John Phillips - John The Wolfking Of L.A. (1970 us, psych sunny country folk rock, 2006 bonus tracks edition)

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Whilst best known for being lead "Papa" at The Mamas And the Papas, John Phillips has a recording career rijat stretches either side of .their commercial breakthrough. Beginning in I960, Phillips progressed from The Smoothies to The Journeymen (with Scott McKenzie) to The New Journeymen (with Michelle Philiips), all the while honing his songwriting skills to the point where The Kingston Trio were recording his songs.

He formed The Mamas And The Papas in 1965 to record his most pop-oriented compositions “California Dreamin;”, ''Monday Monday", and "Creeque Alley" were all huge hits; and he gave his fellow Journeyman -Scott McKenzie the 1967 anthem "San Francisco (Be Sure To Wear Flowers In Your Hair)". The same year he helped organise the “Monterey Pop Festival” , but in 1968 The Mamas And Papas came to a halt. Phillips resurfaced in May 1970 with this album on Dunhill records, which combines echoes of his hit group with country and western influences, utilising the skills of renowned country pickers like James Burton and Mike Nesmith's pedal steel player O.J. “Red” Rhodes.

However the album only reached 181 on the Billboard charts, and Phillips returned to The Mamas And The Papas for a "reunion" album, though their contributions were taped separately. Through the seventies Phillips became immersed in drug addiction, involving himself only in an album by his third wife Genevieve Waite, a single of his own, “Revolution On Vacation", and some tracks by Michelle Phillips.

Plans were made for a solo album, with contributions by Mick Jagger and Keith Richard, but came to nothing, and in 1981 he was convicted of drug trafficking. After rehabilitation he formed a new Mamas And The Papas to tour the old songs and while no new albums have emerged, Phillips co-wrote the Beach Boys' hit “Kokorno'” in 1989 with Scott McKenzie, Mike Love and Terry Melcher.

Tracks
1. April Anne - 3:22
2. Topanga Canyon - 3:53
3. Malibu People - 3:41
4. Someone's Sleeping - 2:46
5. Drum - 3:36
6. Captain - 3:25
7. Let It Bleed, Genevieve - 2:53
8. Down the Beach - 2:52
9. Mississippi - 3:36
10.Holland Tunnel - 3:41
11.Shady - 3:48
12.Lonely Children - 3:44
13.Lady Genevieve - 4:30
14.Black Girl (Traditional) - 3:29
15.The Frenchman - 4:03
16.16mm Baby (Reich) - 2:41
17.Larry, Joe, Hal and Me - 2:25
18.Mississippi (Single Version) - 3:07
All songs by John Phillips except where noted.

Musicians
*Hal Blaine - Drums
*Larry Knechtel - Keyboard
*Joe Osborn - Bass
*John Phillips - Guitar And Harmonica
*David Cohen - Guitar
*Dr.Hord - Guitar
*Darlene Love - Voice
*Jean King, Voice
*Fan Ha James Voice
*James Burton - Dohro And Lead Guitar
*Buddy Emmons - Steel Guitar
*Red Rhodes - Steel Guitar
*Gordon Terry - Fiddle

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Earthen Vessel - Hard Rock Everlasting Life (1971 us, spiritual psych folk rock, Gear Fab release)

Earthen Vessel was, for a period of about 18 months during 1971-71, one of the major "Jesus Rock" bands in the Midwest. The group was put together in the fall of 10790 in Lansing, Michigan, by Leon Morton, who had been a gospel quartet tenor, and his partner Walter Ballard. Together, they formed Balton Enterprises, Inc., which managed Earthen Vessel and its warm-up act, The Folk Singer Lillie Crozier.

The original name of the band was "The Rare Ones", but it was soon changed to Earthen Vessel, a biblical reference. The band traveled in a gutted-out tour bus, with a bedroom in the back for Sharon, the lead singer, four bunks in the middle for the guys, and a sitting room at the front. Amplifiers were provided by West Laboratories, which also sponsored Grand Funk Railroad at the time, because bassist John Sprunger worked for West.

Balton Enterprises also operated a Christian coffee house called the Catacombs in Lansing, where Earthen Vessel played whenever in town. In late 1970, I returned to Michigan State University (as a sophomore) from California, where I had been working for Campus Crusade for Christ at its San Bernadino headquarters. I was a folk singer, having been in a trio sponsored by Youth for Christ during high school.

The so-called Jesus Movement, a sort of counter-culture meets church youth group, was in full swing in California in 1970 and I saw and heard numerous Christian folk and rock groups. On my return to Michigan, I performed solo for a youth group in a Nazarene church, where Leon Morton was working. He took me out the next day for coffee, and said he was looking for a lead guitarist- he already had a superb drummer, Eddie Johnson, who spent some time at Juliard; John, the bassist, who had done some trumpet on a Buckingham's album and had played bass for Commonwealth in Northern Illinois; and Sharon Keel and Ken Fitch (who later played organ), vocalists from a Nazarene college in Illinois.

We started practicing together that fall (1970), writing our own music, and playing in the Catacombs. Our goal was to be both an evangelistic ministry and the hardest, loudest, acid-rock band that was not actually using acid. We were clean, and we often did high school anti-drug rallies during school hours in towns where we would be playing that night. By the next summer, we were playing outdoor rock festivals in the Midwest and also in Christian music festivals We went to Sweden for a nine days tour, but on the first night in a park in Stockholm, we were banned for being too loud and I ended up finishing the tour as a folk singer.

By the summer of 1971, we had enough material to do an album, and Leon arranged with Dave Mathes at NRS Records in Nashville to produce it, using Monument Studios If the album would have been more successful, we probably would have stayed together, but our impatience made us think about doing other things, going back to school, and so forth. Being on the road was grueling, and I now understand why professional musicians can feel as though life is passing them by- play at night, go out to eat afterwards, fall asleep on the bus, wake up somewhere else the next afternoon, eat, set up equipment, play at night, etc. By the summer of 1972, most of us left.

A new band was formed with the same name and Sharon Keel out front, but it didn't last long. Even while our music was distinctly Christian, it was also distinctly psychedelic, and we were very offensive in the eyes of many church leaders, who thought we must be doing drugs and sleeping with groupies. We were happy to be offensive, and we were proud to provide a counter-cultural image of religious life. Nowadays, there's an entire industry of Christian rock music but in 1971, we never saw another Jesus Rock band that was louder, dressed more outrageously, or jumped around on stage more than Earthen Vessel. After the break up of the band, I went on to join the Air Force, studied in Amsterdam, and went on to Law School.

I worked at several Law Firms in San Diego and Austin, finally settling in today as a full professor of law at an Eastern University. As far as the other band members go, I only know that John Sprunger joined a Swiss Ministry that provided helicopter services to missionaires in Africa, later moving to West Cameroon. Oddly enough, I know nothing about what ever happened to Sharon, Ken, and Eddie.
by Dave Caudill

Tracks
1. Life Everlasting (Sharon Keel, John Sprunger) - 6:00
2. You Can (Dave Caudill) - 4:37
3. Let Jesus Bring You Back (Ken Fitch, Sharon Keel, Dave Caudill, John Sprunger) - 4:55
4. I've Been Walkin' (Sharon Keel, John Sprunger) - 8:57
5. Coming Home (Arr: Ken Fitch, Sharon Keel, Dave Caudill, John Sprunger) - 2:58
6. Get High (U.S. Apple Corps) - 4:40

Earthen Vessel
*John Sprunger - Bass, Vocals, Trumpet
*Sharon Keel - Lead Vocal, Keyboard, Percussion
*Dave Caudill - Electric Guitar, Acoustic Guitar, Vocals, Blues Harp
*Ken Fitch - Keyboards, Lead Vocal, Percussion
*Ed Johnson - Drums

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String Driven Thing - Keep Yer 'And On It (1975 uk, pleasant progressive folk rock, 2010 remastered edition)

Classic 70's album with rare bonus tracks. "Keep Yer 'And On It" was the second album by the radically transformed line-up of String Driven Thing led by the only member left from the earlier line-up - violinist Grahame Smith; it also proved to be their last.

After "Please Mind Your Head", the band came back with a fine collection of rock-based songs featuring strong compositions and excellent performances all round. Both sides of the album open with similar up-tempo numbers with strong hooks and a rich sound. "Starving In The Tropics" has a pragmatic but sensitive message, while "But I Do" is a nicely twisted love song. Kim Beacon, who was the principal vocalist on Tony Bank's first album, "A Curious Feeling" (but sadly is no longer with us), is on fine form throughout. His voice may be something of an acquired taste, being somewhere between John Wetton and Tom Jones (!), but for me he was one of the best in the business.

The songs are generally straightforward, the exception being the superb interpretation of the Beatles' "Things We Said Today". Here the band allow themselves a little more latitude, developing the instrumental aspects, and briefly exploring psychedelic territories. The ballad "Ways Of A Woman" may be schmaltzy, with weeping violin, but it is performed tenderly and Beacon offers his most soulful performance of the album. The melancholy mood continues on the reflective "Part Of It", a song which would have suited the previous line-up well. The subtitle of "Chains (I Wanna Be Just Like Stan Bowles)" will mean little to younger listeners, but think early 70s British football. "Stand Back In Amazement" and "Call Out For Mercy" are excellent pop-rock songs.

Tracks
1. Starving In The Tropics (J. Exell, C. Fairley) - 5:14
2. Call Out For Mercy (K. Beacon, A. Roberts) - 3:00
3. Chains I Wanna Be Just Like Bowles (J. Exell, A. Roberts) - 5:00
4. Things We Said Today (J. Lennon, P. McCartney) - 6:52
5. But I Do (J. Exell) - 3:45
6. Old Friends (K. Beacon) - 3:45
7. Ways Of A Woman (J. Exell) - 4:07
8. Part Of It (J. Exell, A. Roberts) - 3:40
9. Stand Back In Amazement (J. Exell, A. Roberts) - 3:13
10. Black Eyed Queen (Bonus Track, Live Version) (J. Exell) - 5:05
11. Overdrive (Bonus Track, Live Version) (J. Exell) - 2:51
12. Keep On Moving (Bonus Track, Live Version) (J. Exell) - 5:01
13. Jardarfarardagur (Bonus Track) (G. Smith) - 4:11
14. Surdurnesjamenn (Bonus Track) (G. Smith) - 4:16

String Driven Thing
*James Exell - Bass, Vocals
*Colin Fairley - Drums, Percussion, Vocals
*Alun Roberts - Guitar, Banjo, Vocals
*Cuddly Juddley - Harmonica
*Peter Wood - Piano
*Grahame Smith - Violin, Viola
*Kimberley Beacon - Vocals

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Ilmo Smokehouse - Ilmo Smokehouse...Plus (1970-71 us, amazing heavy rock with blues, psych and jazz influences, akarma edition)

While it's not unusual for a new band to form from the ashes of other collapsing, simpatico groups, it's rare for one to emerge from the funeral pyres of two distinctly different musical units, but thus was begotten Ilmo Smokehouse. Freddie Tieken and the Rockers was the more established of Ilmo's parents, a smoking R'n'B band that had been burning up Midwestern stages since the late '50s.

With an obvious penchant for bluesy rock and soul, the band boasted one of the best horn sections in the region. In contrast, Gonn came on the scene in 1966, dragging behind them their British beat influences, following the herd into psychedelia and even space rock a few years later. Smokehouse had a ferocious live reputation, but this set did that little justice, with only "Johnny B. Good" and "Pine Needle Bed" hinting at their stage potential.

What the record does do, however, is showcase precisely why this band was born to die. The nearly seven-minute long "Have You Ever Had the Blues" is a flawless example of talking blues, a sound Freddie Tieken had perfected years before. Elsewhere, jazz and prog rock collide on "Are You Happy," while jazz, soul, and rock smack straight into each other on "Movement 1 and 13," while "Pine Needle Bed" pulls in so many directions, you expect the whole tree to splinter apart. And splinter the band quickly did, in the end, becoming three different bands. There was just too much experience and quality musicianship in the ranks, all pushing too hard for their own preferred style. For some bands, eclecticism is a badge of honor, for Ilmo it sounds more like a bone of contention.

by Jo-Ann Greene

Authors of only one album produced in 1971, Ilmo Smokehouse made a name for themselves during the early seventies thanks to their incessant gigging, often sharing the stage with names like MC5, Big Brother & The Holding Company, The Amboy Dukes.

Tracks
1. Devil Take My Grandma (K. Rand, R. Weghoff) - 3:30
2. Are You Happy (C. Parker, F. Tieken, K. Rand) - 5:40
3. Movement 1 And 13 (R. Philips, C. Moore, K. Rand, F. Tieken) - 9:50
4. Johnny B. Good (C. Berry) - 3:31
5. Meyer Gold (K. Rand, F. Tieken) - 4:55
6. Have You Ever Had The Blues (F. Tieken) - 6:59
7. Pine Needle Bed (C. Moore, K. Rand, F. Tieken) - 2:53
8. Watch Jimmy Crash (Ilmo Smokehouse) - 2:36
9. Key To The Highway (Bonus Track) (Big Bill Bronzy) - 2:45
10.Pine Needle Bed (Bonus Track) (C. Moore, K. Rand, F. Tieken) - 3:33
11.Ozone (Bonus Track, Instrumental) (Gerry Gabel) - 3:24
12.Outskirts Of Town (Bonus Track) (Andy Razxaf, Fats Waller) - 2:58
13.Calm Myself Down (Bonus Track) (Craig Moore) - 4:32
14.Every Day (Bonus Track, Instrumental) (Memphis Slim) - 5:01
15.Columbia Jam (Bonus Track) (Ilmo Smokehouse) - 5:37

Musicians
*Keith "Slink" Rand - Lead Guitar, Percussions
*Freddie Tieken - Vocals, Rap Vocals, Tenor Saxophone
*Gerry Gabel - Vocals, Flute, Harmonica, Piano
*Dennis Tieken - Vocals, Drums
*Craig Moore - Bass, Vocals

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String Driven Thing - String Driven Thing / Please Mind Your Head (1972/1974 uk, fabulous progressive folk rock, 2006 issue)

One of the finest bands signed to the Charisma label during its early-'70s heyday, Scotland's String Driven Thing originally formed as a trio in 1969, led by the husband-and-wife team of Chris and Pauline Adams, plus percussionist John Mannion. Locally popular at the tail end of the 1960s, the band faded from view shortly after releasing a self-titled debut album in 1970. They continued playing, however, with the lineup expanding to include bassist Colin Wilson

In early 1972, Chris Adams journeyed to London, hoping to interest the Strawbs' management with a three-song demo. Finding himself with some free time, he was flicking through the record labels section of the Yellow Pages when he spotted Stratton Smith Enterprises. He called and found himself in conversation with the head of Charisma chief Tony Stratton Smith's publishing company, Mooncrest Music. Within a week, Stratton Smith himself was in Glasgow, for a String Driven Thing showcase at the Burns' Howff pub; a week after that, the band signed with his label.

Shedding Mannion around the same time, the group returned to Glasgow with a princely retainer of 20 pounds per week, to rehearse. A month later, they went back south for their first ever live shows as a "signed" band: a community hall in the town of Tunbridge Wells, where Strat had his country retreat, and the 1972 Reading Festival. It was an audacious entry, but it worked and the group quickly set to work on its first Charisma album, to be titled — like its independent predecessor — String Driven Thing.

Recorded in two weeks in August 1972 with producer Shel Talmy, the album landed rave reviews across the music press, with Melody Maker in particular leaping onto the group's side. (Amusingly, it later transpired that the album's distinctive gatefold sleeve, designed by Po of Hipgnosis, cost more than the actual recording sessions!)

The band continued pushing forward. Visiting France, they stopped by the renowned Chateau D'Heuroville studios (the Honky Chateau of Elton John fame), where they were filmed recording some songs with a French producer, who later claimed he'd done a better job than Shel Talmy ("he had a point," mused Adams); December 1972, meanwhile, saw the band fly to New York to support Genesis at that band's first ever American show, at the Philharmonic Hall.

When Chris and Pauline Adams left String Driven Thing after the release of "The Machine that cried", the heart of the band essentially went with them. To his credit, Grahame Smith rebuilt String Driven Thing from scratch, but the truth was that this was a completely different band using the same name (per Fleetwood Mac). The new line up recorded two albums together;this is the first of the two.

Vocal duties were taken on by Kim Beacon (here referred to as Kimberley) who was the principal vocalist on Tony Banks' first solo album. Beacon's vocals represented a fundamental change from those of Chris and Pauline Adams, implying an immediately apparent change of sound for the band. This, combined with a general move towards a more orthodox pop rock direction alienated many of SDT's original fans. Things start off brightly enough with "Overdrive" a mid-paced pop song with a fine harmonic chorus.. Songs such as "Without you" try to be more adventurous, with Smith's violin and viola contributions moving the songs on. Vocalist the late Kim Beacon was one of the finest rock singers of his day, his voice being a cross between Paul Rogers and Rod Stewart. Standout tracks are "Overdrive", and the instrumental "Timpani for the devil" .

This instrumental piece draws in brief classical influences as Grahame Smith gets loose on his violin while drummer Colin Fairley expresses himself...
SpaceRitual

Tracks
1974 Please Mind your Head
1. Overdrive - 3:10
2. Without You - 4:00
3. Josephine - 4:10
4. Mrs. O'Reilly - 3:40
5. Man of Means - 2:46
6. Black Eyed Queen - 4:43
7. Keep on Moving - 3:38
8. Timpani for the Devil - 4:15
9. To Know You Is to Love You - 6:25
1972 String Driven Thing
10.Circus - 4:48
11.Fairground - 3:22
12.Hooked on the Road - 2:56
13.Easy to Be Free - 3:06
14.Jack Diamond - 5:20
15.Let Me Down - 4:03
16.Very Last Blue - 3:56
17.Yodell - 3:56
18.My Real Hero - 3:56
19.Regent St. Incident - 3:54

Musicians
1972 String Driven Thing
*Grahame Smith - Violin
*Pauline Adams - Vocals, Percussion
*Colin Wilson - Bass, Guitar, Banjo
*Chris Adams - Vocals, Guitar

1974 Please Mind your Head
*Grahame Smith - Violin, Viola
*Kim Beacon - Vocals
*James Exell - Bass, High Vocals
*Colin Fairly - Drums, Perc, Low Vocals
*Alun Roberts - Guitar, Banjo, Bass Vocals
*Pete Wood -- Keyboards

Additional Musicians
*Harry McDonald - Keyboard
*Alan Skidmore - Sax
*Cuddley Juddley - Flute, Bagpipes

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Procol Harum - Procol Harum (1967 uk, groundbreaking debut album, psych early prog rock, three different [2001, 2012, 2015] japan and eu remaster editions with bonus tracks)

The self-titled Procol Harum marked the album debut of the band then consisting of Gary Brooker (vocals/piano), Robin Trower (guitar), Matthew Fisher (organ), David Knights (bass) and B.J. Wilson (drums).  (Brooker, Trower and Wilson had all previously played in The Paramounts, the group that scored a minor U.K. hit in 1964 with Leiber and Stoller’s “Poison Ivy.”)  With all but the closing track, Fisher’s “Repent Walpurgis,” penned by the team of composer Brooker and lyricist Keith Reid, Procol Harum heralded bold new voices in the British rock scene with its progressive blend of psychedelia, classical and blues idioms.  

The LP, produced by Denny Cordell and released on Regal Zonophone, had been preceded by two single releases.  May 1967’s “A Whiter Shade of Pale” reached No. 1 in the U.K. in June and stayed in that position for six weeks.  (Guitarist Ray Royer, whose tenure in the group was short-lived, played on “Whiter Shade.”)  “Homburg” then followed in October, making No. 6 on the pop chart.  Surprisingly by today’s standards, neither song was included on Procol Harum in the U.K., but “Whiter Shade” was added to the LP for its U.S. release.  It replaced “Good Captain Clack” in a reshuffled sequence.  “Whiter Shade” would make No. 5 in the U.S., with “Homburg” performing less impressively at No. 34.

Esoteric has Procol Harum, remastered from the original mono tapes (no stereo version exists), available in both 1-CD and 2-CD iterations.  The single disc has the original 10-track U.K. album plus four bonus tracks – the singles “A Whiter Shade of Pale” b/w “Lime Street Blues,” and “Homburg” b/w “Good Captain Clack.”  This edition is seven tracks short of Salvo’s 2009 version of this LP.  However, Esoteric also has the album in a 2-CD deluxe edition with 15 bonus tracks – seven of which are previously unreleased and two of which are making their CD debuts.  

The seven previously unreleased cuts encompass the band’s 1967 BBC performances for Top Gear and Easybeat.  The other bonuses include B-sides, alternate takes and stereo mixes.  Henry Scott-Irvine provides the new liner notes, and the 2-CD set also includes a facsimile promotional shop poster made for the release of the album in January 1968.

by Joe Marchese

You might make the mistake of thinking 'A Whiter Shade Of Pale' is the only good song on the album, just because it's that notorious. Don't. Contrary to rumour, the album isn't packed with filler at all - even if they did have to rush to the studio and record it as quickly as possible on the heels of their sudden success. Of course, the song is outstanding: the way they intertwine Bach's 'Air On A G String' with blues patterns and Reid's mystical lyrics is simply incredible. Perhaps the tune doesn't sound as terrific now as it did way back in the summer of 1967 - after all, it was probably the first major venture into the world of art rock. But I still hold a soft spot in my heart for it as one of the best representatives of the magnificent sound of Procol Harum. The only thing it lacks is a guitar - Robin Trower hadn't yet joined at this point; but even without the guitar it still manages to convey that feeling of measured majesty which makes Procol captivating.

Yeah, but this is not the only high point. They might have recorded individual songs of higher quality in the future, but it's on here that they really burst out with an innovative, totally groundbreaking set of numbers. I'm perfectly aware that most of them are built on the same musical principle - that is, combining classical elements, primarily Bach, with slow, moody Ray Charles-ish soul and Brooker's high, unrestrained vocals; but that doesn't make the music less fascinating, because they didn't forget to provide most of their material with clever, catchy hooks. Not to mention the lyrics - some of the best rock poetry on here, no doubt.

You wanna some proof? Okay, here we go. 'Conquistador' might be the second best song on here, based on Reid's brilliant allegory of the vanity of victory. And, as much as I'm not a fan of the Brooker tone, I must confess that he pulls off the song just fine, clearly getting Reid's message. The best moment, of course, comes in the chorus, with the scary descending guitar riff over the confused lines 'And though I hoped for something to find/I could see no maze to unwind'! BOO! Sounds almost like 'Boris The Spider' to me, only the dark humour vibe is replaced by the really frightening one.

Yet another spooky tune is 'Outside The Gates Of Cerdes' (what's Cerdes, may I ask, and what's its relations with Hades?) Ever seen a painting of the Final Judgement by Bosch? That's what the lyrics seem to be all about, and the keyboards and the dark bass line create a mood that's simply perfect. Finally, if you're not yet scared out of your pants, you get a gloomy account of Brooker always running into his own tombstone in 'Something Following Me'. Need I add that both songs are highlighted by Trower's vicious Hendrix-inspired solos and Fisher's beautiful organ?

There's also some romantic ballads on here - like the silly 'She Wandered Through The Garden Fence', or the groovy 'Salad Days (Are Here Again)', and a couple of songs might seem throwaways, like the repetitive 'Kaleidoscope' or the short good-time ditty 'Good Captain Clack'. But even then, they're still listenable, and you won't regret buying the album while listening to such monsters as their greatest Ray Charles rip-off ('A Christmas Camel', with maybe the funniest lyrics on the entire album), or the closing instrumental 'Repent Walpurgis' which sounds close to 'Shade Of Pale', yet is different. IMHO, it's one of the most gorgeous classical-style rock compositions ever, standing right there, together with Jethro Tull's 'Bouree'.

Funny how all the gorgeous classical-style rock compositions are based on Bach, isn't it? In fact, if I might allow myself a little digression, it's interesting that Bach seems to be the primary influence for all 'serious' bands, and not only art rock ones: even Jack Bruce admitted Bach's influence in his work. I still have no idea why. Sure, Bach is a great composer, but there are so many more... why does nobody ever quote Mozart as an influence? Too lightweight? Too bad, I say!

All right, I was talking about 'Repent Walpurgis'. It's a great instrumental, with the pounding organ and Trower's guitar building up to shattering climaxes. Hell, I caught myself on using as many 'greatest', 'shattering' and 'gorgeous' epithets in this here review as I'd probably never use on a whole page devoted to lots of other bands. Well, you gotta excuse me: this record is truly like nothing else (except for later Procol Harum records, of course). I'd bet its primary uniqueness of course, lies in a definite differentiation between the piano (courtesy of Brooker) and the organ (courtesy of Fisher).

This results in a very rich layer of keyboard sound which neither Yes nor ELP, the two greatest keyboard prog rock bands of all time, could afford. Another distinction is that it manages to sound intelligent and serious without sounding at all pretentious - courtesy of Keith Reid and the goaty singing of Mr Brooker. And even if you think that it's pretentious, just listen to the ridiculous fun on 'Mabel', the track that should really and truly belong to a drunken cabaret party... nah. It's as great as everything else on here.

Oh! And don't forget the bonus tracks! The B-side of 'Shade Of Pale' is actually a jumpy R'n'B number ('Lime Street Blues') that denotes their Paramounts past. Then there's 'Homburg', their classic second single which is a carbon, but certainly not a dull, copy of 'Shade Of Pale', except that the piano is featured more prominently than the organ, giving the song a complaintive rather than majestic feel.

'Monseigneur Armand' is a throwaway, but 'Seem To Have The Blues All Of The Time' is top-notch, built on a grumbling, almost heavy metal riff (I wonder how much innovatory the song was for its time? There were no Led Zeppelin back then, remember that!) In all, the record is wonderful, wonderful, wonderful... geez, I'm gonna go put it on one more time now. Go get it.

by George Starostin

Tracks

1. A Whiter Shade Of Pale - 4:06

2. Conquistador - 2:38

3. She Wandered Through The Garden Fence - 3:24

4. Something Following Me - 3:37

5. Mabel - 1:53

6. Cerdes (Outside The Gates Of) - 5:03

7. A Christmas Camel - 4:49

8. Kaleidoscope - 2:53

9. Salad Days (Are Here Again) - 3:38

10.Good Captain Clack - 1:30

11.Repent Walpurgis - 5:02

12.Lime Street Blues - 2:59

13.Homburg - 3:55

14.Monseigneur Armand - 2:23

15.Seem To Have The Blues All The Time - 2:46

All Songs by Keith Reid, Gary Brooker except track 11 by Matthew Fisher

Esoteric (2015 Double Disc)

Disc One - Original Album Released as Regal Zonophone LRZ 1001 in January 1968

1. Conquistador - 2:33

2. She Wandered Through The Garden Fence - 3:21

3. Something Following Me - 3:33

4. Mabel - 1:50

5. Cerdes (Outside The Gates Of) - 4:59

6. A Christmas Camel - 4:42

7. Kaleidoscope - 2:49

8. Salad Days (Are Here Again) - 3:33

9. Good Captain Clack - 1:25

10.Repent Walpurgis (Matthew Fisher) - 4:04

11.A Whiter Shade Of Pale (Gary Brooker, Matthew Fisher, Keith Reid) - 4:04

12.Lime Street Blues - 2:50

13.Homburg - 3:52

14.Good Captain Clack - 1:28

15.Alpha - 3:50

16.Salad Days (Are Here Again) - 4:12

17.Understandably Blue - 3:29

18.Pandora's Box - 3:05

19.Cerdes (Outside The Gates Of) - 4:45

20.Something Following Me - 3:38

All Songs by Keith Reid, Gary Brooker except where noted

Bonus Tracks 11-20

Disc Two

1. A Whiter Shade Of Pale (Gary Brooker, Matthew Fisher, Keith Reid) - 6:04

2. Homburg - 5:33

3. Repent Walpurgis (Matthew Fisher) - 7:27

4. Conquistador - 2:39

5. She Wandered Through The Garden Fence - 3:27

6. Something Following Me - 3:47

7. Mabel - 1:55

8. Kaleidoscope - 3:08

9. Cerdes (Outside The Gates Of) - 5:23

10.Homburg - 3:56

11.Morning Dew (Bonnie Dobson) - 3:11

12.A Whiter Shade Of Pale (Gary Brooker, Matthew Fisher, Keith Reid) - 5:12

13.Mabel - 1:37

14.Homburg - 3:50

15.Good Captain Clack - 1:17

16.She Wandered Through The Garden Fence - 3:12

17.Kaleidoscope - 2:27

All Songs by Keith Reid, Gary Brooker except where stated

Tracks 11-13 BBC "Easybeat" Session, June 1967

Tracks 14-17 BBC "Top Gear" Session, September 1967

Victor Japan Hqcd 2012 Edition

1. Conquistador - 2:35

2. She Wandered Through The Garden Fence - 3:22

3. Something Polliwog Me - 3:34

4. Mabel - 1:51

5. Cerdes (Outside The Gates Of) - 5:00

6. A Christmas Camel - 4:43

7. Kaleidoscope – 2:49

8. Salad Days (Are Here Again) - 3:34

9. Good Captain Clack - 1:26

10.Repent Walpurgis (Matthew Fisher) - 4:55

11.A Whiter Shade Of Pale (Gary Brooker, Matthew Fisher, Keith Reid) - 4:06

12.Lime Street Blues - 2:51

13.Homburg - 3:53

14.Good Captain Clack - 1:29

15.Il Tuo Diamante - 3:23

16.Understandably Blue - 3:30

17.Pandora's Box - 3:43

18.Alpha - 3:48

19.Conquistador - 2:38

20.She Wandered Through The Garden Fence - 3:25

21.Homburg - 3:54

All Songs by Keith Reid, Gary Brooker except where indicated

Procol Harum
*Matthew Fisher - Organ
*Dave Knights - Bass
*B.J. Wilson - Drums
*Robin Trower - Guitar
*Gary Brooker - Piano and Vocals
*Keith Reid - Lyrics
On "A Whiter Shade of Pale" only
*Ray Royer (in place of Trower) - Guitar
*Bill Eyden (in place of Wilson) - Drums

Related Act
1973-76  Robin Trower - Tale Untold, Chrysalis Years (3 disc box-set, 2010 remaster bonus tracks issue)

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The Last Drive - Underworld Shakedown (1986 greece, great garage psych revival)

Early rehearsals by nascent band and occasional gigs in clubs in Athens circa 1981-.82 Made their first official gig at Rodeo (Cult) as The Last Drive, on December 1983, the line-up was : Alex K (vocals, bass), Chris B. I. (drums), Nick ‘Pop Mind’ (guitar) and P.E.P. (guitar), two months later they made another live appearance in Saloniki at Basement Club, but P.E.P. has already left the band.

On March 1984, The Last Drive recorded their first demo, including the originals songs ‘Race to Hell’, ‘Train of Pain’ and ‘Graveyard Cat’ and a version of ‘Lonesome Train’ by Johnny Burnette. Late 1984 George, a.k.a. ‘Be George Bop’, Be Bop Jungle guitarist, joins the band. The Last Drive become a quartet again and at December 30 play at the legendary club Pegasus, in Exarchia, in the midst of the Greek underground mid-80’s explosion.

Again in the studio but this time for official recordings (first EP Includes ‘Poison’, ‘Midnite Hop’ and ‘Right by My Side’, all originals). They played Live at Kyttaro Club. ‘Calhoun Surf’ and ‘Blue Girl’ included in cassette-compilation by Di-Di Music. Two more live shows one in Giannena (Chevrolet Club) and the other in Salonici at the famous Berlin Club. During the summer of 1985 the single ‘Midnite Hop’ released on independent Art Nouveau, distributed by Polygram.

The following year after explosive gigs, the band signs with new independent label Hitch-Hyke, entering the studio to record the first Long Play ‘Underworld Shakedown’, the sessions completed after two months and the result was eight originals – ‘Me ’n’ my Wings’, ‘Valley of Death’, ‘Poison’, ‘This Fire Inside’, ‘Sidewalk Stroll’, ‘The Shade of Fever’, ‘Repulsion’ – and four representative covers: ‘Misirlou’ (by Roubanis), ‘Every Night’ (Human Expression), ‘Night of the Phantom’ (Larry and the Blue Notes) and the classic ‘Blue Moon’.

The band plays with The Watermelon Men from Sweden at Kyttaro, while Mick Blood (lead singer with The Lime Spiders from Australia) joins them on stage for ‘You’re Gonna Miss Me’, ‘Five Years Ahead of My Time’, ‘Have Love Will Travel’, and an attempt at ‘Creature of My Dreams’ – Mick’s version of ‘Sidewalk Stroll’. The audience takes over the stage and the Swedes appear reluctant to follow!

Their debut album ‘Underworld Shakedown’ released on June 1986 by Hitch-Hyke Records and was dedicated to James Cagney (‘Top of the world, ma!’). The album causes a stir, receiving rave reviews in Greece and abroad. The Last Drive shows in Athens continue to be a unique experience, while more and more provincial towns witness their live power. Touring abroad comes next.

Tracks
1. Me 'N' My Wings - 2:54
2. Valley Of Death - 3:39
3. Poison - 2:38
4. Misirlou (Nicholas Roubanis) - 2:31
5. This Fire Inside - 2:26
6. Blue Moon (Lorenz Hart, Richard Rodgers) - 7:25
7. Sidewalk Stroll - 3:20
8. The Shade Of Fever - 3:42
9. Every Night (Armand Poulin, Jim Foster, Jim Quarles, Martin Eshelman, Tom Hamilton) - 4:14
10.The Night Of The Phantom (Larry Roquemore, Larry Slater) - 3:24
11.Repulsion - 6:56

All songs by Alex K., B.George Bop, Chris B.I., Nick "Pop Mind" except where noted:

The Last Drive
*Alexis Kalofolias (Alex K.) - Bass, Vocals
*Yiorgos Karanikolas (B.George Bop) - Lead Guitar, Vocals
*Christos Michalatos (Chris B.I.) - Drums
*Nikos Kapetanopoulos (Nick "Pop Mind") - Guitar

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Various Artists - Survival Of The Fittest (1986-89 Aussie garage surf rock, Ryko disc issue)

Another fine example of Australian's underground scene. The secod half (mostly) of the '80's covered here with some very known and other lesser known bands and artists, such as The Hitmen, The Sreaming Triebsmen, Damien Lovelock (from Celibate Rifles), Klondike (aka Chris Masuak -former member of Radio Bridman-). A musical puzzle with rough and jagged garage surf beat sounds, through neo psychedelia and funky vibes. The compilation was released through Rykodisc in 1990.

Tracks - Aritists
1.Left in the Dark - Screaming Tribesmen - 3:34
2.Story of My Life - Voodoo Lust - 3:08
3.Harper's Bazaar - Lovelock - 3:15
4.Cyclone Sally - Tall Tales & True - 5:00
5.Oh No - Hitmen - 2:52
6.Lost Cause - Cosmic Psychos - 3:34
7.Hung Up - Blood - 3:42
8.Pizmo Beach - Psychotic Turnbuckles - 1:56
9.Gossip - Voodoo Lust - 2:53
10.You Won't Understand - Klondike - 3:37
11.Virginia - Faith - 4:26
12.Ghostown - Lovelock - 3:28
13.Mess With You - Screaming Tribesmen - 4:20
14.I Don't Mind - Hitmen - 2:46
15.Hit - Ya Ya Choral - 2:32
16.Jezebel - Voodoo Lust - 3:05
17.Cool It - Psychotic Turnbuckles - 2:06
18.Casualty of Love - Screaming Tribesmen - 3:41
19.Tell Tale Heart - Hitmen - 3:37
20.7 + 7 Is - Tall Tales & True - 2:03
21.Small Town Refugee - Klondike - 3:12
22.Stardom Ain't Easy - Teen - 3:07

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Various Artists - Do The Pop (1976-87 aussie, substantial punk, garage revival, neo psych, guitar pop, double disc release)

The mid-'70s onset of Radio Birdman and the Saints is an event that has (rightly) attained legendary status. I won't play my usual game of rating Birdman well ahead of the Brisbanites - let's face it: they both mattered - but the early '80s is when the floodgates truly opened. The likes of the Lipstick Killers, the Hitmen, the Scientists, the (sadly unrecorded) Other Side and the Visitors were all playing within half-a-dozen blocks of each other in their central Sydney playground. (Sydney was The Place, and those bands were The Shit.) In their wake (or interstate) were Died Pretty, the Screaming Tribesmen, the Lime Spiders, the Stems and The Eastern Dark to name a few. They were the leading edge of the second wave of home-grown, garage-inspired rock that became a tidal wave, the impact of which was felt as far afield as Scandinavia, lower Europe, the USA and South America.

"Punk" might be the label most of these bands wore back in the day, but this is more of a "Rock" compilation. The unbridled energy is there, but most of these groups were more musically adept than the two-chord thrash artists that briefly burned at places like the White Horse and the Grand Hotel. For the most part, the bands on these discs had roots that ran all the way back to the Music Machine, the Remains, the Sonics or the 13th Floor Elevators (to name a few.) It's the similar bloodlines that make comparisons to Lennie Kaye's "Nuggets" valid, and should ensure a place in CD racks overseas.

Compiler Dave Laing hasn't missed too many essentials. You could quibble about the absence of the full version of Died Pretty's "Mirror Blues" or the lack of a Wet Taxis, X or Beasts of Bourbon cut. Others might also bemoan the absence of the Thought Criminals (who didn't sound anything like any of the bands here anyway.) Some - not me - will question the total absence of the Birthday Party (or any Victorian bands, for that matter - before you e-mail me, the Philisteins were from Tasmania, though did finish up in Melbourne. The likes of Bored! and God will, no doubt, be covered in depth on the forthcoming "Best of Dog Meat" compilation.) It could be argued that girl groups are sorely under-represented with only the Passengers rating a place of the trio of female-fronted acts that occupied similar turf in Sydney in the early '80s (the Flaming Hands and the Shy Imposters being the omissions.)

None of the tracks are staggeringly rare either, though you will struggle to find copies of the Victims' "Television Addict", the Scientists' "Last Night" and the New Christs' terrifically sullen "Face a New God", at least in official digital form. It's great to see Dave went for the earliest versions of some of the better-known songs. Birdman's "New Race" and the Sunnyboys' "Alone With You" are the original Trafalgar black album and Phantom single versions, respectively. The Saints' wonderful "Simple Love" is also the "Paralytic Tonight" EP take (which craps all over the one on the "Monkey Puzzle" long player.) The jungle-drumming 45, "Leilani", was re-recorded but never bettered on the Hoodoo Gurus' first album, so it's great to hear it here in all its primal glory. Good to see so-described court jesters of the Sydney scene, the Psychotic Turnbuckles, also present with the thunderous "Groove to the Eye" from their Rob Younger-produced debut mini-album.

The Headstones are a surprise - but worthy - inclusion ("When You're Down" has always been a fave around these parts.) Was "Igloo" never going to be the Screaming Tribesmen's representation? Two decades later, it still sounds great and otherworldly. Good to hear the underrated "Ice" also weighing in (Chris Masuak's sustain guitar spray being a highlight.) The early Hard Ons hit "Girl in The Sweater" still sounds like a sublime piece of Ramonish pop. "Don't Look Down" is the best thing Decline of the Reptiles recorded. "Johnny and Dee Dee" wasn't the best thing The Eastern Dark put on tape - that honour goes to "Walking" - but both are inclusions. You want to know the roots of grunge? Listen no further than the (late period) Scientists' track "Atom Bomb Baby".

Three Hitmen songs "Didn't Tell the Man", "I Don't Mind" and "Bwana Devil" (the alternative, revisited mix) all sit well. Their presence also underlines that, in spite of their critics who saw them as too commercial/too cover reliant/not trendy, the Hitmen influenced a helluva lot of contemporaries. Zeus himself gets a guernsey (with Radio Birdman, sans Dr Tek and plus Charlie Georgees) on "King of the Surf" (which Dave Laing's now defunct Dog Meat label released as a 45 a decade or so back.)

The Lime Spiders, Celibate Rifles, Stems and New Christs all command strong representation (though I would have plumped for "Born Out of Time" ahead of "I Swear", though rival label Raven seems to have covered that base on their release of Oz '80s stuff, being reviewed else where here soon.)

Added bonus: The voluminous liner notes and unpublished pix in the accompanying 28-page booklet, mostly a Laing effort but supplemented by Steven Danno.

Put this album on now, slip into your old winklepickers and most comfortable leather jacket, flip the lid on a can of KB (remember cold gold?), ease back into your rocking chair and turn up the volume. Some of us still remember. And if you're too young to remember, this collection will be the ideal starting point. It's indispensable.
The Barman

Artists - Tracks
Disc 1 Orange
1.The Saints - (I'm) Stranded - 3:31
2.Radio Birdman - New Race (Original Version) - 4:28
3.The Psycho Surgeons - Wild Weekend - 1:51
4.The Saints - One Way Street - 2:58
5.The Victims - Television Addict - 2:56
6.Radio Birdman - Aloha Steve & Danno - 3:56
7.Johnny Kannis - King of the Surf - 2:16
8.Radio Birdman - Crying Sun - 2:54
9.Hitmen - Didn't Tell the Man - 2:56
10.Lipstick Killers - Hindu Gods of Love - 3:19
11.The Visitors - Living World - 2:54
12.The Passengers - Face With No Name - 2:54
13.The Saints - Simple Love (Original Version) - 3:40
14.The Scientists - Last Night - 2:39
15.Fun Things - Savage - 2:40
16.Sunnyboys - Alone With You (Original Version) - 3:14
17.The New Christs - Face a New God - 4:22
18.New Race - Alone in the Endzone - 2:10
19.Hitmen - I Don't Mind - 2:42
20.The Celibate Rifles - 24 Hours (SOS) - 2:04
21.Sunnyboys - Happy Man - 3:03
22.Lipstick Killers - Driving the Special Dead - 3:42
23.Le Hoodoo Gurus - Leilani (Original Version) - 4:54
24.Hitmen - Bwana Devil - 3:50
25.Minuteman - Voodoo Slaves - 2:28

Disc 2 Blue
1.The Scientists - Swampland - 4:10
2.Lime Spiders - 25th Hour - 3:10
3.The Screaming Tribesmen - Igloo - 4:00
4.Hoodoo Gurus - Be My Guru - 2:38
5.Lime Spiders - Slave Girl - 2:51
6.The New Christs - Like a Curse - 3:19
7.Died Pretty - Mirror Blues Pt. 1 - 4:33
8.The Screaming Tribesmen - Ice - 3:39
9.Decline of the Reptiles - Don't Look Down - 4:13
10.The Eastern Dark - Johnny & Dee Dee - 3:01
11.Exploding White Mice - Burning Red - 2:48
12.Hard-Ons - Bye Bye Girl - 2:01
13.The Psychotic Turnbuckles - Groove to the Eye - 3:28
14.Lime Spiders - Out of Control - 3:14
15.The Scientists - Atom Bomb Baby - 3:00
16.The Stems - Can't Resist - 2:34
17.Died Pretty - Stoneage Cinderella - 3:15
18.The Someloves - Don't Talk About Us - 2:35
19.Hard-Ons - Girl in the Sweater - 2:44
20.The Eastern Dark - Walking - 3:31
21.The Celibate Rifles - Back in the Red - 2:44
22.The Philisteins - Early Morning Memory - 2:12
23.The Headstones - When You're Down - 2:24
24.The Stems - At First Sight - 4:04
25.The New Christs - I Swear - 3:09

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Caravan - Cunning Stunts (1975 uk, progressive rock, canterbury scene, japan remaster with bonus tracks)

By July 1974, John Perry had moved off to play with Quantum Jump, to be replaced by Mike Wedgewood who had played previously in Curved Air. With Dave Sinclair firmly re-established in the band, an album was put together. This was originally to have been titled 'Toys in the Attic', but they were beaten to it by Aerosmith and had to make do with 'Cunning Stunts', which featured Dave Sinclair's songwriting far more heavily.

The opening "Show Of Our Lives" was (still is) one of my favorite Caravan tracks, along with few others which were part of a somekind a best of record by Caravan,  that i bought back there in the second half of the seventies. Their songwritting goes more easily with Pye's "Stuck In A Hole" a funky groovy three minute heavenly song.

Lover is nice melodic Mike's composition with the use of an orchestra, which comes as no surprise after Caravan's 'The New Symphonia' record. 'No Backstage Pass' (another Pye's song) flows from 'Lover' with a string introduction, and takes it good with a guitar solo. The next step comes again with a funky groovy little piece, this time the songwritting part goes to Mike. "The Dabsong Conshirtoe" is an 18 minute composition by John Murphy and Dave Sinclair, split in five parts, a long trip, with many turns, that gives to members the opportunity, to show their high perfoming level.

This japanese remaster release comes with extra bonus tracks, the single version of "Stuck In A Hole", an unissued take of "Keeping Back My Love"   which would ultimately be reworked three years later on Better by Far (1977), and "For Richard" recorded at Fairfield Hall in Croydon, England. Also there's a 12page booklet with liner notes from Mark Powell.

Tracks

1. The Show of Our Lives (David Sinclair, John Murphy) - 5:47 

2. Stuck in a Hole (Pye Hastings) - 3:09 

3. Lover (Mike Wedgwood) - 5:08 

4. No Backstage Pass (Pye Hastings) - 4:35 

5. Welcome the Day (Mike Wedgwood) - 4:03 

6. Dabsong Conshirto - Pt. 1 the Mad Dabsong... (David Sinclair, John Murphy) - 18:01 

7. The Fear and Loathing in Tollington Park (Geoff Richardson) - 1:09 

8. Stuck In A Hole (Pye Hastings) - 3:10

9. Keeping Back My Love (Pye Hastings) - 5:14

10.For Richard (Richard Coughlan, Pye  Hastings, Richard Sinclair, David Sinclair) - 18:34

Caravan
*Richard Coughlan - Drums, Percussion
*Pye Hastings - Vocals, Guitars
*Geoff Richardson - Viola, Guitars, Flute
*David Sinclair - Keyboards
*Mike Wedgwood - Basses, Vocals, Congas
*Jimmy Hastings - Brass Arrangements

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Grapefruit - Deep Water (1969 uk, excellent beat psych, repertoire extra tracks edition)

Grapefruit were one of the better Beatlesque late-'60s British pop-rock bands. In 1968 they seemed on the way to stardom, with a couple of small hit British singles and, more importantly, some help from the Beatles themselves. Led by George Alexander, brother of the Easybeats' George Young, the group were at the outset cheerful harmony pop/rockers with similarities to the Easybeats, Bee Gees, and some Paul McCartney-penned tunes from the Beatles' own psych-pop era.

Not quite as incessantly chipper as the Easybeats, not as melodramatic as the Bee Gees, and certainly not as inventive as the Beatles, they were nonetheless similarly skilled at blending melodic pop with sophisticated arrangements that employed baroque/psychedelic touches of strings, orchestration, and several varieties of keyboards. A disappointing second album, however, helped sink them out of sight, and the Beatles couldn't be of help as they were preoccupied with their own imminent dissolution.

George Alexander (born Alexander Young), who wrote most of the songs for Grapefruit, was the older brother of George Young and had stayed behind in the U.K. when the rest of his family emigrated to Australia. He was signed to Apple Music Publishing in 1967 by Terry Doran, who had been affiliated with Brian Epstein and the Beatles' organization for some time. Doran also managed the band, which was completed by several members of the light harmony pop-rock group Tony Rivers and the Castaways (who were managed by Brian Epstein's NEMS Enterprises).

Guitarist and lead singer John Perry has remembered that the idea behind Grapefruit would be to play music in the mold of the Beatles' earlier pop image, filling a gap left empty by the Beatles' growth into psychedelia and more sophisticated territory. The Beatles also got behind the group to some extent, as John Lennon named the band (after Yoko Ono's book with the same title) and went to press receptions introducing the band to the media.

Members of the Beatles pitched in ideas for Grapefruit arrangements and recording sessions, and Paul McCartney even directed a promotional video for their single, "Elevator." Grapefruit, despite all the Beatles associations, were not on Apple Records, which might have seemed their logical home. There was a pragmatic reason for this: Although Grapefruit began releasing discs in early 1968, Apple Records was not officially launched until quite a few months later.
by Richie Unterberger

Tracks
1. Deep Water - 2:14
2. Can't Find Me - 2:07
3. Thunder And Lightning - 3:04
4. Lady Goodiva - 3:16
5. The Right Direction - 2:54
6. L.A. And Back (Bobby Ware) - 1:48
7. Come Down To The Station (Bobby Ware) - 3:03
8. A Dizzy Day - 2:49
9. Blues In Your Head (Bobby Ware) - 4:47
10.Time To Leave - 3:14
11.Deep Water (Mono Single Mix) - 2:13
12.Come Down To Station (Mono Single Mix) (Bobby Ware) - 3:02
13.Thunder And Lightning (Single Mix) - 3:04
14.Blues In Your Head (Single Edit) - 4:01
15.Sha-Sha (Single A- Side) (Moni James) - 3:32
16.Universal Party (Single A- Side) - 2:59
All compositions by George Alexander except where noted.

Grapefruit
*George Alexander - Rhytm Guitar
*Mike Fowler - Piano, Organ, Guitar
*John Perry - Bass
*Geoff Swettenham - Percussion
*Bobby Ware - Vocals, Lead Guitar And Harmonica

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Black Pearl - Black Pearl (1969 us, superb psychedelic garage with funky groovy blinks)

Black Pearl was a Boston band. Well, ultimately San Francisco-based, but originally from Boston and their backstory is one of those classic gems you love to uncover when doing musico-archeology. Black Pearl was Bernie “B.B” Fieldings (vocals), Oak O’Connor (drums), Tom Mulcahy (guitar), Geoffrey Morris (bass), and Jerry Causi (guitar) and Bruce Benson (guitar). Morris, Causi and Benson had been members of the Barbarians, a mid-‘60s garage band from Cape Cod noted for a couple of reasons.

They had longer hair than most bands at the time (which was still a big deal in the mid-‘60s), and their drummer, Victor “Moulty” Moulton, played with prosthetic hook, having lost his left arm in an explosion at the age of 14. He actually held one of his drumsticks with the hook!

And, not only that, the Barbarians wrote and performed a rather melodramatic (albeit slightly humorous) song chronicling the drummer’s life and loss But the Barbarians were perhaps best known for their appearance in one of the first rock concert movies, The T.A.M.I. Show, with such big-timers as James Brown, Chuck Berry and the Rolling Stones, as well as their chart hit “Are You a Boy or Are You a Girl?”

Black Pearl was formed in 1967 after Moulty refused to travel to Boulder, Colorado for a two week engagement, and Morris, Causi and Benson recruited a new drummer (O’Connor), plus Mulcahy and Fieldings. Initially based in Boston, they relocated to San Francisco shortly after forming.

They released two albums, Black Pearl in 1969 and Black Pearl – Live! in 1970. Lester Bangs doesn’t have as high an opinion of the second album, but here are all the tracks from their self-titled 1969 debut and it’s pretty much exactly as Bangs described. In a word, awesome!
by Ed Murray

Tracks
1. Crazy Chicken (B. Fieldings, T. Mulcahy, J. Causi, O. O'Connor, B. Benson, Les Kiefer) - 3:00
2. Thinkin' 'Bout the Good Times (B. Fieldings) - 4:11
3. White Devil (B. Fieldings, J. Causi, O. O'Connor) - 4:55
4. Mr. Soul Satisfaction (Traditional arr. by B. Fieldings, T. Mulcahy, J. Causi, O. O'Connor, B. Benson, G. Morris) - 3:35
5. Forget It (Teddy Van, Calvin White) - 3:41
6. Climbing Up the Walls (B. Fieldings, T. Mulcahy, G. Morris) - 3:51
7. Bent Over (B. Fieldings, G. Morris) - 2:55
8. Endless Journey (B. Fieldings, J. Causi) - 3:49
9. Reach Up (B. Fieldings) - 4:03

Black Pearl
*Bernie "B.B" Fieldings - Vocals
*Bruce Benson - Guitar, Bass
*Tom Mulcahy - Guitar
*Jerry Causi - Drums
*Jeff Mackay Morris - Lead Guitar
*Oak O'Connor - Drums

1969-70  Black Pearl - Black Pearl And Live (2007 digipak edition)
Related Acts
1965 The Barbarians

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The Fort Mudge Memorial Dump - The Fort Mudge Memorial Dump (1969 us, bostown psychedelic rock, 2005 akarma digi pack issue)

Fort Mudge Memorial Dump was a band from Walpole, Massachusetts, that started playing by 1969, gathering a good number of fans. They got filed into the “Boston Sound”, among the Ultimate Spinach, the Beacon Street Union, Orpheus, Tangerine Zoo, ecc.

With good technique and better ideas, they recorded a very sought-after LP in which the voice of Caroline Stratton stands out to some Jefferson Airplane affinity.  Guitarist Dan Keady, with his jazzy effects, leads the band.

Tracks
1. Mr. Man (C. Stratton, D. Keady) - 2:39
2. Crystal Forms (C. Stratton, D. Keady, J. Deptula, D. Amaral) - 5:45
3. Actions Of A Man (Richard Clerici) - 3:21
4. Blue's Tune (D. Keady) - 3:15
5. The Seventh Is Death (Richard Clerici) - 5:29
6. What Good Is Spring (C. Stratton) - 4:02
7. Tomorrow (Richard Clerici) - 3:07
8. Know Today (C. Stratton, D. Keady) - 2:08
9. Questionable Answer (C. Stratton) - 3:23
10. The Singer (R. Clerici, D. Keady) - 7:41

The Fort Mudge Memorial Dump
*Caroline Stratton - Vocals
*Dan Keady - Guitar
*James - Drums
*Dave Amaral - Bass
*Richard Clerici - Vocals, Rhythm Guitar

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Ashton, Gardner and Dyke - Let It Roll / Live (1971 uk, great progressive rock with r 'n' b vibes)

Launching in 1968 from the wreckage of the Remo 4, keyboard player Tony Ashton and drummer Roy Dyke linked with former Birds and Creation bassist Kim Gardner when those bands split to form Ashton, Gardner & Dyke in emulation of the Nice's then-revolutionary keyboards and rhythm lineup. Signing with Polydor, Ashton, Gardner & Dyke debuted with the aptly named single "Maiden Voyage," swiftly following through with an eponymous album -- highlights of the set included an absolute reworking of "In the First Place," now titled "As It Was in the First Place." The album did little, however, even after the band toured with Delaney & Bonnie, and by 1970 the band signed to Capitol.

Let It Roll is taken from a concert in Belgium in 1971, this captures the offbeat British group when it was at the peak of its popularity. The nine principal tracks are drawn from all three of the band's albums. Included, as most anyone interested in a release like this will be relieved to know, is the trio's big hit, "Resurrection Shuffle," the one Ashton, Gardner & Dyke song that most rock fans will know. That track has enough pizzazz to endure. Tony Ashton's vocals can tend toward the grating, like a hoarse Joe Cocker. A twisting brass section really pushes "It's a Drag, I'm a Drag" along, but some of the songs do drag, particularly the 14-minute "Falling Song."

"I'm Dying for You" is distinguished from the studio version by an arrangement that highlights flute rather than fiddle. Drawn from a roadie's soundboard recording, the fidelity is listenable but flawed, marking it as one for the fans and collectors. Three of the 12 songs are "bonus live tracks" that present different recordings of three numbers also heard in the main 1971 Belgium portion: "Billy and His Piano With," "Rolling Home," and, what better for an encore, "Resurrection Shuffle." There's a good history of the band in the 12-page booklet, though.

by Richie Unterberger

Tracks

1. It's Gonna Be High Tonight - 3:55

2. Let It Roll - 5:01

3. Mister Freako - 6:03

4. It's a Drag, I'm a Drag - 6:08

5. I'm Dying for You - 2:53

6. Resurrection Shuffle - 7:01

7. Falling Song - 14:15

8. Rolling Home - 15:05

9. Billy & His Piano With - 4:18

10.Billy & His Piano With (as Three Piece Live 1970) - 3:54

11.Rolling Home - 3:29

12.Resurrection Shuffle (Live January 1971) - 3:58

All songs by Tony Ashton

Ashton, Gardner and Dyke

*Tony Ashton - Keyboards, Vocals

*Kim Gardner - Bass

*Roy Dyke - Drums

*Mick Liber - Lead Guitar

1970  Ashton, Gardner And Dyke - The Worst Of 

Related Act

1967-68 Remo 4 - Smile

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Barry McGuire & The New Christy Minstrels - Star Folk (1963 us, folk, 2007 RPM remaster edition)

McGuire is of course well known for scoring with an international no.1 hit, Eve Of Destruction. Prior to this, his grounding had been as a member of the New Christy Minstrels since they began in 1962, a vocal/instrumental ensemble whose line up at times included Gene Clark and Kim Carnes. McGuire sang lead on their US hits ‘Green Green’ and ‘Saturday Night’.

The recordings on this album were made for the Horizon label in 1963. A short-lived American Folk label whose most prominent artist at the time was Hoyt Axton. McGuire recorded a number of tracks for the label in the company of Karen Gunderson , Art Podell, Paul Potash, Barry Kane, all also members of the New Christy Minstrels. These were collected together as Star Folk volumes 1 and 2 . (A further two volumes were released later but featured different singers.) The material is for the most part originals by McGuire and his contemporaries such as Hoyt Axton, Art Podell, Rod McKuen.

As the LPs became old news in the American catalogues, they were given a new lease of life by Ember Records in the UK in 1965 ; not coincidentally at the time that McGuire hit big with Eve of Destruction. Ember even released a single, McGuire's raw vocal version of the Kingston Trio hit Greenback Dollar. However these classic American Folk recordings have not been available since, and they include standouts such as Greenback Dollar (Axton/Ramsey) , Oh Miss Mary (Stewart / Phillips), Another Country (McGuire/McKuen) ,So Long, Stay Well (McKuen).
Cherry-Red

Tracks
1. Greenback Dollar (Axton, Ramsey) - 2:29
2. Doo Dah (McGuire, McKuen) - 2:12
3. Jelly Coal (Man Freeman, Roberts) - 2:04
4. Old Paint 2:23
5. Love Song (Williams) - 2:35
6. Good Times Is All Done Now (McGuire, McKuen) - 3:13
7. The Banjo Song (Ross) - 2:01
8. Town and Country (McKuen, Podell) - 2:01
9. So Long, Stay Well (McKuen) - 1:46
10.Midnight Train (Helma, Scherr) - 2:29
11.Gold Wedding Ring (Lee, Sukman) - 2:19
12.One by One (McKuen) - 2:23
13.Oh, Miss Mary (Phillips, Stewart) - 2:37
14.Another Country (McGuire, McKuen) - 1:58
15.You Know My Name (Podell, Scherr) - 2:56
16.The Way You Are (McKuen) - 2:23
17.The First Time (McColl) - 3:49
18.Hush a Bye 2:23
19.Fireball Mail (Kene, McGuire) - 1:25
20.Another Man 1:48
21.Jump Down, Turn Around 2:54
22.Little Boy (Settle) - 2:19
23.Far Side of the Hill (Arnold) - 3:42
24.Puff the Magic Dragon (Yarrow) - 2:46

Musicians
*Randy Sparks - Guitar, Vocals
*Art Podell - Guitar, Vocals
*Barry McGuire - Vocals, Guitar
*Barry Kane - Vocals
*Nick Woods - Guitar
*Larry Ramos - Banjo, Vocals
*Clarence Treat - Upright Bass
*Dolan Ellis - Vocals
*Jackie Miller - Vocals, Guitar
*Gail Caldwell - Vocals

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