor Fuddle's Fantastic Fairy Tale Machine - 3:00
12.Rain's My Name - 2:05
13.Witch's Chant - 2:08
14.Philomel - 2:40
15.Dancing Master's Jig - 1:42
16.Indigo Evening - 2:43
17.Counting Comparison - 2:37
18.Sonnet Song - 2:45
19.The Opera Cracks The Bell - 1:53

Borealis
Paul Bradbury - Vocals, Organ
Wayne Sturge - Guitar, Vocals (1-10)
Mark Bradbury - Bass, Vocals (1-10)
David Hillier - Drums (1-10)

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Brainchild - Healing Of The Lunatic Owl (1970 uk, significant progr rock, jazz fusion, 2008 reissue)

Lennie Wright from Web and Samurai produced Brainchild's first and only album, so it's no surprise that "Healing of the Lunatic Owl" is in a similar style to both "I Spider" and Samurai's self-titled album. That means early 70's progressive rock dominated by horns and organ.

The opener "Autobiography" starts as a straightforward rocker, but turns in the middle into a complex instrumental section that lasts for the rest of the song. Although it's one of the shortest tracks on the album, it sums up nearly every side of the band's music very well. The swinging title-track is one of the highlights, and the structure is really not that far away from "Autobiography", but the track returns to the main part at the end again.

The slow and bluesy beat of "Hide From the Dawn" is a bit more basic, but the long instrumental passages and complex arrangements make it well worth listening to. "She's Learning" is the catchiest song on the album, and has almost hit-potential. However, the longest tune is "A Time A Place", featuring dramatic vocal parts mixed with more intricate instrumental parts.

"Two Bad Days" is for me the least good song, but the ballad "Sadness of a Moment" is really beautiful, consisting of nothing else than flute, guitar and vocals. And the album finally closes with the excellent instrumental "To "B"". I'm not sure if I would rate this album as high as "I Spider" or "Samurai", but it's still a very good LP worth finding if you enjoy the two mentioned bands or progressive rock with horns in general.

Tracks
1. Autobiography - 3:35
2. Healing Of The Lunatic Owl - 5:05
3. Hide From The Dawn -6:50
4. She's Learning - 4:13
5. A Time A Place - 8:55
6. Two Bad Days - 3:55
7. Sadness Of A Moment - 4:08
8. To B - 3:52

Brainchild
*Harvey Coles - Bass, Vocals
*Bill Edwrds - Lead Guitar, Vocals
*Dave Muller - Drums
*Chris Jennings - Organ, Piano
*Brian Wilshaw - Saxophone, Flute
*Lloyd Williams - Trumpet

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Big Sleep - Bluebell Wood (1971 uk, marvelous baroque prog folk, 2007 remastered edition)

Having previously released two favourably received, but commercially neglected, albums for Mercury under the name Eyes Of Blue in the late 60s, Welsh band Big Sleep recorded Bluebell Wood for the Pegasus label in 1971. Though Eyes Of Blue had started out playing Motown numbers, they’d expanded their range by covering Love’s 7+7 Is and opening themselves up to psych and progressive rock.

They’d split by the time of Bluebell Wood’s release, with drummer John Weathers joining Gentle Giant and keyboardist Phil Ryan decamping to Welsh prog rock legends Man. But the result of their Chappell Studios deliberations was an adept and stylistically diverse collection that explored the band’s progressive interests, while still leaning on the classical influences that Eyes Of Blue had followed.

The music ranges from the very 70s travelogue sounds of the title track, though the ludicrously baroque opening strings on Saint & Sceptic and on to the lively and marketable closing song, When The Sun Was Out. Never before available on CD, this is a pleasingly easy-on-the-ear album that effortlessly blends its warm and hazy sounds with contrasting downbeat lyricism.
by Ian Abrahams

Tracks
1. Death Of A Hope (John Weathers) - 5:35
2. Odd Song (Gary Pickford Hopkins) - 3:54
3. Free Life (John Weathers) - 6:29
4. Aunty James - 4:44
5. Saint & Sceptic - 6:36
6. Bluebell Wood - 11:26
7. Watching Love Grow -2:35
8. When The Sun Was Out - 3:42
All songs by Ritchie Francis except where stated

Big Sleep
*Phil Ryan - Organ, Piano
*Ritchie Francis - Bass, Piano, Vocals
*John "Pugwash" Weathers - Drums, Vocals
*Raymond "Taff" Williams - Guitar
*Gary Pickford Hopkins - Vocals, Guitar

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Chicago - Chicago II (1970 us, second excellent classic album, 2002 digi pak remaster and 2018 Steve Wilson remix)

After achieving a rare feat in rock history by releasing a debut double-album, Chicago doubled up again in 1970 for their second album to prove that they were no freshman fluke. In fact, Chicago's second release easily surpasses the sometimes overwrought first album. The crowning achievement of Chicago II is the side-long suite, "Ballet for a Girl in Buchannon."

That title may not ring a bell, but the titles of the two hits that were embedded in the suite certainly will: "Colour My World" and "Make Me Smile." The rest of the suite weaves together a nice blend of musical and lyrical passages to create a very impressive musical whole. But that was just one of the four LP sides of the original vinyl release; there were three other sides with great stuff, too. The song "Fancy Colours" starts off with somber tones but quickly bursts into a festival of melodic playing that does musical justice to the title. "Wake Up Sunshine" has a similarly positive outlook, with a gentle melody and sing-along lyrics.

"The Road" is one of Chicago's best non-hit songs—an upbeat, horn-laden song about new romance. Chicago also continues the musical explorations and why-am-I-here musings that they began on their first album. This works to excellent effect on songs like "Movin' In," with its rough lead vocal juxtaposed with soaring, sweet harmonies and horns. "Where Do We Go From Here" and "Poem For The People" exemplify Chicago's unique combination of progressive awareness and musical genius—"If the people only knew..." There was also one more Top 40 hit on the album—the cryptic, high-energy "25 Or 6 To 4."

Chicago II takes the band partly out of its electric-blues-rock roots and into jazzier territory—in places reminding us of the better aspects of Blood, Sweat & Tears' jazz-rock experimentations—but they also sharpen their pop sensibilities, which makes the album more accessible. This remastered CD repackaging also includes two bonus tracks: the single versions of "Make Me Smile" and "25 Or 6 To 4." Chicago II is one of the best progressive pop albums ever put to tape; a worthy addition for those who like to get beyond best-of albums.

The Grinning Planet

Tracks

1. Movin' In (James Pankow) - 4:06 Lead singer: Terry Kath

2. The Road (Terry Kath) - 3:10 Lead singer: Peter Cetera

3. Poem for the People (Robert Lamm) - 5:31 Lead singer: Robert Lamm

4. In the Country (Kath) - 6:34 Lead singers: Terry Kath and Peter Cetera

5. Wake Up Sunshine (Lamm) - 2:29 Lead singers: Robert Lamm and Peter Cetera

6. Make Me Smile - 4:40 Lead singer: Terry Kath

7. So Much to Say, So Much to Give - 1:12 Lead singer: Robert Lamm

8. Anxiety's Moment - 1:01 Instrumental

9. West Virginia Fantasies - 1:34 Instrumental

10.Colour My World - 3:01 Lead singer: Terry Kath

11.To Be Free - 1:15 Instrumental

12.Now More Than Ever - 1:26 Lead singer: Terry Kath

13.Fancy Colours (Lamm) - 5:10 Lead singer: Peter Cetera

14.25 or 6 to 4 (Lamm) - 4:50 Lead singer: Peter Cetera

15.Prelude (Kath, Peter Matz) - 1:10 Instrumental

16.A.M. Mourning (Kath, Matz) - 2:05 Instrumental

17.P.M. Mourning (Kath, Matz) - 1:58 Instrumental

18.Memories Of Love (Kath) - 3:59 Lead singer: Terry Kath

19.1st Movement (Lamm) - 2:33 Lead singer: Terry Kath

20.2nd Movement (Lamm, Walter Parazaider) - 3:41 Instrumental

21.3rd Movement (Lamm, Kath) - 3:19 Lead singer: Terry Kath

22.4th Movement (Lamm) – 0:51 Lead singer: Terry Kath

23.Where Do We Go From Here" (Peter Cetera) – 2:49 Lead singer: Peter Cetera

24.Make Me Smile (Single version) - 2:58

25.25 or 6 to 4 (Single version) - 2:51

Chicago

*Peter Cetera - Bass, Vocals

*Terry Kath - Guitar, Vocals

*Robert Lamm - Keyboard, Vocals

*Lee Loughnane - Trumpet, Vocals

*James Pankow - Trombone

*Walter Parazaider - Woodwinds, Vocals

*Danny Seraphine - Drums

More Chicago here:

1969 Chicago Transit Authority (Japan SHM-CD)

1969  Chicago - Live In Toronto

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Remo Four - Smile (1967-68 uk, great Tony Ashton in a verygood mersey beat, with mod, jazzy funky pshych groovie feeling, remastered with bonus tracks)

The Remo Four had started out at the Cavern Club in Liverpool, playing country music. It was originally called Johnny Sandon And the Remo Four. When Sandon left the group decided to recruit a keyboard player and the line up included Ashton (piano), Phil Rogers (bass), Colin Manley (vocals, guitar) and Roy Dyke (drums).

The Remo Four was sent to the Star Club in Hamburg to take over from The Beatles, which was as close as Tony got to join the Fab Four. “We were a completely different band. More jazz based” recalled Tony later. While they were in Hamburg they were approached by Polydor Records and they recorded their first album ‘Smile’ (1966) in just two days with Tony using the studio’s Hammond organ.

The Remo Four were such a hit in Hamburg they stayed there for two years appearing on TV and at clubs. On returning to the UK they were set to working backing Billy J.Kramer in cabaret. Rebelling against the pop tunes they had to play, Ashton and drummer Roy Dyke contrived to get the sack and set about forming their own group. Before the Remo Four split however, they backed George Harrison on his solo album ‘Wonderwall’.
by Chris Welch

Tracks
1. Heart Beat - 4:14
2. Skate - 3:54
3. No Money Down - 4:21
4. Rock Candy - 3:36
5. 7th Son - 2:42
6. Roadrunner - 3:27
7. Brother Where Are You - 4:35
8. Jive Samba - 6:56
9. Nothin's Too Good For My Baby - 2:41
10.Peter Gunn - 2:26
11.Mickey's Monkey - 2:11
12.Live Like A Lady - 2:31
13.Sing Hallelujah - 3:37
14.Dancing And Singing - 2:11
15.Sing Hallelujah Alternate Take - 4:05
16.Live Like A Lady Alternate Take - 2:30
17.Live Like A Lady Instrumental Version - 2:26

Remo Four
*Tony Ashton - Vocals, Piano, Hammond Organ
*Phil Rogers - Bass
*Colin Manley - Vocals, Guitar
*Roy Dyke - Drums

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Garrett Lund - Almost Grown (1975 us, excellent west coast psychedelia)

Since over 25 years the Garrett Lund album is one of the most legendary West Coast pieces for collectors, truly a rare one! Originally recorded in 1975 at AM studios this is one of the finest productions for this genre. It amazingly reflects the blend of the early San Francisco groups such as, Tripsicord Music Box, Quick Silver Messenger Service,  Kak ..etc, emotional singing and songwriting combined with great arrangements it reaches a unique feeling, cosmic and free!

The cover artwork by Garrett himself rounds off this artistic statement perfectly. In the early ‘70’s he was singer in the L.A. group “The Caretakers”. This reissue is from the original mastertapes and contains 5 unreleased bonus tracks (acoustic free-jam outtakes from a never made second album).

Garrett Lund was and still is a mysterious person. From what is known, he was born in the early ‘50’s. His father deserted Garrett and his mother -before he was born- and in his teens his beloved mother died. Garrett’s audition and acceptance as a member of The Caretakers, was a step up from his first local band to evolved into “Trane”, and became an instant success, playing the southwest of the US.

Trane appeared at numerous rock festivals and large clubs, opening for Led Zeppelin, Cream, Eric Burdon & The Animals, Jefferson Airplane and The Who. Almost immediately Trane was headlining their own –sold out- shows. What happened then is unclear, except that Garrett began a solo career and three years after Trane completed “Almost Grown” which was promptly rejected by 22 record labels.

Convinced that the album could and should be an artistic and commercial success, Garrett’s manager/producer, along with friends and family, set out to independently release “almost Grown” with the help of record promoter, John Holcomb, succeeded in achieving rotation on nine radio stations and selling 2.000 units in less than two weeks. Armed with the independently released success, the record companies were once again given the chance to sign Garrett and once again they passed. Since then, there's virtually no information on “Almost Grown” or Garrett Lund until 2001.
World In Sound

Tracks
1. The Only Turnaround - 4:49
2. Serene - 3:37
3. Silver Sails - 7:16
4. One More Reason (Garrett Lund, Jimmy Jerviss) - 4:20
5. Think Of The Children - 4:31
6. Country Livin' (Bob Adkins, Garrett Lund) - 2:53
7. Stop The World - 4:43
8. (It's All Over Now) Baby Blue (Bob Dylan) - 5:47
9. Serene - 3:47
10.Never Gonna Take It Slow - 1:24
11.Over And Under - 4:05
12.Reflections On Earth - 2:08
13.Bonny - 2:36
All songs by Garrett Lund except where indicated
Bonus Tracks 9-13

Musicians
*Garrett Lund - Vocals
*Jimmy Jerviss - Guitar
*David Lauser - Drums Percussion
*Donnie Ferro - Bass
*Glen Ross Cambell - Guitar
*Pete Thompson - Saxophone
*Marion McCrary - Trumpet
*Hank Quinn - Congas
*Bill Overturf - Acoustic Guitar

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Majic Ship - Majic Ship (1970 us, fine hard rock with tinges of psychedelia, Gear Fab issue)

During the late 1960's a band from Brooklyn made it's record debut with a regional chart single titled 'Night Time Music'. Six months later followed with another hit, 'Hummin', the Hayes & Porter penned sexy rock tune with catchy harmonies and licks. But after these 2 radio friendly songs, and counties pro bono dj shows, the band wanted their own uncommercial sound recorded on disk.

This album is 9 original recordings and one Crosby, Stills, Nash & Young medley from their live set, originally recorded and released in 1970 in an extremely limited supply.The 1970 Bel-Ami Majic Ship album hasn't been reissued in its original format since the Afterglow bootleg in 1993. The single one thing positive about bootlegs is that they unintentionally bring long lost relics and gems to the attention of the collectors of this genre of music.

However, the stories behind the bands are as equally important. Our 1997 "Majic Ship: The Complete Recordings" chronicled the story of the typical 1960's garage bands modest beginnings to a surprisingly successful career in the New York Metropolitan area.The 1970 LP represents their musical pinnacle as a garage band turned pop band and then into something mixing hard rock with tinges of psychedelia. It truly was their masterpiece!

When the band lost all their equipment on that cold wintry day in 1971, Majic Ship, as a band, effectively broke up. But as you will see in the not so distant future, Majic Ship would spawn other musical efforts such as Fox and North wind. More would be heard from all of them!!
by Roger Maglio

Tracks
1. Sioux City Blues (Polimeni, Garrigan) - 3:01
2. Wednesday Morning Dew (Nikosey, Garrigan) - 3:07
3. Life's Lonely Road (Nikosey, Garrigan) - 2:51
4. We Gotta Live On (Riozzi) - 3:18
5. Where Are We Going (Nikosey) - 2:35
6. Free (Polimeni, Garrigan) - 4:20
7. Down By The River-What It's Worth (Young, Stills) -10:54
8. Night Mare (Polimeni, Nikosey) - 2:40
9. Too Much (Polimeni, Garrigan, Buckman) - 3:38
10.Cosmo's Theme (Riozzi) - 3:45

Majic Ship
*Gus (Cosmo) Riozzi - Bass, Organ, Vocals
*Rob Buckman - Drums
*Philip Polimeni - Lead Guitar, Acoustic Guitar
*Mike Garrigan - Vocals
*Tommy Nikosey - Rhythm, Acoustic Guitar

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