Howard Werth And The Moonbeams - King Brilliant (1975 uk, smart glam prog rock)

Howard Werth kick-started his music career with The Lloyd Alexander Blues Band in the sixties (and he doesn't remember it because he was there!), playing  a range of music covering the r'n'b / soul / Motown / psychedelia spectrum, and gigging round the circuit at that time, which included such West End all-night haunts as the Flamingo and the Whiskey A (Jo-Go (later to become The Wag Club), as well as thriving suburban venues such as the Blue Opera Clubs. These places all attracted the Motown mods, the art school blues and psychedelic crowds that dominated what was the burgeoning underground scene of that time.

The Lloyd Alexander Blues Band supported U.S. blues legends such as Jimmy Reed, and were the house band at the Uppercut Club in Fast London at a time when artists such as Otis Redding and Jimi Hendrix played there (Hendrix wrote Purple Haze in the dressing room).

Howard was searching for a new set of cultural references and musical triggers to draw from, which culminated in him forming Audience in 1 969. After a debut album for Polydor (reissued on CD by RPM Records). Audience recorded three more great albums for Charisma (now available through Virgin, along with a compilation). At the end of a very productive and hard working four years - w h i c h saw Audience play extensively around Britain, Europe and America (supporting Rod Stewart and The Faces in 1971) - the band were exhausted and in need of new impetus, and split up.

It was at this point that Howard began to work on his first solo album "King Brilliant". Gus Dudgeon produced and the core of the Elton John band provided the hacking, with the help of Bob Weston, fresh from his lime with Fleetwood Mac. The first two tracks to be laid down were ''Lucinda", a single that received a lot of airplay , and "Fading Star", which were recorded with members of Kokomo plus Davey Johnstone from Elton's band. Because of the limitations of vinyl , the track "Mechanical Dream", recorded during the sessions, had to be left off- and this hidden gem (which had never even been mixed) appears here for the very first time. A haunting, atmospheric piece, it sits perfectly with the rest of the material.

It was during the making of this album that Howard was approached by The Doors and asked to fill the space left by Jim Morrison. The Doors flew to England, and Howard spent some time rehearsing with them, but after some agonizing and deliberation, Ray Manzarek decided against The Doors reforming and the project floundered.

However Howard was later to reunite with Ray in Hollywood, where they worked together extensively on Howard's songs, some of which would later be re-worked to form the basis of the album "Six Of One", which was originally released on Howard's own METABop! label. 

Howard has stayed involved with music and following the reissue of these two classic solo albums, will be issuing a brand new recording on Luminous shortly. He is also planning to go back on the road playing selected gigs. He will also he contributing to an upcoming Doors tribute album at the request of Ray Manzarek....

Liner-Notes

Tracks
1. Cocktail Shake - 2:59
2. Got To Unwind - 4:50
3. The Embezzler - 4:28
4. A Human Note - 2:47
5. Ugly Water - 6:03
6. Midnight Flyer - 4:12
7. Fading Star - 3:03
8. Dear Joan - 3:12
9. Roulette - 3:28
10.The Aleph - 5:48
11.Lucinda - 3:07
12.Mechanical Dream - 4:21
All songs by Howard Werth

Personnel
*Howard Werth - Vocals, Guitar
*Bob Weston - Guitar
*Mike Moran - Piano
*Freddy Gaudy - Bass
*John Gustafson - Bass
*Roger Pope - Drums

Audience discography
1969 Audience (2002 remaster edition)
1971  House On The Hill (2015 Esoteric)
1972  Lunch (2015 Esoteric)

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The Rainbow Press - There's A War On / Sunday Funnies (1968-69 us, beautiful groovy psych, 2005 edition)

Marc Ellis and William H. Yergin were high school friends, In the fall of 1967, Ellis told him about a friend from Suffern, N.Y., on the Hudson River, who was looking for other band members. So, that summer, Yergin and five others jammed together. Halfway through the summer, they auditioned in New York City at the same theater used by Ed Sullivan.

The band subsequently logged its first contract in middle of the summer of 1968. The recording company, Mr. G, was a division of Audio Fidelity Records, Inc., which was the first company nationally to release a true stereo record, a revelation in the mono-heavy time.  Cashbox and Record World magazines, which featured industry news, named Rainbow Press picks of the week. The band’s record company wanted a second album, “Sunday Funnies,” which was recorded around Christmas 1968 and released in the spring of 1969.

“There's A War On” is excellent late '60s soft rock with more than just a touch of psychedelia about it. The ten well-crafted songs are all original, and are delivered smoothly by a tight 6-piece band dominated by Groff's superb vocals. The album's name and the eponymous track are as close as we get to political posturing, which is a great relief as the lack of prosletising let's the strength of the song writing and the band's performance shine through. There are loads of tight vocal harmonies, and plenty of fuzz guitar liberally dispensed throughout this polished and very enjoyable record."

The second LP "Sunday Funnies" was recorded during Christmas vacation at the 8 track studio A&R in NYC. It was released in the Spring of 1969, with the release of the single "Great White Whale". The Rainbow Press was truly a studio band, never going on the road to perform as the Rainbow Press. The group went its separate ways that summer. Yergin went to Case Western Reserve University and became a dentist. Marc and Larry are still in the music industry, Dave uses his musical abilities in his career.

the Maple Leaf

Tracks
There's A War On 1968
1. Step Aboard (Marc Ellis) - 3:10
2. A Simple Way (Marc Ellis) - 2:33
3. Cyclic Epic (The Song Of The Barnegat Mosquito) (Larry Milton) - 4:10
4. Better Way (Marc Ellis) - 2:38
5. The Girl That Cannot Love (Marc Ellis) - 4:49
6. There's A War On (Marc Ellis) - 4:20
7. Lightning Streak (Larry Milton) - 2:41
8. I've Found Someone (Larry Milton, Dave Troup, Joe Graff) - 3:14
9. Our Country's Still O.K. (Marc Ellis) - 3:51
10.No One Follows The Daytime (Larry Milton) - 3:38
Sunday Funnies 1969
11.Sightseeing (Marc Ellis) - 3:15
12.Great White Whale (Marc Ellis) - 2:35
13.The Lost Platoon (Ellis, Milton) - 4:30
14.I'll Cry Instead (John Lennon, Paul Mccartney) - 3:28
15.You Warmed Up My Life (Marc Ellis) - 3:45
16.As I Went Out One Morning (Bob Dylan) - 3:44
17.Have You Ever (Larry Milton) - 3:11
18.Sing Your Song (Larry Milton) - 3:22
19.Definitions (Larry Milton) - 3:59
20.Smitty's Rainfall (Larry Milton, Siegal) - 3:41

The Rainbow Press
*Dave Troup - Electric Bass
*Larry Milton - Electric Piano, 12 String Guitar
*Joe Groff – Tambourine,  Maracas
*Marc Ellis - Guitar
*Charlie Osborne - Organ
*Bill Yergin - Percussion

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Jesse Winchester - Jesse Winchester / Third Down 110 To Go (1970-72 us / canada, amazing folk country bluesy rock, 2012 remaster issue)

Jesse Winchester was one of the top singer-songwriters of his generation. This talented artist was born and raised in the American South, but relocated to Canada to avoid being drafted. His early inability to tour in the US may have permanently stunted his commercial success as a recording artist, since he never achieved sales commensurate with his artistic achievements.

After growing up in Memphis, Winchester received his draft notice in 1967 and moved to Montreal, Canada, rather than serve in the military. In 1969, he met Robbie Robertson of the Band, who helped launch his recording career. In the same way that James Taylor's history of mental instability and drug abuse served as a subtext for his early music, Winchester's exile lent real-life poignancy to songs like "Yankee Lady," which appeared on his debut album, Jesse Winchester (1970). He became a Canadian citizen in 1973. 

Jesse's debut  was released in a fold-out LP jacket that featured the same sepia-toned portrait (which looked like one of those austere Matthew Brady photos from the Civil War era) on each of its four sides. Winchester emphasized the dichotomy between his southern origins and his northern exile in songs like "Snow" (which Robertson co-wrote), "The Brand New Tennessee Waltz" ("I've a sadness too sad to be true"), and "Yankee Lady." Jesse Winchester was timely: it spoke to a disaffected American generation that sympathized with Winchester's pacifism. But it was also timeless: the songs revealed a powerful writing talent (recognized by the numerous artists who covered them), and Winchester's gentle vocals made a wonderful vehicle for delivering them. [Originally released by Ampex in 1970.

His two-and-a-half-years-in-the-making follow-up was in some ways even more impressive. Without the influence of Robbie Robertson, Winchester, who produced most of the album himself (three tracks were handled by Todd Rundgren), gave it a homemade feel, using small collections of acoustic instruments, an appropriate setting for a group of short, intimate songs that expressed a deliberately positive worldview set against an acknowledgement of desperate times. Winchester found hope in religion and domesticity, but the key to his stance was a kind of good-humored accommodation. "If the wheel is fixed," he sang, "I would still take a chance. If we're skating on thin ice, then we might as well dance." The album was littered with such examples of aphoristic folk wisdom, adding up to a portrait of a man, cut off from his very deep roots and yet determined to maintain his dignity with grace and even occasionally a goofy sense of humor. 

by William Ruhlmann

Tracks
Jesse Winchester 1970
1. Payday - 2:55
2. Biloxi - 3:21
3. Snow - 2:24
4. The Brand New Tennessee Waltz - 3:09
5. That's A Touch I Like - 2:50
6. Yankee Lady - 4:03
7. Quiet About It - 2:30
8. Skip Rope Song - 2:27
9. Rosie Shy - 3:06
10.Black Dog - 4:44
11.The Nudge - 3:34
Third Down 110 To Go 1972
12.Isn't That So? - 2:29
13.Dangerous Fun - 2:08
14.Full Moon - 2:06
15.North Star - 2:02
16.Do It - 1:31
17.Lullaby For The First Born - 2:57
18.Midnight Bus - 2:20
19.Glory To The Day - 3:50
20.The Easy Way - 1:33
21.Do La Lay - 1:57
22.God's Own Jukebox - 1:44
23.Silly Heart - 2:55
24.All of Your Stories - 2:38
All songs by Jesse Winchester except track #3 which is co-written with Robbie Robertson

Musicians
1970  Jesse Winchester 
*Jesse Winchester - Guitar, Keyboards, Piano, Vocals
*Guy Black - Drums
*Bob Boucher - Bass, Keyboards, Standup Electric Bass
*Al Cherney - Violin
*Levon Helm - Drums, Mandolin
*Dave Lewis - Drums
*Ken Pearson - Keyboards, Organ, Piano, Vibraphone
*David Rea - Guitar, Vibraphone, Vocals
*Robbie Robertson - Guitar

1972  Third Down, 110 to Go
*Jesse Winchester - Guitar, Keyboards, Piano, Vocals
*Charles Viber - Violin
*Doug Schmolze - Guitar
*N.D. Smart II - Drums
*Jimmy Oliver - Bass
*Gordie Fleming - Piano
*Ron Frankel - Drums
*Amos Garrett - Guitar, Vocals
*Sam Kelly - Bongos, Conductor, Congas
*Don Abrams - Percussion
*André Benichou - Guitar
*Bob Boucher - Bass
*Gene Cotton - Bass

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Swallow - Out Of The Nest (1972 us, awesome brass jazz blues funky rock, 2010 edition)

The first album from Swallow was produced by Jean Paul Salvatori, who put together the excellent Bootleg Him! double LP of Alexis Korner material this same year, 1972. Jeff "Skunk" Baxter of Ultimate Spinach, later with Steely Dan and the Doobie Brothers, appears on "Come Home Woman," an original from bassist Vern Miller Jr., who was part of the band who opened for the Beatles in 1966, the legendary Barry & the Remains. Miller's presence adds collectability to this debut. "Come Home Woman" would have been perfect for Alexis Korner, come to think of it, a bluesy lament which begins with Baxter's wonderful guitar work and picks up steam, letting George Leh open up and battle the horns -- the voice and instruments stir things up so fine. 

"Aches and Pains" is one of the four Vern Miller Jr./George Leh co-writes, and it is gospel-tinged blues which spills over onto "Common Man." There's real personality here, music perhaps a little too earthy for the Blood, Sweat & Tears crowd, but authentic to the max. Recorded and mixed where Aerosmith cut "Dream On" and where Jonathan Edwards of Orphan tracked "Sunshine," "Out of the Nest" is post-Bosstown serious singing and playing. When it is all instrumental, as on pianist/tenor saxman David Woodford's "Shuffle," Boston veteran Parker Wheeler gets a chance to give a counterpoint to J. Geils Band harp player Magic Dick. 

The harmonica on "Shuffle" admirably replaces George Leh's distinctive vocal. Leh's got that Nick Gravenites gravel growl on "Something Started Happening," a tune with charging dynamics, perhaps this band's strong suit. Miller's "Brown Eyed Baby Boy" is a plea for love with a solid hook that would work well for the Remains since that group started recording again in the new millennium. The Staple Singers' composition "Why Am I Treated So Bad," also covered by Cannonball Adderley and the Sweet Inspirations, adds another dimension to the mix, the organ of Bob Camacho getting to have its say. Mick Aranda's creative drumming is also worthy of note. Out of the Nest is an excellent document of early-'70s Boston roots rock/blues music with just a touch of jazz. This would make a nice two-fer with its follow-up, 1973's self-titled Swallow. 

by Joe Viglione

Tracks
1. Something Started Happening (V. MIller, G. Leh) - 3:35
2. Brown Eyed Baby Boy (V. Miller) - 4:44
3. Jason (V. Miller, G. Leh) - 2:43
4. Why Am I Treated So Bad (K. Staples) - 7:02
5. Confusion, Sadness, Trouble (V. Miller, G. Leh) - 4:48
6. Come Home Woman (V. Miller) - 5:05
7. Aches And Pains (V. Miller, G. Leh) - 4:08
8. Common Man (V. Miller, G. Leh) - 3:02
9. Shuffle (D.Woodford) - 3:22

Swallow
*George Leh - Lead Vocals
*Parker Wheeler - Vocals, Harp
*Vern Miller Jr - Bass, Guitar, Vocals
*David Woodford - Tenor Sax
*Phil Green - Guitar
*Mick Aranda - Drums
*Bob Camacho - Keyboards
*Jay Dewald - Trumpet
*Andy Harp - Trumpet
*Kerry Blount - Sax
*Gordan Kennedy - Trombone
*Jeff Baxter - Steel Guitar On "Come Home Woman"

1973  Swallow - Swallow (2010 issue)

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Wet Willie - Wet Willie (1971 us, superb southern rock, hard funky rhythm 'n' blues, 2015 japan SHM remaster)

Wet Willie began as a thrown together blues-rock band during the magical Summer of 1969 "way down in Alabama"...(Mobile, to be precise). The original nucleus of the group that eventually became known as Wet Willie was called Fox. The first "gig" was a booking in Panama City, Florida at a club called the Oddessy, a geodesic dome right on the beach. 

Jimmy Hall was out front, a triple threat on lead vocals, sax and harmonica; as one writer said, “Jimmy was who Mick Jagger wanted to be!” Ricky Hirsch played guitars and wrote or co-wrote much of the band’s material, with Jack Hall, Jimmy’s brother, on bass, Lewis Ross on drums and John Anthony on keyboards.

The band relocated to Macon, Georgia in 1970 where they were signed by Phil Walden’s Capricorn label, and got right to work on their self-titled first album. Upon its release later that year, Wet Willie began a relentless touring schedule, and soon became known as one of the hardest working bands of the Southern Rock era. As they put it, they “opened for everyone from A to Z: Allman Brothers to ZZ Top!”

Wet Willie's eponymous debut is a superb slice of Southern rock. The band occasionally is  getting into bluesy improvised sections, but their main talent is for laidback Southern grooves.

Tracks
1. Have A Good Time (Maurice Richard Hirsch) - 3:41
2. Dirty Leg (Jack Hall, John Anthony) - 3:41
3. Faded Love (Frank Friedman) - 4:31
4. Spinning Round (Frank Friedman) - 4:18
5. Low Rider (Maurice Richard Hirsch) - 3:01
6. Rock And Roll Band (Maurice Richard Hirsch) - 2:48
7. Pieces (Maurice Richard Hirsch) - 3:12
8. Shame, Shame, Shame (Jimmy Reed) - 3:22
9. Beggar Song (Frank Friedman) - 4:18
10.Fool On You (Frank Friedman) - 7:17

The Wet Willie 
*John Anthony - Organ, Piano, Vocals
*Jack Hall - Bass, Vocals
*Jimmy Hall - Harmonica, Percussion, Tenor Sax, Vocals
*Ricky Hirsch - Guitar, Vocals
*Lewis Ross - Drums, Percussion
With
*Donna Hall - Vocals

The Wet Willie Highway Ride
1972  Wet Willie - Wet Willie II
1973  Wet Willie - Drippin' Wet Live
1974  Wet Willie - Keep On Smilin
1975  Wet Willie - Dixie Rock
1976  Wet Willie - The Wetter The Better
1977  Wet Willie - Left Coast Live
1977/79  Wet Willie - Manorisms / Which One's Willie? (2013 Edition)

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Havenstreet - The End Of The Line / Perspectives (1974-77 uk, brilliant progressive folk rock, 2014 two disc set)

The genesis of Havenstreet goes back to 1969, when Phil Ridgway and Jeff Vinter played in The Gas, an experimental psychedelic band heavily influenced by Barrett-era Pink Floyd. The two friends started to write songs their own songs, ending up as a folk duo. With the offer to record some of their material at a friend's studio, they recruited more musical friends…so Havenstreet was born.

The influences had expanded now to bands and artists such as Peter Hammill, Strawbs, Traffic, Procol Harum, Stackridge, Keith Tippett, Bert Jansch…In the early-mid 70s they recorded a couple of albums which circulated as private cassettes among friends and relatives. In 1977, Havenstreet released "The End Of The Line", a self-released album in a private edition of 250 copies. It was collection of very English songs with evocative, literate lyrics and a stunning progressive folk-rock sound. It featured one of the earliest known tributes to Syd Barrett on the song "When the madcap meets the world".

This expanded double set reissue of Havenstreet's sought after album includes, the original "The End of the Line" album from 1977, a new album called "Perspectives" which presents the best tracks from the privately pressed cassettes The Autumn Wind (1974) and Transition (1976) plus rehearsal recordings for The End of the Line (1975/1976) and previously unreleased recordings for the group's projected fourth album (1979), which was never completed. These amazing tracks range from electric acid-folk to Barrett-esque psych-pop, pastoral folk and Caravan styled prog-rock.

Guerssen  

Combining the back-to-basics acoustic feel of the nu-folk generation with a swirly, psychedelic vibe, "The End of the Line" could actually be an album that was made in 2014. But this album was privately released in 1977. Now finally remastered and brought into the present, the retrospective feeling is amplified and should appeal greatly to fans of 70s folk and progressive music. This reissue is a must have even for the lucky few who own an original copy of the album as it comes with a bonus disc, "Perspectives", that compiles non-LP tracks from 1974-79. The quality of the extra material shines through.

by Michael Bjorn (Strange Days Magazine) 

Tracks

Disc 1 The End Of The Line

1. German Castles - 3:52

2. When The Madcap Meets The World (Francis Bassett) - 4:30

3. Old Ways And Schooldays - 2:51

4. Music In The Night - 2:45

5. Suspended Animation (Phil Ridgway) - 2:31

6. The H S B Song (Francis Bassett, Jeff Vinter) - 2:08

7. Yesterday Was Summer - 3:20

8. Rain - 3:14

9. The Castle - 3:15

10.Out Of The Fireglow - 4:14

11.The Keeper Of The Tower (Francis Bassett, Jeff Vinter, Phil Ridgway) - 3:16

12.The Photograph - 4:57

15.After Time (Francis Bassett) - 2:57

All compositions by Phil Ridgway, Jeff Vinter except where stated

Disc 2 Perspectites
1. Aftermath (Francis Bassett, Jeff Vinter, Phil Ridgway) - 5:00
2. Falling Leaves In Autumn - 4:19
3. Pat Old Engine - 2:21
4. Family Laughter - 2:38
5. Just An Illusion - 2:49
6. Kick - 4:46
7. Damascus - 4:14
8. Grasshopper - 2:44
9. Your Not Being There - 3:06
10.The Ballroom Of Despair (Francis Bassett, Jeff Vinter) - 4:59
11.Aftersong (Chris Summerfield, Jeff Vinter) - 2:35
12.Village Vespers - 4:27
All song by Phil Ridgway, Jeff Vinter except where noted

Personnel
*Richard Allan - Violin
*Francis Bassett - Piano, Clavinet, Organ
*Phil Ridgway - Acoustic Guitar, Vocals
*Andrew Russell - Flute
*Helen Russell - Vocals
*Robin Smith - Bass, Alto, Tenor Saxophone
*Jenny Tillyer - Rhythm Guitar
*Jeff Vinter - Vocals
*Pete Wills - Drums

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Leviathan - Leviathan (1974 us, sensational heavy prog rock with epic shades, 2012 bonus tracks edition)

As far as homegrown prog bands went (with a couple exceptions), 1970's America was the home of the brave but doomed. Leviathan was one act that actually managed to get one proper album release before disappearing, probably to secure to themselves and their posterity the blessings of not starving to death. Not as derivative of big-name British acts as most of their contemporaries, Leviathan's release (LP Mach Records AMA 12501) instead demonstrates how much more blurred the line between heavy metal and progressive rock had already become in the Colonies than in the Old Blighty.

The opening track "Arabesque" is rife with crunchy guitar riffs, stomping drums and bass, and bluesy vocal melodies delivered with hard rock's throaty harshness and occasional caught-meself-in-the-zipper yells. On the other hand, these are interspersed with a more delicate and harmonically complex sections with acoustic guitar, quick organ cadenzas and especially swirling Mellotron swells. The effect resembles some of Kansas' early works, though the writing is less adventurous and the playing less dynamic. The rest of the album pendulates between these two elements, searching for a right balance with variable success.

On "Seagull" the effect created by the mellifluous middle section full of liquid piano and Mellotron strings and woodwinds in what is otherwise just a slow-grinding, chugalong rock tune is a bit too cut and paste to avoid sounding contrived. Others mix ingredients with greater skill, either giving a straight-forward song a rich prog-style coating and melodic shine ("Always Need You") or using heavy guitar and rhythm section for impressive dynamic swells on an otherwise brooding, classical composition ("Endless Dream"). "Angel of Death" pretty much ditches the prog element, and sounds much smoother - and duller - as a result. The other extreme is the gentle, non-metallic ballad "Angela", which is saved from MOR mundanity by a small but nice harmonic modulation and a frothy use of acoustic guitar and lapping Mellotron strings. It all finally comes together on the closer "Quicksilver Clay", a quite stylish amalgamation of progressive melodic and instrumental richness, and the vigour of an underlying metal base.

It's too bad things don't click more often, because it results in an unbalanced, lopsided album. Admittedly, I am not a fan of the metal style, but when it works, the synthesis of old-style heavy guitar and Mellotron as displayed here is quite novel and charming - certainly enough to make this album worthwhile. Those into heavy prog in the old sense of the word, without thrash riffs, neo-classical shredding or double bass drum havoc, should definitely investigate this one. 

by Kai Karmanheimo 

Tracks
1. Arabesque - 6:15
2. Angela - 6:40
3. Endless Dream - 9:58
4. Seagull - 5:00
5. Angel of Death - 4:07
6. Always Need You - 3:22
7. Quicksilver Clay - 7:28
8. Why I Must Be Like You - 3:00
9. I'll Get Lost Out There - 3:42
All compositions by Leviathan

Leviathan
*Wain Bradley - Bass, Guitars, Vocals
*Peter Richardson - Organ, Vocals
*Don Swearingen - Piano
*Grady Trimble - Guitars
*John Sadler - Mellotron
*Shof Beavers - Drums

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Wet Willie - Manorisms / Which One's Willie? (1977/79 us, awesome soulful boogie funk rock, 2013 remaster)

Barely forty minutes long, Manorisms has some killer tracks such as the opening 'Rainman' composed by Mike Duke and the melodic 'Street Corner Serenade', which had some minor success as a single reaching Number 30 in the Billboard Hot 100, Fifteen positions higher than the album's second and final single, the aforementioned 'Make You Feel Love Again', Other wonderfully harmonic songs include 'Let It Shine', 'How 'Bout You' and 'One Track Mind'.

Though Manorisms did not yield any major radio hits and all but disappeared without a trace, peaking at a disappointing Number 118 in the US, it remains a forgotten gem and this CD reissue calls for a rediscovery of Wet Willie's majestic yet often sadly overlooked and underappreciated back catalogue.

The band followed Manorisms with their final studio opus, Which One's Willie? which was unleashed to the public in 1979. Recorded in January through to February of 79 at the Record Plant in NYC and LA, the album shows a distinct departure from their Southern rock roots with a more polished approach to soul as it contains some Wilson Pickett ('Stop And Take A Look (At What You've Been Doing)/Don't Let The Green Grass Fool You') and Eddie Floyd ('You Don't Know What You Mean To Me') covers as well as original songs composed by Mike Duke. 

The nine track album has some beautifully sung numbers such as the opening 'Ramona' and the dulcet The Hard Way'. Other songs of note include Tired Dreams' and 'Mr. Streamline', which both show the band's knack for creating efficient melodies.

Which One's Willie? peaked at Number 172 in the US and spawned two singles: 'Weekend' which hit Number 29 and 'Ramona' which failed to chart. Though the album was a commercial failure it has enough strong songs to warrant cult status amongst fans of Southern rock.

Wet Willie folded in 1980 after the release of Which One's Willie? though a new incarnation of the band was formed in the 1990s featuring John Anthony (keyboards), Ricky Hirsch (guitars), Jimmy Hall (vocals) and a revolving line-up of musicians, including the late Marshall Smith (he died in 2006 after suffering from heart problems), Mike Duke andTheophilus Lively.

There's no question that Wet Willie has made an impact on the American rock 'n' roll scene having been inducted into the Georgia Music Hall Of Fame in 1996 and the Alabama Music Hall Of Fame in 2001. Though they may not have achieved the mainstream success that some of their peers achieved, they have a small yet devoted fanbase.

by Neil Daniels, 2013

Tracks
Manorisms 1977
1. Rainman (M. Duke) - 3:21
2. Make You Feel Love Again (G. Jackson, T. Jones III) - 3:28
3. So Blue (M. Duke) - 3:17
4. We Got Lovin' (J. Hall, J. Hall, M. Duke) - 3:32
5. Don't Turn Me Away (M. Duke) - 4:49
6. Street Corner Serenade (M. Smith, M. Duke) - 4:54
7. One Track Mind (J. Hall, M. Duke) - 3:48
8. How 'Bout You (M. Duke) - 1:14
9. Doin' All The Right Things (The Wrong Way) (M. Duke) - 4:12
10.Let It Shine (J. Hall, J. Hall, M. Smith, M. Duke) - 4:20
Which One's Willie? 1979
11.Ramona (Joe Droukas, Peter Solomon) - 4:36
12.Stop And Take A Look (At What You've Been Doing)/Don't Let The Green Grass Fool You (Jerry Akines, Johnny Belmon, Reginald Turner, Robert Peckman, Victor Drayton) - 4:25
14.Weekend (Mick Jackson, Tommy Mayer) - 6:01
15.Smoke (Michael Duke) - 5:05
16.The Hard Way (Michael Duke) - 4:22
17.Tired Dreams (Michael Duke) - 4:13
18.This Time (Michael Duke) - 4:00
19.Mr. Streamline (Jack Hall, Jimmy Hall, Marshall Smith) - 4:01
20.You Don't Know What You Mean To Me (Eddie Floyd, Steve Carpenter) - 4:11

The Wet Willie
1977 Manorisms
*Jimmy Hall - Lead Vocals, Harmonica, Saxes, Percussion
*Jack Hall-Vocals, Bass
*Mike Duke - Lead Vocals, Keyboards
*Theophilus Lively - Drums, Percussion, Vocals
*Marshall Smith - Vocals, Guitars
*Larry Berwald - Guitars
1979 Which One's Willie?
*Larry Berwald - Guitars
*Mike Duke - Keyboards, Vocals
*Jack Hall - Bass Guitar, Vocals
*Jimmy Hall - Vocals, Harmonica, Saxophone
*Theophilus K. Lively - Drums, Percussion
*Marshall Smith - Guitars, Vocals
With
*Paulette Brown, Venetta Fields, Angelle Trosclair, Mighty Clouds Of Joy - Vocals


1973  Wet Willie - Drippin' Wet Live
1974  Wet Willie - Keep On Smilin
1975  Wet Willie - Dixie Rock
1976  Wet Willie - The Wetter The Better
1977  Wet Willie - Left Coast Live

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Jimmy Campbell - Son Of Anastasia (1969 uk, brilliant folk psych rock, 2009 remaster bonus track issue)

Jimmy Campbell was born on January 4th, 1944, three years after the Liverpool Blitz, to William and Anastasia Campbell. Only very essential rebuilding had occurred and Liverpool had still not been restored back to normal living conditions. England's vital port city was consumed by the war effort transporting munitions and American soldiers for the invasion of Europe. It is hard to imagine that out of such devastation would arise some of the most creative popular music performers and composers the world has ever known and one that deserves to be known. Jimmy, like most boys teenage boys in Liverpool during this period, became immersed in Eddie Cochran, Little Richard, Elvis, Buddy Holly and Everly Brothers records.

On March 11th, 1961 he would go to see The Beatles play a farewell dance at Aintree Institute and his life would be changed forever. "They were God," recalled Jimmy later. After that event, he began playing guitar like his idols and putting a band together (the Tuxedos) with his mates from Brookfield Comprehensive School in Kirkby. The Tuxedos changed their name to the Pulsating Panthers in 1962 and supported The Beatles at Hambleton Hall in Huyton on January 13th. Soon the Panthers would be playing the famous Cavern and in March of 1964 Cavern compere Bob Wooler would unintentionally change their name to The Kirkbys after the area in Liverpool where most of the band members resided.

The Kirkbys would go on to tour Germany and Finland. A 1964 tour of Finland found the band supporting Herman's Hermits, playing live on Finnish TV and releasing their first single, penned by Jimmy, 'Don't You Want Me No More' b/w 'Bless You' for RCA Finland. The Kirkbys' sole UK single, 'It's a Crime' b/w 'I've Never Been So Much in Love', would be released in 1966 before the band would change their name to the more psychedelic 23rd Turn Off and release the single 'Michelangelo' b/w 'Leave Me Here' for Deram in 1967.

After the 23rd Turn Off fizzled out at the end of 1967, Jimmy would continue to write his very personal songs while working as a toolmaker in a factory to help earn money. Jimmy was very much influenced at this time in his life by musicians Tim Hardin, Bob Dylan, Lennon and McCartney, The Band, and master painters Michelangelo and Van Gogh.

Meanwhile, Merseys' bassist Billy Kinsley had developed a deep friendship with Campbell when the 23rd Turn Off supported the Merseys on a UK Who tour. Billy would spend time at Campbell's flat listening to all of the amazing songs that Jimmy had composed.  Although the two Merseys' singles failed to attract much attention, Fontana A&R man Dick Leahy was a confirmed believer in Campbell's songwriting abilities and managed to sign him to a three album recording contract with Phillips.

A Fontana press release from 1969 describes Campbell as: "A 1969 song-writer minstrel like King Richard the Lionheart's Blondel." A Scouse Jack Kerouac beat who, "Rides in trains, boats, planes and hitches rides on giant lorries and jumps into the back of vans to get to his next destination." Campbell did enjoy the beat lifestyle and he often kipped on London benches out of the enjoyment of the experience and not out of need.

A 25-year-old Jimmy was rushed into the Phillips studio complex at Stanhope Place and Bayswater Road in London during the summer of 1968 to record enough material to complete two albums, Jimmy never possessed the self confidence as a solo artist and he would have preferred bringing a band to back him  during the sessions. Leahy felt differently and envisioned Campbell as a singer/songwriter like Cat Stevens. Jimmy's nervousness shows on all of the Son ofAnastasia recordings and he described his own voice, years later, as sounding "weedy" on all of the recordings. 

Most of the songs were run ' through in just one or two live takes with Jimmy on a borrowed acoustic guitar from Billy Kinsley and his kazoo. So naive was Jimmy about the recording process that he actually backed away from the microphone on the autobiographical 'Tremendous Commercial Potential' when he wastold that they would be doing a 'fade' to end the song!

Jimmy did manage a trip back into the studio in late 1969 to record 'Frankie Joe' with a backing band consisting of Billy Kinsley on bass and Dave Harrison on drums for the B-side of the delayed second single 'Lyanna'. However, by the time 'Lvanna' was released on February 12th 1970, the Fontana publicity machine had already spent its dime promoting Son ofAnastasia. Interesting enough, Jimmy's manager, Hal Carter, had been successful in promoting Jimmy's songs around to other artists. 

In 1970, Sgt. Will Scruffham (aka Don Charles) would release covers of 'And They All Came Marching Home' and 'Salvation Army Citadel' (which Jimmy recorded during the Son of Anastasia sessions and would later be released by Campbell himself on his final album, Jimmy Campbell's Album.  Rolf Harris also covered 'Salvation Army Citadel' in the same year. Jimmy would only hnd out about the cover version when he happened to see Harris performing the song on BBC TV!

By the end of the 1969, Campbell was in need of additional money and took a job replacing a pre-Badfinger Joey Molland in the Merseybeats. While on tour, Jimmy spent time composing songs for his 1970 follow up album Half Baked, but then that's another story.

by Mark A. Johnston, Dayton, OH 2009

Tracks
1. When I Sit Down To Reason - 1:22
2. Mother's Boy - 2:59
3. Another Vincent Van Gogh - 2:07
4. Penny In My Pocket - 2:35
5. Bright Side Of The Hill - 1:57
6. Dear Marge - 1:29
7. Lyanna - 2:19
8. They All Came Marching Home - 2:21
9. On A Monday - 3:26
10.Lovely Elisa Cope Is Dead - 2:41
11.You'll Break My Heart In Two - 2:18
12.Tremendous Commercial Potential - 2:04
13.Adrian Henri's Party Night (At O'Connor's) - 3:02
14.Another Springtime's Passed Me By - 1:57
15.Michelangelo - 2:57
16.Painting A Song - 1:19  
17.Frankie Joe (Bonus Track 1970 Single) - 3:14
Lyrics and Music by Jimmy Campbell

Musicians
*Jimmy Campbell - Vocals, Guitar
*Danny Thompson - Bass
*Colin Green - Guitar
*Ray Carr - Drums, Percussion
*Harold McNair - Flute
*Yvonne 'Sue' Wheatman - Vocals
*Heather 'Sunny' Wheatman - Vocals

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Dr. Music - Bedtime Story (1974 canada, elegant jazz prog rock with some blues traces)

Dr Music was the brainchild of Toronto native and Doug Riley, who first took piano lessons as a child as a means of coping through polio. Born in Toronto in 1945, he took lessons in classical piano at the Royal Conservatory of Music in Toronto beginning at the age of four. Later, in Montreal, he studied pipe organ with Harry Duckworth at St. Anne de Belleville Church, and piano with Paul DeMarky, Oscar Peterson's piano teacher, and eventually developed into one of the country's most up and coming arrangers.

He went on to earn a Bachelor of Music in composition from the University of Toronto, while playing R&B with the Silhouettes, appearing at the Blue Note and the other Toronto nightclubs of the day. and turned down an offer to join Ray Charles' band after working on his 1969 album, DOING HIS THING. He was working as the Music Director for a number of TV shows, when in 1969 Ray Stevens ("Guitarzan," "Ahab The Arab") came calling. CTV had given him his own show, and Riley, dubbed 'Dr Music,' was recruited to put together a band.

Several members came and went at first, but following the cancellation of the show after the 1970 season, Riley kept the core of the group in tact and began touring the local area jazz clubs. The actual band was rounded out with Doug Mallory on vocals and guitar, bassist Don Thompson, vocalist Diane Brooks, and the Kennedy brothers - Michael on vocals and percussion and ex-Motherlode member Steve leading the horns section that also included Gary Morgan, Keith Jollimore, and Barrie Tallman.

RCA approached Riley later that year for a Coca-Cola jingle they were releasing, and so they recorded one of two versions of the new theme song, a cover of The New Seekers' "I'd Like To Teach The World To Sing," with the Laurie Bower Singers doing the other. It was released internationally as a single, gaining both groups some overseas notoriety.

Riley had also just opened up Toronto Sound Recording Studio with producer and engineer Terry Brown (Klaatu, Rush, etc), where they mostly did jingle work. This connection came in handy when looking for a label, as GRT Records was fledgling, and Riley signed a deal with them the following spring, knowing studio time was obviously going to be available. During this period, he also manned the helm for some other GRT projects, including the sole album from Everyday People, and his own debut album, FOXEY LADY.

With a cast of session players including singers Laurel Ward, Brenda Gordon, Trudy Desmond, Rhonda Silver, and Terry Black (who was also featured on FOXEY LADY, Dr Music's eponymous debut album was in the stores later that year. Three singles hit the airwaves before year's end - "Try A Little Harder," Neil Sedaka's "One More Mountain To Climb," and "Gospel Rock." The last single's b-side, "Sun Goes By," was released as its own single the following spring. But following some select shows around the Toronto and Detroit regions, Riley disbanded this version of the group so he could focus on the studio.

But by the end of '72, Riley had resurrected a new version of the group that included Mallory, the Kennedys, Jollimore, and Tallman, along with new drummer Wayne Stone. After some live dates across the country, they went into the studio the first couple of months of the new year, and released their sophomore album that summer, DR MUSIC II. "Long Time Comin' Home" b/w the unreleased "Stay Real" and "Tryin' Times" were released as singles, following in Riley's tradition of finding a common ground between sophisticated jazz arrangements and a pop attitude that got decent airplay. Other noteable cuts included the Robbie Robertson-penned "Where Do We Go From Here," and Steve Kennedy's "6 - 5."

The TV bug bit Riley again, and he worked for the CBC on Keith Hampshire's new program, "Music Machine." That run lasted two seasons, but before the final curtain was dropped in '74, Riley had already reformed Dr Music, which was working as the show's house band.

By that summer, they released their third album, BEDTIME STORY. The new supporting cast had Mallory, Steve Kennedy, Jollimore, and Tallman returning, and new to the lineup were drummers Claude Ranger and Dave Brown, Don Thompson on bass, and trumpet and horns player Bruce Cassidy.

The album was generally more progressive than his previous outings, with a heavier guitar-oriented sound. The songs were longer, and more complex, and the title track (written by Herbie Hancock) b/w the lead-off "I Keep It Hid" became the only single, but didn't fare as well on the charts or in airplay that was expected. So following some dates around the Toronto area, Riley once again disbanded the group so he could concentrate on producing and engineering other artists.

Canadian-Bands

Tracks
1. I Keep It Hid (Jim Webb) - 3:19
2. Take That Rollo (Doug Riley) - 9:00
3. Tickle (Claude Ranger) - 11:38
4. She's Funny That Way (Neil Moret, Richard Whiting) - 6:13
5. Gandalf (Don Thompson) - 6:41
6. Bedtime Story (Herbie Hancock) - 8:04

The Dr. Music
*Doug Riley - Keyboards
*Doug Mallory - Lead Vocals, Guitar
*Claude Ranger - Drums
*Bruce Cassidy - Trumpet, Fluegel Horn
*Don Thompson - Bass
*Dave Brown - Second Drums
*Steve Kennedy - Vocals, Tenor, Alto Sax, Flute
*Keith Jollimore - Vocals, Baritone, Alto, Tenor Sax, Flute
*Barrie Tallman - Trombone

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Graphite - Chestnut Loke (1970-74 uk, amazing dreamy prog psych rock)

Graphite were formed at Reading University in the late sixties. They gigged professionally on the rock circuit from 1970 to 1973 supporting many big names of that era such as Pink Floyd, Roxy Music, Arthur Brown's Kingdom Come, Mott The Hoople and evenT-Rex. Amazingly, Graphite got a billing above Queen at a festival in Truro, Cornwall in 1971.

The band's musical approach dwelt on the imaginative use of sleepy mellotron, drifting vocals and spacey guitar effects laced with melancholic overtones, establishing them as exponents of downbeat, hedonistic prog-rock.

Ever present in the line-up were the band's three songwriters, Keith Allen (vocals), Chris Gore (keyboards) and David Hook (guitar) but the rhythm section underwent a succession of changes.

The group recorded a considerable amount of material using a selection of top studios including Rockfield, Command, CBS and Nova Sound but only two singles were ever released. 

The first "Gimmie Your Number"/"Chestnut Loke" came out on the BEACON label in 1972 and was followed by "Come Back"/" Good Time Women" issued by EMI in 1974 (the year the band split up) under the curious pseudonym of Sinbad. Much of the previously unreleased material is featured on this release. 

by Pete Sarfas

Tracks
1. Starlight Over The Skies - 4:51
2. Chestnut Loke - 4:20
3. Tide - 10:04
4. Freedom - 3:13
5. A Dragon's Tale - 4:11
6. Dawn - 4:40
7. Set It Free - 3:27
8. Out In The Rain - 3:18
9. Don't You Think It's Kinda Sad - 3:50
10.In Our Country Home - 3:40
11.Evil Arms - 4:51
12.Spring - 8:16
13.Autumn - 5:15
14.She's Gone Away - 4:26
15.I'm Feelin' Low - 3:46
16.Freedom (Reprise) - 2:12
All songs composed by Chris Gore, Dave Hook, Keith Allen

Graphite
*Chris Gore - Mellotron, Organ, Piano
*Dave Hook - Guitar
*Keith Allen - Vocals
*John Jackman - Bass
*Peter Dry - Drums
*Dave Anderson - Bass
*Billy Rankin - Drums (Track 4)

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Crowbar - Heavy Duty (1972 canada, great rough blues rock)

Canada's Crowbar is not to be confused with an American grunge band during the 90s of the same name. While in a local Toronto band called The Ascots, Roly Greenway and Rheal Lanthier decided a change was in order,so they packed up their bags and headed to Nevada, and for the next couple of years on a nightly basis they played various Vegas clubs, opening for the likes of Zsa Zsa Gabor and even Liberace. After growing tired of the scene, the group split up, returning to Canada and going their seperate ways. Greenway then hooked up with Bobby Curtola's touring band.

Heavy Duty, recorded in Toronto, was released in late '72 amid much angst among the loyal following the band had already established. Two singles were released "Hey Baby" and "Dreams", though neither achieved the success expected. Also on the album was "The Eagle And The Beaver", a politically incorrect song about our relationship with our southern neighbours, and "Dead Head From St John's".

One of the oddest arrangements in Canadian music occurred the next year. Pierre Trudeau was running for re-election as Prime Minister. His wife was a known Crowbar fan, and she asked the band to tour the country with Lucky Pete on the campaign trail. The bid to gain the youth vote worked, except in Alberta - where he's still hated - years after his death. Trudeau was re-elected, Crowbar got some additional exposure, and Margaret moved on to The Rolling Stones. The over-whelming success of the band meant having to hire outside people to handle their affairs. Unfortunately, this meant mismanagement of their funds.  

by Frank Davies

Tracks
1. Trilby - 2:48
2. Listen Sister (A Mutual Liberation Ballad) - 2:11
3. Hey Baby (Bruce Channel) - 3:01
4. Dreams (Jozef Chirowski, John Gibbard) - 2:56
5. Where Were You - 4:02
6. Dead Head Out Of St. John's - 3:53
7. The Beaver And The Eagle - 3:14
8. Cluckie's Escape (Roly Greenway) - 3:19
9. Snakes And Ladders - 2:54
10.Lay One Down (Roly Greenway, LOVE) - 4:26
Songs written by Kelly Jay except where stated

Crowbar
*Sonnie Bernardi - Drums, Percussion, Vocals
*Jozef Chirowski - Piano, Organ, , Vibes, Flute, Vocals
*John Gibbard - Lead, Rhythm, Slide Guitar, Vocals
*Roly Greenway - Bass, Tambourine, Cowbell, Vocals
*Kelly Jay "Blake Fordham" - Vocals, Piano
*Rheal Lanthier - Lead Rhythm Guitar, Vocals

1970  King Biscuit Boy With Crowbar - Official Music 
1970-72  Crowbar - Memories Are Made Of This

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One - Come (1972 us, marvelous spiritual jam psych rock, 2015 edition)

One of the more curious acts in the Bay area group scene was a band (or collective) called One, or, more specifically. 1, acquaintances of Paul Kantner and Grace Slick from Bolinas. A nine-piece ensemble including two female vocalists, they engaged in lengthy, drifting tunes that drew as much from raga as from rock, with touches of jazz and country. One member, Roger Crissinger, the only semi-known quantity, had previously enjoyed notoriety having been a member of the progressive rock group Pearls Before Swine. But the leader of the group was a mysterious man who didn't always sing so much as vocalise in his own unique way, often without words, who needed words? 

This character went by the name of Reality D. Blipcrotch. A former Marine and former actor, Blipcrotch was originally from Elgin, Illinois, where he first sang professionally aged just three years old in his father's barbershop quartet. No one knew anything else about him. not even his original name, he'd had it legally changed, swears former Airplane manager, Bill Thompson.

The story behind the making of One's self-titled album for Grunt, which was released in 1972, is one that still rankles producer Pat Leraci (aka Maurice). It's a tale that both defies reality and defines the broad absurdity of the post-Aquarian times with equal measure. 

Although these anecdotes shed light on the bizarre situation confronting the producer, they reveal only half the story of the musicians and their own paths that lead them to the mercy of Reality D, Blipcrotch and his herb-driven vision of exploding records and free groove-sprung hashish. Although Blipcrotch and his identity has always proved a mystery to those around him, on online source made remarks in a message that was totally un-related to the band or music as a whole and was instead more concerned with Volkswagen vans and a loose relative of his father, namely one Jerry Leroy. 

As the commentator states: Jerry Leroy, aka Reality D. Blipcrotch, aka Jerry Wiley (I'm not making this up) parked his (VW) in the driveway of our home when I was about ten years  old, Jerry Wiley was his birth name and the one he used as a young up-and-coming actor. The second one was his stage name when he became a hippie rock musician with a group called 1 (I saw them do a sound check at the Fillmore in San Francisco). His third name came when he was born again and moved to Hawaii and started writing Christian operas".

Aside from solving the mystery of Blipcrotch, an elementary spectacle on our part surely, the remainder of the band appear to be the threads of a social circle or to be more specific in this case, a Chicago hippie commune. The band was assembled in the Bolinas district of Chicago, ft. under the supervision and direction of Jerry Leroy In 19TO- Their most earnest recruit was Roger Crissinger who had fared better than his counterparts as a founding member of Pearls Before Swine alongside Tom Rapp. Although Crissinger would split from PBS in 1968 he would leave 1 and rejoin Rapp to assist on his solo debut album Stardancer in 1972. Grunt records itself was a vanity label formed in 1971 by Jefferson Airplane assisted by RCA records, ft helped to promote Bay area bands such as “1”, Papa John Creach, Hot Tuna and the Airplane before their transition into Jefferson Starship.

CD Liner-Notes

Tracks
1. One Of A Kind (Marc Granat, Reality D. Blipcrotch) - 4:31
2. Two Car Raga (Marc Granat, Roger Crissinger, Reality D. Blipcrotch) - 8:37
3. Free Rain (Reality D. Blipcrotch) - 5:09
4. Three Songs (Frank Trevor Fee, Marc Granat, Reality D. Blipcrotch) - 10:08
5. Old Englishhh (Marc Granat, Reality D. Blipcrotch) - 7:51

One
*Mark Baker - Drums
*Reality D. Blipcrotch - Voice, Percussion
*Roger Crissinger - Organ, Piano
*Frank Trevor Fee - Bass
*Donald Ensslin - Rhythm Guitar, Banjo
*Marc Granat - Guitar, Sitar, Dulcimer
*Sarah Oppenheim - Voice, Autoharp
*Laurie Paul - Voice, Tanpura
*Theodore Teipel - Flute, Harmonia, Piano

Related Act
1967  Pearls Before Swine - One Nation Underground (Japan remaster)
1972  Tom Rapp - Stardancer (2009 issue)

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Swallow - Swallow (1973 us, awesome brass blues roots rock, 2010 issue)

Duke and the Drivers had fun living out their fantasy on ABC Records but, under the aegis of the redoubtable Buddy Buie and with help from the Atlanta Rhythm Section, Boston's Swallow were very serious about their craft, and it shows on this collection of understated blues-rock. Vern Miller, Jr. of the Remains, George Leh, and New England personalties Parker Wheeler and Phil Greene (the extra "e" is missing from the legendary engineer's name on this disc) are four of the nine musicians who make up the large outfit. 

On one of the all-time worst album covers -- a green martian hand holding the nose of the man in the moon (presumably, so he can swallow) -- the nine musicians are displayed above a moonscape, their names out of order with the photos. In 1973, the Atlanta Rhythm Section emerged from the remnants of the Classics IV and, with J.R. Cobb and Barry Bailey of that group on this disc, along with B.J. Thomas/Friend & Lover/Billie Joe Royal producer Buie, one would think Warner Bros. would have been more serious about this outing. Most of the titles are by Miller, making the album a statement by the man Danny Klein of the J. Geils Band calls his favorite bass player. Two co-writes by Leh are included, along with two Randy Newman songs, "Illinois" and the often covered "I'll Be Home." Although Buie co-wrote all the hits of the Atlanta Rhythm Section, his magic is not added here, and perhaps that is what is missing.

The record is better than decent -- it is very good -- despite the fact there is no hit to launch it from obscurity. Greene went on to engineer Beaver Brown, New Kids on the Block, and the sessions this writer did with Buddy Guy in 1986, while blind singer Leh developed a following and great reputation performing around the Boston area. "Georgia, Pack My Bags" isn't a hit, nor is "Rockin' Shoes"; perhaps the closest thing to a potential chart climber is "Don't Tell Mama," some kind of answer, not to Etta James, but to Savoy Brown's minor hit from their 1971 Street Corner Talking album, "Tell Mama." At least they showed respect for their elders! There was much potential here; it's too bad the label and/or management mishandled the look of the album, and failed to give this large group a couple of songs their musicianship could work with to reach the masses. But, for fans of the legendary Remains, it is another chapter in the career of Vern Miller and an essential item in order for their collections to be complete.

by Joe Viglione

Tracks
1. Georgia, Pack My Bags - 3:35
2. Rockin' Shoes - 4:47
3. Illinois (R. Newman) - 2:17
4. I Get My Rocks Off Rockin' (G. Leh, V. Miller) - 2:46
5. I'll Be Home - 4:21
6. Don't Tell Mama - 3:35
7. Let It Roll (G. Leh, V. Miller) - 2:33
8. That's What My Love Is For - 2:56
9. I Was Born To Sit Back - 5:01
10.Helping Hand - 4:43
All songs by Vern Miller except where stated

Swallow
*George Leh - Lead Vocals  
*Parker Wheeler - Vocals, Harp
*Vern Miller Jr - Bass, Guitar, Vocals
*David Woodford - Tenor Sax
*Phil Green - Guitar  
*Mick Aranda - Drums
*Bob Camacho - Keyboards  
*Jay Dewald - Trumpet
*Andy Harp - Trumpet
*Kerry Blount - Sax
*Gordan Kennedy - Trombone

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Climax Blues Band - Sense Of Direction (1974 uk, magnificent blues funky rock, 2013 remaster and expanded)

On their 1974 studio album, Sense of Direction, Pete Haycock (guitars, vocals), Colin Cooper (sax, flute, clarinet, vocals, rhythm guitar), Derek Holt (bass, vocals, rhythm guitar, keyboards), and John Cuffley (drums) wrote a bunch of songs that seemed to distance themselves from the more Chicago blues flavored material they had come up with previously, a trend that actually started on 1972's Rich Man album and continued more and more with each successive record.

Opener "Amerita/Sense of Direction" combined not only some fiery blues, but also hard rock & jazz fusion, as Haycock's guitar and Cooper's sax blast off into a complex, unison burst of energy over tricky rhythms, then settle into an dreamy atmospheric section that segues into the slide guitar blues of "Losin' the Humbles". Cooper's laid back vocal drives the alluring blues/pop of "Shopping Bag People", another piece filled with Haycock's tasty slide guitar solos, while "Nogales" is catchy rock 'n' roll, not unlike what the Steve Miller Band was creating right around the same time. Haycock's shimmering lead guitar lines introduce "Reaching Out", a funky, jazzy rocker with great vocals, tight rhythms, smoky sax, and crisp guitar work. "Right Now" is a smoldering blues number, led by Haycock's stinging guitar lines and Cooper's lazy vocals & smoky horns. The album reaches its climax with the groove laden hard rocker "Before You Reach the Grave" and the rootsy, bluesy, almost Grateful Dead sounding " Milwaukee Truckin' Blues (Chipper's Song)".

As with all the other Esoteric/Cherry Red reissues, Sense of Direction features remastered sound (well done as always), and a selection of bonus tracks, of which the BBC Radio One tracks are the highlights. The booklet here is filled with photos and a nice long essay from Malcolm Dome, who talks about the bands history and the album itself. With the death of Colin Cooper a few years ago and Pete Haycock just days ago, all these Climax Blues Band reissues couldn't have come at a better time. If your only memory of this band is "Couldn't Get it Right", trust me, you need to explore them further. 

by Pete Pardo

Tracks
1. Amerita / Sense Of Direction - 6:07
2. Losin' The Humbles - 2:38
3. Shopping Bag People - 4:02
4. Nogales - 4:10
5. Reaching Out - 5:17
6. Right Now - 6:33
7. Before You Reach The Grave - 3:13
8. Milwaukee Truckin' Blues (Chipper's Song) - 1:43
9. A Sense Of Direction - 3:32
10.Shopping Bag People - 3:58
11.Amerita / Sense Of Direction - 6:23
12.Right Now - 6:13
13.Milwaukee Truck Song Blues - 2:46
14.Losin' The Humbles - 4:32
All songs written by Climax Blues Band
Bonus Tracks 9-14

The Climax Blues Band
*Colin Cooper - Vocals, Alto, Tenor Saxes, Rhythm Guitra, Clarinet
*Pete Haycock - Vocals, Lead Guitar. Slide, Acoustic Guitars
*Derek Holt - Vocals, Bass Guitar, Rhythm Guitar, Electric Piano
*John Cuffley - Drums, Percussion

1969  The Climax Chicago Blues Band (2013 remaster and expanded)
1970  A Lot Of Bottle (2013 remaster and expanded)
1971  Tightly Knit (2013 remastered with bonus tracks)
1972  Climax Chicago - Rich Man (2013 bonus track remaster) 
1973-79  Climax Blues Band - Live Rare And Raw (2014 Release)

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