The Psychic Circle label makes another entry into the uncrowded field of reissues of British and European rarities from the early progressive rock era with Blow Your Cool, which collects twenty 1969-1974 tracks that have never before appeared on compilations. We are talking rare and obscure here; when the most well known bands on a comp are the Rattles, Mogul Thrash, Dream Police, and Egg (though a stray item by blue-eyed soul hitmakers the Foundations finds its way on as well), it's material not apt to even be in the collection of the prog rock specialist.
The trademarks of early prog (and late psychedelia bleeding into prog) are all here, in diverse colors: complex riffs and tempo turnarounds, earnest vocals that can verge on the ostentatious, lyrics with a cosmic tinge, occasional hints of blues and boogie, and heavy (and at times lumpy) guitar-organ blends.
Some notable names to go on to bigger and better things pop up here and there, like future Average White Band singer/guitarist Hamish Stuart (in the Dream Police's "Much Too Much," which is much too derivative of the Jeff Beck Group's version of "Shapes of Things"); Atomic Rooster drummer Ric Parnell (in the Italian group the Tritons); John Wetton (in Mogul Thrash); and early Procol Harum member Bobby Harrison (in Freedom).
Some of the more interesting cuts tend to be those that veer away from stereotypical prog rock, like Ferris Wheel's "Can't Stop Now," with its flute and sweet, airy female vocals; Paul Ryder & Time Machine's "If You Ever Get to Heaven," which is vaguely reminiscent of early T. Rex; Egg's "You Are All Princes," which sounds like Kingdom Come with a less flamboyant vocalist than Arthur Brown; and Swegas' "What 'Ya Gonna Do," a very spot-on British imitation of Blood, Sweat & Tears and Chicago's horn-rock.
by Richie Unterberger
Tracks - Artists
1. To Live - Paradise Hammer - 3:38
2. Turn Me Loose - Freeman - 2:42
3. Major Barmy From The Army - Primitive Man - 2:30
4. I'm Gonna Be A Rich Man - Foundations - 3:54
5. Much Too Much - Dream Police - 2:58
6. Drifter - Tritons - 3:42
7. Sleeping In The Kitchen - Mogul Thrash - 2:48
8. Can't Stop Now - Ferris Wheel - 3:35
9. Blow Your Cool - Triangle - 3:10
10.She's A Bad, Bad Woman - Zior - 3:43
11.Devil's On The Loose - Rattles - 2:53
12.Freedom - Freedom - 5:12
13.Sly Willy - Bluebeard - 3:27
14.If You Ever Get To Heaven - Ryder - 3:10
15.Love Me - Variations - 2:38
16.You Are All Princes - Egg - 3:46
17.Mrs. Davis - Jess And James - 4:39
18.I Believe In You (Fire In My Body) - Bedlam - 3:53
19.What'ya Gonna Do - Swegas - 2:51
20.The Scene - Cosmic Dealer - 2:47
More Than Ever was the last studio effort by the re-formed, reconstituted Blood, Sweat & Tears, with David Clayton-Thomas back in the lineup and the whole group invigorated after coming off of a successful international tour. For the first time since its second album, the group -- with only drummer Bobby Colomby left from the original lineup and Bob James producing -- sounds bold, enthused, and fully positive in its approach.
The sound is a little more R&B oriented and less rocking than the older lineup, which actually makes a better fit overall -- Thomas' singing style is a bit dated, from a tradition of '60s blue-eyed soul that seems fine, but which was really out-of-place amid the disco boom of the second half of the '70s. The group's obvious enthusiasm -- there's not a lot here that sounds like it wasn't played with joy -- and the smooth mix of R&B, jazz, and gospel influences coupled with the larger-than-life sound of the production (the ten-man band is joined by 13 guest musicians and eight backup singers, among them Patti Austin and Gwen Guthrie) helps put over some very solid material. "They," "I Love You More Than Ever," "You're the One," and the soaring, haunting "Heavy Blue" are highlights of a pretty strong album.
Nothing here is remotely as revelatory as anything on Child Is Father to the Man or as startlingly fresh in a pop vein as the Blood, Sweat & Tears album, but it's a good 40 minutes of listening. The pity is that the Columbia Records art department couldn't muster as much inspiration on its end as the musicians did on theirs -- one can only wonder who got paid for coming up with the "idea" of using an enlarged copy of the album label as the front cover art. But bad art aside, this record is not only one worth finding -- it's one worth keeping.
by Bruce Eder
Tracks
1. They (Clayton-Thomas, Smith) - 6:29
2. I Love More Than Ever (Landon, Lenier) - 5:28
3. Katy Bell (Foster, James) - 4:29
4. Sweet Sadie The Savior (Austin) - 4:24
5. Hollywood (Clayton-Thomas, Modeliste, Nesmith, Neville, Nocentelli, Porter, Reid, Smith) - 3:36
6. You're The One (Clayton-Thomas, Lennon, Ono, Smith) - 4:56
7. Heavy Blue (Willis) - 5:26
8. Saved By The Grace Of Your Love (Palmer, Smith) - 4:20
9. (Bonus tracks: Medley, Recorded live, Oct 12, 1980 at the Street Scene - Downtown, LA) God Bless The Child (Arthur Herzog Jr., Billie Holiday) - 2:58
10.Lucretia Mac Evil (Carole King) - 1:11
11.Hi-De Ho (Carole King) - 5:32
12.And When I Die (Laura Nyro) - 1:35
13.Spinning Wheel (David Clayton-Thomas) - 1:11
14.You're Made Me So Very Happy (Berry Gordy Jr., Brenda Holloway, Patrice Holloway, Frank Wilson) - 3:02
An apocryphal tale says Juilliard Music Conservatory-trained musicians Michael Kamen, Marty Fulterman, and Dorian Rudnytsky decided in the late '60s in New York that they could make bigger bucks as rock stars than as classical musicians. The results of this legendary experiment were inconclusive. Forming the New York Rock and Roll Ensemble, they broke with tradition on their first two albums -- 1968's self-titled debut and Faithful Friends the next year -- by using classical music instruments in rock songs and using rock instruments on classical pieces.
This fusion, daring at the time, impressed legendary conductor Leonard Bernstein so much that he invited the group to appear at one of his Young People's Concerts with the New York Philharmonic Orchestra. For their third Atco release, Reflections, they collaborated with Greek composer Manos Hadjidakis, best known for scoring music for the movie Never on Sunday. Rhythm guitarist Brian Corrigan departed after the third album, and pedal steel guitar player Hank Devito joined.
The band then shortened its name to New York Rock Ensemble and switched to Columbia. Released in 1971, Roll Over was their most overtly rock album to date and their biggest seller, although they fell well short of Led Zeppelin on the Billboard charts. The band dispersed after Freedomburger, although Rudnytsky, Fulterman, and Corrigan had one final shot with Flattering Foe.... Devito surfaced years later as a stalwart player in the bands of Rodney Crowell and Rosanne Cash. Only Kamen fulfilled the original trio's objective of successfully melding classical and pop music to make big bucks.
After being music director for David Bowie's Diamond Dogs tour, he went on to a thriving career scoring films. After his score for Brazil gained him wide exposure, he hit the mother lode composing music for the Die Hard and Lethal Weapon series. In 1991, Kamen earned an Academy Award nomination for "(Everything I Do) I Do it for You," the Bryan Adams monster international pop smash hit from Robin Hood: Prince of Thieves. Kamen has also worked with Eric Clapton, Pink Floyd, Liona Boyd, Sting, Rod Stewart, Metallica, Kate Bush, Belinda Carlisle, the Chieftains, the Cranberries, Roger Daltrey, Eurythmics, John Mellencamp, Jim Croce, and many others.
by Mark Allan
Martin Fulterman, changed his name to Mark Snow and relocated to Los Angeles in 1974. Mark's musical soundtrack composition career
began in 1975 with the TV series, Starsky and Hutch and has taken off
since then. However he is best known for his work on The X-Files and
Millennium, he has made music for many other programs. He took piano
lessons at age ten and by the time he was twenty he played both oboe and
percussion.
Tracks
1. Running Down the Highway (Nivison) - 3:27
2. Gravedigger (Fulterman, Kamen) - 4:51
3. Law and Order (Fulterman) - 3:35
4. Fields of Joy (Fredricks, Kamen) - 3:46
5. The King Is Dead (Nivison) - 4:09
6. Don't Wait Too Long (Kamen) - 3:04
7. Anaconda (Frederick, Kamen) - 3:22
8. Beside You (Fulterman, Kamen) - 3:47
9. Traditional Order (Rudnytsky) - 6:07
10.Ride, Ride My Lady (Rudnytsky) - 2:44
11.More Like the Master (Kamen) - 3:23
12.Magic Lady (Nivison) - 2:44
13.I'm Sending a Friend to You (Fulterman, Kamen, McClure) - 2:34
14.Kiss Your Future (Barber, Kamen, Nivison) - 2:40
15.A Whiter Shade of Pale (Brooker, Reid) - 3:36
16.Willow Tree (Kamen) - 2:30
17.Shuffle (Nivison) - 1:57
18.Barrell Full of Wine (Rudnytsky) - 2:35
19.Carry Me Up (Kamen) - 3:41
20.Roll Over (Nivison) - 3:09
21.Raise Your Barriers (Fulterman, Kamen, Nivison) - 2:54
22.Goodnight Irene (Leadbelly, Lomax) - 2:52
The New York Rock Ensemble
*Michael Kamen - Keyboards, Oboe, Arp, Synthesizer, Vocals
*Μartin Fulterman (Mark Snow) - Drums, Oboe
*Clifton Νivison - Lead Guitar, Percussion, Vocals
*Dorian Rudnytsky - Bass Guitar, Cello, Piano, Trumpet, French Horn
*Hank DeVito – Pedal Steel Guitar (only on “Roll Over”)
Autumn '66 was the third album from the Spencer Davis Group. It includes the chart-topping Somebody Help Me which had reached number one in the UK charts in the Spring of 1966. At this stage, the group was not writing much original material. However, the seventh single When I Come Home marked the songwriting debut (with Jackie Edwards) of Steve Winwood, the outstanding talent in the band.
Many of the songs on Autumn '66 are covers of standards. Take This Hurt Off Me was also covered by The Small Faces, When a Man Loves a Woman is the Percy Sledge song and is ideally suited to Steve Winwood's soulful voice. Indeed Steve Winwood shows that he ranks alongside Steve Marriott and the Action's Reggie King as England's top soul singers at the time.
Autumn '66 is another transitional album like Revolver, the Small Faces (Immediate) or Aftermath in that it represents a crossroads in the career of the band. In this case, it represents a move away from the band's roots in blues towards a more commercial sound as shown in the single Somebody Help Me. There is also a move away from the blues harmonica towards more tracks featuring Steve Winwood's Organ playing. What is clear though is that the band enjoyed making this record.
Midnight Special is a standard that Spencer Davis used to play on street corners across Europe during his days as a student. On the Green Light is a studio improvisation, the green light being the recording light. Together 'Til The End of Time starts the album on a slow note and it represents an excellent showcase for Winwood's vocals. Dust My Blues is another standard and there is also a Yardbirds version of this.
The album finishes with the single Somebody Help Me. This helps to confirm the fact that the Spencer Davis Group made some excellent singles. It ranks alongside Gimme Some Lovin' and Keep on Running.
The Birds were a popular rhythm and blues band in England during the mid-1960s, although they recorded fewer than a dozen songs and released only four singles during the two years they were active. Starting out with a hard R&B sound, they later began infusing it with Motown-style vocal harmonies.(1) The best-known former member of the Birds is Ronnie Wood, who went on to join The Faces and later The Rolling Stones.
Several members of the Birds grew up in the same neighbourhood in Yiewsley, West London, and began playing together in 1964, while still in their teens. At first calling themselves The Thunderbirds, they started out playing local clubs and a neighbourhood community centre, but they soon expanded to a larger club circuit. When they were hired to play on the same bill as Chris Farlowe, whose back-up band was also called The Thunderbirds, they shortened their name to The Birds – a decision which would have significant ramifications later.
When the young band made their first television appearance, they caught the eye of Decca record company executives. The ensuing recording contract resulted in their first two singles, "You Don't Love Me" and "Leaving Here." The Birds seemed destined for stardom with their loud rhythm-and-blues-based music, receiving equal billing with The Who at some shows.
The Birds recorded their last single for Decca in late 1965 and after which they moved to Reaction Records, whose director, Robert Stigwood, suggested they change their name to "The Birds Birds", to distinguish themselves from the American band. Their planned debut album was postponed due to a contract dispute, and ultimately abandoned.(citation needed)
In 1966, the band did a cameo appearance in the horror film The Deadly Bees, performing their song "That's All I Need", which would later be seen on Mystery Science Theater 3000.
By 1967 the group had disbanded, Lemmy, who was a great fan of The Birds, also recorded "Leaving Here" with his band Motorhead. He was inspired by their version of the song.
This Collection is an astonishingly lively and exciting collection, coming from a band that scarcely sold any records in their own time and are known today for their name and their lineup, but not their music.
The stuff here is as crunchy and grinding as the early Who material, and if the band's own songwriting isn't as distinctive, the style of the performing is more appealing.
The songs range from some hot Ron Wood originals ("You're on My Mind," "Next in Line," "That's All I Need") to covers of obscure Motown songs and Pete Townshend material. Think of the Kinks from "Long Tall Sally," the Yardbirds from "A Certain Girl," or the Who from "The Good's Gone" and that's the dominant sound here -- curiously, their cover of Townshend's "Run Run Run" starts out as though it's going to turn into "My Generation." Ali MacKenzie sounded like a punkier Roger Daltrey, and Ron Wood's playing was a delightful compendium of rhythm fills and angular blues licks that must've been devastating on-stage.
by Bruce Eder
Tracks
1. You're on my Mind (Ron Wood) - 2:49
2. You Don't Love Me (E. McDaniel) - 2:06
3. Leaving Here (Dozier, Holland, Holland) - 2:41
4. Next in Line (Ron Wood) - 2:45
5. No Good Without You (Mickey Stevenson) - 2:39
6. How Can It Be? (Ron Wood) - 2:58
7. You're on my Mind (Demo) (Ron Wood) - 2:26
8. You Don't Love Me (Demo) (Ron Wood) - 2:31
9. Say Those Magic Words (Feldman, Goldstein, Gottehrer, Pomus, Shuman) - 3:15
10.Daddy Daddy (Tony Munroe, Ron Wood) - 4:09
11.Run Run Run (Unissued Track) (P. Townshend) - 3:33
12.Good Times (Unissued Track) (Michel Polnareff) - 3:22
13.Say Those Magic Words (Alternate Version) (Feldman, Goldstein, Gottehrer, Pomus, Shuman) - 3:17
14.Daddy Daddy (Alternate Version) (Tony Munroe, Ron Wood) - 4:07
15.La Poupee Qui Fait Non (Unissued Track) (Michel Polnareff) - 3:37
16.Run Run Run (Alternate Version) (P. Townshend) - 3:03
17.Daddy Daddy (Backing Track) (Tony Munroe, Ron Wood) - 3:59
18.Granny Rides Agian (Unissued 1966 Single Track) (Ron Wood) - 4:45
The Byrds came along at a time when American rock needed a shot in the arm which would raise the music to the levels attained by the British groups and allow it to meet the emerging head culture. The Byrds did it; but the subtlety and aversion to gimmick that is found in their music and in themselves doomed them as a sleeper group, always popular and musically influential, but denied the superstardom conferred on more pretentious, melodramatic personalities by an industry geared to the Image. That they have survived at all (in whatever form, despite their own internal storms) is one of those joyous accidents for which we should all be grateful.
This album was recorded in August, 1964, at the very beginning of the Byrds' career and prior to their contract with Columbia. Slightly rough and sounding a bit dated, it still overflows with that unique unschmaltzy beauty and lyricism that has been the Byrds' trademark. Four of the eleven songs appeared on Mr. Tambourine Man, and they sound like less focused takes of something that later became masterful and transporting. But place this music in perspective: suppose it had been released in late 1964. Aside from the first two or three albums by the Beatles or the Stones, there was absolutely nothing out as good, as aurally visionary, as unpackaged as this.
By the time the Byrds were released to the public, several other groups — the Yardbirds, the Kinks, the Spoonful — were working toward the same shift in the system, and few people realized what an innovation the Byrds were, both spiritually and musically. They took the basic lessons of the Beatles and the Stones, filtered them through Dylan and the less pretentious aspects of the folk scene, and came up with a big, new, visionary sound.
Propelled by the ringing grandeur of McGuinn's electric twelve-string and Hillman's incredibly advanced bass playing, they created a stately, transcendent sound of magnificent brilliance, lifting listeners into bold new realms of dream, turning the stoned hordes from preachy, flatulent folk music to the vibrant new and old sounds of rock. And the Byrds' influence, in the years that followed, on everybody, from the Beatles to the Velvet Underground, is simply an undiminishing fact of life.
Preflyte: an album marking the beginnings, but an album of fine and fascinating music as well. Gene Clark's songs abound, and though Clark seemed for the most part a formula composer, all his songs had a certain lovely feeling that seldom palled. Declasse influences like Johnny Rivers turned to lucid, beautifully methodical harmonies in Clark's mind. She Has a Way, for instance, utilized the Spanish Harlem Incident guitar lead and early Beatles composition, but like everything else the Byrds have ever done, it glided effortlessly over the puerility and crass, mindless imitation which dominated the scene in '64, to emerge as a shining, deeply felt piece of music.
Preflyte recalls the inception of a genius outfit that has contributed more to rock than anyone else on this side of the Atlantic. Even if you're not a hardcore Byrds freak, I hope you'll buy this album for that reason. At this late date, they deserve all we can give them.
by Lester Bangs, October 18, 1969
Tracks
Disc One
1. The Reason Why (Version #2) (Gene Clark) - 2:38
2. You Won't Have To Cry(Electric Version) (Jim McGuinn, Gene Clark) - 2:17
3. She Has A Way(Version #4) (Gene Clark) - 2:29
4. You Showed Me (Electric Version) (Jim McGuinn, Gene Clark) - 1:53
5. Here Without You (Version #2) (Gene Clark) - 2:28
6. Don't Be Long (Jim McGuinn, Harvey Gerst) - 1:58
7. I Knew I'd Want You(Electric Version #2) (Gene Clark) - 2:14
8. Boston(Version #2) (Gene Clark) - 2:15
9. Tomorrow Is A Long Ways Away(El. Version) (J. McGuinn, G. Clark, D. Crosby) - 1:59
10.For Me Again (Version #2) (Gene Clark) - 2:39
11.It's No Use(Version #2) (Jim McGuinn, Gene Clark) - 2:20
12.You Movin' (Version #3) (Gene Clark) - 2:08
13.Please Let Me Love You (G. Clark, J. McGuinn, H. Gerst) - 2:25
14.The Airport Song (Jim McGuinn, David Crosby) - 2:03
The Blues Project can be defined by those who know and understand music in different and interesting ways. I describe it as a work of determination! Take these five young musicians and their struggles of this past year; they made it without the aid of a 'single on the charts' and despite the economics of an almost unbroken law that says, "no hit record, you don't survive." But with these young men, you find that there is an exception to the rule.
The struggle has not been an easy one, and it is far from over. But— they are going to 'make it!' Witness their exciting performances at the Cafe Au Go Go in Greenwich Village.... the three times they played at Central Park this past summer to SRO crowds. These are the dates that made possible the healthy 'underground' movement, the ever-growing grapevine that has led them to dates in San Francisco and concerts in colleges that included Rutgers, Boston U., Kent, Ithaca, Brandeis, Hobart, CCNY, Grinnell, and others. People are subscribing to the music and the originality of the Project.
On a recent trip to Hawaii, I was asked by a number of students, "When will The Blues Project be coming over?" It would not be surprising to find students in Europe and Asia asking the same question. The word is out, it is inevitable that whatever roads the words travel, the group, its music, and its station wagon will be sure to follow. Expect them to appear anywhere.
They have something to say. The world wants to listen to music—wants love and hope...and this is what The Blues Project is projecting— Love, Hope and a determination to make their sounds meaningful and lasting.
by Sid Bernstein (sometime 'round 1966)
Tracks Disc 1
1. I Can't Keep From Crying (Arranged By Al Kooper) - 4:48
2. Steve's Song (Steve Katz) - 5:20
3. You Can't Catch Me (Chuck Berry) - 4:35
4. Two Trains Running (Mckinley Morganfield) - 12:19
5. Wake Me, Shake Me (Arranged By Al Kooper) - 5:16
6. Cheryl's Going Home (Bob Lind) - 2:33
7. Flute Thing (Al Kooper) - 5:59
8. Caress Me Baby (Jimmy Reed) - 7:12
9. Fly Away (Al Kooper) - 3:29
10.Love Will Endure (Patrick Lynch, Patrick Sky) - 2:19
Disc 2 Mono Album
1. I Can't Keep From Crying (Arranged By Al Kooper) - 4:26
2. Steve's Song (Steve Katz) - 4:58
3. You Can't Catch Me (Chuck Berry) - 4:17
4. Two Trains Running (Mckinley Morganfield) - 11:34
5. Wake Me, Shake Me (Arranged By Al Kooper) - 5:19
6. Cheryl's Going Home (Bob Lind) - 2:38
7. Flute Thing (Al Kooper) - 6:02
8. Caress Me Baby (Jimmy Reed) - 7:18
9. Fly Away (Al Kooper) - 3:33
10.When There's Smoke, There's Fire (A. Kooper, I. Levine, B. Brass) - 2:34
11.No Time Like The Right Time (Al Kooper) - 2:44
This was one of the number of bubblegum acts put together by producers Jerry Kasenetz and Jeff Katz. From the start this was more of a 'project' rather than a single band. Beg, Borrow Or Steal was recorded by The Rare Breed. The outfit that first went on the road as Ohio Express was another Mansfield, Ohio group Sir Timothy and The Royals, led by Tim Corwin. They were involved in many of the earlier studio recordings and Corwin stayed on through later personnel shifts. Other early tracks were recorded by the Measles (who included Joe Walsh and were later known as Lacewing), before Levine took control of the project.
They are best remembered for their hits Yummy, Yummy, Yummy and Chewy, Chewy, which were typical of the bubblegum genre (heavy repetitive bass beat, simple lyrics and nasal vocals), but they also enjoyed several other minor hits. Two of their albums made the Top 200:- Ohio Express (which included Yummy, Yummy, Yummy climbing to No. 126 and Chewy, Chewy peaked at No. 191, but bubblegum music really aimed at the singles market. Their first seven 45s were sung and written by Joey Levine, who was on Buddah's staff, but Buddy Bengert was lead singer on Pinch Me and Graham Gouldman (later of 10cc fame) performed the vocals honours on Sausalito (Is The Place To Go).
On their eponymous second album whilst the studio musicians performed songs like Yummy Yummy Yummy and Down At Lulu's, they left the rest of the material to the band pictured on the cover. Tucked away on this album are some very pleasant surprises. For fans of pop-psych with beautiful harmony vocals, She's Not Coming Home is simply exquisite and the breezy pop of Winter Skies may appeal too. Into This Time has a great psychedelic guitar ending, First Grade Reader showcases a harsher side to their music - it also features some fine guitar work. Turn To Straw is a superb slice of psychedelia and the jewel in the crown is garage-popster The Time You Spent With Me which contains some great psychedelic guitar passages.
by Fuzz Acid and Flowers
Tracks
1.Beg, Borrow And Steal (J. Day, L. Zerato) - 2:54
2.And It's True (R. Sepulveda) - 1:45
3.Had To Be Me (J. Pfahler) - 2:10
4.Let Go (J. Katz, J. Kasenetz, D. Kastran) - 2:18
5.Soul Struttin' (Tony Orlando, Marty Thau) - 2:59
6.Try It (J. Levine, M. Bellack) - 2:40
7.I Know We'll Be Together (J. Pfahler) - 2:09
8.I Find I Think Of You (J. Walsh) - 2:10
9.Stop Take A Look Around (E. Chiprut, J. Katz, J. Kasenetz) - 2:50
10.Hard Times (J. Pfahler) - 2:41
11.It's Too Groovy (T. Corwin) (2:52)
12.Yummy, Yummy, Yummy (A. Resnick, J. Levine) - 2:18
13.Winter Skies (K. Laguna, S. Laguna) - 2:58
14.Into This Time (D. Kastran) - 2:45
15.First Grade Reader (P. Karwan) - 3:03
16.Mary-Ann (K. Laguna) - 2:29
17.Down At Lu Lu's (C. Resnick, J. Levine) - 1:55
18.Turn To Straw (J. Pfahler) - 4:05
19.Vacation (J. Pfahler) - 1:45
20.She's Not Comin' Home (J. Pfahler) - 2:52
21.It's A Sad Day (It's A Sad Time) (K. Laguna) - 2:46
22.The Time You Spent With Me (K. Laguna) - 5:05
23.Yummy Yummy Yummy (Mono) (A. Resnick, J. Levine) - 2:24
24.Zig Zag (J. Katz, J. Kasenetz) - 2:08
25.Yummy Yummy Yummy (Italien) (A. Resnick, J. Levine, Gomocchio, Tortorello) - 2:26
26.Da Lulu (Italien) (C. Resnick, J. Levine, Somjust) - 1:56
27.Roll It Up (C. Resnick, J. Levine, J. Katz, J. Kasenetz) - 2:08
28.Grazia (Italien) (J. Levine, Feldmann, Rompigil)- 2:30
29.Pinch Me (J. Katz, J. Kasenetz, Woods) - 2:42
30.Sausalito (G. Gouldman) - 2:15
A Joint Effort is a very rare psych folk album which was released out of Fredericton, New Brunswick. It was released on Little Records Ltd. and Red Rock Hotel Productions out of the University of New Brunswick. Side one is a more light folk rock side and relies on decent cover tunes; side 2 sounds like a few local browns and some smoke were added to the equation, a bit more rock and garage sound with some fuzz guitar. Only 200 copies were pressed. It is a very rare and sought-after album in the collector market. Interesting take on Oh! Canada. Came withan insert with lyrics.
"We started jamming in Rm 310, Bridges House, University of New Brunswick in 1973. The album was recorded in Fall of 1975, it was the last performance of the band, afternoon outside in front of the Student's Union Building (all five of us blaring on acid) plus some cuts from a bar performance at the Lord Beaverbrook Hotel in Fredericton.
Rick and Grant are still in Fredericton and still play together periodically. My brother Tim is near Oshawa and he and his wife breed, raise, and train English Setters and Canadian Horses. Brian is still playing bass with Rawlins Cross and whoever, and I am entering my 4th decade soon playing for a living and having done 7 or 8 albums on my own.
Some guy in New Jersey got a copy of Final Effort from my brother and reproduced it. We each got ten copies."
by Terry Tufts and Robert Williston
Tracks
1. Battle of New Orleans - 1:52
2. Molly and Tenbrooks - 3:37
3. Tequila Sunrise - 2:35
4. My Man - 3:11
5. Winter - 4:01
6. Hitchikers Dream - 3:02
7. Champagne Junction - 4:26
8. Bus Song - 5:09
9. Greed for Gold - 4:26
10.Oh! Canada - 3:59
11.Horse with No Name - 7:34
The C.A. Quintet’s Trip Thru Hell is one of the most unique LPs from the 60s. It was a small indie pressing of under 500 from the Candy Floss label, making it a very rare 1968/1969 release. Originals will set you back a pretty penny (possibly over $1,000) but are worth it considering the CD version does not faithfully recreate the back side of the LP.
Prior to this LP, the Minneapolis-based C.A. Quintet had released a few respectable, though restrained, garage rock singles. Then something tweaked in the mind of Ken Erwin, the mastermind behind the Quintet, and the band’s frat rock would become infused with a dark, weird edge. The Trip came housed in a classic, striking jacket and was a truly original acid concept album chronicling the hells of earth. It’s an album that takes you into another world, another mind, and there are some deep, lysergic excursions to behold.
The title track is a 9-minute instrumental with a prominent bass groove, angelic and eerie background vocals, shimmering organ, a suprisingly effective phased drum solo, and demented guitar distortions. The track may not sound as demonic as its title implies, but it was unlike anything recorded before or since, and certainly worth the trip. ”Cold Spider” has Ken Erwin screaming his lungs out over some nice whacked out raga leads and Hendrix-style feedback. They bust out the brass for “Colorado,” “Sleepy Hollow Lane,” “Smooth As Silk,” “Trip Thru Hell (Part 2)” and “Underground Music,” which are dark oddities and compelling highlights.
Listening to this record may be an overwhelming experience for some, so in one sense it’s definitely an acquired taste. It’s pure psychedelia with a strong vision, and does not fit the ‘incredibly strange music’ tag at all. The C.A. Quintet were an engmatic band that was full of life but by the end of the 60s they faded into obscurity.
Tracks
1.Trip Thru Hell, Pt. 1 (Erwin, Reynolds) - 9:09
2.Colorado Mourning - 2:31
3.Cold Spider - 4:41
4.Underground Music - 4:43
5.Sleepy Hollow Lane - 2:04
6.Smooth As Silk - 2:12
7.Trip Thru Hell, Pt. 2 - 3:40
8.Dr. Of Philosophy - 2:09
9.Blow To My Soul (Sandler) - 1:59
10.Ain't No Doubt About It - 2:31
11.Mickey's Monkey (Dozier, Holland, Holland) - 2:26
12.I Put A Spell On You (Hawkins) - 2:47
13.I Shot The King - 2:22
14.Fortune Teller's Lie - 2:09
15.Sadie Lavone - 2:49
16.Bury Me In A Marijuana Field - 2:11
17.Colorado Mourning (Alternate Version) - 2:13
18.Underground Music (Alternate Version) - 2:08
19.Smooth As Silk (Alternate Version) - 3:20
All titles by Ken Erwin except where indicated.
In the early 1960s Dino Valenti performed in Greenwich Village coffee-houses, often with fellow singer-songwriters Fred Neil , Bob Dylan, Lou Gossett, Josh White, Len Chandler, Paul Stookey(of Peter, Paul & Mary) and others, influencing other performers including Richie Havens who continues to perform some of Dino's early songs.
By 1963 Valenti had relocated to Los Angeles where folk-rock had already become popular. During this period he wrote his best-known song, "Get Together", a quintessential 1960s love-and-peace anthem that was later recorded by Jefferson Airplane and became a major hit for The Youngbloods. Valenti moved north to the San Francisco Bay area where after working with several groups, played in an early line-up of the San Francisco psychedelic rock group Quicksilver Messenger Service featuring John Cipollina guitar), bassist David Freiberg, and Jim Murray harmonica/vocals).
Dino later rejoined the group in 1970 as its lead singer and main songwriter. In the late 1960s he signed as a solo artist with CBS Records, releasing an eponymous solo LP. He traveled with Quicksilver's Gary Duncan to New York in January 1969 to form a new band to be called The Outlaws, while Quicksilver's noted album 'Happy Trails' album was released in March. While Valenti and Duncan were in New York, British keyboardist Nicky Hopkins joined Quicksilver for their third album, 'Shady Grove' (December 1969).
Eight of the nine songs on the group's next album, Just for Love (August, 1970) were written by Valenti, six of them under the pseudonym of Jesse Oris Farrow. He remained the chief songwriter on their next album, in December, 'What About Me?'. Despite occasional personnel changes, the band released 'Quicksilver' (1971) and 'Comin' Thru' (1972) before disbanding. The 2-LP 'Anthology' was issued in 1973 and a tour and the album, 'Solid Silver', appeared in 1975.
Quicksilver Messenger Service first gained popularity in San Francisco's Bay Area, and then the rest of the world through the release of their critically aclaimed albums. Several of the group's LPs reached the Top 30 on the Billboard Pop charts. With their jazz and classical influences, as well as a strong folk background, QMS attempted to create a sound that was individual and innovative. Dino Valenti drew heavily on his early folk music influences. According to John Cipollina, “It was Valenti who organized the group.
I can remember everything Dino said. 'We were all going to have wireless guitars. We were going to have leather jackets made with hooks that we could hook these wireless instruments right into. And we were gonna have these chicks, backup rhythm sections that were gonna dress like American Indians with real short little dresses on and they were gonna have tambourines and the clappers in the tambourines were going to be silver coins.' And I'm sitting there going, 'This guy is gonna happen and we're gonna set the world on its ear.' "
Dino Valenti passed away in 1994. According to his son, Joli, his father recorded a multitude of songs that were never released. The songs on the ItsAboutMusic.com release, “Get Together” were recorded during the period from 1964 to 1970 but were only recently found in a storage area in Northern California. In an effort to be authentic, ItsAboutMusic.com licensed the cover photo from Herb Green who is famous for taking the cover shot for Jefferson Airplane’s 'Surrealistic Pillow'. The song “Get Together” was never released on a Dino Valenti or Quicksilver album. Its only appearance came on the Rhino box set entitled 'Love Is The Song We Sing' – a 4 CD collection of recordings by Bay Area artists from the Sixties.
Tracks Disc 1
1. Get Together - 3:02
2. One Thousand Miles An Hour - 4:42
3. Ain’t That A Shame - 9:31
4. Silver Dagger - 5:12
5. Strange World - 4:30
6. I’ll Try Something New (Smokey Robinson) - 3:19
7. Star Rider - 3:38
8. County Fair - 13:09
9. Crossroads - 3:50
10. Everybody Knows - 3:13
11. Midnight Rider (Gregg Allman) - 2:48
12. The Letter - 4:57
13. That’s How It Goes - 3:59
14. To The End Of The World - 2:51
Disc 2
1. If I Had Money - 5:04
2. Star Rider (Acoustic) - 4:13
3. City Of Stone - 6:18
4. County Fair (Acoustic) - 5:15
5. Sadness of My Mind - 4:54
6. My Guitar - 3:53
7. So Close To You - 2:52
8. If I Had Money (Acoustic) - 4:34
9. Get Together (Alternate Version) - 3:53
All songs by Dino Valenti, except where noted.
The original band consisted of Jack O'Neill (vocals), Jerry Turano (lead guitar), Harry Bragg (drums), John McKinney (rhythm guitar) and Craig Guild (bass). This line-up recorded some demos in late ±966 at Qualicon Studios in Naples, Florida which consisted of a Crown 2- track recorder in a garage. Before their first single was released, Craig Guild left and John McKinney switched to bass. "Things We See" / "I Want You" was released April '67 on Qualicon Records which was owned by producer Walter Fredrickson who had connections with Mike Curb of Sidewalk Productions.
Through the Curb/Sidewalk connection, the group signed with Manhattan Records which was run by Curb's publishing company Mirby Music. Their first -45 on Manhattan, "Anxious Color" was a big hit in Florida for ±4 weeks in a row, reaching #± on some local stations. After this single was released, George Schule was brought in as the new bass player and John McKinney switched back to rhythm guitar. With this line-up the band recorded an even better follow-up single, "I Lost You In My Mind" / "I Think I'm Going Mad".
Unfortunately, the record company was getting negative feedback from DJ's complaining of the drug-like references from the two singles . Therefore, "I Lost You In My Mind" and their last single "Don't Say She's Gone" never got off the ground except in Florida where the group was based. Painted Faces began getting better gigs and were often traveling to New York City which didn't go over well with the parents of Jerry Turano and John McKinney who were pressured to leave the band to pursue careers outside of music.
They were replaced by numerous musicians but the nucleus of the band remained Jack O'Neill, George Schule and Harry Bragg. The group became very popular in Greenwich Village area clubs such as Cafe Wha? whose manager sent them to a club called The Jet Set in Puerto Rico for ±2 weeks. From here they got a gig in St. Thomas in the Virgin Islands at a club on Creque Alley where The Mamas & Papas used to perform.
Upon returning to playing gigs in NYC, local New Jersey band The Critters wanted to record a new Painted Faces song, "Girl, You're Growing Up" but they decided to record it themselves for their new single on Sidewalk which never came out. It was around this time that the group recorded an entire LP to be released as a budget LP on Sidewalk. With cover tunes like "The Letter", "Brown Eyed Girl" and "Incense & Peppermints", this LP never got beyond the acetate stage.
However, this album may have come out as part of the masses of unknown Sidewalk or Tower albums undiscovered to this day! By 1968 the Painted Faces recorded some of their finest originals such as "Hard Life", "Lady", "Black Hearted Susan" and their own arrangement of "Play With Fire" done in 7/4 time. They even recorded a few Bee Gees tunes including "Birdie Told Me" which was supposed to be released as a single in the summer of '68.
Like countless other American 60's bands, the Vietnam War led to the ultimate demise of the group as the drummer Harry Bragg was drafted and had to fight for Uncle Sam. Without their long time drummer, the group faded into obscurity until some of their songs began to appear on various garage compilations in the early 80's.
This led to an entire new generation of Painted Faces fans who were captivated by their originality and superior songwriting ability. Thankfully, for fans old and new, their music has been preserved on this much deserved disc. Though there is some noticeable surface noise due to old acetates and lack of master tapes, the music itself has survived the test of time which is all that matters....
David L. Brown
Tracks
1. Anxious Color (O'Neill, Turano) - 2:32
2. Want You (Ron Elliot) - 3:03
3. Things We See (O'Neill, Turano) - 2:07
4. She Don't Care About Time (Gene Clark) - 2:21
5.1 Can't Wait (O'Neill, Turano) - 2:12
6. Can't Stop Lovin' You (Lombardo, Byrnes) - 2:25
7.1 Lost You In My Mind (Schule, Turano) - 2:18
8.1 Think I'm Going Mad (O'Neill, Turano) - 2:13
9. Don't Say She's Gone (O'Neill, Turano) - 2:08
10. Girl, You're Growing Up (O'Neill, Schule) - 2:15
11. Hard Life (O'Neill, Schule) - 2:22
12. Incense & Peppermints (Carter, Gilbert) - 2:26
13. Play With Fire (Jagger, Jones, Richards, Watts, Wyman) - 2:59
14. Lady (O'Neill, Schule) - 2:46
15. Black Hearted Susan (O'Neill, Schule) - 3:42
16. Birdie told Me (B. Gibb, R. Gibb, M. Gibb) - 2:33
17.1 Can't See Nobody (B.Gibb, R. Gibb) - 3:41
18. Lonely People (George Schule) - 2:20
19.1 Think Of You (Schule, Turano) - 2:54
20. If You Go Away (George Schule) - 1:57
21. And Now She Knows (Schule, Turano) - 2:42
22. Close Your Mind (George Schule) - 3:03
23. To Love Somebody (Bee Gees) - 3:09
24. Look Away (Spencer Davis) - 2:37
25. Good Day Sunshine (Beatles) - 2:08
26. Ain't Gonna Eat Out My Heart Anymore (Rascals) - 2:42
27. One Minute Woman (Bee Gees) - 2:17
28. A Day In The Life (Lennon) - 5:10
Tracks 23-28 Live recordings
This album earned credibility for documenting a unique, one-off event. In 1981, ex-Radio Birdman bassist Warwick Gilbert, guitarist Deniz Tek, and vocalist Rob Younger saluted their influences by joining the Stooges' lead guitarist Ron Asheton and MC5 drummer Dennis Thompson for a six-week blitzkrieg of Australia.
The notion made sense, since Radio Birdman had been acclaimed on their Australian home turf yet relegated to cult fodder elsewhere, while the MC5 and the Stooges had never been commercial propositions either. Still, once listeners pass the "punk summit" angle used in promoting the album, they'll find the fruits of this alliance impressive enough to warrant further exploration.
Not surprisingly, there's strangled, slash-and-burn guitar playing aplenty on burners like "November 22, 1963," a conspiratorial recall of President John F. Kennedy's assassination. This track, by Asheton's major post-Stooges outlet, Destroy All Monsters, would undoubtedly win filmmaker Oliver Stone's approval. Tek's "Descent into the Maelstrom" and "Haunted Road" open similar forays into the fretboard jungle, while the Gilbert-Thompson axis never lets up, especially on the drummer's MC5 standard "Gotta Keep Movin'."
As these choices show, the set draws evenly from across the board, with "Looking at You" nodding again, respectively, to the MC5 and the Stooges. Tek's moodier songs, "Breaks My Heart" and "Sad TV," inject variety into the proceedings, while time constraints only permitted one new song to emerge: "Columbia," whose propulsive riff and atypical space-travel theme closes the album on a powerful, decisive note.
Strategically overdubbed backing vocals and guitar on three songs, which offers historical value from a one-off event that never occurred again. Tek's terse yet engaging liner notes aptly sum up the exercise: "Humor beats bitterness every time." It's hard to disagree when the evidence is this powerful.
by Ralph Heibutzki
New Race was meant from the beginning to be a one-off project since all members had other commitments. They did a national tour of Australia in 1981, and recorded a live album, The First and the Last. The music was hard, fast rock in the style of the parent bands. Everyone involved had a great time on tour. The shows were packed with crazed punters.
New Race was an exciting line-up which featured Detroit legends Ron Asheton (Stooges) on guitar, Dennis Thompson (MC5) on the drums together with 3 ex Radio Birdman players, Deniz on guitar, Rob Younger on vocals and Warwick Gilbert on bass. They played a set of songs derived from The Stooges, MC5, Radio Birdman, the members current bands and one new song written jointly for the tour, Columbia. Chris Masuak guested at some shows, creating a monstrous three guitar version of the MC5's Looking At You.
Miscommunications and financial troubles later poisoned the waters for years to come, especially between Ron Asheton and tour/album financier Michael McMartin. Asheton released cassettes of shows to French label Revenge for the First to Pay album. The irony of the name of both the company and the album was not lost on Ron. Fortunately this did not affect relations between most of the band members, most of whom remain close friends to this day.
Of course, the Revenge releases feature the original vocal, which is felt by many to be superior in feeling and intensity to the overdubbed version. Never happy with his vocals, Rob had redone these in the studio for the album though the rest of it is truly live.
