Snakegrinder - And The Shredded Filedmice (1976 us, stunning guitar driving rural rock with progressive shades)

For two weeks before their first gig as The Larry Adams Band at the Rockford Park music festival on August 15th, 1970, the hastily assembled group of Larry, Steve Roberts, George Christie, John DiGiovanni, and Dave Bennett, labored to electrify 5 or 6 folky-type tunes in order to present them to an audience that was pretty much beyond the folk movement of the 60’s. After all, it was now the 70’s, exactly one year beyond Woodstock!

Larry, Steve, George, and John had recently emigrated from a failed musical adventure known as “George’s Lunch” (“Take us out or eat us here!”). Dave was found at Eat At Joes, a high school coffee house in a Newark church basement, where Larry and Steve had attempted a Hot Tuna-type set. The band he was in, “Pump Productions", had recently dissolved, as well.

The debut at Rockford Park was unspectacularly OK. However, after the band dragged their gear from the stage, stowed it in their vehicles and went back to being members of the audience, one of the cars was broken into and all of George Christie’s stuff was stolen. As everyone was too poor to own spare equipment, George was now, by default, out of the band. The performance that really got the audience truckin’ down the aisles that day, “Singin’ doo-dah, doo-dah, doo-dah”, came from Primeval Slime.

Over the next 5 years, the nucleus of four, Larry, Steve, John, and Dave, saw various others come and go. Among them were Eddie Day and Tommy Eppes, from Primeval Slime. Tommy learned to play the pedal-steel, left, and came back. Poor Eddie was run over by a train

One of the band’s biggest fans, George Wolkind, whom had never sung in performance, anywhere, was visited by the ghost of Eddie Day a few days after the tragedy and told George that he would take his place as lead singer of the band, in a year. As prophesied, a year after Eddie’s untimely end, with no knowledge of the disembodied communication, Steve and Dave asked Mr. Wolkind to join the band as lead singer. (Now, THAT was weird!)

So by 1973, the 6 members who comprised the band most folks knew just as “Snakegrinder”, finally got together. They were joined by Jon McDowell, Keeper of the Sound, and Nick Norris, business agent. Musically, the band played a mix of covers – mainly influenced by the west coast psychedelic movement, with a little South-southwest flavor - and some very idiosyncratic originals. (Many of which can be heard on the two CD set: “…and the Shredded Fieldmice”, available practically nowhere!) The band’s strength was their ability to improvise and jam. Coupled with their total lack of professional appearance, and their socio-political musical anarchism, they seemed to catch on with the burgeoning “alternative” community growing wild in the 70’s. The band became a staple at area coffee houses, festivals, and underground shows.

They were immensely popular with local Grateful Deadheads, usually drawing large crowds to the small venues they played. Bar owners weren’t all that enamored of the band, however, as the crowds never seemed to drink much in spite of their jubilant dancing and frequent trips to the parking lot. Snakegrinder was also a “musician’s band”. Many local area artists have testified to being influenced by the band, early on in their careers. (“Yes, your honor, it was all their fault.”) To their credit, there was never a paternity suit brought against any band member!

Unfortunately, the alternative community couldn’t support the band monetarily, and by August of 1975, Larry was ready for a new life. He left the area and started a real career. With one of the parts missing, the band, depending entirely on the inter-personal group dynamic of the members as the engine driving the music, could not go on.

In epilogue, the band announced the release of an album, recorded at Dana Smith's Quaudio Studio in Wilmington, Delaware in 1975 and 1976, of all original tunes, at the second of their annual Christmas reunions in 1976, at the Stone Balloon. They got back together twice after that, for public performances – the last was in 1988. Let it be noted, that the original vinyl LP has become a collector’s item. Mr. Alligator (their media producer) having sold an unopened copy and a used copy, several years ago to a dealer in Connecticut for $150 and $50, respectively. A few months ago, another copy of the LP sold on eBay for $250 to a gentleman in Japan.

Larry became Dr. Adams and is living in Bristol, England, supervising research data for the city’s schools. Musically, he's playing fiddle and involved in choral singing. Tommy Wayne (Eppes) has maintained a thriving career as a pedal-steel guitarist, centered in Las Vegas. John DiGiovanni is one the best known and sought-after local drummers and drum teachers, as well as a master electrician, gigging regularly with several bands, including The John DiGiovanni Quartet and Garry Cogdell and the Complainers.

George Wolkind is in Colorado communing with the spirit world. Dave Bennett went off to join a Mexican circus, playing tuba, after which he founded The Voltags in 1979. Currently, he is on a world tour of self-discovery and is residing in the Phillipines.

Steve Roberts plays with a 4 piece improv group, Accidents Will Happen, as well as collaborating with the legendary Hangnail Phillips, (we won't mention his association with the infamous ninja beatnik poet and musipeutician, Dick Uranus.) He is also vice-president of Inconsequential Films.

Jon McDowell, George Christie, and Steve all work together in the I.T. department of a large, local health care organization, disciplining computers.  Nick Norris successfully carried on in his management career and is the Operations Manager for CenterStaging Musical Productions' Pennsylvania facility. - "where artists go to work... before you see them play".

To quote the liner notes from their “posthumous” album – “We really weren’t sure where we were coming from and we were damn sure we didn’t know where we were going... but we needed the exercise so we bought a lot of heavy equipment and hauled it around. We got high, we got down, we played some music, we loved it, we hated it, we lost money, we gained friends, and we got older.”
Snakegrinder

Tracks
1. Love Junkie (Dave Bennett) - 6:44
2. Freedonian Hat Dance (Jesus Was a Plumber) (Adams, Snakegrinder) - 7:18
3. On the Road (And off Again) (Adams, Roberts, Bennett) - 5:15
4. Dogland (Fido Dustyaoffsky) - 1:07
5. Better Late Than Frozen (Steve L. Roberts) - 4:36
6. Nothing's Very Easy When Your Baby's in the Lake (Adams, Snakegrinder) - 13:59
7. Moon Over the Delaware (Gregor Alligator, Snakegrinder) - 1:41

Snakegrinder
*Dave Bennett - Keyboards, Mouth
*Larry Adams - Lead Guitar, Vocals
*Tommy Eppes - Rhythm Guitar, Pedal Steel, Percussion
*Jonathan McDowell - Sound System, Location Recording
*Steve L. Roberts - Bass, Acoustic Guitar, Vocals
*John DiGiovanni - Drums, Percussion
*George Wolkind - Vocals

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Liverpool Five - Arrive / Out of Sight (1964-67 uk, superb beat garage psych)

The Liverpool Five is one 1960s band that is ripe for rediscovery. The fact that they've slipped through a few cracks may have to do with their odd history -- after starting out in England, the quintet spent most of a year in Germany and touring the Far East and effectively became an American group just as their recording history began in a serious way.

Formed in Liverpool, England, in 1963, the original Liverpool Five lineup was Steve Laine on vocals, Ken Cox on guitar, Ron Henley on keyboards, Dave Burgess on bass, and Jimmy May on drums and vocals. They cut one single of "Lum D' Lum D' High" b/w "Good Golly Miss Molly" for the Pye Records budget Piccadilly label that was released in England, but their main base of activity in 1964 and 1965 appears to have been Germany and Asia, where their German-based manager kept them touring.

They managed to release a single of their own on German CBS in 1964 under the name of the 5 Liverpools, but otherwise were largely invisible as a recording act. After an extended tour of Asia, the group made their way to Los Angeles in 1965 and eventually ended up in Spokane, WA. Ironically, it was on the far coast of the United States, far from their home, that they were finally signed to a major label in 1965 and got a contract with RCA-Victor Records.

The Liverpool Five released a half dozen singles over the next two years and a pair of LPs, all of which displayed an extraordinary degree of musical dexterity -- they could sound as American as the Remains or the Standells in their approach to playing, a solid garage punk sound with some unusual melodic touches and then turn around and cut cockney novelties like "What a Crazy World (We're Living In)" or romantic rock ballads like their version of Curtis Mayfield's "That's What Love Will Do," where they sound like the Roulettes, and follow that with a shouter like "Just a Little Bit." Dave Burgess exited the group to get married in 1967 and was replaced by future Kingsmen member Freddie Dennis; Ron Henley left and was replaced first by Mark Gage and then by Gary Milkie, but the group soldiered on, scarcely skipping a beat.

The band never charted nationally, but left behind some superb white soul sides that managed to embrace both American punk and British beat elements, before they finally called it a day in 1970. The Liverpool Five Arrive is one of the best garage-punk albums of 1966, with a startlingly honest and vivid soulful edge (highlighted by a beautiful handful of Curtis Mayfield covers) amid the fuzz-tone guitars and pounding, roaring rhythm section. Its follow-up, Out of Sight, is even better, with harder playing and better singing, laced with some unexpected lyricism.
by Bruce Eder

Tracks
1.She is Mine (Burgess, Cox, Henley, Laine, May) - 2:21
2. Sister Love (C. Mayfield) - 2:39
3. I am Not Your Stepping Stone (T. Boyce, B. Heart) - 2:33
4. A Shot of Rhythm and Blues (T. Thompson) - 2:03
5. Let the Sunshine In (Barberis, Randazzo, Weinstein) - 3:26
6.What a Crazy World (We are Living In) (A. Klein) - 2:14
7. That is What Love Will do (To You) (C. Mayfield) - 2:06
8. Just a Little bit (D. Gordon) - 2:11
9. Hey Little Girl (C. Mayfield) - 2:14
10. I Just Cant Believe It (Barry, DeVorzon, B. Chandler) - 2:09
11. Sticks and Stones (T. Tuner) - 2:10
12. Heart (Clark, Aber, Hatch) - 3:27
13. Any Way That You Want Me (Chip Taylor) - 2:35
14. My Generation (P. Townshend) - 2:55
15. Piccadilly Line (Laine Henley, Cox, McCumiskey, May) - 2:47
16. I Can Only Give You Everything (T. Scott., V. Morrison, P. Coulter) - 2:36
17. Baby, Out of Sight (Laine Henley, Cox, McCumiskey, May) - 2:10
18. Gotta Get a Move On (J.S. Jones) - 2:30
19. She is (Got Plenty of Love) (Stephen Jones) - 2:34
20. Do You Believe (Laine Henley, Cox, McCuxniskey, May) - 3:17
21. The Snake (Oscar Brown Jr) - 2:38
22. I Am Your Hoochie Coochie Man (W. Dixon) - 5:05
23. Get Away (M. Porig, C. Porig) - 2:05
24. Everything is Allright (Stavley, Konrad) - 2:06
25. That is What I Want (Carter, Lewis) - 2:11
26. New Directions (Mann, Muggs) - 2:41

Liverpool Five
*Steve Laine - Vocals
*Ken Cox - Guitar
*Jimmy May - Drums
*Ron Henley - Keyboards
*Dave Burgess - Bass
*Freddy Dennis - Bass

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Chicago - Live In Toronto (1969 us, wonderful brass jazz rock with psych tinges, japan edition)

Although it may be difficult to believe now, in the late Sixties and early Seventies Chicago were something of a phenomenon. Their debut LP. b'Chicago Transit Authority', was certified platinum in the US, something no other CBS artist had ever achieved, even though the label boasted such names as Bob Dylan and Simon & Garfunkel. Their second, simply titled 'Chicago', repeated the commercial success of their first, and singles from both sold strongly either side of the Atlantic.

As time passed, their music mellowed and interest waned, the critical acclaim turned to critical reviews, and although Chicago continued to record right through the Seventies and Eighties, they have never recaptured the excitement generated by those early releases. All but one of the band's original line-up hailed from the city which gave them their name. Their early days were spent largely unnoticed in the dingy bars and clubs of the Midwest, but a move to the West coast in 1968 proved crucial to their later success.

Here they linked up with James William Guercio, who had established his credentials through production work with Blood, Sweat and Tears. Guercio not only secured the band dates at prestigious West coast venues, he also negotiated their recording contract with CBS. The volatile political scene of the late Sixties provided the other key element of their success. During 1968, protests at America's involvement in Vietnam were at their height, and racial tension was at fever pitch.

Demonstrations outside the Democratic Convention in Chicago turned into full scale riots when police used tear-gas and clubs to disperse the crowds. Recordings of protesters were incorporated into one of the numbers on Chicago's debut LP. and this move, coupled with lyrics informed by the revolutionary rhetoric of the times, completed their identification with both their home town and the counter-culture. Their music had an exciting, innovative feel, and was probably the most successful attempt ever to marry the diverse elements of jazz, rock and white soul.

Its precise brass arrangements blended with lengthy jazz guitar solos appealed to a late Sixties audience constantly searching for a more sophisticated sound. This recording of an early live performance at one of the famed Toronto Rock Festivals provides evidence of the band's ability and power.

On stage, although they obviously sought to reproduce the often complex arrangements arrived at the studio, they were never afraid to cut loose and explore the possibilities of the'jazzier side of their music. Faithful renditions of their hit singles '25 Or 6 To 4', 'Does Anybody Really Know What Time It Is? and the Steve Winwood penned 'I'm A Man' contrast with the looser improvisational approach employed on 'Liberation', the number which closes the set.

The shifting textures of this lengthy instrumental are epitomised by Terry Kath's exhilarating guitar - a key component of Chicago's characteristic sound and one sadly lost forever with his death in a firearms accident in 1978. Anyone with a taste for Chicago's early work will welcome this opportunity to hear the band run through these blistering versions of their best-loved numbers. Their unqiue blend of widely differing musical styles set apart from almost everyone around them - in their own distinctive way, Chicago were themselves a minor revolution.

by Alan Kinsman

Tracks
1. Beginnings - 6.20
2. South California Purples - 5.45
3. 25 Or 6 To 4 - 5.04
4. Does Anybody Know What Time It Is - 3.05
5. I'm A Man (Steve Winwood, James Miller) - 6.49
6. Questions 67 And 68 -
7. Liberation (James Pankow) - 16.09
All songs by Robert Lamm except where indicated.

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

1969 Chicago Transit Authority (Japan SHM-CD)
1970 Chicago II 

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Ashton, Gardner And Dyke - The Worst Of (1970 uk, fantastic progressive groovy jazzy rock)

In 1970 Ashton was among the many musicians appearing on George Harrison's latest solo album, the triple-disc All Things Must Pass, contributing keyboards to "Isn't It a Pity." For whatever reason, he wasn't credited on the album, but Harrison repaid him generously, teaming up with Eric Clapton to join Ashton, Gardner & Dyke as they set to work on their sophomore album. Jim Price and Bobby Keys, fellow stars of the Delaney & Bonnie outing, were already aboard; under the not especially mysterious pseudonyms of George O'Hara Smith and Sir Cedric Clayton, Harrison and Clapton appear on the track "I'm Your Spiritual Breadman."

Originally scheduled to be the band's next single, the song was ultimately passed over in favor of "Resurrection Shuffle" ("Breadman" was relegated to the American B-side), a smart move that resulted in a worldwide hit. A gritty, horn-laden R&B shouter, "Resurrection Shuffle" went to number three in the U.K. in January 1971, followed by a Top 40 berth in the U.S., and even landed a punchy cover version by Tom Jones. An album, titled after the hit, followed and, though it climbed no higher than number 185, it remains a period favorite, both among students of early-'70s rock and with Harrison and Clapton fans. British pressings of the album, incidentally, were retitled The Worst of Ashton, Gardner & Dyke, a wryly self-effacing name that might explain its chart failure.

In the wake of the hit, the trio embarked on a period of solid gigging -- one excellent show from this period is captured on the posthumous Let It Roll Live album. Unfortunately, although "Resurrection Shuffle" raised the trio's profile immeasurably, it also crippled the group completely. Audiences wanted more of the same; the band wanted to push ahead. "The hit backfired on us," Ashton mourned years later. "We wanted to be an album band, but once you've got a big hit, you're in the pop league." It was early 1973 before the trio finally released a follow-up single, "Can You Get It," and few observers -- themselves included -- were surprised that it did little. A similar fate awaited the band's third album, What a Bloody Long Day It's Been, and by mid-1973 the band had broken up.

Ashton and Dyke immediately reconvened the Remo 4 for a one-off reunion, cutting a new album, Attention, for release in Germany. (A second reunion occurred in 1997.) Dyke then formed Badger with Yes founder Tony Kaye, cutting one album before recruiting both Gardner and another artist with strong Harrison connections, former Apple star Jackie Lomax. When Badger split, Dyke moved into session work with the likes of Chris Barber, Cafe Society, and Pat Travers, before moving to Germany, where he now lives. Lomax and Gardner remained together in a new group named after Badger's final album, White Lady. That project swiftly fizzled out, and Gardner relocated to the U.S., where his subsequent session credentials included the Dwight Twilley Band. Later, he opened the renowned Cat & Fiddle British-style pub in Hollywood and made only infrequent returns to music (including a late-'90s collaboration with Mitch Mitchell). Gardner died from cancer on October 26, 2001.

Ashton moved into session work, playing with Family, Jerry Lee Lewis, Third World War, Tucky Buzzard, Ian Dury, and Kenny Ball, among others, and becoming a crucial branch of the Deep Purple family tree. Ashton, too, was claimed by cancer, on May 28, 2001.
by Dave Thompson

Tracks
1. Let It Roll (Kim Gardner, Roy Dyke, Tony Ashton) - 4:23
2. I'm Your Spiritual Breadman - 3:13
3. Hymn To Everyone - 3:43
4. Mention My Name - 3:58
5. Don't Want No War No More - 3:07
6. Momma's Getting Married (Kim Gardner, Roy Dyke, Tony Ashton) - 3:37
7. Paper Head, Paper Mind - 4:48
8. Oh Lord - 3:42
9. Sweet Patti O'Hara Smith - 2:56
10.Mister Freako - 4:17
All Songs written by Tony Ashton except where noted.

Musicians
*Eric Clapton - Guitar
*George Harrison - Guitar
*Tony Ashton - Piano, Organ, Vocals
*Kim Gardner - Bass
*Roy Dyke - Drums
*Jim Price - Trumpet
*Bobby Keys - Sax

Other Ashton Gardner & Dyke releases
1971 Let It Rill (Live)

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Brandywine - Aged (1970 us, fine classic rock with Ed Stasium, 2005 reissue)

'Aged' is another one of those terrific late 60's albums that seemed to fall from the sky like colored rain back in the day and yet so few heard. The critics loved Brandywine - still do and these days their only album is rightly considered a cult classic. Formed by Albert Miller, a onetime member of The Critters; a smart New Jersey pop combo who scored two hits with 'Younger Girl' which was an even bigger single for The Lovin' Spoonful and The Beach Boys influenced 'Mr. Dieingly Sad'. With the end of The Critters, Miller moved on to form a band and secure a development deal with an MGM subsidiary as Men Working. At least one single followed as well as concert dates with The Cowsills, The Lemon Pipers and The Rascals but the relationship didn't last. With a name change to Brandywine, the group signed to Brunswick Records releasing just one album before breaking up in 1972.

I don't want to say something cringe worthy to the effect 'like a fine wine this album has 'aged' well' but hey, it really has. From the acoustic opener 'Stay Here' to the rocking 'Ridin' Through The Rain' which reminds me a lot of The Who by the way, this is one cool piece of plastic. I like the spacey flute on The Band styled 'Somebody', but it's the kick ass guitar work from Edward Stasium that separates Brandywine from the usual fuzzy, blues based guitar bands of the day. Yes, there is some of that Woodstock folksy hippie vibe that crept into so much music back then but these guys were no Creedence Clearwater Revival, owing much to the British which can be heard on The Kinks influenced 'Mr. Johnson' and again picking up on The Who sound with album closer 'True To You'. I've no doubt that if 'Aged' was released a couple years later, Brandywine would have shown the slew of Beatles and Badfinger copyists the door in no time.

Following the dissolution of Brandywine Albert Miller would go in to commercial and film work while Edward Stasium would become an in demand engineer/producer with his name appearing on several melodic rock albums from Ratt and Burning Rome to Morse Code, Sharp Edges and Face To Face as well as more popular titles from Mick Jagger and The Ramones. In case you were wondering there was a Spanish bootleg on CD released a few years back but nothing official. Be patient - something this good can't remain hidden for long!

by Eric "GloryDaze" 

Tracks
1. Stay Here - 3:1
2. Ridin' Through The Rain - 3:54
3. Somebody - 4:52

4. Happiness Won't Buy A Bed (Ed Stasium, Leonard Schiavi) - 3:32

5. Look Around (Albert Miller, Ed Stasium, Ernest Miles) - 3:53

6. Searchin' (Jerry Leiber, Mike Stoller) - 5:14

7. Mr. Johnson (Albert Miller, Ed Stasium, Ernest Miles) - 5:12

8. Humble John (Ed Stasium) - 4:18

9. True To Me - 5:32

All songs by Albert Miller except where noted

Brandywine
*Mike Caruso - Bass
*Chip Miles - Drums, Percussion
*Albert Miller - Keyboards, Vocals
*Ed Stasium - Guitar, Vocals
Additional Musicians
*Pasquale Salerne - Trumpet
*Billy Howell - Trombone

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Asterix - Asterix (1970 germany/uk, excellent heavy progressive rock)

Asterix was a direct predecessor of Lucifer's Friend; released one (eponymous) album in 1970. Technically, this was the first Lucifer's Friend album, only under a different name. Also, one single was released featuring a slightly altered line-up, without John's involvement.

Peter Hesslein began his musical career way back in 1963 with a band called the Giants. Peter Hecht and Dieter Horns were both members of a group known as the German Bonds, from 1965 onwards. Peter Hesslein joined the Bonds in 1968 which survived until 1970. At this point the various members took up the study of graphic design in an attempt to forge more sensible careers.

But the call of rock'n'roll was too strong and in late 1970, the ex-Bonds men, together with Joachim Reitenbach , decided to record a new album. They needed a lead singer and eventually found John Lawton who had been with the group Stonewall. The new band released their first album 'Asterix' in 1970 under the same name before they change to Lucifer's Friend.
by Christer Andersson

Tracks
1. Everybody - 3:04
2. If I Could Fly - 3:02
3. Look Out - 3:09
4. Gone from My Life - 3:30
5. Broken Home - 4:26
6. Time Again - 3:08
7. Jump into My Action - 3:28
8. Open Up Your Mind - 3:16
9. Corner Street Girl - 4:06
10.Change in You - 4:08
11.Morning at My Dawn - 6:54

Asterix
*John Lawton - Vocals
*Peter Hecht - Keyboards
*Dieter Horns - Bass
*Peter Hesslein - Guitar
*Joachim Rietenbach - Drums

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Black Oak Arkansas - The Complete Raunch 'N' Roll (1973 us, great southern rock, double disc live set)

It can't quite be said that 1973's Raunch 'N' Roll Live is the album that made Black Oak Arkansas -- it did not chart as highly as records that immediately followed it, nor did it have a hit; in fact, it was released a year before they had their first hit single in "Jim Dandy" -- but it is the definitive BOA album, the one that is widely regarded to capture the essence of the band.

That's because it did what all good live albums should do: it boiled the group's erratic studio albums down to the best songs, and then it presented the band in full flight. And Black Oak Arkansas was always a band known for its live shows, due as much to the antics of proto-David Lee Roth frontman Jim Dandy Mangrum as due to the group's dirty Southern boogie. It wasn't to everybody's taste -- some loved the sleaze the group spit out, some thought Jim Dandy was jive, some just wished they were as nasty as they wanted to be -- but Raunch 'N' Roll Live was the place to decide whether you liked the band or not.

The same could be said of Rhino Handmade's 2007 expanded double-disc reissue of the album, but this deluxe set, now titled The Complete Raunch 'N' Roll Live, ain't for neophytes, it's for those who have loved the album for decades and want to hear some more of where that came from. And that's what this set provides: it contains the entirety of the two gigs -- a show in Portland, OR, on December 1, 1972, and a show in Seattle the following night (oddly enough, both concerts were given at venues called the Paramount Theatre) -- that provided the raw material for the initial single LP, which is a whole lot of boogie.

This kind of sprawl takes away from one of the chief appeals of the original Raunch 'N' Roll Live -- namely, that it was a lean-and-mean, down-and-dirty LP. Now, it takes its time, with more booze and blooze and Jim Dandy patter, which may wind up having the effect of wearing out all but the most ardent fan. But for those fans, this is sure to be something close to a dream come true.
by Stephen Thomas Erlewine

Tracks
Over Here
1. Gettin' Kinda Cocky - 4:04
2. Fever in My Mind - 4:04
3. Uncle Lijiah - 4:11
4. Keep the Faith - 3:58
5. Mutants of the Monster - 6:08
6. Hot Rod - 3:21
7. Lord Have Mercy on My Soul - 5:45
8. Full Moon Ride - 4:19
9. When Electricity Came to Arkansas - 5:28
10.Dixie (Traditional) - 4:00
11.Hot and Nasty - 4:34
12.Up - 15:27
13.Movin' - 5:35

Way Over Yonder

1. Gettin' Kinda Cocky - 3:55
2. Fever in My Mind - 4:04
3. Uncle Lijiah - 3:27
4. Gigolo - 3:49
5. Mutants of the Monster - 6:26
6. Hot Rod - 5:41
7. Movin' - 4:37
8. Full Moon Ride - 4:09
9. When Electricity Came to Arkansas - 8:34
10.Hot and Nasty - 4:27
11.Up - 12:23
All songs by Black Oak Arkansas except track (from Disc-1) #10.Dixie.

Black Oak Arkansas
*Tommy Aldridge - Drums
*Jim Dandy - Scrubboard, Vocals
*Pat Daugherty - Bass, Vocals
*Harvey Jett - Lead Guitar, Vocals
*Rick Reynolds - 12 String Guitar, Vocals
*Stanley Knight - Lead Guitar, Vocals

1971 Black Oak Arkansas
1973 High On The Hog
1976 Balls Of Fire 

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Black Oak Arkansas - Balls Of Fire (1976 us, fine hard southern boogie rock)

Black Oak Arkansas won a loyal and dedicated following for their good time music during the early Seventies. Although they enjoyed some album success, the American southern boogie band built its reputation on hard gigging, and constant touring. They offered a cheerful alternative to progressive rock and their music was rooted in American blues and gospel with a hint of hillbilly.

Certainly they had a strong personality up front. Jim 'Dandy' Mangrtim, their long haired lead singer, who danced around in a white fringed buckskin jacket, scraping furiously on a washboard. He also had a throaty voice that sounded like it had been burned dry with jugs of corn whisky. Jim remained a figure head for the band throughout its long career, even though it went through quite a few personnel changes. The original line up included Stanley 'Goober' Knight (lead & steel guitar, organ, vocals), Rickie 'Ricochet* Reynolds (12 string rhythm guitar, vocals), Pat 'Dirty' Daugherty (bass guitar, vocals), Harvey 'Burley' Jett (lead guitar, banjo, piano, vocals), and Wayne 'Squeezebox' Evans (drums). Together with Jim Dandy, they were featured on the band's eponymously titled debut album, released on Atco in 1971.

This included such down home titles as 'Uncle Lijiah', The Hills Of Arkansas', and 'When Electricity Came To Arkansas'. In case you hadn't guessed, the band came from the small town of Black Oak, Arkansas, where Jim Dandy was born on March 30, 1948. The rest of the band were born in nearby towns like Manilan, Jonesboro and Little Rock. As they grew up together, they formed a local gang that shared both a house, and strong musical ambitions. They got together a band called Knowbody Else, went to Los Angeles and recorded an album for the Stax label in 1969.

In 1971 they changed their name to Black Oak Arkansas, and signed to Atco. The debut album did quite well on the U.S. charts and gained them some attention in Europe. They went on to record some ten albums between 1971 and 1976, with 'High On The Hog', (1973) proving one of their most successful. This included a Top 30 hit song 'Jim Dandy', although it was actually sung by girl vocalist Ruby Starr, and not Mr. Mangrum. By the time the band recorded its third album If An Angel Came To See You, Would You Make Her Feel At Home? drummer Wayne Evans had been replaced by Tommy Aldridge, from Jackson, Mississippi.

Aldridge would become a much respected heavy rock drummer, who worked with Pat Travers, Gary Moore and Ozzy Osbourne. Aldridge first met Ozzy when Black Oak Arkansas made their first U.K. tour supporting Black Sabbath, in 1974. There was more changes within the band when guitarist Harvey Jett quit in 1975, to be replaced by Jimmy Henderson also from Jackson, Mississippi, who had previously been with the band Bloodrock.

The same year the band switched from Atco to MCA to record 'Ain't Life Grand followed by 'X-Rated' (1975). “Balls Of Fire” came in 1976 and armed with their new guitarist they kept up the Black Oak
tradition of playtng rock 'n' roll with fire and exuberance. Most of the tunes on the album now re-issued j on this CD, are Black Oak originals, although they cover Bob Seger's 'Ramblln' Gamblin" and offer a spirited version of the classic 'Great Balls Of Fire'. Out on the road, Black Oak added by Starr to the line up together with Hot Buttered Soul, a four girl vocal group, which introduced a black gospel sound.

The band later signed to Capricorn Records and recorded two more albums “Race With The Devil” (1977) and “I'd Rather Be Sailing” (1978). Only Jim Dandy now remained from the original line up. Jim kept the Black Oak name alive with different versions of the band on the road during the 1980's and in 1984 recorded a solo album 'Randy As Hell'. Further record success eluded the singer but at least Jim Dandy and heavy friends had succeeded in putting the name of Black Oak on the Rock 'n' Roll map of the world.
by Chris Welch, London 1995

Tracks
1. Ramblin' Gamblin' Man (Bob Seger) - 2:47
2. Fistful of Love - 3:19
3. Make That Scene - 2:17
4. I Can Feel Forever - 3:11
5. Rock 'N' Roll - 3:45
6. Great Balls of Fire (Otis Blackwell, Jack Hammer) - 2:26
7. Just to Fall in Love - 3:55
8. Leather Angel - 3:02
9. Storm of Passion - 4:36
10.All My Troubles - 3:55
All tracks written by Black Oak Arkansas except where noted.

Black Oak Arkansas
*Tommy Aldridge - Drums
*Jim "Dandy" Mangrum - Vocals
*Pat Daugherty - Bass
*James Henderson - Guitar
*Stan Knight - Guitar

With
*Ruby Starr - Vocals
*Marius Penczner - Keyboards

Black Oak Arkansas selected discography:
1971 Black Oak Arkansas
1973 High On The Hog

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Family - Music in a Doll's House/Family Entertainment (1967-69 uk, superb psychedelic jazzy experimental folk)

The non-LP single "Scene Through the Eye of a Lens" b/w "Gypsy Woman" not withstanding, Music in a Doll's House (1968) is the debut full-length release from the earliest incarnation of Family, featuring Roger Chapman (harmonica/tenor sax/vocals), Rick Grech (violin/ cello/bass guitar/vocals), Rob Townsend (percussion/drums), John "Charlie" Whitney (guitar/pedal steel guitar/keyboards), and Jim King (harmonica/keyboards/soprano sax/tenor sax/vocals).

Their highly original sound has often been compared to Traffic, which may be in part due to the production skills of Jimmy Miller and Dave Mason, the latter also contributing the organic and rootsy rocker "Never Like This." Additionally, neither band was overtly psychedelic or progressive, contrasting them from the other burgeoning combos such as Soft Machine, Pink Floyd, and Caravan. Family's deceptively involved arrangements are coupled with an equally unique blend of Chapman's commanding vocals driving through the jazz and folk-rooted tunes.

"The Chase" is a spirited opener that immediately establishes their unmistakable vibe, which is furthered on the sides "Old Songs for New Songs" and the aggressive rocker "Peace of Mind." The antithesis can be heard on the rural-flavored "Mellowing Grey" and "Winter," or perhaps the almost blatantly trippy "See Through Windows." In 1996, See for Miles issued Music in a Doll's House along with Family Entertainment (1969) on a double-disc anthology, including the previously mentioned pre-LP 7" "Scene Through the Eye of a Lens" b/w "Gypsy Woman," both of which have been released on compact disc for the first time here.

Family Entertainment followed on the heels of Family's Music in a Doll's House with the band's first incarnation. While not totally dismissing their psychedelic leanings, much of the material bears a stronger acoustic influence, in much the same manner as Fairport Convention and Traffic were also exploring. The jazzy sitar lead of "Face in the Cloud" and the even more prominent Eastern-flavored "Summer '67" somewhat date the affair, and are contrasted by the beautifully noir and trippy "How-Hi-the-Li" (which may have been the impetus for Chicago's "Wishing You Were Here") and the upbeat "Hung Up Down," sporting Grech's unmistakable violin as it wafts over the rural and slightly surreal lyrics.

These sides are set against the edgy "Weaver's Answer," which immediately establishes a broader spectrum of styles, most notably given Chapman's commanding if not slightly intimidating vocals. Whitney's blistering fretwork yields bite to the Grech-penned "Second Generation Woman," while "Emotions," another full-tilt rocker, is infused with an apparent R&B homage. Interested parties should note that Family Entertainment and Music in a Doll's House were issued in a double-disc package featuring a commendable 24-bit digital remastering rendering all other versions useless -- especially the early-'90s pressing on the German Line label.

Not only are both LPs included, but the 45s "Scene Through the Eye of a Lens" and "Gypsy Woman" are finally brought into the digital domain. The accompanying 40-page liner booklet is likewise a feast for the eyes.
by Lindsay Planer

Tracks
1968 Music in a Doll's House
1. Scene Through the Eye of a Lens - 2:52
2. Gypsy Woman - 3:30
3. The Chase - 2:13
4. Mellowing Grey - 2:48
5. Never Like This (D. Mason) - 2:18
6. Me My Friend - 2:00
7. Variation on a Theme of Hey Mr. Policeman - 0:23
8. Winter - 2:25
9. Old Songs for New Songs - 4:17
10.Variation on a Theme of the Breeze - 0:40
11.Hey Mr. Policeman - 3:13
12.See Through Windows - 3:43
13.Variation on a Theme of Me My Friend - 0:22
14.Peace of Mind - 2:22
15.Voyage - 3:35
16.The Breeze - 2:50
17.3 X Time - 3:48

1969 Family Entertainment
1. The Weaver's Answer - 4:56
2. Observations From a Hill - 3:11
3. Hung Up Down - 3:12
4. Summer '67 (Whitney) - 3:19
5. How-Hi-the-Li (Grech) - 4:56
6. Second Generation Woman (Grech) - 3:13
7. From Past Archives - 3:21
8. Dim - 2:31
9. Processions (Whitney) - 2:48
10. Face in the Cloud (Grech) - 2:53
11. Emotions (Chapman, Grech, Whitney) - 5:09
All compositions by John Whitney and Roger Chapman except where indicated.

Family
*Roger Chapman - Harmonica, Percussion, Tenor Sax, Vocals
*Rick Grech - Cello, Bass, Violin, Vocals
*Jim King - Harmonica, Piano, Soprano, Tenor Saxophone
*Rob Townsend - Drums, Percussion
*John "Charlie" Whitney - Guitar, Steel Guitar, Organ, Piano
Additional Musicians
*Dave Mason - Mellotron
*Nicky Hopkins - Piano

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Bakery - Momento (1971 aussie / new zealand, remarkable guitar driving progressive rock)

Formed in Perth in 1970, this progressive rock outfit is generally regarded as one of the best of Australia’s early ‘70s underground bands. Bakery included ex-New Zealand Avengers’ rhythm section of Hank Davis (drums) and Eddie McDonald (bass) in their line-up, and their music blended hard rock and country with jazz, using complex arrangements.

Their main strength was the variety of their music that could switch from gentle acoustic passages to booming heavy progressive assaults on the senses within the same song. Momento, which was released in 1971 on Australia’s Astor label (ALPS 1035) was the group’s second album, following the bizarre Rock Mass For Love (ALPS 1032), a live recording captured in a church. Rock journalist Ian McFarlane, writing in Freedom Train magazine, described the album as a European-influenced recording full of sprawling, moody progressive rock cuts like Faith To Sing A Song, the jazzy Living With A Memory and Holocaust.

The track which really kills off any remaining brain cells isThe Gift, an eight-minute barrage of bombastic riffs written by guitarist Peter Walker, which also features some arse-kicking solos and swirling hammond organ in the vein of Deep Purple and Leafhound. For an underground band, Bakery actually achieved fairly reasonable success. Both their 45s were minor hits, and their Rock Mass For Love narrowly missed the Australian Top 20, and on the strength of this, was subsequently released by Decca in the US.

Tracks
1. Holocaust - 9:24
2. Pete For Jennie - 1:30
3. Living With A Memory - 8:52
4. S.S. Bounce - 4:19
5. The Gift - 7:59
6. When I'm Feeling - 2:19
7. Faith To Sing A Song - 7:25

Bakery
*Peter Walker - Guitars, Harp, Vocals
*Mark Verschuer - Vocals
*Eddie McDonald - Bass
*Rex Bullen - Organ, Piano, Vocals
*Hank Davis - Drums
Guest Musicians
*John Worrall - Vocals, Flute
*Bruce - Saxophone

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Morgan - The Sleeper Wakes (1973 uk, progressive rock with classical overtones, Angel Air issue)

Morgan was the band formed by keyboardist Morgan Fisher in 1971 from the ashes of Love Affair (who has had a #1 hit in 1968 with Everlasting Love). The intent was to explore new musical avenues, but it wasn't until they recruited Tim Staffell that the live-up was complete. Tim had previously been in a band called Smile, which featured Brian May and Roger Taylor. They, of course, would find world-wide fame with Queen, while Morgan would find fame with Mott The Hoople.

In the meantime, Tim ended up writing the lyrics while Morgan composed the music. Shunned in the UK, they ended up recording two albums for RCA in Italy and this is their second album, released on CD for the first time. This album was originally titled Brown Out - a technical term for a kind of power glitch.

Considering the success prog-rock bands such as King Crimson, Pink Floyd and yes enjoyed, I find it surprising Morgan were ignored in the UK, as the music is certainly in that mould. The tracks are lengthy, especially What Is - Is What, allowing the talents of each band member to be demonstrated. I'm tempted to say "Concept Album" (not a dirty word at the time), as tracks 2 and 3 are inspired by the Cyril M Kornbluth short story The Marching Morons, which tells of an apparently utopian society which, on closer examination, has made no progress at all

Musically, this album is far removed from both Mott and Queen - if you think Yes' Tales From Topographic Oceans you'd be close. There are distinct similarities between Staffell's and Jon Anderson's styles, and between Fisher's and Rick Wakeman's. Musically complex (some would say 'inaccessible'), I find it strangely compelling. Yes, this is a CD I will be returing to when the mood suits.

Fisher's playing complements the songs very well without ever being intrusive. His use of the then-new VCS3 synthesiser is clever, showing his ability to utilise the latest technology to achieve the sound he wanted.

Angel Air CDs are always well-packaged, and this CD comes with a 12-page booklet, with lyrics, track notes and band history written by Morgan. There's a hilarious tale of the band's own interpretation of the title Brown Out which unwisely they saved for the album photo-shoot, eventually resulting in their untimely demise.
Hunter-Mott-com

Tracks
1. Fire In The Head - 5:01
2. The Sleeper Wakes - 6:07
3. The Right - 9:38
4. What Is - Is What - 19:56
Music by Morgan Fisher, lyrics by Tim Staffell.

Musicians
*Morgan Fisher - Keyboards
*Tim Staffell - Vocals, Acoustic Guitar
*Bob Sapsed - Fretless Bass
*Maurice Bacon - Drums, Percussion

1972  Morgan - Nova Solis (2009 remaster)

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Roland Kovac New Set - The Master Said (1971 austria/swiss/germany, great prog jazz rock with experimental mood and space rock shades, 2002 remaster)

Roland Kovac New Set was the name of a Munich group of studio musicians who recorded several LPs of instrumental music on the Selected Sound label from Hamburg. The second and third of these LPs, "The master said" (Selected Sound 9028) of 1971 and "Love that" (Selected Sound 9030) of 1972, full of playful guitar riffs and complex in structure, are representative of good progressive rock of the early seventies.

The name Roland Kovac New Set might suggest the previous existence of a Roland Kovac Set, but this is not the case as the band, for unknown reasons, started right away as New Set. The line-up on "The master said" features top musicians: Roland Kovac himself (born in Vienna on November 7th, 1927), whose mother was a concert pianist in a family of well-known musicians, joined The Vienna Choir Boys in the 1930s, a sign of musical excellence considering the fact that at the time only one applicant of up to twenty highly gifted talents was selected.

In the course of time he worked with Wilhelm Furtwangler and Otto Klemperer and received a doctorate in music in 1952 with a paper on "Harmonik in der Musik des Spatbarock" (Harmonies in the music of the late barock). He was a renowned composer of numerous classical works and soundtracks for films. In the early 1970s he lived in Munich where he recorded the present LP playing keyboards. He also contributed to countless other LPs on the same label, mostly under another name.

As a good friend of owner Peter Majewski, he played an important role in establishing the Selected Sound label. By the way, his name Kovac (blacksmith) is of Slovenian origin, which means that the final "c" is pronounced as in "chatter". His very melodic speech gives evidence of how much he is rooted and living in music. Guitarist Siegfried "Sigi" Schwab, of course, is a world-famous musician, especially in the fields of jazz and new-age. As a member of The Vampires' Sound Incorporation ("Psychedelic dance party"), of Wolfgang Dauners Et Cetera and of Embryo, he was at the beginning of his career. Swiss jazz drummer Charly Antolini, on the other hand, had already released his first records in the mid-1960s.

His probably most famous work is the LP "Knock out" (D 1980: Jeton 100.3304 - as CD: D 1988: Jeton 112), the final blow to many loudspeakers. He is still a top musician today and, together with Sigi Schwab, responsible for the jazzy touch on the LP. Bass player Franz Loffler, who died in the 1970s, is probably the least known of these musicians, but he had already recorded several LPs featuring guitar music in the 1960s and was a master of his craft. It would be impossible to list all the releases of these musicians in this booklet. In 1971, these four masters recorded "The master said" in the Munich Trixi Studios, produced by Willy Schmidt.

All titles are written by master Kovac himself except for "David's dance", composed by Pietro Leguani. Although no detailed information is available today, the LP must have had a circulation of 1000 to 2000 copies, a large number of which was sent to radio stations all over the world, where the record was played frequently, mostly as background music. This was its original purpose, which is why the cover is characterised by uniform simplicity, with black writing against a copper-metallic glossy background.

The music of this LP was used in many films and also sold in the retail trade, but that was secondary. The record was pressed by RPM in Hamburg. ALCO Records, also from Hamburg, were responsible for distribution in Germany, with Brull Records, whose stickers were fixed to the label and the back cover, handling Great Britain. Publishing rights have always been with Maya Music, owned by Roland Kovac himself. Some tracks of "The master said" and "Love that" have subsequently been included in LP and CD compilations but the albums have never been released again as a unit.
M. Thurn

Tracks
1. The Master Said - 17:32
2. Birth Of A Saint - 10:37
3. Eternal Dimension - 3:03
 4. David's Dance (Pietro Leguani) - 3:29
All compositions by Roland Kovac, except where indicated.

Musicians
*Roland Kovac - Keyboards
*Siegfried "Sigi" Schwab - Guitar
*Charliy Antolini - Drums
*Franz Loffler - Bass

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Morgan - Nova Solis (1972 uk, incredible progressive rock with glam and space rock touches, 2009 remaster)

This 1972 release is very obscure, even amongst proggers, and I am not quite sure why - this stuff is amazing. The musicians on this album are incredible and include bandleader Morgan Fisher (VCS3, Hammond organ, acoustic piano, and mellotron), Bob Sapsed (fretless bass), Maurice Bacon (drums/percussion), and Tim Staffell (vocals, acoustic/electric guitars).

The performances are excellent and there is some fairly intricate ensemble work - just the type of thing that one would expect from high quality English prog. Tim Staffell has a very good and high pitched voice that is occasionally altered by running his voice through the VCS3 synthesizer. The four tracks on the album range in length from 5'17" (Tim Staffell's haunting piece Alone), to the mammoth, 20'17" suite and prog extravaganza Nova Solis. Morgan is an excellent composer and arranger, and all of the tracks flow along nicely.

Melodies and harmonies are also highly developed and dynamic contrasts are used effectively. I guess it's worth noting that sections of Jupiter from Gustav Holst's Planets were worked into the Nova Solis suite only after lengthy negotiations with Imogen Holst (his daughter). Although Morgan is an incredible keyboardist, I have to single out Bob Sapsed. He is an excellent player, thoroughly contrapuntal, and the tone and texture of his fretless bass (he uses glissandos very well) adds great depth to this music.

The album was recorded at the then "state of the art" RCA recording studios in Rome, Italy and the sound quality is excellent. There are abundant and recent commentaries from Morgan both in a general sense and in track by track comments. The lyrics have also been reproduced and there are several photos of the band taken during the recording process (with some pretty funny captions). This is an unfairly neglected prog rock album that is simply excellent and very highly recommended.
by Jeffrey J. Park

Tracks
1. Samarkhand The Golden - 8:05
2. Alone - 5:20
3. War Games - 7:05
4. Nova Solis - 20:24
Music by Morgan Fisher, lyrics by Tim Staffell.

Musicians
*Morgan Fisher - Keyboards
*Tim Staffell - Vocals, Acoustic Guitar
*Bob Sapsed - Fretless Bass
*Maurice Bacon - Drums, Percussion

1973  Morgan - The Sleeper Wakes

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Frank Marino And Mahogany Rush - Live (1978 canada, fine guitar hard blues rock, 2017 xpanded and remaster)

Frank Marino was born in Canada in 1954. He began playing guitar at the age of 13 after having played drums for three years. Very soon after changing instruments, Marino had formed his band Mahogany Rush. By 1971, three years later, the group had developed quite a following. At the age of 17, his first album, MAXOOM, was released and the group quickly started generating a larger and larger following and more albums. In all, by the year 2001, Marino had released 11 albums with Mahogany Rush. He also did two solo albums, 1986's Full Circle, and From the Hip, which came out in 1991. Adding to his credits are also appearances on recordings by April Wine and Brian Lee.

by Gary Hill

Mahogany Rush wasn't as huge a name in 1970s, but the power trio commanded a loyal, good-sized following and provided its share of five-star albums. One of them is this live album, which was recorded during a U.S. tour in late 1977 and came out on vinyl the following year. Mahogany knew how to burn on stage, and this excellent LP really captures the vitality of its 1970s concerts. No one who is seriously into hard rock and metal should be deprived of hearing singer/guitarist Frank Marino let loose on live versions of "Dragonfly," "Electric Reflections of War," and "The Answer." The band is equally captivating on sweaty performances of Jimi Hendrix's "Purple Haze," Chuck Berry's "Johnny B. Goode," and Muddy Waters' "I'm a King Bee."

Some fans were disappointed because Live is a single LP instead of a two-LP set -- many of the gems that Mahogany performed on-stage in 1977 were omitted. The band cites space limitations as the reason, although one suspects that licensing restrictions had something to do with what was and wasn't included. The 1978 "Live" of Mahogany Rush, it is consistently rewarding and is enthusiastically.

by Alex Henderson

Tracks

1. Introduction - 0:28

2. The Answer - 5:01

3. Dragonfly - 5:27

4. I'm a King Bee (Slim Harpo) - 5:58

5. Excerpt from "Back Door Man" (Willie Dixon) - 2:56

6. A New Rock 'n' Roll - 4:19

7. Johnny B. Goode (Chuck Berry) - 5:16

8. Talkin' 'Bout a Feelin' - 3:58

9. Excerpt from "Who Do Ya Love" (Ellas McDaniel) - 1:32

10.Electric Reflections of War - 3:04

11.The World Anthem - 3:38

12.Purple Haze (Jimi Hendrix) - 4:01

Songs 2,3,6,8,10,11 written by Frank Marino

2017 Bonus Tracks ecorded live in California; 1978

13.I'm A King Bee (Slim Harpo) - 6:43

14.Johnny B. Goode (Chuck Berry) - 8:19

Musicians
*Jimmy Ayoub - Drums, Percussion
*Paul Harwood - Bass
*Frank Marino - Guitar, Vocals

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John Cale And Terry Riley - Church Of Anthrax (1971 uk, great avantgarde experimental art rock, Wounded Bird issue)

Leaving the Velvet Underground after being a major force on their first two seminal albums, Welsh multi-instrumentalist John Cale forged a collaborative relationship with the band's sometime-frontwoman Nico, resulting in two of her keystone albums, The Marble Index and Desertshore. In 1970, Cale launched his own solo career on Columbia Records with a collection of art-pop songs entitled Vintage Violence. His next for Columbia would be this collaborative album, enlisting master loopist Terry Riley, who was on the roster of Columbia's parent, CBS records.

Many years ago, I once talked with Terry Riley after one of his shows. In our conversation, I mentioned "the album with John Cale," in a sly attempt to elicit some recollections or impressions. His response: "Yes! Church of Anthrax! [half-mirthful, half-exasperated laughter]" That was all.

Despite this inscrutable reaction, Church of Anthrax is a fairly straightforward meeting of the two artists' worlds. The extended instrumentals are easily the best thing about this one. The title track, my own personal favorite, starts off like a jam in the tradition of the VU, with Cale's gruff bass lines prominent in the mix. Over this base, Riley enters with some funky, psychedelic organ that after about a minute and a half, starts going into conniptions, notes jittering like marbles spilling out on a floor every which way. As the piece builds, sax enters flirting with the organ lines and everything gets looser and looser.

The drum work, by the way, adds quite a bit to this track with a jazzy energy and blending with Riley's organ spasms. Another great piece, "The Hall of Mirrors in the Palace at Versailles" places Cale behind the keys, pounding out block chords on piano. To this Riley adds spacey, trilly sax in the A Rainbow in Curved Air vein, one track in each channel, giving the impression of a ritual call between two animals.

Finally, "Ides of March" is a good though somewhat overlong jam split-channeling the duo's keyboard styles. Riley plays treated piano in the left speaker, flittering obsessively and polyrhythmically among certain note cycles. Cale again plonks out alongside this with rhythm piano in the right speaker. Each channel is backed by separate drumming. Written by Cale alone, "The Soul of Patrick Lee" interestingly features an outside vocalist, although the song has Cale's sound stamped all over it in the lyrics and melody, so that you can easily envision him singing it. It's clearly placed in that era of his songwriting, sounding like a decent holdover from Vintage Violence, and also holding the lantern up to Paris 1919.

This strikes me as a pretty interesting pairing of two fellow avant-garders with two quite different personas: Riley, the convivial cosmic explorer of Eastern music; and Cale, the moody mercenary of violence-in-sound. While probably not the best from either artist, it's good for what it is: two legends at work and fairly early in their careers, too.

by Joe McGlinchey

Tracks

1. Church Of Anthrax - 9:05

2. The Hall Of Mirrors In The Palace At Versailles - 7:59

3. The Soul Of Patrick Lee (John Cale) - 2:49

4. Ides Of March - 11:03

5. The Protege - 2:52

All tracks by John Cale and Terry Riley, except where noted.

Musicians

*John Cale - Keyboards, Bass Guitar, Harpsichord, Piano, Guitar, Viola, Organ

*Terry Riley - Piano, Organ, Soprano Saxophone

*Adam Miller - Vocals On "The Soul Of Patrick Lee"

*Bobby Colomby - Drums

*Bobby Gregg - Drums

More John Cale work here:

1972  Lou Reed, John Cale And Nico - Live At Bataclan Paris (2013 edition)

1973 Paris 1919

1974 Fear

1975 Slow Dazzle

1975 Helen Of Troy

1984 John Cale Comes Alive

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Jackie McAuley - Jackie McAuley...Plus (1971 uk, gorgeous folk rock with blues and jazz shades, 2009 Esoteric extra tracks issue)

Jackie McAuley's debut solo album Jackie McAuley first released in 1971 is a minor masterpiece, a beguiling mixture of moods with shades of folk-rock, blues and jazz. The album has been somewhat unjustly overlooked as history has continued to praise Trader Home's magical Morning Way, recorded with Judy Dyble the previous year.

The early recording career of McAuley - a gifted original singer and musician - is a confused tale of short-lived projects and missed opportunities. Jackie McAuley was born into a very musical family in County Derry, Northern Ireland surrounded by traditional Irish music. In 1964 Jackie and his elder brother Patrick moved to London and joined Them - Belfast's finest r'n'b band with Van Morrison. Them were plagued with personnel problems, Jackie's tenure as the group's organist was brief - confusions over who played on the group's influential early recordings has been the subject of hot debate for many years.

Whilst in London, Jackie made the acquaintance of one of his musical heroes - the American rock & roll legend Gene Vincent; "Gene really was the one who gave me the confidence to write my own songs". McAuley soon found himself in Dublin fronting a blues band with Paul Brady - later of the Johnstons and Planxty. Sometime in late 1966, when Pat McAuley finally exited the turbulent Them, the brothers formed a new band together with Mike Scott and Ken McLeod. In London they met the American record producer Kim Fowley, a longstanding fan of Them, who christened them the Belfast Gypsies, and signed with the hip Island label.

The Belfast Gypsies recorded a pair of singles for Island, but discographical confusion continued. Their first 45 - 'Gloria's Dream' / 'Secret Police' - appeared in October '66, the second single - 'People, Let's Freak Out' / 'Shadow Chasers' • followed two months later appearing confusingly under the name Freaks Of Nature. The 'A' side had overdubbed percussion by Soft Machine's Robert Wyatt and Island A&R executive Guy Stevens. The Belfast Gypsies went on to complete an album which finally appeared in Scandinavia under the title Them Belfast Gypsies' in 1967.

When the Gypsies foundered, McAuley began working as a Folk Rock duo with ex-Fairport Convention singer and auto-harpist Judy Dyble. Trader Home, apparently taking their name from the venerable John Peel's nanny, recorded the beautiful 'Morning Way' album - released on Dawn records in March 1970. "Good tunes, nice harmonies, played well," is Dyble's succinct summary of the record. When Dyble left to get married, McAuley briefly continued with singer Saffron Summerfield before dissolving the band.

Determined to pursue his own musical vision, McAuley then began recording a solo album with help from some of the best young jazz musicians of the time. Most of the players were recruited on the suggestion of the label's in-house producer Barry Murray. Mike McNaught, Tony Roberts and Mike Travis were all members of the Henry Lowther Band which had recorded the acclaimed 'Child Song' in 1970. Renowned jazz trumpeter Henry Lowther had played with the original Mike Westbrook Band and with John Dankworth's Big Band.

In the sixties Lowther had also worked on the rock scene with Manfred Mann and John Mayail. and appeared at the famous Woodstock festival in 1969 whilst a member of the Keef Hartley Band. Flautist Tony Roberts was an alumni of Alexis Korner's genre-defying Blues Incorporated and regularly recorded with John Renbourn and many of the most innovative innovative Londonbased jazz composers, On double bass they hired Roy Babbington, an ex-member of Delivery, currently playing with Ian Carr's Nucleus and a busy session musician - recording with Harvey Andrews, Mike D'Abo, Keith Tippett and Soft Machine among many.

The rhythm section was completed by Mike Travis from the Canterbury-based Gilgamesh and Pete Hossell, an acclaimed jug player. Hossell was well-known on the British blues scene, a founding member of the Panama Limited Jug Band, in 1969 he appeared with Ian Anderson's Country Blues Band on their 'Stereo Death Breakdown' album. The orchestral arrangements for the album were by keyboard player Mike McNaught.

He'd recently been the musical director for the London stage production of Harry Nillson's The Point' and would go on to have an eclectic career recording with B A Robertson, composing songs for children's television series like 'Rupert' and arranging songs for the Monty Python albums The Meaning of Life' and 'Monty Python Sings'. Jackie McAuley was issued by Pye Record's Dawn imprint in July 1971. All of the songs had been written by Jackie before the recording began.

The album includes one non-original, a fine cover of Leadbelly's 'Poor Howard': "Since I was a kid, I've always been a big fan of Leadbelly, Robert Johnson, Woody Guthrie... all were great songsmiths" recalls McAuley, "the sessions were great. I have good memories of that recording, they were great players." 'Country Joe' is a gentle portrait of another of McAuley's heroes - Country Joe McDonald of 'and the Rsh' fame.

Dawn released two singles to promote the album - 'Turning Green1 / 'It's Alright' (DNS1011) and 'Rockin' Shoes' / 'One Fine Day' (DNS 1020). However, McAuley was reluctant to undertake live gigs at the time, like so many singer-songwriters he suffered the familiar quandary - he didn't have a band to take the album arrangements on the road, and felt that solo performances would not do the material justice.

Sadly the album failed to find the audience it deserved and quickly disappeared from the market. McAuley soon found work as a session player, recording with Jim Capaldi, Rick Wakeman, Bryn Haworth and many others, later he was musical director of the Lonnie Donegan band.

In 1982 he co-wrote with Johnny Gustafson Status Quo's Top Ten hit 'Dear John'. In the mid-1980s Jackie formed a Celtic rock band called Poor Mouth with Clive Bunker (ex- Jethro Tull), Philip Rynhart (ex-Taj Mahal) and Tommy Lundy (ex-Katmandu). He has continued to record and gig throughout the past two decades, releasing an occasional series of fine albums - Gael Force (1989), Headspin (1994), Fretwork (1996), Shadowboxing (1999) and Bad Day At Black Rock (2000).
by David Suff

Tracks
1. Turning Green - 6:08
2. Boy on the Bayou - 3:31
3. Country Joe - 4:38
4. Cameramen, Wilson & Holmes - 4:55
5. Spanish Room - 1:59
6. It's Alright - 6:04
7. Poor Howard (H. Ledbetter) - 2:01
8. Away - 3:35
9. Bangerine - 5:02
10.Ruby Farm - 3:38
11.Rocking Shoes - 3:20
12.One Fine Day - 2:02
All compositions by Jackie McAuley unless otherwise stated.

Musicians
*Jackie McAuley - Banjo, Guitar, Piano, Spoons, Stomping, Vocals
*Henry Lowther - Flugelhorn, Violin
*Mike McNaught - Harpsichord, Piano, Vibraphone
*Mike Travis - Drums, Percussion
*Roy Babington - Bass
*Tony Roberts - Flute
*Pete Hossel - Jug on "Poor Howard"

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