Albert Hammond ‎– It Never Rains In Southern Califonia / The Free Electric Band (1972-73 uk, fabulous country folk sunny rock, 2004 remaster)

Albert Hammond was born on May 18, 1944, in London and grew up in Gibraltar to Gibraltarian parents. In 1960, Albert left school, formed a band and began sending out recordings of his very first compositions to labels in England, where they were released by Parlophone Records. Soon thereafter, Albert met Mike Hazlewood and almost immediately, they teamed up as collaborators and began gaining recognition as a songwriting team: “Little Arrows” (Leapy Lee in 1968 - top 10 country and pop charts), “Make Me An Island” (a number one hit in 14 countries), “Gimme Dat Ding” (The Pipkins in 1970 - pop and R&B charts), “Freedom Come, Freedom Go” (The Fortunes in 1971), “Good Morning Freedom” (Blue Mink, 1970). “Gimme Dat Ding” was written for a children's television program called "Oliver In The Overworld" which starred Freddie and the Dreamers.

Having become one of Britain's most successful songwriting teams, Albert and Mike decided to move to southern California. Albert played his songs to every record company possible, until Hal Landers and Bobby Roberts gave him the first artist’s contract ever for their newly-built Mums label, a division of CBS’s Epic label. After auditioning for CBS president Clive Davis, and over 30 other people, Albert was asked to record some songs. Albert went into the studio to record what would become the It Never Rains In Southern California album. The title song went to number five in the U.S. and became a worldwide success. This offered Albert the opportunity to tour, which led him to almost all continents. Albert went on to record seven albums for the CBS label.

It Never Rains in Southern California is not only Albert Hammond's biggest solo hit, the album which spawned that Top Five smash was the best representation of the songwriter until his When I Need You album was released a few years later. The band is in a groove on this disc, and the songs are more happening than on the two immediate follow-ups, The Free Electric Band in 1973 and 1974's self-titled Albert Hammond. Songs like "Down by the River" and "The Road to Understanding" have more enthusiasm and spirit than the two succeeding albums. Albert Hammond, better-known as a songwriter for Jefferson Starship, Julio Iglesias, and Leo Sayer, among others, could have been a superstar on his own had he maintained the high level of songwriting exhibited on this disc. 

Though Mama Cass Elliot did a brilliant rendition of "If You've Gotta Break Another Heart" on her The Road Is No Place for a Lady album, that single was not embraced by the public as it should have been. The original version is here, along with the songwriter's take on his own "The Air That I Breathe." The Hollies would get a bigger hit out of this song than they had with "He Ain't Heavy, He's My Brother," but Hammond's has more tenderness and more subtlety. It's great. "Listen to the World" has the singer preaching with a band who is rock-solid behind him. Dan Altfeld's co-production with Hammond and Michael Omartian's impeccable arrangements (Omartian was everywhere at this point in time) are captivating. 

The material Mike Hazelwood was writing with Hammond here is also top-notch. "If You Gotta Break Another Heart" keeps coming back as a brilliant pop classic that will someday top the charts if given the chance. "Names, Tags, Numbers, & Labels" would get rearranged and released two years later on the Albert Hammond album, a practice the singer/songwriter continued on other releases. Taking previously recorded work and recrafting it wasn't a bad idea for a man whose tunes have helped so many other artists. It Never Rains in Southern California is a wonderful primer for people interested in this multifaceted artist. Songs like "From Great Britain to L.A." continue the theme initiated in It Never Rains in Southern California and continued on The Free Electric Band album -- a musician in search of fame. The arrangements, the vibe, all the elements fall into place perfectly on this outing, and it is a shame they couldn't duplicate the magic quickly and with such brio. Hammond could have rivaled Elton John for chart dominance at this time had he been able to churn out more albums as superb as this. 

by Joe Viglione

Tracks

1. Listen To The World - 3:00

2. If You Gotta Break Another Heart - 2:41 

3. From Great Britain To L.A. - 3:32

4. Brand New Day - 3:27 

5. Anyone Here In The Audience - 3:58 

6. It Never Rains In Southern California - 3:53 

7. Names, Tags, Numbers And Labels - 4:30  

8. Down By The River - 3:06 

9. The Road To Understanding - 4:24 

10.The Air That I Breathe - 3:51 

11.Smokey Factory Blues - 3:30 

12.The Peacemaker - 2:42  

13.Woman Of The World - 3:09 

14.Everything I Want To Do - 2:35 

15.Who's For Lunch Today? - 2:58 

16.The Free Electric Band - 3:26  

17.Rebecca - 3:09  

18.The Day The British Army Lost The War - 4:04  

19.For The Peace Of All Mankind - 4:13  

20.I'll Think I'll Go That Way - 3:36

All songs written by  Albert Hammond, Mike Hazelwood

Tracks 1-10 from "It Never Tains In Southern California" 1972

Tracks 11-20 from "The Free Electric Band" 1973

Musicians

*Albert Hammond - Guitar, Vocals

*Larry Carlton - Guitar

*Carol Carmichael Parks - Vocals

*Jim Gordon - Drums

*Jay Lewis - Guitar

*Michael Omartian - Keyboards

*Joe Osborn - Bass

*Sid Sharp - Strings

*Michael Omartian - Keyboards

*Alan Beutler, Jacky Kelso, Tommy Scott - Flute

*Don Altfeld - Percussion

*Ray Puhlman - Bass

*Carol Carmichael and Friends - Vocals

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Cargo - Cargo (1970-72 holland, tremendous hard progressive rock, remaster edition with bonus tracks)

This unit started out as September and recorded a few singles that hold no interest to progheads. They then changed their name to Cargo and recorded their sole album. CARGO consist of brothers Ad and Jan De Hont both on guitars, Willem DeVries on bass and vocals and English drummer Denis Whitbread. 

The music developed here is a seducing hard rock with a killer twin-guitar attack much in the line of Wishbone Ash around their “Argus” album. The two brothers play delightfully long and cooperative guitar lines that intertwine beautifully (what a pleasure it is to follow in stereo their progress) proof of their long-standing mutual trust and camaraderie.

The De Hont and De Vries brothers had found particular favour with the Dutch public under the rock band September with numerous singles in 1970 such as Presley’s “Little Sister” and the De Vries penned “Yelly Rose”. September’s finest cover was an urgent version of Bert Bacharach “Walk On By” which kicks the shit out of the original. After changing their name to Cargo they launched their 1970 self-titled album has enough guitar slash to rip half of Holland’s Dykes to shreds. 

To describe the turbulent guitar breaks of Cargo, one needs to create a setting and describe the structures that extorted the ferocious solos. It was awesomely pulverizing when Jan De Hont unleashes his Fender Strat in parallel with Ad De Hont’s Gibson SG on the thudding “Cross Talking” in the spirit of Wishbone Ash. This 8min indulgence also trembles with the bass hammering Willem De Vries on his Gibson B3. Nothing like this has ever thundered through Amsterdam since the rolling Panzerwagens of 1940. 

Cargo’s entourage of drummers comprised of drummers Jerry Gobel, Frans Smit, Snuffel and ex Ekseption Dennis Whitebread who played on the Ekseption concept album Beggar Julia’s Time Trip. Cargo was primal export that never happened.The tour de force of the album is vibrantly illuminated on the 15min “Summerfair” with escalating guitar trade - offs that reach an excruciating pinnacle.The astounding vox by Willem De Vries shudders like those November North Winds that lash the barges of Amsterdam. 

Cargo are turbulently forceful in the same windforce as Tractor, Rush or Jericho. Cargo also covered the sensitively squeezed “Lydia Purple” originally written by Dunn and McCashen for their album Mobius. This superb psychedelic gem was also covered by The Collectors and Giant Crab. Cargo released This power packed Prog group supported the Flock during sell-out concerts. Next to the summit driven Focus and Finch, Cargo were Holland’s most engaging contraband.

Lastfm 

Tracks
1.Sail Inside - 10:54
2.Cross Talking - 8:33
3.Finding Out - 5:14
4.Summerfair - 15:35
5.Choker - 3:52
6.Lydia Purple - 3:51
7.Telly Rose - 4:01
8.If Mr. Right Comes Along - 4:23
9.Little Sister - 3:41
10.Walk On By - 2:59
11.Run Away - 3:14
12.One More Change - 2:35
Bonus tracks 5-12

Cargo
*Willem De Vries - Vocals, Bass
*Jan De Hont - Guitar
*Ad De Hont - Guitar
*Dennis Whitebread - Drums
*Hessel De Vries - Vocals, Electric Piano
*Jerry Gobel - Drums
*Ador Otting - Hammond Organ
*Frans Smith - Drums (9-10)
*Snuffel - Drums (11-12)

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Various Artists - Cosmarama (1969-73 uk/europe, prog psych behemoths, Psychic Circle release)

It should be noted that the set is liberally populated with Euro progsters, with half a dozen representatives from Holland and another half-dozen from Belgium and Germany. The set opens with the title track from the UK band, Distant Jim, who only released albums on the continent. They were a sort of supergroup whose family tree included members of Methuselah, Amazing Blondel, Junior’s Eyes and The Smoke. 

The unusual time signatures and syncopated beats are pure prog, highlighted by some firebreathing soloing from guitarist Les Nicol. Saloman, one of today’s premiere guitarists, is a sucker for flashy stringbenders, which may explain the inclusion of Belgian rockers, Carriage Company’s ‘In Your Room.’ Guitar licks abound, but besides a few organ flourishes, the track is more akin to heavy metal than prog.

Saloman flips Dutch band, The Tower’s oft-comped ‘Slow Motion Mind’ over for the dreamy B-side, ‘In Your Life,’ a wonderful, Procol Harum-ish floater. The Liverpudlian Back Street Band take liberties with the melody from Lennon’s ‘Come Together’ on their 1969 B-side, ‘Daybreak’ and Family completists may enjoy the Dutch supergroup (including members of Q65 and Focus), Big Wheel’s chugging, boogie bar blues rendition of ‘Old Songs New Songs,’ but I fail to hear the prog connection.

Holland’s Silence give us the hard rocking ‘Devil Woman,’ which takes a familiar Led Zep riff and morphs it into an enjoyable amalgam of Black Sabbath and Jethro Tull – imagine ‘Immigrant Song’ tagteaming with ‘Paranoid’ and ‘Locomotive Breath.’ Another prolific Dutch band, Ginger Ale check in with ‘Get Off My Life Woman,’ wherein Roek Williams’ credible Jim Morrison impersonation leaves this listener thinking “The Doors with horns.”

Pussy formed out of the ashes of Jerusalem, so I don’t think it’s the same outfit that released the Pussy Plays album. Like the Jerusalem album, ‘Feline Woman’ was produced by Deep Purple’s Ian Gillan, so once again you can expect more heavy metal than prog results. German heavy rockers, Electric Food’s family tree includes branches to Lucifer’s Friend and Uriah Heep, so you know what to expect from ‘I’ll Try.’ And although there are no women in the Dutch band, Mr. Albert Show, the vocalist on ‘Kings of Galaxy’ sounds like Suzi Quatro, Do with that information what you will! Castle Farm’s self-released ‘Hot Rod Queen’ is a stomping little rocker that successfully mines the Mott The Hoople oeuvre with a title that seems ripped straight off an old Marc Bolan album! 

And finally, and quite surprisingly, the Irish showband, Chips (from Sligo) turn in the most traditional prog track in the bunch with ‘Earth,’ which is full of swirling keyboards, multi-layered vocals, and astrological themes that all combined to remind me of the German prog/kraut band, Triumvirat. But other than that, despite the fact that many of the songs provide varying degrees of entertainment in their own right, prog purists should be cautioned that, to these ears, most of these tracks lean more towards the heavy, power blues end of the spectrum. 

by Adamus67

Artists - Tracks - Composer
1.Distant Jim - Cosmarama (Austin) - 5:59
2.Carriage Company - In Your Room (Kent) - 3:48
3.Kingdom - All I Need (Edwards) - 3:31
4.The Tower - In Your Life (De Groot) - 4:42
5.Back Street Band - Daybreak (Bellis) - 2:56
6.Big Wheel - Old Songs New Songs (Chapman, Whitney) - 3:15
7.Bismarck - Shotgun Express (Englebert, Thomas) - 3:51
8.Cwt - Widow Woman (Jones, Kirk, White) - 3:17
9.Silence - Devil Woman (Weeda, Putter) - 2:51
10.Ginger Ale - Get Off My Life Woman (A. Toussaint) - 2:41
11.Pussy - Feline Woman (Pussy) - 2:30
12.Tenderfoot Kids - Man In Black (Vion) - 2:10
13.Electric Food - I’ll Try (Hesslein, Monro) - 3:15
14.Mr.Albert Show - Kings Of Galaxy (Borgers, Schrama) - 2:47
15.The Petards - Free (King) - 2:30
16.Castle Farm - Hot Rod Queen (Benike) - 4:00
17.The Pebbles - Half Past Dead (Bekky) - 5:01
18.Corporal Gander’s Fire Dog Parade - Love Song (Scott, Talby) - 3:20
19.Chips - Earth (Chips) - 2:51
20.Richard St. Clair And Forum - Give Me Back (St. Clair) - 3:44

Psychic Circle compilations
1961-64  Phantom Guitars: A Cool Collection of Twangin' Instrumentals
1966-72  With The Sun In My Eyes
1968-72  White Lace And Strange
1968-72  The Room Of Loud Sounds
1964-69  Realistic Patterns Orchestrated Psychedelia
1965-69  Wednesday Morning Dew 
1965-70  The Electric Coffee House 
1965-70  The Golden Road The Electric Coffee House Vol.2
1969-74  Blow Your Cool: 20 Prog Psych Assaults
1969-74  Lovin’ Fire 20 Obscure Gems
1970-77  A Visit To The Spaceship Factory

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Hudson And Ford - Nickelodeon (1973 uk, delightful country folk rock with glam splashes, Vinyl issue)

Hudson-Ford,  were sadly underrated and largely ignored by the pop music buying public. Why? Couldn't tell you. Not any particular reason you could put your finger on.

Bear in mind this is the mid-1970's, Hudson-Ford were a good and competent band, with good song writing skills and good production, they failed to click with an audience who were just getting tired of what was available, certainly in mainstream. 

The sound of Hudson Ford, though, ranged to glam, with a occasional nod to their electric folk past. Their roles broadened as well, with Hudson leaving the drums to others in order to focus on singing and lead guitar, and Ford expanding his vocal and acoustic guitar duties. 

The debut album "Nickolodeon" was bolstered by the presence of Rick Wakeman and other studio sharpshooters, the sounded more country/folk than their following albums with well writing tunes, they  scored a hit in the U.K. with the single "Pick Up the Pieces."

Tracks
1 Crying Blues - 3:30
2 Angels - 3:06
3 I Wanted You - 2:40
4 Hello, I Thought You Were Dead - 0:58
5 Burn Baby Burn - 2:57
6 Dark Lord - 4:37
7. Pick Up the Pieces - 2:34
8. Let Her Cry - 2:31
9. Tea Leaf (To Joss) - 0:58
10.Take It Back - 4:40
11.I Don't Understand - 1:50
12.Revelations - 5:09
Words and Music by Richard Hudson, John Ford

Musicians
*Richard Hudson – Vocals, Guitar, Sitar
*John Ford – Vocals, Bass, Guitar
*Rick Wakeman – Harpsichord, Piano
*Mickey Keen - Lead Guitar, Steel Guitar, Vocals
*Ken Laws - Drums
*Chris Parren – Piano, Clavinet
*Gerry Conway - Drums
*Tom Allom - Harmonium, Piano
*Billy Bell - Banjo. Jack Emblow

2nd album
1974 Hudson Ford - Free Spirit  

Related Acts
1967  Elmer Gantry's Velvet Opera
1969  Ride A Hustler's Dream

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Alicia May - Skinnydipping In The Flowers (1976 us, wonderful folk rock tinged with prog and traditional colors, 2008 korean release with bonus track)

In the 60s and 70s Alicia May was a singersongwriter gigging regularly in the bars and saloons of Laguna Beach, California. She got to know a lot of musicians, one of them knew Joni Mitchell, they all went on a picnic, Joni introduced her recording engineer Henry Lewy, Lewy let Alicia use studio downtime to record, another friend fronted up $1,000 and a privately-pressed LP was born. That’s how it happened back then.

Skinnydipping In The Flowers is like an archaelogical treasure; a find that faithfully encapsulates the music of a particular time and place. The songs, all May’s own, are performed well and the instrumentation is varied, but the lyrics are that bit too whimsical and wordy to achieve universal resonance. It’s a great reissue but it’s probably not going to be put on repeat too often.

by Tim Holmes

Tracks
1. Borderline - 3:58
2. Summer Days - 3:13
3. The Prism Song - 3:26
4. Love Jig #1 - 1:59
5. Forest Of Dreams - 2:04
6. Dearly Beloved - 3:29
7. Carry Me Home - 3:26
8. End Of The Sky - 2:12
9. By And By - 2:39
10.My Favorite Stream - 3:24
11.Liza - 2:32
12.Kindred Spirits - 1:35
All songs by Alicia May Cory

Musicians
*Alicia May - Vocals, Acoustic Guitar, Appalachian Dulcimer
*Danny Dettwyler - Flute, Vocals
*Karen Hammack - Piano
*Will Brady - Bass
*Tony Selvage - Violin, Viola
*Red Rhodes - Steel Guitar
*Steve Leach - Bass
*Tris Imboden - Drums
*Nissan Eventoff, John Smith - Vocals
*Michael Gwinn, Phillip Morgan - Vocals
*Henry Lewy - Deep Vocal

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The Unspoken Word - The Unspoken Word (1970 us, splendid psych blues rock, Wounded Bird edition)

Largely unknown group from Long Island, New York. After their debut that could be described as folk rock with a psychedelic edge, the 2nd record is definitively more rock/blues orientated.

The harmonies of Dede Puma and guitarist Zenya Stashuk still sport a Jefferson Airplane-style vocal blend, and R’n’B-flavored sound of Pacific Gas and Electric. Puma's vocals lean closer to the cool, vibratoless style of Grace Slick than the soul/blues ululations of Janis Joplin. The guitar and organ riffs often bear a distortion-laden crunch that nods to the burgeoning hard rock scene of the time. Nevertheless, the things that served the band in good stead on its first album - strong harmonies, tight playing, and a solid sense of structure - still shine through here.

Tracks
1. Pillow - 2:42
2. Sleeping Prophet - 3:04
3. Put Me Down - 2:34
4. Personal Manager (Albert King, David Porter) - 9:40
5. Reincarnation (Chuck Berry) - 1:49
6. Sleepy Mountain Ecstacy - 4:02
7. I Don't Need No Music - 2:44
8. Little Song - 2:28
9. Healthy, Wealthy And Wise - 2:38
10.Around And Around - 5:19
11.Morning - 1:50
All songs by Granlegede Bupumacstasin except where noted

The Unspoken Word 
Zenya Stashuk - Lead Guitar, Rhythm Guitar, Vocals
Dede Puma - Vocals
Greg Buis - Bass,  Vocals
Les Singer - Drums
Angus Macmaster - Keyboards

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Alan Trajan - Firm Roots (1969 uk, remarkable organ driving psych folk rock)

Frustratingly little is known about Alan Trajan, whose sole LP has become one of the rarest singer-songwriter recordings of the late 1960s. Born Alan Robertson in Livingston, outside Edinburgh, he became an accomplished barrelhouse / boogie-woogie pianist in his teens and was part of Edinburgh’s fertile music scene in the late 1960s, where he made friends with David McNiven, leader of the much-loved folk trio (later duo) Bread, Love & Dreams. 

When Decca producer Ray Horricks (perhaps best known for his seminal work with guitarist Davy Graham) spotted the latter at the Edinburgh Festival in 1968, he signed them up, and McNiven introduced him to Robertson. Much taken by his distinctive keyboard style and soulful voice, Horricks offered him the chance to record too.

Featuring heavy organ and searing electric guitar parts on tracks like Speak To Me, Clarissa (addressed to a girl who has OD’d) and the propulsive One Tends To Get Bitter Now And Again, mellower numbers such as the beautiful Thoughts (featuring Graham) and a heartfelt cover of David Ackles’ Down River, as well as three good-timey Dylan covers, which reflected his long apprenticeship playing in pubs, it’s a varied and unusual collection whose surreal lyrics and frequently despairing atmosphere ensured poor sales when it appeared on MCA in 1969. 

Robertson was prevailed upon by his manager to change his name to Trajan for the LP’s release (he believed Robertson sounded too Scottish, and decided that the expansionist Roman Emperor’s name was more distinctive), but neither it nor the extracted 45 (Speak To Me, Clarissa / This Might Be My Last Number) sold, and he soon reverted to his real name.

Having contributed memorable organ parts to Bread, Love and Dreams’s classic Amaryllis LP in 1970, he went on to forge a partnership with Scottish blues singer Tam White, with whom he made a musical TV series for Grampian in the early 70s, before relocating to London. 

There he played in innumerable pubs and became part of legendary jazzer George Melly’s band for many years, but his hard-drinking landed him in prison and he died of liver disease at the start of this century. It is to be hoped, however, that this first CD issue of Firm Roots will focus attention on his overlooked gift as a musician and singer-songwriter, one whose idiosyncratic compositions straddled soul, folk, pop, psychedelia and progressive rock at a time when few were daring to be as diverse.

Tracks
1. Speak To Me, Clarissa - 4:09
2. One Tends To Get Bitter Now And Again - 2:18
3. Thoughts - 2:36
4. Highway 51 Blues (Bob Dylan) - 1:57
5. This’ll Drive You Off Your Head - 2:16
6. Mental Destruction - 2:35
7. Time - 3:08
8. Down River (David Ackles) - 3:43
9. Corinna, Corinna (Bob Dylan)  - 2:40
10.This Might Be My Last Number - 2:30
11.Girl From The North Country (Bob Dylan)  - 2:19
12.Charles Russell, Gtr., Vcl. & Harmonica - 4:00
All songs by Alan Trajan except where noted.

Musicians
*Alan Trajan - Vocals, Keyboards, Piano, Organ
*Davy Graham - Guitars
*David McNiven - Guitars, Keyboards

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Major Arcana - Major Arcana (1976 us, dreamy stoned acid folk blues psych, Korean remaster)

Collectors have long known about Milwaukee's Major Arcana, but I'm surprised it hasn't attracted more mainstream attention.  Jim Spencer originally made his name as a writer/publisher, responsible for a series of early-1970s underground magazines, including Freek.  He also found time to record a pair of mid-1970s solo LPs that attracted local attention, but did little on the national scene. 

In 1974 he decided to form a band, recruiting the talents of bassist Michael Burdecki, lead guitarist Randall Dubis, and percussionist Jim Kitchen.  Released on Spencer's own A Major Label (which also released the highly sought after Anonymous album), "Major Arcana" served as a showcase for Spencer who handled all of the vocals and was credited with writing, or co-writing nine of the ten songs (the one exception being a cover of the traditional 'Greensleeves').  Propelled by Spencer's likeable voice (for some reason every time I listen to the LP I think of Jack Black in 'High Fidelity'), musically the album was hard to describe since it bounced all over the horizon including stabs at conventional blues, commercial ballads, folk-rock, Dr. John-styled funk ('Papa Doc') and even jazzy interludes. 

Curiously lots of reviews have slapped a 'psych' label on the LP.  Frankly that's the one genre I just don't hear much of - maybe a little in side two's 'Down Under Blues' and the closing 'Greensleeves'.  Maybe I'm simply going deaf ...   In spite of some cheesy synthesizers, co-written with Milwaukee poet Charles Dynzof (aka Chuck Simmons), 'Western Wind' started the album off with a stunning ballad, with 'Shake Me' and 'Steal Your Love Back Home' turning in equally engaging mid-tempo pop pieces.  It wasn't perfect.   'Deanna Durbin Blues' and 'Fran's Blues' were okay, if unexceptional blues numbers. 

Interestingly guitarist Dubis went on to pursue the genre in his post-Major Arcana career (see below).  Elsewhere, courtesy of buddy Sigmund Snopek III, the flute interludes quickly became an irritant.  Still, the album's loose, low tech feel more than compensated for the somewhat fragmented musical lineup, making it a perfect LP to play on one of those cold, rainy or snowy Sunday mornings when you can't get much energy going.  

Depending on which source you use, between 1,000 and 2,500 copies were pressed.  Regardless, the LP's hard to find.  Original copies are also worth owning for the cool Denis Kitchen cover art (the only album cover he's ever done), as well as the hard to find Peter Poplaski poster insert.  

On a related note, in 1999 Kitchen had artist Roger May convert the original print into 3D.  I believe he had 100 copies printed (I own #76) and he sells signed artist print copies for $50 over the internet. Suffering from a number of personal issues and apparently heavily into drugs, Spencer died of a stroke.  He was only 39 years old.

In the late-1970s Dubis moved to Denver, Colorado where he ended up touring with a number of local acts including the late Son Seals and Sonny Rhodes.  He also formed The Randall Dubis Band which has released a series of albums.

Bad-cat

Tracks
1.  Western Wind  (Charles Dynzof, Jim Spencer) - 5:03
2.  Dark Trip To Edge City   (Jim Spencer, Barry Patton) - 4:13
3.  Shake Me   (Jim Spencer) - 3:32
4.  Steal Your Love Back Home  (Jim Spencer) - 4:27
5.  Deanna Durbin Blues  (Jim Spencer) - 4:39
6.  Down Under Blues  (Jim Spencer) - 4:53
7.  Papa Doc  (Jim Spencer) - 5:31
8.  Back In The Spirit  (Jim Spencer) - 4:38
9.  Fran's Blues   (Charles Dynzof, Jim Spencer) - 5:16
10.Greensleeves  (Traditional Arranged By John Nebi,  Jim Spencer,  Sigmund Snopek Iii) - 3:25

Major Arcana
*Michael Burdecki - Bass, Slide Guitar
*Randall Dubis - Lead Guitar, Backing Vocals
*Jim Kitchen - Percussion, Harmonica
*Jim Spencer  - Vocals, Guitar

Related Act

1973  Jim Spencer - Landscapes (2009 korean remaster)

1974  Jim Spencer - 2nd Look (2009 Korean remaster)

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Quatrain - Quatrain (1965-69 us, incredible garage acid folk psych, 2008 Sundazed extra tracks edition)

Back in 1968, Tetragrammaton Records of Beverly Hills, Bill Cosby’s label, released a local Los Angeles group’s only recorded album, Quatrain. The group consisted of Don Senneville, one of Los Angeles’ more creative lead guitarists, Steve Lindsay on bass guitar, Rick Pease on rhythm guitar, and Jim Lekas on drums. The record album was produced and engineered by the late David Briggs, Neil Young’s producer for many years.

Those of us who were fortunate enough to be part of the excitement and enchantment of Los Angeles’ psychedelic and popular music movement between 1964 and 1969 gaze back glowingly and longingly upon those halcyon and magical times. Quatrain was part of the flow and pulse of the musical weaves in those politically and socially turbulent, but equally carefree and provocative moments in Los Angeles. 

Los Angeles was truly something in the 1960s: Open, creative, still innocent, but growing bolder and openly seeking new musical and sociological paths.  The Watts Riots, the Sunset Strip music scene, love-ins, sit-ins, free love, drugs, and the Laurel and Topanga Canyon scenes marked the bright side.  Viet Nam dragged on, and Armstrong would soon walk on the Moon.

But the foreboding and chilling event that marked the culmination of the 1960s was the rude awakening brought about by the Tate and Labianca tragedies. Innocence in Los Angeles had been forever lost, and Quatrain went through the changes warily, like everyone else in the summer of 1969.

Quatrain was a garage band out of the San Fernando Valley and was originally formed in 1963 as The Fourth Shadow by founding members Senneville and Pease, with Lekas joining to play drums and sing in November of 1964 after a stint as an aerospace worker and part-time surf band drummer. Pease was a talented folk musician and excellent writer, as was Senneville.

Bassist Mark Johnson and guitarist Bruce Epstein were added in early 1965 to complete the first version of the quartet after Pease had gone off to the military. The group was mostly a cover band then.

Tireless promoter and personal manager Billy Marcot provided direction and early gigs for the foursome. Roger “Turk” Anderson and a young but sagacious Russ Deck were the group’s spiritual advisors and close associates. The group, still called The Fourth Shadow at the time, covered a lot of British Invasion material, with the usual au fait and de rigueur black turtlenecks and sport coats. School hops, parties, and beer bars were typical venues for The Fourth Shadow.

From 1965 to 1967, personnel changed periodically and the band’s name changed several times. Other members in the Quatrain evolution included guitarist Tim “Rainbow” Bell, lead singer Cary Brent, backup singer Doug Webb, and most importantly, Steve “Buff” Lindsay, bassist from the popular San Fernando Valley rock group The Boss Tweeds. Lindsay became a solid part of the group on bass, replacing the departing Mark Johnson. 

In 1966, the group, then known as The Berries, which was at the time holding court as the house band at The Middle Earth on Ventura Boulevard in Reseda, was signed by Doubleshot Records of Hollywood, but nothing materialized except for a national Pillsbury radio jingle for “Gorilla Milk,” a breakfast mix product that went nowhere, much like two singles released on Doubleshot by The Human Jungle, as the boys were known, with Joe Hooven and Hal Wynn as producers. Wynn and Hooven had previously struck gold with The Count Five’s “Psychotic Reaction,” and Brenton Wood with “The Oogum-Boogum Song” and “Gimme Little Sign.”

The band was booked by Doubleshot to play a dance in Pasadena as The Plastic Zoo, and the embarrassment of performing under that name for one gig was obviated by the opportunity to share the bill as one of five groups with the then just-formed, talented, and up and coming Three Dog Night.

The Plastic Zoo and The Human Jungle experiments, and the affiliation with Doubleshot Records, ended as quickly as they had begun, and the boys thankfully returned to playing clubs around Hollywood and the San Fernando Valley as The Berries. 

In 1967, Lekas suggested “Quatrain” as a new name after spending a few weeks reading the quatrains of Omar Khayam. The group agreed to the change, and the new name stuck.

Tracks
1. Fragments - 4:14
2. Unconquered Islands - 3:17
3. Flowing Robes - 3:20
4. Fields of Love - 2:26
5. Canyon Women - 1:22
6. Rollin - 3:09
7. Black Lily - 3:23
8. Early Morning Company - 2:54
9. Ask Me No Questions (Steve Lindsay) - 2:58
10. Try To Live Again - 3:00
11. Masquerade (Don Senneville) - 2:42
12. The Tree - 5:36
13. Towering Buildings - 4:19
14. So Much For Royalty - 3:57
15. Unforeseen Regrets - 4:43
16. When Will You Happen to Me (Don Senneville, Jim Lekas) - 4:21
17. Let You Go - 3:14
18. Sun Came Up - 4:48
19. Get A Life - 4:06
20. Ghosts Over the Sunset Strip - 4:59
All compositions by Jim Lekas, except where indicaded.
Tracks 13-20  Previously Unissued

Quatrain
*Don Senneville - Lead Guitar
*Steve "Buff" Lindsay - Bass Guitar
*Eric Pease - Rhythm Guitar
*Jim Lekas - Drums

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Stu Nunnery - Stu Nunnery (1973 us, wide country folk rock, Vinyl edition)

If you’ve never heard of Stu Nunnery, you’re probably not alone, but it would be your loss. Nunnery is a singer/songwriter who released one self-titled album on the short-lived Evolution label in 1973. The nine-song LP showcased a heady talent, playing a mix of folk-rock that fans of Dan Fogelberg, James Taylor, Gordon Lightfoot and Jackson Browne should connect with immediately. 

Yet, Nunnery sounded like no one else. And if you’ve never heard him, read and listen on, for there’s plenty of great music to discover here.

Stu Nannery

"My story is a simple one. I did one album in 1973-74. Over the next couple of years, two of the cuts from that album“Madelaine” and “Sally From Syracuse”reached the Top 100 on the American charts. And in 1976 after I had left the company I was with“Lady It’s Time To Go,” which is on the flip side of the album, became the #1 Record in Rio de Janeiro and San Paulo, Brazil. 

And it was my recording of it, sold to a label called Copacabana Records, which was part of the RCA stable. And in 1976, I got a phone call after I had left the record company I was with, telling me I was a big star in South America, and, “Can you come down here and perform?”

Tracks
1. The Isle Of Debris - 5:30
2. And That's Fine With Me - 3:35
3. Sally From Syracuse - 3:58
4. Madelaine - 3:30
5. Lady It's Time To Go - 3:30
6. Your Rise - 2:51
7. Diminished Love - 3:23
8. The Lady In Waiting - 3:28
9. Roads - 5:10
All songs by Stu Nunnery

Musicians
*Andy Muson, Kirk Hamilton, Stu Woods - Bass
*Alan Schwartzeberg, Rick Marotta - Drums
*Eric Weissberg, Ken Kosek - Fiddle
*Al Gordoni, David Spinozza, Elliot Randall, Hugh McCracken, John Tropea - Guitar
*Buzzy Feiten - Bass
*Paul Griffin - Keyboards, Synthesizer
*Stu Nunnery -  Guitar, Vocals

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Sawbuck - Sawbuck (1972 us, excellent west coast psych with southern rock taste, Vinyl issue)

Sawbuck formed 1970  in San Francisco. On an office remodeling job, Ronnie Montrose met promoter Bill Graham, who introduced him to his partner, producer David Rubinson. Graham and Rubinson owned a small record label called Fillmore Records, and signed a recording contract with Sawbuck. 

Rubinson was especially impressed by Montrose--s talent and ambition. He set the guitarist up for session work with the Pointer Sisters and keyboardist Herbie Hancock before he arranged for Montrose's big break.

Montrose had been in the process of recording what would have been his first album with Sawbuck when David Rubinson, the producer, arranged an audition with Van Morrison. Montrose got the job and played on Morrison's 1971 album Tupelo Honey. 

Mojo Collins remembers,

One day I stumbled into the office of the Fillmore and met the secretary Annie, we quickly became friends and she opened the door for me to get a 45 record to Bill Graham, owner and manager of theJefferson Airplane and Marty Balin. He liked the record and I got hooked up with Annie and her friend Starr Donaldson who was playing Wolfie in the San Francisco version of "Hair" at a local theatre. 

We became friends and later I met Ronnie Montrose and Chuck Ruff along with Bill Church, who replaced our original bassist Kooch. This was the basic foundation for what became Sawbuck. We were signed to Fillmore Records and an album entitled "Sawbuck" was recorded in 1970-71 produced by the famed David Rubinson who also produced Moby Grape, Santana, Janis Joplin, The Chambers Brothers, Elvin Bishop, Cold Blood and Tower of Power.

For the next year or so we toured and opened for major acts and played the final week of the Fillmore West before it closed. During the making of the album, Ronnie was approached to do some commercial jingles and one was heard by Van Morrison, and Ronnie was gone, he later wound up with Edgar Winter and recruited Chuck Ruff from Sawbuck for The Edgar Winter Group, and that pretty much ended our tenure as a performing band. 

I came home to NC and tried to put together another Sawbuck, with my brother David Collins and a few of his friends, we toured for awhile when the album was released but fizzled out because of lack of support from the label. Around this time David Rubinson and Bill Graham split there partnership and Sawbuck was shelved. 

Tracks
1. Sing This Song - 3:50
2. Wound Up - 2:35
3. Oo Lolla Moore - 3:26
4. Virginia Woman (In Gear) - 3:07
5. There Will Be Love - 3:02
6. Believe - 3:07
7. Reno - 2:29
8. Mayday - 3:04
9. Sweet and Sour - 2:57
10.Lovin' Man - 2:35
11.Bible Burning - 4:03
12.Promised Land - 5:27
All songs written by Mojo Collins except Reno' written by Stephen Hatley and Chuck Ruff.

Sawbuck
*Mojo Collins - Lead vocals, Guitars
*Starr Donaldson - Guitar, Vocals
*Chuck Ruff - Drums
*Stephen Hatley - Keyboards, Acoustic Guitar
*Nine Year – Bass
Guest Musicians
*Ronnie Montrose – Guitar Track 6 & 10
*Bill Church – Bass
*Boots Rolph Stuart Hughston - Saxophone
*Andrew Narell - Steel Drum
*Sami - Congas
*Hungria Carmello Garcia - Timbales
*Arsinio Avizaro - Vocals
*Raymond Clough - Vocals

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Gulliver - Ridin' The Wind (1979 us, slight guitar symphonic rock, Vinyl edition)

L.A. short lived group, formed round 1978 as Galaxy and changed their name to Gulliver. Most well known member of Gulliver was guitarist Joe Weider who has previously being part of  Eric Burdon's Animals and Family among others.

Gulliver's musical directions where a mix of symphonic rock with easygoing guitar parts (electric and acoustic). A single "Wonder of It All"  and their sole LP "Ridin' The Wind" was released in 1979,  they split soon after.

Tracks
1. Miracle Tonight - 2:21
2. Lovin' a Dream - 3:04
3. Wonder of It All - 3:04
4. Bright Lights - 3:55
5. Ridin' the Wind - 4:58
6. Danger in the Night - 2:52
7. Heartaches and Heartaches - 3:59
8. Wild Bells - 3:34
9. No Living Without You - 3:19
10.See It Comin' - 3:21

Gulliver
*Dana Buck - Bass, Vocals
*David Buck - Drums, Vocals
*David Garron - Bells, Chimes, 12 String, Electric Guitar, Vocals
*John Weider - Guitar, Vocals

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Peter Thorup With Friends - Wake Up Your Mind (1970-71 denmark, standout tough blues rock)

Peter Thorup well known Danish Blues-Rock musician gained an international reputation because of his cooperation with Blues icon Alexis Korner in New Church, CCS and Snape in the early 70s. After he dispended his first Band The Beefeaters in 1969, Thorup was helped by some old friends from famous Danish groups Young Flowers, Burning Red Ivanhoe, The Beefeaters, Rainbow Band to record "Wake Up Your Mind" in February and March 1970. 13 titles were recorded of which 7 found its way on in 1970 on Philips released album "Wake up Your Mind". 

The music was not restricted to just Blues-Rock and consequently this release had a much wider appeal as the rest of Peter Thorups efforts. The album reflects the musicians good reputation and it is rather a band project than a solo effort. Fantastic guitar playing by Peter Thorup and Peer Frost (Young Flowers), gorgeous vocals by P.T. and Ole Fick (Burning Red Ivanhoe), excellent organ work by Morten Kjaerumgard and impressive flute and sax playing by Bent Hesselmann (Maxwells, Rainbow Band/Midnight Sun) define this real killer. 

Beside the original album tracks, there are 6 bonustracks featuring among others Hendrix´ "If 6 was 9" in an real killer 8 minutes version and 11 Minutes opus "I dreamed I was a dog last night" by Ole Fick. Package comes with comprehensive booklet, band history, photos, digitally remastered. A must have. 

Tracks
1. Worried Blues (Trad. Arr. Thorup) - 8:09
2. Coming Home Baby (Tucker) - 5:07
3. Keep It Up (Thorup) - 6:27
4. Running Wild (Thorup) - 4:05
5. I'm Coming Home (Stables) - 3:10
6. Grand Mother Watch Your Son (Thorup) - 4:24
7. Wake Up Your Mind (Thorup) - 6:37
8. Looking For Fun (Fick) - 4:17
9. Little Sister (Thorup) - 6:10
10.So Much Means A Lot (Thorup) - 5:51
11.You Got The Power (Frost, Igemann, Goudman) - 6:59
12.If Six Was Nine (Hendrix) - 7:30
13.I Dreamed I Was A  Dog Last Night (Fick) - 11:00

Musicians
*Peter Thorup - Guitar, Vocals
*Ole Fick - Vocal, Guitar, Piano, Harmonica
*Max Nhuthezh - Vocals, Percussion, Drums
*Bent Hesselmann - Saxophone, Flute
*Peer Frost - Guitar
*Nils Henriksen - Guitar
*Morten Kjarumgaard - Organ
*Peter Ingeman - Bass
*Erik Stedt - Bass
*Steen Munte Jensen - Drums
*Ken Gudman - Drums

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Edge - Edge (1970 us, fascinating hard rock with blues 'n' psych splashes, 2009 edition)

I was a member of Edge off and on for three years.  After we left The American Revolution, Richard, Dave and I hooked up with two guys we had met in Honolulu - Bob and Eddie (can't remember their last names).  They came to Los Angeles, and we hooked up with a producer named Norm Malkin, and recorded and released a single, written by Richard and myself. 

 It was called "Something New" b/w "Seen Through the Eyes" (which is available on one of the Pebbles CDs).  Eddie and Bob left, and were replaced by a guy named Barry McCoy, who played organ (circa 1969).  Donnie Branker came back to manage us.  We recorded an album for Norm, but he couldn't place it, and eventually we broke up.  

We did open for Three Dog Night and Sweetwater.  About a year later, in 1970,Richard called me to say that he'd been recording with Dave and a British bass player, but the bass player had had to go back to England.  He asked if I’d like to join them?  I said okay, but I wasn't playing much bass.  I joined as guitarist/keyboard, and played a little bass.  

We then found a guy named Galen Murphy who could play bass.  We finished that album and released it through Nose Records, an independent label, but it was a terrible album.  There were too many different styles, and a terrible mix.  I left the group soon after and got married. 

by John Keith

Barcellona and Keith had earlier played together in American Revolution and Novogorski had been with Boston Tea Party making it likely that this was a Hollywood band although it is frequently reported as a San Francisco band.

Tracks

1 Callin' Out  (John Keith) - 2:29

2 Sing Your Song (Richard Barcellona) - 3:06 

3 A New Breed of Man (Gallen Murphy) - 3:05 

4 Lady of Darkness (Richard Barcellom, Gallen Murphy, David Novogroski) - 4:15 

5 Movin' On (Richard Barcellona) - 2:28 

6 The Story of Angelique (Richard Barcellona) - 3:45 

7 Starvin' Man (Richard Barcellona) - 3:50 

8 Ribbon And Bow (John Keith) - 2:29 

9 Money Slave (Richard Barcellona) - 3:10 

Edge
Richard Barcellona - Vocals, Lead Guitar
John Keith - Vocals, Organ, Bass, Acoustic Guitar
Gallen Murphy - Vocals, Bass, Acoustic Guitar
David Novogroski - Vocals, Drums, Percussion

Related act
1968  The Boston Tea Party

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The Boston Tea Party - The Boston Tea Party (1968 us, fine psychedelic rock, 2010 edition)

A new historical fact has come to up teachers of history, writers of textbooks and unshakeable New England traditionalists: The Boston Tea Party didn't take place in Boston. At least not in the musical sense.

The Boston Tea Party actually happened in beautiful downtown Burbank when five young guys got together in 1963 to strike out for their own brand of musical independence. Truly revolutionary in spirit, the group is unique in that it has no "leader." Each o the members, all accomplished musicians, contributes his share of musical ideas.

The result of this communal effort is an infinite variety of messages mwith more precise musicianship, more exciting performances, than might have happened under the tutelage of a single drivinq force. Richard DePerna, Bass Guitarist and arranger, insists that the group's in-person sound be as excellent as their recorded perfomances. Mike Stevens, Lead guitarist, writes much of the material which is original, topical and abundant in richly poetic imagery.

Organist Robert DePerna and Drummer Dave Novogroski are responible for holding together The Boston Tea Party's tight ensemble sound. Travis Fields, Lead Singer - who also writes material for the group - has that rare gift of addressing the listener in a very personal way. He cares. As does every member of the group.

Visually, The Boston Tea Party is a knock-out in costumes of the 1775 era. But the gimmicks end. After all is said and done, it's the music - a pure, unique, accomplished sound- of The Boston Tea Party that counts.

Tracks

1. I'm Tellin' You (Mike Stevens, Travis Fields) - 2:50

2. Straighten Up and Fly (Mike Stevens, Travis Fields) - 4:16

3. I Found a Way - 2:00

4. Fantasy - 2:43

5. We Have Already Died - 2:40

6. Free Service (Travis Fields, Mike Stevens, Richard DePerna) - 2:39

7. Just Pretend You're Sherry (Mike Stevens, Richard DePerna) - 3:36

8. In There Shoes - 2:51

9. The Time Being (Mike Stevens, Richard DePerna) - 6:46

10.Please Be Glad - 2:32

All songs by Mike Stevens except where noted

The Boston Tea Party
*Travis Fields - Vocals
*Mike Stevens - Guitar
*Richard DePerna - Bass
*Robert "Mike" DePerna - Organ
*David "Dave" Novogroski - Drums

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Pacific Gas And Electric - Get It On / The Kent Records Sessions (1968 us, awesome blues rock, 2009 Ace extra tracks remaster)

For decades, Pacific Gas and Electric’s “Get It On” has been considered one of the lost classics of blues-rock. Released on three different labels in less than two years, it has been out of print since the early 1970s.

Not long after making this record, the group signed a big recording deal with Columbia, where their engaging blend of blues, funk, rock and soul won them international acclaim and scored them several hits and best sellers. The “Get It On” sessions presented an altogether more torrid side of PG and E, with the electrifying lead guitar of former James Gang alumnus Glenn Schwartz pushing the group’s black lead singer Charlie Allen to aggressive heights that their later work seldom achieved. 

This energetic selection of blues and soul standards was mostly cut live on the studio floor, with few to no overdubs - and because it was recorded in this way, I was delighted to find that there were enough alternate takes, unissued jams and finished masters to double the original running time of the album for this CD. Many of these were mixed down for this release by Ace’s good friend Rob Keyloch, who has done remarkably well in staying true to the spirit of the original 1968s mixes.

by Tony Rounce

Tracks
1. Wade In The Water (Arr. By Frank Cook, Freddy Demann) - 6:11
2. Cry, Cry, Cry (Deadric Malone) - 5:25
3. Motor City's Burning (Al Smith) - 6:45
4. The Hunter (Booker T. Jones, Carl Wells, Al Jackson Jr, Donald Dunn, Steve Cropper) - 3:21
5. Long Handled Shovel (Pacific Gas And Electric) - 3:31
6. Jelly Jelly (James Cotton) - 6:39
7. Stormy Times (Brent Block) - 2:43
8. Live Love (Tom Marshal) - 3:21
9. My Sweet Baby (Take 6) - 2:49
10. Dirty Mistreater (Take 2) - 3:02
11. Wade In The Water (Undubbed Version) - 4:54
12. Cry, Cry, Cry (Take 2) - 6:33
13. Stormy Times (Take 9) - 2:53
14. Long Handlded Shovel (Take 8) - 3:53
15. Jelly Jelly (Take 1) - 7:31
16. The Hunter (Take 1) - 5:07
17. Blues Chant (Take 2) - 3:36
Bonus tracks 9-17 from the Kent Records Sessions

Pacific Gas And Electric
*Charlie Allen - Vocals
*Brent Block - Bass,  Fuzz Bass
*Frank Cook - Drums
*Tom Marshall - Rhythm Guitar
*Glenn Schwartz - Lead Guitar
With
*Joe Sample - Organ, Piano

more Gas
1969-70  Pacific Gas And Electric / Are You ready
1970  Live 'N' Kicking At Lexington

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Jonesy - Ricochet Pioneering In (1972-73 uk, gorgeous and luminescent fusing improvisational jazz to prog rock, 2007 release)

Formed by brothers John and Trevor Jones, this prog rock band had three albums out on the Dawn label in the early 1970s. Always racked by internal tensions, there were various musician changes along the way. 

With their three early-'70s Dawn albums fetching high (high!) prices in the collector shops, it was a good thing El took up the cause in 2007 and released a collection of Jonesy's material, titled Ricochet: Pioneering in 1972-1973, that the rest of us could afford. 

Culling tracks from their scant three LPs (1972's No Alternative, as well as 1973's Growing and Keeping Up), El put together a pretty representational spread of tunes. The band had two major facets -- thundering, King Crimson-esque prog and drug-addled psychedelia -- and both get equal billing on Ricochet. 

The title track from their debut, No Alternative, was a heavy, greasy, muscular piece of early prog, while "Ricochet" (from the same record) injects discotheque glam into the complex, surging heaviness, recalling the theme music from the sci-fi television show Space: 1999. For sheer, psychedelic exuberance, check the signature jam, "Jonesy." 

by J. Scott McClintock

Tracks
1. 1958 (John Evans Jones) - 7:56
2. Ricochet (John Evans Jones) - 5:00
3. No Alternative (John Evans Jones) - 7:40
4. Reprise (John Evans Jones) - 1:04
5. Preview (Jamie Kaleth) - 2:00
6. Questions and Answers (Jamie Kaleth) - 5:16
7. Children (John Evans Jones) - 9:00
8. Know Who Your Friends Are (John Evan-Jones, Jamie Kaleth, Alan Bown, Trevor "Gypsy" Jones, Richard "Plug" Thomas) - 6:14
9. Jonesy (John Evan-Jones, Jamie Kaleth, Alan Bown, Trevor "Gypsy" Jones, Richard "Plug" Thomas) - 11:39

Jonesy
*Jamie Kaleth - Mellotron, Piano, Vocals
*John Evans Jones - Lead Guitar, Harmony Vocals
*David Paull - Vocals, Bass (Tracks 1-4)
*Jim Payne - Drums (Tracks 1-4)
*Trevor "Gypsy" Jones - Vocals, Bass (Tracks 5-9)
*Alan Bown - Electric Trumpet, Flugelhorn, Percussion (Tracks 5-9)
*Richard "Plug" Thomas – Drums, Percussion, Vocals (Tracks 5-9)

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Bold - Bold (1969 us, nice distinct psych folk rock, 2011 digipak release)

Bold traces its roots back to the mid-1960s when band members met while attending the University of Massachusetts.  As The Esquires the group recorded a one-off 1965 single for Tom Salem's Salem label ('Shake a Tail Feather' b/w 'Down the Track' (Salem catalog number SR-003).  As 'Steve Walker & the Bold' the group reappeared with a 1966 single on Cameo ('Gotta Get Some' b/w 'Robin Hood' (Cameo catalog number C-430)).  That was followed by a 1967 release for Dynovoice (Train Kept a-Rollin'' b/w ''I Found What I Was Looking For (Dynvoice catalog number 232).

Opening slots supporting Boston dates for nationally recognized acts like Big Brother and the Trucking Company and Taj Mahal brought the group local recognition, as well as a new name - 'The Bold'.   1969 found the band (now streamlined to 'Bold') signed to ABC.  With a line-up comprised of singer/bassist Walker, keyboardist Mike Chmura, guitarists Dick La Freniere and Robert La Palm and drummer Timothy Griffin, their cleverly titled debut album "Bold" teamed them with producer Bill Szymczyk. 

 Featuring a mixture of covers and original material with contributions from everyone but Griffin, musically the album was quite different from their earlier garage sides.  A nice example of then-prevailing popular tastes, most of the collection wasn't particularly original, but showcased a pleasant mixture of Buffalo Springfield-styled country-rock (including an enthusiastic cover of Stephen Stills' 'For What It's Worth'), folk-rock (a nifty cover of Dylan's 'All I Really Want To Do'), some surprisingly accomplished progressive moves (the instrumental 'Lullaby Opus Four') and some decent West Cost-ish psych moves (the jazzy 'Crystal Chambers' was quite impressive).  

Other highlights include Walker's Beatles-flavored 'Friendly Smile' and complete with backwards guitar fadeout, the dreamy 'Factory (Version 3)'.  The one truly amazing track is side two's 'Free Fugue'.  If I'd heard this ambient instrumental on a Brian Eno album I probably wouldn't have thought squat about it, but hearing it on an album a full ten years before this kind of stuff became popular is pretty amazing.  

Bad-Cat

Tracks
1. Lullaby Opus Four (instrumental) (Mike Chmura) - 2:08
2. All I Really Want To Do (Bob Dylan) - 4:52
3. Friendly Smile (Steve Walker) - 2:52
4. Changing Seasons (Dick La Freniere) - 2:54
5. Factory (Steve Walker) - 3:43
6. Crystal Chambers (Mike Chmura) - 7:21
7. Free Fugue (Instrumental) (Robert La Palm) - 2:44
8. Child of Love  (Steve Walker) - 4:47
9. For What It's Worth (Stephen Stills) - 3:53
10.It's All Over Now Baby Blue (Bob Dylan) - 5:01
11.Words Don't Make It (Steve Walker) - 4:17

Bold
*Mike Chmura - Keyboards
*Dick La Freniere - Rhythm Guitar
*Robert La Palm - Lead Guitar, Backing Vocals
*Timothy Griffin - Drums, Percussion
*Stephen Walker - Vocals, Bass

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