UFO - UFO 2 Flying, One Hour Space Rock (1971 uk, outstanding hard space psych blast, 2008 Repertoire issue)

Who would have thought old Phil Mogg, Pete Way and Co. would be responsible for one the greatest psychedelic long players ever released?, but yes folks this record called "UFO 2/Flying" is a head trip of the highest order that every space rock freak MUST own!!!

UFO started out in 1968 and were at one time known as The Good, The Bad and the Ugly, they later called themselves Acid finally settling on UFO which was a tribute to the legendary UK nightclub. The group cut their teeth playing covers by people like The Yardbirds, Kinks, John Lennon and The Small Faces among others, somehow they got the attention of Equals guitarist Eddy Grant who was branching out into production and talent procurement, Grant invited the group to record at Orange Studios and the group managed to land a recording deal with the tiny Beacon imprint. A debut album "UFO 1" was issued in 1970 to little fanfare ( though it has been reported UK DJ Jon Peel thought highly of the group.)

The record we are talking about here was the group's second and their last for Beacon, it was known as "UFO 2/Flying/One Hour Space Rock" and it was issued in 1971. This is one monster of a Rock album that will appeal to fans of Free, Ash Ra Tempel, Blue Cheer, Taste, The Pink Fairies and many others, simply speaking it's awesome!!

Side One starts off "Silver Bird" which sounds just like Free circa 1969, Phil Mogg shows himself to be a gritty, convincing singer while guitarist Mick Bolton plays some blistering solos in the Paul Kossoff/Rory Gallagher vein, the group's rhythm section of Pete Way ( Bass ) and Andy Parker ( drums ) is a powerhouse, the song starts out slow but soon takes flight pummelling the listener along the way with relentless power. 

"Star Storm" is in a whole different bag it begins with some lethal wah-wah guitar by Bolton then briefly touches down into a blues rock stomp ala Free/Taste, then the thing slows down to a crawl and slowly shifts into a guitar freakout that reminds me of the mid-section of The James Gang's "The Bomber" and also the guitar solo section of The Jeff Beck Group's "Rice Pudding", then it's off to Ash Ra Tempel land for awhile and then back again, the whole piece clocks in at over 18 minutes!!, Mick Bolton's guitar playing on this number is stunning!!. 

The first side ends with a Groundhogs style raveup called "Prince Kajuku" that is absolutely fierce!, Mogg's vocals are sensational whlie Bolton blasts away like T.S. McPhee's kid brother, Pete Way also plays brilliantly on this one.

Side Two starts off in a different direction with "The Coming Of Prince Kajuku" this is an incredibly pretty guitar instrumental that echoes of Fleetwood Mac's Peter Green and Danny Kirwan's playing on the "Then Play On" album, then all of a sudden the song erupts into a Pete Townshend/Eddie Phillips Pop Art Afterflash! WOW!!!

"Flying" takes up the rest of the record, this one is a lengthy blues downer track that sounds like the group are suffering from a group hangover in the beginning the song then comes to life and turns into a pulverizing dose of Acid Rock. The record ends just under 60 minutes leaving you completely drained, in fact after playing this thing I need a bit of a comedown so I'm gonna go listen to The Four Preps "On Campus" album and then some Kingston Trio!, "UFO 2" has that kind of effect on people!! 

by Dave Furgess

Tracks
1. Silver Bird - 6:54
2. Star Storm - 18:54
3. Prince Kajuku - 3:56
4. The Coming of Prince Kajuku - 3:43
5. Flying - 26:30
6. Galactic Love (Single A-Side) - 2:57
All tracks written by Phil Mogg, Mick Bolton, Pete Way and Andy Parker

UFO
*Phil Mogg - Vocals
*Mick Bolton - Guitar
*Pete Way - Bass
*Andy Parker - Drums

more UFO landed here
1970  UFO 1 (2008 Repertoire edition)
1972  Live (2008 Repertoire edition)

Free Text
Text Host

Rory Gallagher - Calling Card (1976 ireland, superb hard blues rock, japan remaster)

Rory's eighth solo album, "Calling Card", was recorded during 1976 at the famed Musicland Studios in Munich. All of Rory's previous releases had been successfully self-produced. For this album he was keen to find a producer who had an affinity with traditional rock values but was open to new ideas.

On his previous release, 'Against The Grain1, Rory had started to shift away from the blues/rock style he'd made his own, creating an album with a harder sound. He was keen this progression should continue but needed to find a producer who shared his convictions and could help create the sound he wanted. During the 70's 'Deep Purple1 were one of the most successful rock bands in the world and Rory had toured the U.S. with them. Roger Glover, Deep Purple's bassist, offered his services to Rory, seeming to be the perfect candidate to produce the album. They began work on 'Calling Card' in the summer of 1976.

The band, Gerry McAvoy on bass, Lou Martin on keyboards and Rod de'Ath on drums, added the final element to the 'creative1 mix. In the three years they had been performing together they had grown into a formidable band. As Roger Glover explained, "they all seemed very dedicated to Rory, there was an allegiance, bom of years of smoky clubs and endless journeys". This was the fifth and last release featuring this classic band line-up. Setting the tone for the album Do You Read Me starts with a sharp, rocking intro. highlighting the shift in Rory's musical direction.

Country Mile - The sheer exuberance and life of this excellent 'boogie woogie' inspired rock track, with it's infectious rhythm and slide guitar solo, is palpable. Moonchild - Is a perfect example of the production Rory was aiming to achieve on this album, marrying a traditional hard rock style with the melodic values of jazz. The track is full of tricky phrasing and intricate guitar work, which Rory delivers effortlessly. Calling Card - Rory's jazz influences and wonderful lyrics again shine through on this title track. The interplay between the guitar and the piano throughout the song is particularly pleasing.  When interviewed in 1995 Roger Glover nominated this as his favourite track on the album.

I'll Admit Your Gone - A hybrid, melodic track encapsulating folk/jazz in a blues fashion. Rory at his melancholy best.

Secret Agent - Rory's familiar hard rock sound of heavy beats, distorted riffs and slide guitar all come together impressively on this track. The funky rhythm and unison of guitar and vocal on Jack-knife Beat are reminiscent of 'Little Feat', a band Rory greatly admired.

Edged In Blue - Chris Wright, then head of Chrysalis Records, who originally released the 'Calling Card1 album', told Rory if this track was released as a single it would almost certainly be a number one chart hit in the US. In typical Rory style he decided not to release it as a single, leaving it as one of the outstanding tracks on 'Calling Card'.

from CD Liner-notes

Tracks
1. Do You Read Me  - 5:20
2. Country Mile  - 3:18
3. Moonchild  - 4:48
4. Calling Card  - 5:24
5. I'll Admit You're Gone  - 4:25
6. Secret Agent  - 5:45
7. Jacknife Beat  - 7:04
8. Edged In Blue - 5:31
9. Barley And Grape Rag - 3:39
10.Rue The Day - 4:14
11.Public Enemy (B-Side Version) - 4:35
All songs composed by Rory Gallagher.

Band
*Rory Gallagher - Vocals, Guitar and Harmonica
*Gerry McAvoy - Bass Guitar
*Lou Martin - Keyboards
*Rod de'Ath - Drums

1971  Rory Gallagher (Japan Mini Lp replica)
1971  Deuce (Japan Mini Lp replica)
1972  Live In Europe
1973  Blueprint (Japan Mini Lp replica)
1973  Tattoo (2012 promo copy)
1974  Irish Tour (Japan Mini LP replica)
1975  Against The Grain (Japan Mini LP replica)
with Taste
1970  On The Boards (Japan SHM edition)
1971  Live Taste
1971  Live At Isle Of Wight

Free Text

Text Host

Aura - Sativa (1976 us, groovy fiery funky psych, 2011 reissue)

Aura was a San Francisco psych-funk band that formed in 1974 and played extensively throughout Northern California. By 1976, the band recorded their first and only album at Pacific Recording Studio in San Mateo. The original title of the album was Sativa, but out of fear that promoting the joys of marijuana would be too controversial, the band omitted the title and just left it as Aura. 

Over the ensuing decades though the Aura album has grown in stature to become a collector's item. In 1991, the Oakland hip-hop band, Oaktown's 357 (MC Hammer's Salt-N-Pepa type band) sampled 'Mess Up Your Mind' for their song 'Turn It Up,' which raised the Aura album to cult status. The Lemon Drops producer Reggie Weiss wrote the psych-funk title track, 'Sativa' (a parody of The Champs hit song 'Tequila,' with water pipe sound effects and blistering guitar leads by former Lemon Drops guitarist, Eddie Weiss) and 'Skyrocket' (with manic fuzz guitar). 

The lead singer in Aura was Paulette Collins who still performs around the Bay Area today with an all-girl group called The Taylor P. Collins Band. Replete with rare band memorabilia and previously unreleased bonus tracks, Aura is now available from the original master tapes for the first time on CD. The album is a piece of Bay Area history and a psych-funk masterpiece that cannot be overlooked in today's pervasive hip-hop world.

from CD Liner-notes

Tracks
1. You Got Something (P. Collins) - 3:20
2. Clap Your Hands (P. Collins, R. Kutulas) - 2:43
3. First Taste of Love (P. Collins, R. Kutulas) - 3:14
4. It's a Feeling (E. Weiss) - 2:18
5. Gonna Make It (P. Collins) - 3:22
6. Sativa (E. Weiss, A. Taylor) - 2:47
7. Mess Up Your Mind (P. Collins, E. Weiss, R. Kutulas) - 2:47
8. Don't You Worry (C. Haskell) - 3:17
9. Trying to Hold it Down (E. Weiss) - 2:38
10.Skyrocket (R. Kutulas) - 3:22
11.Catch a Falling Star (D. Harley) - 3:32
12.Evil That Brings You Down (E. Weiss) - 2:40
13.It's a Feeling Early Version  (E. Weiss) - 2:16

Aura
*Paulette Collins - Vocals
*Eddie Weiss - Guitar
*Jeff Ervin - Saxophone
*Jean Hintermann - Trumpet
*Robin Kutulas - Piano, Organ, Mellotron
*Rick Kutulas - Drums
*Al Taylor - Conga
*Cobe Haskell - Bass

Free Text
Text Host

Bullfrog - Bullfrog (1976 germany, excellent heavy progressive tinged with classic rock forms, 2013 Sireena remaster)

Ali Haimatoglu, one in the former Munich music scene established and well accepted drummer has been instructed in 1973 by the owner of a cinema chain to assemble a band. Quick the core-group was fixed, it have been people with already long years of musical experience

- Sebastian Leitner, guitar, born on 17.01.1953 in Freilassing, played in various amateurbandssince 1967 and at least in the Austrian professional band Lazarus Round.

- Harald Kaltenecker, Keyboard, born 10.01.1950 in Munich, has been in numerous bands.amongst others in the ..International Beat & Soul Group" RIGHT TRACKS and at last with the Munich band Dream.

- Vincent Trost (died 2006), bass, born on 27.06.1942 in Stuttgart, was the most experienced musician, not only due to his age. Early 70's he did :,small time" with his own band The German Four across Germany and the border countries.

- Gerd Hoch (died 1995), vocals, born on 16.02.1951 in Freiburg, the man with the raspvoice, who stamped the Bullfrog-sound especially.

Ali Haimatoglu himself has been the first drummer of the band, but didn't stick to the band very long. His followers have been first Seppl Niemayer (went later to Octopus), then Bruno Perosa. Also he lived together with the other bandmembers in a musical-flat-share, the legendary ,,Dampfmolkerei" of the 300 people location Burkhards.

With this cast they went 1976 to Conny's, the studio of Conny Plank. He was exalted of the demos and recommended them immediately to Sky Records in Hamburg. A record deal has been signed and the first album recorded.

Due to the fact that in the already two bands with the name Bulldogg (US) and Bulldogg Breed (UK) did exist, therefore their record label recommended the name Bullfrog. Under this name the first album appeared in Autumn 1976, the album cover was created by the Japanese painter ant artist Aoi Fujimoto.

The first Bullfrog release was very successful and appeared parallel ti the German publication also at the US Company Annuit Coeptis. Amongst excellent groups Bullfrog now belonged to the most promising newcomer bands of the German Rock scene. This has lso be proven during their live gigs, which were not only acoustic but also optic a class of it’s own.

from CD Liner-notes

Tracks
1. Movin' On - 4:09
2. Bad Game - 3:34
3. I Came From The Sky - 4:45
4. I'm Comin' Home - 6:34
5. Get Away - 10:41
6. Desert Man - 11:35
All songs by Sebastian Leitner and Gerd Hoch

Bullfrog
*Sebastian Leitner - Guitar
*Harald Kaltenecker - Keyboards
*Vincent Trost - Bass
*Gerd Hoch - Vocals
*Bruno Perosa - Drums
With
*Jane Palmer - Vocals
*Ute Kellerman - Vocals

Free Text

Just Paste

Athanor - Flashback (1973-81 us, wonderful folk psych inspired vocals blended with a tighter melodic sensibility, 2013 release)

Chicago, early 70s. Greg Herriges is obsessed with Lennon, 12- string guitars and far- out psychedelic sounds. Rick Vittenson is a Beach Boys- Hollies- Who fanatic who writes for Crawdaddy! magazine. Both had previously played in several garage- college bands during the 60s. 

Combining their mutual love for Sixties music, Athanor was born. With the help of top studio musicians, they recorded and self- released three 45s between 1973 and 1975 (the first one produced by Mark Breyer, with whom Rick had played in pre- Skooshny band Brevity) which are now highly sought- after by fans of obscure psychedelic pop. 

All of them are featured here in stellar sound taken from the master tapes along with previously unreleased studio tracks and superb sounding home demos (1973- 1981), plus a new song recorded in 2006 in the same vein as their vintage recordings. 

Athanor’s music features impressive songwriting & musicianship, a collision of Beatlesque harmony vocals, Rickenbacker and Guild 12- string guitars, occasional fuzz- wah leads, Fender Rhodes, studio effects. Psychedelic proto- power pop highly recommended to anyone into Lazy Smoke, Badfinger, Only Ones, Emitt Rhodes, Rockin' Horse, Creme Soda.

Guersen-recs

Tracks
1. Graveyard - 4:48
2. Inner Space - 3:03
3. Urizen (Your Reason) - 4:43
4. I Don't Mind - 2:34
5. Habits - 3:59
6. Read Me - 2:38
7. Rock Me, Roll Me - 3:06
8. Hidden Monsters - 4:22
9. Memory (Don't Fail Me) (Greg Herriges, Rick Vittenson) - 3:57
10.Wonder Why I'm Sick - 4:12
11.Like A River Flows - 3:11
12.Inner Space - 3:07
All songs by Greg Herriges except where noted.

Musicians
*Greg Herriges - Vocals, Guitar
*Rick Vittenson - Vocals, Guitar
*Mike Miranda - Lead Guitar
*David Winogrond - Drums
*John Bunkelman - Bass
*Cara Herriges - Vocals

Just Paste

Free Text

Text Host

Caravan - In The Land Of Grey And Pink (1971 uk, fantastic progressive rock, canterbury scene, japan SHM-CD remaster)

In the Land of Grey and Pink is considered by many to be a pinnacle release from Caravan. The album contains an undeniable and decidedly European sense of humor and charm. In addition, this would mark the end of the band's premiere lineup. Co-founder David Sinclair would leave Caravan to form Matching Mole with Soft Machine drummer and vocalist Robert Wyatt in August of 1971.

As a group effort, In the Land of Grey and Pink displays all the ethereal brilliance Caravan created on their previous pair of 12" outings. Their blending of jazz and folk instrumentation and improvisational styles hints at Traffic and Family, as displayed on "Winter Wine," as well as the organ and sax driven instrumental introduction to "Nine Feet Underground." These contrast the decidedly aggressive sounds concurrent with albums from King Crimson or Soft Machine. In fact, beginning with the album's title, there seems to be pastoral qualities and motifs throughout.

Another reason enthusiasts rank this album among their favorites is the group dynamic which has rarely sounded more singular or cohesive. David Sinclair's lyrics are of particular note, especially the middle-earth imagery used on "Winter Wine" or the enduring whimsy of "Golf Girl." The remastered version of this album includes previously unissued demos/alternate versions of both tracks under the titles: "It's Likely to Have a Name Next Week" and "Group Girl," respectively.

The remastered disc also includes "I Don't Know Its Name (Alias the Word)" and "Aristocracy," two pieces that were completed, but shelved in deference to the time limitations imposed during the days of wine and vinyl. The latter composition would be reworked and released on Caravan's next album, Waterloo Lily. The 12-page liner notes booklet includes expanded graphics, memorabilia, and an essay penned specifically for the reissue.
by Lindsay Planer

Tracks
1. Golf Girl - 5:05
2. Winter Wine - 7:46
3. Love To Love You (And Tonight Pigs Will Fly) - 3:06
4. In The Land Of Grey And Pink - 4:51
5. Nine Feet Underground: - 22:40
...Nigel Blows A Tune
...Love's A Friend
...Make It 76
...Dance Of The Seven Paper Hankies
...Hold Grandad By The Nose
...Honest I Did!
...Disassociation
...100% Proof
6. I Don't Know Its Name - 6:12
7. Aristocracy - 3:42
8. It's Likely To Have A Name Next Week - 7:48
9. Group Girl - 5:04
10. "Dissassociation/100% Proof" (New Mix) (D. Sinclair) 8:35
All tracks by R. Coughlan, P. Hastings, R. Sinclair, D. Sinclair except where noted.

Musicians
*Richard Sinclair - Bass Guitar, Acoustic Guitar, Vocals
*Pye Hastings - Electric. Guitars, Acoustic Guitar, Vocals
*David Sinclair - Organ, Piano, Mellotron, Harmony Vocals
*Richard Coughlan - Drums, Percussion
*Jimmy Hastings - Flute, Tenor Saxophone, Piccolo
*David Grinsted - Cannon, Bell, Wind

Free Text
Text Host

Dark - Anonymous Days (1974-95 uk, cool guitar hard prog psych blend)

Anonymous Days is the second studio album from Dark recorded 23 years after the first, the famous and highly collectable 'Round the Edges' LP. The band's line-up remains the same, Steve Giles, Ron Johnson, Martin Weaver and Clive Thorneycroft. Anonymous Days contains songs written between 1974 and 1995 and is the album we always wanted to make, combining the Dark progressive rock style with the latest recording techniques.

The first album was recorded in about 24 hours, this one took an awful lot longer: that's modern studios for you. The tracks are pure Dark combining complicated twin harmony guitar work with thought provoking lyrics and wide ranging musical structures.

We thoroughly enjoyed getting back together again to write and rehearse after all those years, we even played a live gig in our home town of Northampton. At the start of the project Ron's bass guitar was taken from the dust in his loft where it had lain undisturbed for over 20 years. After the album was finished he put it back in exactly the same place ready for the next one?

Anonymous Days was recorded between 1994-1996 at Outrider Studios Northampton, all tracks were composed between 1974-1995

by Martin Weaver, Northampton, England. June 2001

Tracks
1. All The Loving I Need - 5:12
2. Madame La Guilloline - 6:55
3. Miles And Miles Away - 5:38
4. Shadow Of The Rain - 3:20
5. A Hope Full Of Holes - 8:44
6. On Came The Midnight - 6:28
7. Don't Worry About That - 5:04
8. Killing My Friends - 5:49
9. Journey's End - 6:30

Dark
*Steve Giles - Guitars, Vocals, Acoustic Guitar
*Ron Johnson - Bass Guitar, Acoustic Guitar
*Martin Weaver - Guitars, Vocals
*Clive Thorneycroft - Drums, Percussion

1969-71  Teenage Angst The Early Sessions
1972  Round The Edges

Free Text

Just Paste

Chicken Shack - Unlucky Boy (1973 uk, elegant solid hard blues rock, 2013 remaster)

Originally released in 1973, but reissued recently through Esoteric label, Chicken Shack's Unlucky Boy finds guitarist/vocalist/songwriter and band founder Stan Webb in fine form. Only drummer Paul Hancox remains from the Imagination Lady, and indeed the horn-oriented approach here is much different than the plodding Led Zeppelin-isms of the previous disc. 

Webb contributes six originals, and even though they are derivative of Savoy Brown (a band he joined for the Boogie Brothers album just a year later), his approach here is much more subtle and controlled than on his last effort. Chris Mercer's saxes, often double tracked to sound like a horn section, bring a tough R&B to the mix, and drummer Hancox is a controlled powerhouse. Webb also reigns in his impulse to overextend guitar solos so prevalent on Imagination Lady, whipping off tight, controlled leads instead. 

Producer Neil Slaven contributes honest, witty, and often self-deprecating liner notes that help explain why two of these songs suffer from poor mixes (basically, he had consumed various substances and couldn't salvage the songs after the fact). Strings on "As Time Goes Passing By," (also included in a shorter single version) are a nice touch and bring a bit of class to the proceedings while maintaining the R&B slant of the disc. Two unedited studio jams make the cut as "Stan the Man" and the seven-minute "Jammin' with the Ash," both featuring pianist Tony Ashton, who really lets loose on the latter. 

Things get stripped down for an unusually delicate version of Lonnie Johnson's "Too Late to Cry" with just strummed guitar and bass. The opening trio of Webb-penned tunes shows some of his best songwriting with the instrumental "Prudence's Party" a terrific capsule of Webb's stinging, gritty guitar style. The album sounds dated but harkens back to a particular time in British blues that is charming in its anything goes attitude. That helps make this one of Stan Webb's more consistent and successful offerings.

by Hal Horowitz

Tracks

1. You Know You Could Be Right - 3:47

2. Revelation - 5:13

3. Prudence's Party - 3:14

4. Too Late To Cry (Lonnie Johnson) - 3:10

5. Stan The Man - 4:25

6. Unlucky Boy (Big Mama Thornton, Champion Jack Dupree) - 2:34

7. As Time Goes Passing By - 4:46

8. Jammin' With Ash - 7:04

9. He Knows The Rules (Jimmy McCracklin) - 4:05

10.As Time Goes Passing By - 3:33

All songs by Stan Webb except where stated

Chicken Shack

*Stan Webb - Guitar, Vocals

*Bob Daisley - Bass Guitar

*Tony Ashton - Piano

*Paul Hancox - Drums, Percussion

*Chris Mercer - Saxophones

Chicken Shack
1968  40 Blue Fingers, Freshly Packed And Ready To Serve (2013 reissue)
1974  Go Live "Goodbye Chicken Shack" 

Just Paste
Free Text
Text Host

Buffalo - Only Want You For Your Body (1974 aussie, pure energy tough 'n' roll, Aztec digi pack remaster edition)

Aztec Music once again have done a brilliant job with great remastering, a massive booklet with liner notes, band interviews and tons of photos. Plus 2 rare bonus tracks (a 7” edit/mix of "What’s Going On" and a live GTK recording of "United Nations"). Aztec have done such a good job that the bootleggers have actually had the nerve and audacity to cry unfair...Ha! Maybe the bootleggers should pay the band some royalties first, before complaining too much.

This the band's third album and is a big leap forward in terms of songwriting and production. Where, on Buffalo's previous albums, the vibe on songwriting seemed to be "smoke a bunch of pot, turn the amps up full blast and see what happens", there's a different approach on "Only Want You for Your Body". The tunes are still riff-heavy, loud and dynamic, but the song arrangements are more traditional i.e. they actually have verses and choruses (shock!) Production-wise, it’s also a progression with double tracked guitars and vocals, backing vocals (more shock horror!), percussive and sound effects, which add up to make this probabl0y Buffalo's best album.

The band's endless touring prior to this albums recording sessions had tightened the musicianship considerably.Pete Wells (who sadly passed away on 27 March 2006, was slide guitarist with Rose Tattoo, Lucy De Soto + the Handsome Devils and The Pete Wells Band) can take a bow: His bass playing was incredible! All budding bassists should check out his playing on this album. Guitarist John Baxter proves to be the heaviest and wildest guitarist in the country at the time, drummer Jimmy Economou is aggressive and hard-hitting but never self-indulgent. Frontman Dave Tice‘s vocals alone are more powerful then most bands at the time.

Ok, you ask: Why wasn’t this album a multi-million selling album it deserved to be? Well, at the time Australian radio was extremely conservativeand it was almost impossible to sell a lot of records without airplay. Buffalo probably weren’t doing themselves any favours by having a front cover featuring a semi-naked young girl tied up on a torture rack. Songs like "I'm a Skirt Lifter, Not a Shirt Raiser" and "Kings Cross Ladies" were unlikely to be played on Catholic church-owned radio station 2SM. However, the band probably took a perverse delight in all this.So folks - have a listen to this and see what all of the fuss is about.

It should be noted that since the band split back in the mid '70s, Buffalo have picked up a fairly impressive world wide following. Members of Soundgarden were fans , a European stoner rock band Colour Scheme covered a Buffalo song on one of their albums and the Hoodoo Gurus use to play Buffalo over the P.A before going on stage. Sheek The Shayk (ED: Who?) paid tribute to the band on their debut CD. Murray Shepherd (Monarchs , Ride Ons , Funthings etc) is a huge fan, and Cosmic Psychos released a version of "Sunrise". Hey...maybe we should petition the Homebake organisers and try and get a reunion show happening (although realistically this is unlikely to happen).

by Steve Danno-Lorkin

Tracks
1. I'm A Skirt Lifter, Not A Shirt Raiser - 4:53
2. I'm Coming On (Alvin Lee) - 3:39
3. Dune Messiah - 4:32
4. Stay With Me - 3:37
5. What's Going On - 3:58
6. Kings Cross Ladies - 7:27
7. United Nations - 6:18
8. What's Going On (Single Version) - 3:25
9. United Nations (Live At Hordern Pavilion, Sydney, April 1974) - 7:51
All tracks written by Dave Tice and John Baxter except track #2
Bonus tracks 8-9

Buffalo
*Dave Tice - Lead Vocals
*Peter Wells - Bass
*John Baxter - Guitar
*Jimmy Economou - Drums

1972  Dead Forever
1973  Volcanic Rock

Free Text

Text Host

Steppenwolf - Monster (1969 us, great classic protest rock, 2013 japan SHM issue)

Steppenwolf may be best remembered for its pair of ubiquitous hits, but the band had far more to say than that. John Kay and his bandmates too often gave in to their polemics, trapping some of their lyrics in the late '60s and early '70s; while nuance was never their strong point, they still knew how to make an artful point. On 1970's Monster, an overlooked masterpiece, they managed to create a thematically cohesive album that managed to remain concise even while containing the group's most epic moment.

That epic piece, "Monster/Suicide/America" opens the album with a nine-minute history of the American debacle. Steppenwolf eviscerates the US, criticizing easy targets like slavery, invasive policing, and unjust war, but the group complicates the matter. Kay reifies America and the ideals of the country, establishing her (yes, it's a "she") as an entity pre-existing and continuing outside of the thoughts and actions of the populous, capable of rescuing her "sons and daughters." At the same time, they create a monster that's risen up from the actions of the citizenry, but not only from government atrocities, but also from ordinary people who "got fat and grew lazy." Alternating between second and third person point-of-view, Kay targets everyone, in the process discovering that between the evils of the monster and the good of the mythic America lies the suicide—the very drive for freedom is a death drive based on narcissism and corruption.

The real genius of the song lies in its musical structure. Steppenwolf slowly develops increasing tension through tempo changes and heavy riffs that periodically gives way to false releases. After more than five minutes, the song finally breaks into what could have been a serviceable chorus. The music lightens and a set of backing vocals come in to suggest hope and openness, but the lyrics are unrelenting and the music's pulled between darkness and light (a second attempt at the apostrophe to America) before dying out. The performance needs a magnificent sense of pacing, atmosphere, and restraint, and Steppenwolf delivers (the edited versions that show up, as on Move Over are more digestible but wreck the structure).

Of course, we don't come to Steppenwolf for artistic masterpieces, and they wisely follow "Monster" with "Draft Resister," a murky groove driven by a double hit on the tom. The lyrics are straightforward, but they're useful in making explicit the themes of the album: the inherent failure of hierarchy to maintain reliable leaders. Anyone who attains a seat of power (or finds himself in it) can't behave. In this track, the target's obvious, as we're asked to "heed the threat and awesome power of the mighty Pentagon," but as the album develops, the targets become blurrier, and it's hard not to feel implicated.

"Power Play" has one of rock's greatest forgotten openings, as one simple guitar part grows into three, each toying with the hook preceding it until the band establishes a fantastic groove. Ostensibly, Kay snipes at vague Authority, but in doing so he reveals humanity's tendency to forego patience in favor of opportunism. Starting with the "hey, you!" at the end of the first line, Kay turns his questioning into a threat, once opening enough to say we "just might all gang up on you." Even so, he can't resist the optimism in democracy; the power play here is dependent upon the people—the masses—actually holding the power, to be able to find their leaders "obsolete" and get rid of them. It's the same hope that barely survives "Monster," but here it's close to turning into bitter revenge; Kay acknowledges not a class or political struggle, but a "never ending power play / 'Tween jealous greed and vicious hate."

After "Fag," an instrumental more combative in name than in performance, and the direct questioning of "What Would You Do (If I Did That to You)," we get one of the band's finest recorded moments. On a big bass drum, "From Here to There Eventually" savages institutionalized Christianity (echoing "Monster"'s "Like good Christians some would burn the witches") from the perspective of a flinching apostate. Nearly every line—or at least slant-rhymed AAAB stanza—makes for an epigram, yet Kay still manages to convey the hurt that narrator feels at his religious betrayal. For all the anger of opening lines "You filled this house with things of gold / While handing crumbs to the old and poor," the singer needs help in saving the world ("Don't ya know we need somebody to / Do some work down in the street").

When authority—in this case the clergy—fails and the followers recognize the perils of leadership, a void opens. Kay's objective in the song is as much to resolve this dilemma as it is to excoriate Christianity. He knows "we got to go from here to there eventually," but he can pin down where either of those points are. Those in power have faltered in such a way that reconciliation feels impossible. The final verse deals with religion's invasion of privacy: "It's got nothing to do with heaven or hell / What I do in bed, I'm not gonna tell." By this point open conversation is impossible and Kay can only snidely suggest, "You really ought to try it."

After the breaches over treatment of the poor and sexual proclivities become too great, the backup singers (returning from "Monster") turn into virtual gospel choir. It's impossible to know how satirically to take this coda. The lyrical content suggests the lines can only be parody. How else could we see a rejection of the church lead into "Hallelujah! Jesus will save you ... He's coming back, and you better believe it"? But the pain and empathy in the song (along with a zealot's lead guitar plea) point to a real need for healing. In the near chaos of imitation gospel, there's the light of a real spiritual yearning, but the power figures and followers of "Monster/Suicide/America" have revealed the impossibility of effective authority, and there's no way out. As the singers wail about salvation and a whip cracks on moaning bodies, looking upwards becomes both necessary and futile, and we have no idea what to believe. 

by Justin Cober-Lake

Tracks
1. Monster (Kay, Edmonton)
....Suicide (Kay, St. Nicholas, Byrom, Edmonton)
....America (Kay, Edmonton) - 9:15
2. Draft Resister (Kay, Mcjohn, Byrom) - 3:22
3. Power Play (Kay) - 5:27
4. Move Over (Kay, Mekler) - 2:53
5. Fag (Byrom, Edmonton, St. Nicholas) - 3:13
6. What Would You Do (If I Did That To You) (Francen, Porter) - 3:23
7. From Here To There Eventually (Kay, McJohn, Edmonton) - 5:34
8. Move Over (Kay, Mekler) - 2:59
9. Power Play (Kay) - 4:50
10. America (Kay, Edmonton) - 3:55

Steppenwolf
*John Kay – Lead Vocals, Rhythm Guitar, Harmonica
*Larry Byrom – Lead Guitar, Backing Vocals
*Nick St. Nicholas – Bass, Backing Vocals
*Goldy McJohn – Keyboards, Backing Vocals
*Jerry Edmonton – Drums, Backing Vocals

1968  Steppenwolf (2013 japan SHM bonus tracks and 2014 SACD)
1969  Early Steppenwolf (1967 Live, Japan SHM mini lp)
1969  At Your Birthday Party (Japan SHM 2013 remaster)
Related Act
1968  John Kay and the Sparrow
1972  John Kay – Forgotten Songs and Unsung Heroes

Free Text
the Free Text

Marsupilami - Arena (1971 uk, epic agile potent concept progressive rock, 2007 remaster)

After their debut album's release, Marsi toured and expanded by adding Mandy Riedelbanch on multiple wind instruments and found themselves relocating in Amsterdam, where they were playing a series of concert in the Paradiso theatre with the then-state of the art MC2 Lightshow. This is when they started to write and rehearse for their second album, with the assistance of an external lyricist Bob West. 

The album, recorded in London, was produced by future Camel founder Peter Bardens, and indeed you can hear some of Mirage's source of inspiration in Arena, including Latimer's flute, much reminiscent of Jessica Stanley. "Graced" with one of the ugliest ever prog artwork, Arena was an improvement on their debut, partly because the extra musician allowed the group to have much more possibilities, sonically and songwriting-wise.

So the aptly titled opening track Prelude does musically exactly that: it resumes the first album's progress and the band is ready to pick up things where they'd left it at. So with the following Peace Of Rome (we're in a concept, but I was never bothered to follow it too much without smirking at the pretentiousness, the worst offender being Triumvirate) is a very ambitious piece, exploring its themes over circus/arena crowd noises, and a touch of mellotron (that was missing in the debut album) and plenty of interplay time. 

The mammoth title track starts rather eerily, but in a second movement, it picks a mid-eastern them over tabla and drums, but in the next one, the ambitious and daring vocal passage turns close to ridicule, but saved from it by further impressive progressions until a sharp and raw end. At one point, you can hear Laverock's bowed guitar give an acetate cello sound.

The flipside starts on effects-laden narration as intro of the other epic of this album, Time Shadows. This tracks spends a considerable time in its first movement a piano/organ duo (overdubbing from Leary, certainly), before gradually intervening are Jessica's flute, Mandy's sax and Laverock's now jazzy guitar. After an insufferably long passage dishing out whatever lyrics the track had to offer, the group unleashes on a bass and closing lyric lines, before echoing keys and sax bring the track into a very Graaf-esque ending. Indeed you'd swear this is Jaxon, Banton, and Hammill closing this track. 

I'm not sure whether the closing Spring track is supposed to be part of the concept, for it doesn't get one of those pompous description like the first four tracks, but it's also a collectively-written track, that starts as a complete mayhem to slowly settle down in a dervish-like trance, with Fred's meandering scat vocals soaring over the rest of the band's great semi-raga, until the guitar and flute slowly deconstruct the group's unity (there is a superb double flute interlude that last until the organ breaks it up, announcing the piano and now double scat vocals. Fantasrtic stuff and definitely the group's best moment and it is quite accessible too. Much more than some of the more "baroque" passages that "doesn't click all the way".

One of the rare deceptions I have is that it seems that the new member Riedelbanch is only really present (or at least noticeable) on the album's flipside, which is a crying shame, because I think she made quite a difference. Arena is definitely an improvement on their debut album, but it is a bit like Gnidrolog?. Get both albums as they're equally good, even if this one will get more nods.

by Sean Trane 

Tracks
1. Prelude To The Arena (L. Hasson, B. West) - 5:23
2. Peace Of Rome (L. Hasson, B. West) - 7:01
3. The Arena (L. Hasson, B. West) - 12:55
4. Time Shadows (L. Hasson, F. Hasson, B. West) - 11:16
5. Spring (D. Laverock, L. Hasson, F. Hasson, R. Hicks, M. Fouracre, J. Stanley-Clarke, M. Reidelbanch) - 9:16

Personnel
*Fred Hasson - Lead Vocals, Percussion, Harmonica
*Dave Laverock - Electric, Acoustic, Bowed Guitars, Percussion, Vocals
*Leary Hasson - Piano, Mellotron, Tubular Bells
*Richard Hicks - Bass
*Mike Fouracre - Drums, Timpani, Percussion
*Jessica Stanley-Clarke - Flute, Vocals
*Mandy Reidelbanch - Tenor, Alto Sax, Flute, Percussion
*Bob West - Vocals
*Peter Bardens - Percussion

1970  Marsupilami (2008 Eosteric remaster)

Free Text

Just Paste

Baba Scholae - 69 (1969 france / uk, superb progressive experimental rock with jazz, blues and psych traces, 2012 AV release)

«69» of the Baba Scholae is a major album of the year 1969. It is a cult disc that never disappoints - quite the reverse, when, like me, you can listen to it in the very best conditions after decades of obscurity. Some legendary records lose their power once they are revealed and it becomes obvious that the fantasy of the music lover exceeded the realities of the work. 

This is not the case here: Jean-Yves Labat de Rossi, John Arthur Holbrook and their friends conceived a classic work worthy to be ranked with the Rock masterpieces of the period. But today - all nostalgia put aside - is the Baba Scholae album still as meaningful as it ever was? Unlike some other discs reminiscent of the famous "Madeleine de Proust" the album of Jean-Yves, John, Jules, Steve, Alan and Woody far surpasses even those very appealing legendary names of the 60's such as the Marquee, the Speak Easy, Zanzibar Productions and the Rock'n'roll Circus. 

This album that you can (at last!) hold in your excited hands takes us by surprise because it still affects us, here and now, as pristine as ever. The 21st century listener is perhaps even more capable of understanding this project than his 20th century counterpart because he can rely both on hindsight and 40 years of musical productions which his glorious predecessor could not enjoy. Terms such as "rock psyche" or "progressif impose too many limits to apprehend this Anglo-French opus. Jean-Yves Labat de Rossi and his "partners in crime" were far too young, proud and ambitious ever to want to imitate the groups of the late 60's who nevertheless brought out "instant classics" with disconcerting ease.  

Baba Scholae is a stubborn entity that aimed at going forward to explore new territories with a freshness that prevented them from falling into the pitfalls of the ironic post modern pastiche that weights down many contemporary discs. "If it does not exist, it must be invented" such seemed to be the watchword of Baba Scholae which could rely on the recklessness of the young that allows progress to be made without following established tracks. Pioneers are not conscious of being so and allow themselves to make creations which their successors would never dare to imagine once the "tables of the law" of rock had been set in stone. 

In this sense, without knowing it, Baba Scholae enters into the family of artists and cross current groups who, even if they are inspired by their environment and their times, are not their prisoners. Some names?: Frank Zappa, Devo, Brian Eno and the Flaming Lips, are explorers who, in their own way, like "the Enterprise" of Star Trek, have all sampled worlds where man had never previously set foot. Some proofs?: 1984-Melancolia Street is a folk song stamped with Saudade that would not be amiss amongst the present day renewals of this musical style. 

Half Day could have been a title of Gorky's Zigotic Mynci with its accents of the school of Canterbury revisited. Kaleidoscope is a timeless pop song, perverse in its structure, that would make the galaxy of artists of the Elephant 6 collective such as Olivia Tremor Control green with envy. Keep it "rythmique", with its mixture of folklore and hypnotic playful pop, is worthy of the great moments of post-rock. 

I must stop here - or I could go on for hours, but I am sure you have grasped the gist of my remarks. Like the greatest uncut diamonds in the history of rock, Baba Scholae "69" is an exceptional record which could remain buried for several generations without losing its lustre. Let us meet in 2050 when I have no doubt that the musicologists and critics of the future will reach the same conclusion.

by Jean-Emmanuel Deluxe, July 2012

Tracks
1.1984 - Melancolia Street - 8.40
2. Half Day - 4.03
3. Will Meant Ciment - 2.10
4. Julius - 2.14
5. La Chasse Au Serpent A La Flute - 1.55
6. Go Down Sunset - 2.31
7. Telegram - 0.31
8. Song My (My Lai) - 3.29
9. Kaleidoscope - 2.02
10.Keep Rythmique - 4.04
11.Just Like George - 1.01
12.White Bird - 3.53
13.She's An Indian In Minor - 2.13
14.Song For A New Connection - 2.58
15.L'oeil Du Maitre - 4.44
16.1984 - Melancolia Street - 11.24
Lyrics and Music for all songs Labat de Rossi, Holbrook, Vigh, Baytis, Jones, Woodbine, Piat.

Baba Scholae
*Steve Baylis - Drums
*John Arthur Holbrook  - Lead Guitar, Keyboards, Vocals
*Alan Jones - Bass
*Jean-Yves Labat De Rossi - Flutes, Saxophone, Bombard, Keyboards, Vocals
*Jules Vigh  - Guitar, Melotro
*Woody Woodbine  - Lead Vocals

Free Text
Text Host

Caravan - Caravan (1968 uk, debut masterpiece, psych, early prog canterbury scene, japan SHM-CD remaster)

For their first album, Caravan was surprisingly strong. While steeped in the same British psychedelia that informed bands such as Love Children, Pink Floyd, and Tomorrow, Caravan relates a freedom of spirit and mischief along the lines of Giles, Giles & Fripp or Gong. The band's roots can be traced to a British blue-eyed soul combo called the Wilde Flowers. 

Among the luminaries to have passed through this Caravan precursor were Robert Wyatt, Kevin Ayers, and Hugh Hopper and Brian Hopper (pre-Soft Machine, naturally). By the spring of 1968, Caravan had settled nicely into a quartet consisting of Pye Hastings (guitar/bass/vocals), Richard Coughlan (drums), David Sinclair (organ/vocals), and Richard Sinclair (bass/guitar/vocals). 

Inspired by the notoriety and acclaim that Soft Machine encountered during the burgeoning days of London's underground scene, Caravan began a residency at the Middle Earth club. Additionally, the band was shopping a homemade demo tape around to local record companies. Before long, entrepreneur Tony Cox worked out a deal for them to record on the newly founded U.K. division of the Verve label. Caravan's self-titled debut is equally as inventive and infinitely more subtle than the Soft Machine's Volume One or Pink Floyd's Piper at the Gates of Dawn. Two of the album's best tunes -- the ethereal "Place of My Own" was backed with the dreamlike "Magic Man" -- were issued as the band's first single. 

Those tracks accurately exemplify the subtle complexities that Caravan would hone to great effect on later recordings. The same can also be said for album cuts such as "Love Song With Flute" and the extended nine-minute "Where but for Caravan Would I?" The latter title aptly exemplifies Caravan's decidedly less than turgid attitude toward themselves -- a refreshing contrast from the temperamental and serious Art School approach adopted by Pink Floyd and the Moody Blues. 

The mono and stereo mixes of the long-player are striking in their disparities. The stereo mix is at times opaque and virtually swallows the vocals most specifically on the tracks "Policeman" and "Grandma's Lawn." Otherwise, there are numerous additional nuances that discern the two. The single version of "Hello Hello" is also included as a bonus. This track was the follow-up 45 to "Place of My Own" and would appear in a slightly different form on their next LP, If I Could Do It All Over Again, I'd Do It All Over You.   

by Lindsay Planer

Tracks
1. Place Of My Own - 4:01
2. Ride - 3:42
3. Policeman - 2:44
4. Love Song With Flute - 4:10
5. Cecil Runs - 4:07
6. Magic Man - 4:03
7. Grandma's Lawn - 3:25
8. Where But For Caravan Would I Be (R. Coughlan, P. Hastings, B. Hopper, D. Sinclair, R. Sinclair) - 9:01
9. Place Of My Own - 4:01        
10.Ride - 3:42
11.Policeman - 2:44
12.Love Song With Flute - 4:10
13.Cecil Runs - 4:07
14.Magic Man - 4:03
15.Grandma's Lawn - 3:25
16.Where But For Caravan Would I Be (R. Coughlan, P. Hastings, B. Hopper, D. Sinclair, R. Sinclair) - 9:01
17.Hello Hello (Single Version Bonus Track) - 3:12
All compositions by  R. Coughlan, P. Hastings, D. Sinclair, R. Sinclair except where indicated.
Tracks 1-8 Mono album
Tracks 9-17 Stereo album

Caravan
*Pye Hastings – Guitar, Singer, Vocals
*Dave Sinclair – Electronic Organ, Organ, Piano
*Richard Sinclair – Bass Guitar, Bass, Guitar, Vocals
*Richard Coughlan – Drum Kit, Drums
Additional Musician
*Jimmy Hastings - Flute

Free Text
Text Host

The Herbal Mixture - Please Leave My Mind (1966 uk, fine blues garage beat)

Formed in London, England in 1966, Herbal Mixture consisted of Tony McPhee (guitar/vocals), Pete Cruickshank (bass) - both ex-members of John Lee’s Groundhogs - and Mike Meekham (drums). The new act’s name was inspired by McPhee’s interest in alternative medicine. 

Herbal Mixture secured a contract with Columbia Records, for whom they recorded two inventive singles. ‘A Love That’s Died’ married pop and psychedelia through McPhee’s fuzz guitar playing, while the atmospheric ‘Machines’ opens with startling effects, before progressing through contrasting moods heightened by further compelling guitar work. 

Herbal Mixture split up in 1967 having failed to achieve commercial success either on record or as a live attraction. In 1968 McPhee and Cruickshank were reunited in the Groundhogs. Please Leave My Mind compiles singles, demo versions and two previously unreleased tracks.  

Tracks

1. Rock Me Baby (Little Son Jackson) - 2:29

2. Shake It (C. Carter, J. Cruickshank) - 2:03

3. Some One to Love - 2:38

4. Hallelujah - 2:13

5. I'll Never Fall in Love Again (Stone) - 2:08

6. Over You Baby - 2:22

7. Please Leave My Mind - 2:38

8. a Love That Never Died - 2:43

9. Something's Happening - 1:53

10.Tailor Made - 1:56

11.Over You Baby - 1:57

12.Machines - 2:03

13.Please Leave My Mind #2 - 2:39

14.Tailor Made #2 - 1:58

15.A Love That's Died #2 - 2:27

16.A Love That's Died #3 - 2:29

All songs by Tony McPhee except where noted

Tracks 1-6 as The Groundhogs 

Herbal Mixture
*Tony McPhee - Guitar, Vocals
*Pete Cruickshank - Bass
*Mike Meekham - Drums

Free Text

Just Paste

Faine Jade - Introspection: A Faine Jade Recital (1968 us, wonderful trippy psychedelia, 25th anniversary silver series edition with bonus tracks)

One of the highly collectable LPs of the 1960s, Introspection: A Faine Jade Recital .  The Introspection LP comprises 10 songs that make up a minimalist psychedelic masterpiece. Using a few overdubs, the recording relies on the five-piece instrumental lineup behind Jade's decidedly Anglicized Long Island accent. 

The opening "Doctor Paul Overture" sets the stage for an album bursting with curiously of-center British-influenced psychedelic pop. "People Play Games" reveals Jade's hippie-era lyricism magic lanterns, scarlet scissors, and crystal cornucopia, while its percussive intro and jungle play-out suggests The Beatles' "Tomorrow Never Knows." "Ballad Of The Bad Guys" has a garage attack that benefits its title; A Brand New Groove" features a guitar riff that could have worked for the Rolling Stones; "Don't Hassle Me" proclaims the generation- gap chorus; "No-o-o! Don't you hassle me/ I'm trying to be young/ I'm trying to be free." 

The title track "Introspection" leans toward a catchy folk rock, while "Cold Winter Sun" allows Manzi to repeat a lick echoing "Than He Kissed Me" before launching into a clearly mismatched power trio vamp. Jade enshrines his Brit-pop-folk-garage rock influences in the imaginative "I Live Tomorrow Yesterday," an upbeat number that sounds like a hit single. "Grand Finale", a five-minute instrumental experiment, closes the LP with a layered mix of effects, backward tracking, and studio dissonance.

The brilliant psychedelic rock 'n' roll of Faine Jade passed through the orange-colored skies of 1968 like a pink and lavender comet, then was gone... Fortunately Jade left behind a wondrous album to detail his amazing, one-way voyage through the night skies. Introspection: A Faine Jade Recital details every deliciously enigmatic, Syd Barrett-inspired twist and turn of the short but sweet career of this mysterious artist. 

Since the hideously rare original LP now requires a mortgage from your bank, Sundazed, with the full cooperation of the artist, presents the perfect Faine Jade package, taken from the absolute master tapes with rare photos and liner notes based on a recent interview with Faine Jade, himself.

This 1994 CD 25th Anniversary Silver Series Edition (this copy is No #28) on Jade's Sandiland label was remastered from the first generation tapes by Faine himself. It also adds a few bonus cuts: backing instrumental demo tracks for a few of the songs, the previously unreleased brief instrumental "Piano Interlude," and a 1993 "reunion" performance. 

Tracks
1. Tune Up (Non-music Work) - 0:23
2. Doctor Paul Overture - 2:40
3. People Games Play (Faine Jade, Nick Manzi, Bruce Bradt) - 4:11
4. Cold Winter Sun Symphony In D Major - 3:14
5. I Lived Tomorrow Yesterday - 2:34
6. Ballad of the Bad Guys (1956 A.d.) - 4:23
7. Piano Interlude - 1:38
8. Introspection (Faine Jade, Nick Manzi, Bruce Bradt) - 3:36
9. In A Brand New Groove (Faine Jade, Jerry Simon) - 3:07
10.On The Inside There's A Middle - 5:39
11.Don't Hassle Me - 2:47
12.Grand Finale (Don't Hassle Me Part 2) - 5:30
13.Stand Together In The End (Theme From An Imaginary Beatles' ReunionOr Woodstock Reprise) - 4:18
14.Doctor Paul - 3:23
15.People Games Play - 3:40
16.Don't Hassle Me (Instrumental) - 6:00
All songs written by Faine Jade and Nick Manzi except where indicated.

Musicians
*Faine Jade - 12-String Hagstrum Solid Body Electric, Rhythm Guitar
*Nick Manzi - Guild Starfire Solid Body Electric, Lead Guitar
*Brian Cooke - Piano, Farfisa Organ, Hammond B-3, Keyboards
*Victor Muglia - Fender Electric, Bass Guitar
*Randy Skrha - Drums, Tamborine, Bongos, Percussion
*Bruce Bradt - Keyboards
*Kevin Chase - Electric Guitar

Related Act
1966-68  Bohemian Vendetta - Enough

Free Text

Just Paste

Tandyn Almer - Along Comes Tandyn (1966 us, impressive sunny psych folk, 2013 digipack release)

We recently lost another unsung genius from the cracks and crevices of 60s pop/psych. Tandyn Almer, who sadly passed in early 2013, would never become a household name, but you’ve definitely heard his work. Penning major tunes like “Along Comes Mary” for the Association, “Sail on Sailor” and “Marcella” for the Beach Boys, and countless other psych-tinged gems, Almer left behind a distinguished trail of well-crafted compositions. Luckily, and ironically (as I’m sure he would have enjoyed to see its official release), we have gained a new trove of lost work in Along Comes Tandyn, a collection of Almer’s demos from 1965-1966.

Originally written and recorded for Davon music, a small number of acetates labeled “The New Songs of Tandyn Almer” was circulated in order to shop his tunes to other recording artists. While some acts like The Sure Cure and Curt Boettcher’s The Ballroom took the bait, most of these tracks have remained unheard. The sound is definitely demo quality (all the better), the band generally led by a clangy electric guitar and sprinkled with bits of piano and harpsichord. 

The vocals soar with typical 60s harmony, the lyrics quite often along the same vein. You can tell Almer was a real musician’s musician, his tunes never compromise, always taking an unexpected turn and often for something quite complicated. Take a listen to the surprisingly hip “Everytime I Take You Back To Me” and just try to follow the changes; or check the classical piano work on “There’s Gotta Be a Way.” Even “Along Comes Mary” (not included here) ducks and weaves at every chance, delivering it’s punch where you’d least expect it.

Some of Almer’s other happenings of note include an interview in Leonard Bernstein’s Inside Pop – The Rock Revolution (a “serious” investigation into pop’s emergence as an art form), as well as a short-lived best friendship with Brian Wilson, allegedly ending in an enstranging three-way.  While not exactly loaded with clear winners (Face Down in the Mud” is a downright weirdo blues offering that would sound at home on FZ’s Only in it for the Money and some tracks sound a bit like psychedelic filler). 

Along Comes Tandyn is still an excellent comp of lost pop-psych with a satisfying garage sound. Essential for fans of complex pop, the full package includes excellent liners (with lots of information provided by Tandyn himself) and will turn anyone into a hardcore Tandyn fan. Count me a Fandyn.

by Brendan McGrath

Tracks
1. Find Yourself - 2:44
2. You Turn Me Around - 2:20
3. Anything You Want (T. Almer, G. Mekler) - 3:45
4. About Where Love Is - 2:11
5. Everytime I Take You Back To Me - 2:08
6. There’s Gotta Be A Way - 2:43
7. Alice Designs - 3:39
8. Face Down In The Mud - 4:09
9. Where Will They Go - 4:34
10.Escape - 3:27
11.Victims of Chance - 3:34
12.Bring Your Own Self Down (The Purple Gang) - 2:48
13.I Get High - 3:21
14.Menagerie of Man - 2:15
15.Sunset Strip Soliloquy - 4:05
Words and Music by Tandyn Almer unless otherwise stated.

*Tandyn Almer - Vocals, Piano

Free Text

Just Paste