The Lovin' Spoonful - Daydream (1966 us, magnificent folk, roots 'n' roll, japan bonus tracks edition and 2016 Blu Spec bonus tracks edition)

Paul McCartney said in 1967 that one of his favourite albums was "Daydream" by the Lovin' Spoonful. Without a question "Daydream" is a totaly plunge into sunshine -power psych-pop the wany only The Lovin Spoonful could. Their lead single, Daydream and its trademark whistle, may have been too much heard, even in commercials, it stays nonetheless infectious, John Sebastian perfectly captures the laziness of a warm summer's day! 

The rest of the album reach the same level, one feet in country and blues, clearly influenced by Sun Records, and the other one on the other side of the ocean in (Swingin') London and the British (Beat) Invasion. The best songs on the albums are two samplable beautiful gems, Didn't Want To Have To Do It and You Didn't Have To Be So Nice that will both make a gorilla drop its tear. 

In early 1965 as the "British invasion" dominated the American music scene, two rockers from Long Island, Steve Boone and Joe Butler, teamed up with two folkies from Greenwich Village, John Sebastian and Zal Yanovsky, to form the Lovin' Spoonful and go on to record and perform some of the songs that would dominate the charts and establish them among the greats of the mid-sixties era. 

Combining the best of folk music and rock and roll, with a touch of country thrown in, they gave us such hits as "Do You Believe in Magic," "Daydream," "You Didn't Have to be So Nice," "Nashville Cats" and the anthem for a hot July evening, "Summer in the City." All this in the span of 4 years and 5 albums. In addition to that they also wrote and performed two soundtrack albums for two directors very early in their careers, Woody Allen "Whats Up Tigerlily" and Francis Ford Coppola "You're a Big Boy Now."They toured almost constantly during this period and were one of the first rock bands to perform on college campuses almost as much as for teenage concert goers. 

In 1967 Zal Yanovsky left the band to pursue a solo career and was replaced by Jerry Yester, a member of the Modern Folk Quartet and friend of the band since its earliest days. All of the band's energy was soon focused on recording their fourth album the very ambitious Everything Playing. It was the first attempt for a rock band to record an album on the new Ampex 16 track tape recorder and quite a challenge it was. It was worth the effort however, producing hits like "Darlin' Be Home Soon," "Six O-Clock" and "She's Still A Mystery To Me" on the American charts and "Boredom" and "Money" in the UK and Europe. 

In June 1968 John Sebastian left the band to go solo and Joe, Steve and Jerry went back into the studio to record what would be their last hit single of the 1960's, "Never Goin' Back" with legendary Nashville session player Red Rhodes on pedal steel guitar. As 1969 approached the skies were darkening in Good Time Music land and sensing opportunities in individual endeavors the three remaining members went their separate ways with a promise to not let the spark go out. 

In 1991 a long awaited settlement with their record company inspired Joe and Steve to contact Jerry and start up the Lovin' Spoonful again. After a two month rehearsal in the Berkshire Mts., the group started touring anew, visiting over 150 cities and countries worldwide and reaching out to a whole new audience in addition to those that have enjoyed their music over the years.

by Adamus67 

Tracks
1. Daydream (Sebastian) - 2:21
2. There She Is (Sebastian) - 1:58
3. It's Not Time Now (Sebastian, Zal Yanovsky) - 2:49
4. Warm Baby (Sebastian) - 2:03
5. Day Blues (Joe Butler, Sebastian) - 3:15
6. Let the Boy Rock and Roll (Butler, Sebastian) - 2:34
7. Jug Band Music (Sebastian) - 2:53
8. Didn't Want to Have to Do It (Sebastian) - 2:39
9. You Didn't Have to Be So Nice (Steve Boone, Sebastian) - 2:29
10.Bald Headed Lena (Willy Porryman, Edward Sneed) - 2:25
11.Butchie's Tune (Boone, Sebastian) - 2:37
12.Big Noise from Speonk (Boone, Butler, Sebastian, Yanovsky) - 2:21
13.Fishin' Blues (Traditional) - 2:32
14.Didn't Want to Have to Do It (Sebastian) - 2:49
15.Jug Band Music (Sebastian) - 2:54
16.Daydream (Sebastian) - 3:19
17.Night Owl Blues (Boone, Butler, Sebastian, Yanovsky) - 4:40

The Lovin' Spoonful
*John Sebastian – Vocals, Guitar, Autoharp
*Steve Boone – Bass, Vocals
*Joe Butler – Drums, Percussion, Vocals
*Zal Yanovsky – Electric, Acoustic Guitar, Vocals

1965  Do You Believe In Magic (2016 Blu Spec Bonus Tracks Edition)
1966  Hums Of The Lovin' Spoonful  (2016 Blu Spec Bonus Tracks Edition)
1966 The Lovin' Spoonful - What's Up, Tiger Lily (2008 japan remaster) 
1967-68  You're A Big Boy Now / Everything Playing (2011 edition and 2016 Blu Spec Bonus Tracks Edition)
1969  Revelation: Revolution '69
Related Acts
1969-76  John Sebastian - Faithful Virtue, The Reprise Recordings 
1969  Judy Henske And Jerry Yester - Farewell Aldebaran 

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Steppenwolf - For Ladies Only (1971 canada, one more classic, 2013 SHM remaster)

Steppenwolf became a big-name group on the basis of their driving arrangements and John Kay’s growling vocals. So any attempt by the group to venture into areas beyond “Born to be Wild-Magic Carpet Ride” syndrome would almost inevitably receive a lukewarm reception from the critics.

With the Steppenwolf Seven album, many times the group bordered on being soft, almost pretty. For Ladies Only crosses the line and becomes mellow. With the title cut, the group employs a lengthy piano solo to bridge some fine rock ‘n’ roll. Although the solo’s six minutes may be a bit too long, the cut comes off well in spite of itself.

As if to remind the listener that their style of old is not lost forever, there is the cut “Ride With Me.” Not only does it contain the familiar, “Hop-on-my-bike-and-let’s-ride-into-the-sunset,” theme, but the commercial potential of the tune is staggering. In fact, I’m still miffed at why the single didn’t go anywhere on the charts.

While musically the LP is worthwhile, lyric-wise it just doesn’t say a thing that one couldn’t hear within five minutes worth of top-forty. Although the title suggests Women’s Lib, and several tunes inaudibly discuss it, it uses that “Eric Burdon Three Minute Answer To the Problems of the Earth” technique. Steppenwolf has never concentrated on a central theme for an LP in the past, and in the future, perhaps it would be wise to apply the talent of the group to the arrangements, where they are unique.

The inside photograph is priceless. A spiffy little roadster is parked outside Grauman’s Chinese Theatre. A small crowd is gathered around gaping at the custom-built vehicle made to resemble a male organ. Vein and all. A cop is supposedly writing out some kind of citation. The picture alone is worth the price of the album, to coin a phrase.

For Ladies Only represents, for Steppenwolf, a branching out into new directions, which is a healthy sign for them The LP could be best described as a transitional one in which Steppenwolf wants to retain it’s roots, yet wishes to stay out of a particular mold at the same time.

by Cameron Crowe for San Diego Door, January 13, 1972  – January 27, 1972

Tracks
1. For Ladies Only (J. Edmonton, K. Henry, J. Kay, G. McJohn) – 9:13
2. I'm Asking (Edmonton, McJohn) – 4:25
3. Shackles And Chains (Kay) – 4:57
4. Tenderness (Mars Bonfire) – 4:51
5. The Night Time's For You (Bonfire, Morgan Cavett) – 2:56
6. Jaded Strumpet (Edmonton) – 4:40
7. Sparkle Eyes (G. Biondo, Kay) – 4:29
8. Black Pit (Henry, McJohn) – 3:46
9. Ride With Me (Bonfire) – 3:15
10.In Hopes Of A Garden (Biondo) – 2:01
11.For Madmen Only (Edmonton, McJohn, Biondo) - 8:49
12.For Ladies Only (Single Version) (J. Edmonton, K. Henry, J. Kay, G. McJohn) – 3:31

Steppenwolf
*John Kay - Vocals, Guitar
*Kent Henry - Lead Guitar
*George Biondo - Vocals, Bass Guitar
*Goldy McJohn - Keyboards
*Jerry Edmonton - Drums
 
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)
1969  Monster (2013 japan SHM issue)
Related Act
1968  John Kay and the Sparrow
1972  John Kay – Forgotten Songs and Unsung Heroes

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The Forum Quorum - The Forum Quorum (1968 us, enjoyable pop psych with some kitsch essence, 2012 Aurora issue)

The Forum Quorum comprises a group of Greek and Italian boys who dispense what manager Hal Davis calls a 'Mediterranean sound'. Lead instruments are electric bouzouki, placed by Sturg Pardalis, and shepherd's flute, played by Roger Galleo. 

Pardalis doubles on electric guitar and Galleo on organ. Co-partner of Pardalis is Sal Palazzolo. Others include Mike Battalia on bass and Brian Albano on drums. The lead singers are Pardalis, Palazzolo and Galleo, who write most of the material for the group.

The age range is 17 to 19. Musical mentor of the combo is Gus Pardalis, director of the music department of a Queens, NV Junior High School and a composer. Ad man Davis has provided promotional and marketing advice, and has already implemented a many sided campaign. This includes a Decca Records contract, a movie. Mission To Mars, with Darrin McGavin and Nick Adams, and publication of a book in two months by Grosset & Dunlap titled How To Form A Rock Group. 

Additionally, they have recorded the Girl Scout theme song, Follow The Piper, planned as a special project through that organization. Backing this up are engagements on the Mike Douglas Show, the Cheetah, teen clubs, commercials for Sattler's department store in Buffalo, a national TV commercial and nightly sessions at the group's home base in Astoria, NJ. Davis keeps the group under strict discipline. "I want them to realize the meter is running," he says. 

He seeks to inculcate them with what is happening on the contemporary scene, and its relation to the past and future. "I want them to be articulate spokesmen of the world of rock," he says, "just as I expect their booh to be a guide to the rock business for young groups"

Billb/rd, February 17th 1968

Tracks
1. Girl Make Up Your Mind (Roger Calleo, Sal Palazzolo, Sturg Pardalis) - 3:01
2. Monologue (Gus Pardalis) - 2:41
3. 51st Though (Sal Palazzolo) - 3:39
4. There's No Runnin' Away (Sturg Pardalis) - 2:58
5. A Summer's Day (Sturg Pardalis) - 2:22
6. Misery (Roger Calleo) - 2:36
7. Your Turn To Cry (Sal Palazzolo) - 2:42
8. No More Tears (From The Sagittarius Production "Mission Mars") (Gus Pardalis) - 2:55
9. (I Wanna) Testify (Darwin Taylor, George Clinton) - 4:49
10. Just The Same (Sturg Pardalis) - 2:40
11. Synopsis (Roger Calleo, Sturg Pardalis) - 3:53

The Forum Quorum
*Sturg Pardalis - Vocals, Electric Guitar, Electric Bouzouki
*Sal Palazzolo - Rhythm Guitar
*Roger Calleo - Organ, Flute
*Brian Albano - Drums
*Bobby Castaldo - Bass

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Caravan - Waterloo Lily (1972 uk, incredible progressive rock, canterbury scene, japan extra tracks remaster)

David Sinclair departed Caravan and Steve Miller arrived. If that was a reason this album ditches a lot of the nice, folksy pop songs of 'In The Land Of...' to replace them with long, jam based tunes - then that was a line-up change to be regretted! The playing remains exemplary, but there are few actual songs here. The opening title track is a case in point. I'm not going to be harsh or anything, because this does still contain melody amid the many instrumental parts and solo parts that are always impressively played - but there is something a little soulless about this. 

The second track just really continues from the first, but is ever more jam based, sounds like it wasn't so much written as made up from hours of improvisation. It doesn't sound like a song, lacks a central theme or melody but does contain lots of great playing. It's not bad, don't get me wrong. It's actually fairly enjoyable but it lacks a certain character and distinctiveness. 'Songs And Signs' is better from a writing point of view. It's less than four minutes long, opens with very quiet, mellow vocals and a fairly bare musical backing. But, an atmosphere is created. It's not song packed with thrills or melody but it does withstand repeated listening, and actually gains from such listening.

'Aristocracy' is a nice little piece of funky playing and in fact, would have made a great album opener! It would have indicated a change of style and/or pace but not alienated fans of the groups previous records. 'The Love In Your Eye' suite is twelve minutes long. It opens with some nice string parts around a very quiet and mellow vocal. The bass comes in, the drums - the song picks up pace whilst remaining nicely mellow. The strings add to the track rather than become an unnecessary embellishment, and this is enjoyable listening. It does descend slightly towards a mindless Jam to close, but never mind that for now. 

'The World Is Yours' wraps up the album, and actually becomes a highlight of the entire record for me. This is a lot simpler in structure than much else of what's contained on the album, has a nice melody and comes across as charming within well played instrumental parts rather than relying on well played instrumental parts to carry the track alone. We need melody in this world, and 'The World Is Yours' has plenty of it! A nice enough album on the whole, this 'Waterloo Lily' - there is nothing really bad here, but equally so few genuine highlights. The quality of the playing earns it an extra half point to bring it above being disposable.

by Adrian Denning

Tracks
1.  Waterloo Lily - 6:47
2.  Nothing At All /It's Coming Soon  (S. Miller)/ Nothing At All - Reprise - 10:25
3.  Songs And Signs (S. Miller) - 3:39
4.  Aristocracy - 3:03
5.  The Love In Your Eye / To Catch Me A Brother / Subsultus / Debouchement / Tilbury Kecks - 12:31
6.  The World Is Yours - 3:41
7.  Pye's June Thing - 2:57
8.  Ferdinand - 2:57
9.  Looking Left, Looking Right /Pye's Loop  - 6:56
All songs by R. Coughlan, P. Hastings, R. Sinclair except where indicated

Caravan
*Richard Coughlan - Drums, Percussion
*Pye Hastings - Vocals, Guitars
*Steve Miller - Keyboards
*Richard Sinclair - Vocals, Bass
Guests
*Mike Cotton - Trumpet
*Lol Coxhill - Soprano Saxophone
*Colin Frechter - String Arrangement
*Jimmy Hastings - Flute, Tenor Saxophone
*Phil Miller - Guitar
*Barry Robinson - Oboe

the journey of Caravan
1968  Caravan (Japan SHM remaster)
1970  If I Could Do It All Over Again, I'd Do It All Over You (Japan SHM remaster)
1971  In The Land Of Grey And Pink (Japan SHM remaster)

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Jim Capaldi - Oh How We Danced (1972 uk, great debut solo album, 2012 extra track edition)

Jim Capaldi began his solo career just as Traffic had reached their peak, releasing his solo debut Oh How We Danced in early 1972, not long after the high-water marks of John Barleycorn Must Die and The Low Spark of High Heeled Boys. 

Oh How We Danced isn't so much a break from Traffic but a detour, one where he's joined by then-current and former bandmates (Steve Winwood and Dave Mason, respectively), assisted by Free's Paul Kossoff, the Move's Trevor Burton, Rick Gresch, Jim Gordon and the Muscle Shoals Horns, among other rock luminaries. 

In feel, this isn't much different than early-'70s Traffic, but the album is quite different in form, relying less on the winding, jazzy improvisations than well-worn, soulful grooves, given heart and by both the Muscle Shoals Horns and Kossoff, who particularly tears it up on a drastic reworking of the Al Jolson-written title track. 

For as much fire there is here and elsewhere ("Love Is All You Can Try" works up a good head of steam), Oh How We Danced is distinguished by its mellow vibe, generated by the genial familiarity of the players, Capaldi's sweet, unassuming voice, and the emphasis on his set of strong songs instead of the virtuosity of his musicians. 

by Stephen Thomas Erlewine

Tracks
1. Eve - 3:43
2. Big Thirst - 5:30
3. Love Is All You Can Try - 3:30
4. Last Day Of Dawn - 4:40
5. Don´t Be A Hero - 6:00
6. Open Your Heart - 4:07
7. How Much Can A Man Really Take? - 5:25
8. Oh How We Danced - 4:30
9. Going Down Slow All The Way - 3:21
All compositions by Jim Capaldi except "Big Thirst" co-written with Dave Mason

Musicians
*Jim Capaldi - Lead Vocals, Piano, Acoustic Guitar
*David Hood - Bass
*Roger Hawkins - Drums
*Barry Beckett - Piano, Organ
*Jimmy Johnson - Electric Guitar
*Paul Kossoff - Electric Guitar
*Dave Mason – Harmonica, Electric Guitar
*Steve Winwood – Organ, Backing Vocal, Guitar
*Chris Wood - Flute, Electric Saxophone
*Ric Grech - Bass
*Jim Gordon - Drums
*Rebop Kwaku Baah - Percussion, Congas
*Trevor Burton - Bass
*Mike Kellie - Drums
*Bob Griffin - Piano On
*Sunny Leslie - Backing Vocal

1973-74  Jim Capaldi - Whale Meat Again (2012 remaster)
Related Acts
1966-68  Deep Feeling - Pretty Colours

1969  Traffic - Last Exit (SHM remaster)

1970  Traffic - John Barleycorn Must Die (Japan SHM and 2011 deluxe double disc edition)

1971  Traffic - Welcome To The Canteen (SHM remaster)
1973  Traffic - On The Road (SHM remaster)

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Roger Rodier - Upon Velveatur (1972 canada, smooth post psych folk rock, 2006 sunbeam reissue)

It can be a bit of a mystery why some artists develop successful careers and other equally talented individuals never make it off the ground, languishing instead in obscurity and penury. Take Roger Rodier, for example. A French-Canadian folk-singer-songwriter who recorded two singles in the late '60s before releasing the album Upon Velveatur in 1972. This LP created the tiniest of ripples and promptly sank without a trace, leaving Rodier little choice but to leave the music business and get on with some other kind of life. 

Yet, on the strength of this album (released now on CD for the first time) he probably could have achieved a great deal more. For the most part, this is a collection of dreamy, introspective folk-rock tunes that sound very much aligned with the British early '70s folk boom. More specifically, the sound is reminiscent of Nick Drake's work circa Bryter Layter : acoustic guitar, melancholy melodies, hushed vocals and lush orchestration combine to create a sense of space and unhurried purpose. 

Take, for example "My Spirit's Calling" and its evocation of the same mournful philosophising as Drakes "River Man", like a sigh and a shrug in the face of insurmountable cosmic sadness.. "While My Castle's Burning" is an angry, despairing cry with aggressive strumming, electric guitar breaks and unhinged, wordless shouts and snorts that almost make up for the unfocussed, impenetrable nature of the theme. It's kind of like a protest song sung to oneself. when no one else was meant to be listening.

To these ears, the most successful tracks are those that move away from the pastoral, tea-on-the-lawn aesthetic and embrace West-Coast American, electric folk-rock. "Am I Supposed to Let It By Again?" has an unmistakeable touch of Crosby Stills and Nash, all big harmonies in the chorus and electric fuzz guitar solos. Meanwhile "Just Fine"'s loping drums and soaring verses bring to mind some of Neil Young's most inspired moments. "Let's See Some Happyness", with it's bluesy riff and voluptuous, gospelised backing vocals, could be an outtake from Stephen Stills' first solo album.

Perhaps the comparisons are unfair. Rodier was clearly a very real talent on his own terms. Who knows - if he'd had the chance to make more records and develop his art, he could have done something really memorable. As it is, this remains an enjoyable and entertaining snapshot of early '70s songwriting and heartfelt attempts at musical expression.

by Daniel Spicer

Tracks
1 Listen to These Chords I Play (Celeste) - 3:11
2 My Spirit's Calling - 5:05
3 Am I Supposed to Let It by Again? (Above the Covers) - 4:07
4 The Key - 4:01
5 While My Castle's Burning - 4:19
6 You Don't Know What It's Like - 4:11
7 Just Fine - 3:59
8 Let's See Some Happyness - 4:55
9 Easy Song - 3:31
10 L' Herbe - 2:40
11 Tu Viendras - 3:06
12 Have You? - 3:13
13 Overseer - 2:46
All songs by Roger Rodier
Bonus Tracks 9-13

Musicians
*Roger Rodier - Guitars Vocals
*Red Mitchell - Electric Guitar
other musicians unknown

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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)

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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

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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

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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

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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

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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

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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

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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" 

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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

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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

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