Horse was formed in South London during the late sixties. They created occult influenced progressive hard rock that was ahead of its time. Guitarist Rod Roach had briefly played in an incarnation of British psych-rock legends Andromeda before forming Horse with other key member, vocalist Adrian Hawkins. Alongside bassist Colin Standring, the band also featured legendary drummer Ric Parnell, later of Atomic Rooster (amongst many others) and future star of This is Spinal Tap (aka Mick Shrimpton)! The obscure rockers have been a favorite among collectors for many years. For Twisted Minds Only is an album long overdue for an official reissue.
Recorded in 1969, originally released in 1970 and bootlegged countless times from scratchy vinyl transfers, Rise Above Relics is now finally presenting this detailed release mastered and cut directly from the original master tapes. Featuring a treasure trove of previously unheard/unreleased material, For Twisted Minds Only is certain to have connoisseurs and collectors of the period frothing at the bit. This long classic gallops out of the gate with the psychedelic “The Sacrifice” that could feel at home on a Jefferson Airplane album from the era. With its bloody chorus and the equally creepy second track “See The People Creeping Round” we can see how this Horse might be an acquired taste.
by Rich and Laura Lynch
Tracks
1. The Sacrifice - 6:17
2. See The People Creeping Round - 4:25
3. And I Have Loved You - 3:13
4. Freedom Rider - 3:20
5. Lost Control - 2:26
6. To Greet The Sun - 4:06
7. The Journey - 3:56
8. Heat Of The Summer - 4:04
9. Gypsy Queen - 2:54
10.Step Out Of Line - 4:24
11.Autumn - 3:52
12.Winchester Town-Dreams Turn To Ashes - 4:15
13.Born To Be Wild - 6:48
14.Picture Of Innocence - 2:53
15.She Brings Peace - Original Version - 5:44
16.Anthems Of The Sea - 3:28
All songs by Adrian Hawkins, Road Roach
Much was expected of SRC, and for good reason. Aside from being exceptional songwriters and musicians, the Ann Arbor, Michigan band had the support of both the public and a major label. Bursting with potential, they were clearly primed for global domination.
Signed to Capitol Records, SRC (short for the Scot Richard Case) waxed a trio of full-length albums for the imprint that have now been brought together as a double-disc package by Beat Goes On Records. Sad to say, the band never conquered the world, which was no fault of their own, as their efforts weren’t as widely distributed and promoted as all hoped they would be. But they remained tremendously popular locally and continued to be held in high regard in later years by those exposed to their material.
Released in 1968, the band’s debut album, SRC, crackles and crunches to the tune of a heavy beat. Grinding Hammond organ passages producing feelings of gloom and doom share space with squealing acid-stained riffs, while the drumming is tribal and toxic. Self-possessed vocals, alternating between light and dark, complete the sessions.
A thoroughly eerie environment envelopes the moody “Black Sheep,” and songs like “Daystar,” “Exile” and “Paragon Council” are grafted of science-fiction visages. Imaginative and freaky, SRC often resembles a grungier version of the Doors.
The band’s next album, Milestones, which appeared in 1969, proved to be quite different than its predecessor. Gone was the jagged edge, replaced by bright singing, intricate melody lines and sophisticated structures dripping with smoothness.
Clocking in at over eight minutes in length, “The Angel Song” breathes in and out to a lush terrain of progressive movements, where “Show Me” and “I Remember Your Face” are glistening ballads.
But by no means had SRC turned soft, as clarified by “Up All Night,” “No Secret Destination” and “Eye Of The Storm,” which pulsate steadily with zippy frequencies. As well, an ambitious cover of “In The Hall Of The Mountain King” exhibits the band’s incredible improvisational skills.
SRC’s final album, Traveler’s Tale hit the decks in 1970 and was stuffed and buffed with hard rocking razzle dazzle. Blazing guitars, plucked with polish and precision, augmented by rows of inventive tempo changes propel cuts such as the bluesy “Midnight Fever,” the whammy jammy “Across The Land Of Light” and the sweeping swirls of “By Way Of You” to stratospheric heights.
Loaded with lashing licks, aided by super-size harmonies, majestic keyboard excursions and burning hooks, “A New Crusader” steps forward as another winner included on Traveler’s Tale, and then there’s the haunting psychedelic-soaked vibe of “Street Without A Name,” the gospel styled “The Offering” and “Diana,” which crosses neo-Latin flavored rhythms with jazzy indentations.
As strongly indicated by these recordings, SRC was ambitious and adventurous. Pouring their hearts and souls into their music, they created tunes smacking of artistic integrity. Those attracted to the enterprising musings of the Pretty Things, Deep Purple, Procol Harum and Yes will certainly appreciate the equally exciting sounds of SRC.
by Beverly Paterson
Tracks SRC-Milestones 1968-69
1. Black Sheep - 4:51
2. Daystar - 4:30
3. Exile - 4:23
4. Marionette - 4:01
5. Onesimpletask - 5:36
6. Paragon Council - 4:00
7. Refugeve - 3:40
8. Interval - 5:14
9. No Secret Destination - 4:21
10.Show Me - 3:42
11.Eye Of The Storm - 4:55
12.I Remember Your Face - 1:41
13.In The Hall Of The Mountain King-Bolero (Edvard Grieg, Jimmy Page ) - 6:10
14.Checkmate - 3:47
15.Our Little Secret - 2:43
16.Turn Into Love - 3:03
17.Up All Night - 3:10
18.The Angel Song - 8:15
All songs by Scott Richardson, Gary Quackenbush, Elmer George Clawson, Glenn Quackenbush, Steve Lyman, Robin Dale(Tracks 1-8), Al Wilmot(Tracks 9-18) except where Stated
Disc 2 Traveler's Tale 1970
1. A New Crusader (Scott Richardson, Glenn Quackenbush, Ray Goodman) - 7:07
2. Street Without A Name (Glenn Quackenbush, Scott Richardson) - 5:13
3. Midnight Fever (Scott Richardson, Ray Goodman) - 3:53
4. Never Before Now (Glenn Quackenbush, Scott Richardson) - 3:57
5. By The Way Of You (Scott Richardson, Elmer George Clawson, Glenn Quackenbush, Ray Goodman, Al Wilmot) - 3:18
6. Diana (Glenn Quackenbush, Scott Richardson) - 4:37
7. Across The Land Of Light (Scott Richardson, Glenn Quackenbush, Ray Goodman, Elmer George Clawson, Al Wilmot) - 6:54
8. The Offering (Scott Richardson, Glenn Quackenbush) - 6:12
9. My Fortunes Coming True (Bonus Track) (Ray Goodman, Scott Richardson) - 3:19
Golden Earring found the titular Dutch quartet forging the unique style that would later pay off in successful albums like Moontan and Cut. At this point, the group's sound is best described as post-psychedelic FM rock with a pronounced hard rock element (strong, gutsy guitar riffs about on this record -- just check out "The Loner" or "Back Home"). A lot of the songs have the atmosphere and elaborate arrangements associated with prog rock, but the group keeps the arrangements and the running times tight (the album's lengthiest song is just a little over six minutes).
The most overtly artsy track on the album is "Big Tree, Blue Sea," an energetic and complex rock tune that includes Jethro Tull-style flute and packs a dizzying array of tempo and stylistic changes into a tune only half as long as the average prog tune. Other highlights on Golden Earring include "This Is the Time of the Year," a song whose effect arrangement juxtaposes quiet verses with spare instrumentation with dramatic chorus powered by a powerful guitar riff and "Back Home," a solid example of the kind of good-time rocker that would dominate Golden Earring's late-'70s albums.
The strong music and the band's tight musicianship makes a tuneful effort that is well worth a listen.
by Donald A. Guarisco
Tracks
1. Yellow And Blue - 3:45
2. The Loner - 3:29
3. This Is The Time Of The Year - 3:33
4. Big Tree Blue Sea (George Kooymans, Barry Hay) - 6:12
5. The Wall Of Dolls (George Kooymans, Barry Hay) - 3:33
6. Back Home - 3:52
7. See See (Barry Hay) - 3:13
8. I'm Going To Send My Pigeons To The Sky - 5:59
9. As Long As The Wind Blows - 5:17
All songs by George Kooymans except where noted
The Golden Earring
*Rinus Gerritsen - Bass, Keyboard
*Barry Hay - Flute, Vocals
*George Kooymans - Guitar, Vocals
*Cesar Zuiderwijk - Drums
A minor player on the late-'60s British folk-rock scene, guitarist and singer/songwriter Marc Brierley made a couple of albums in the late '60s that were somewhat in line with the folk-pop-rock Donovan was making around the same time, though they were milder and far less distinctive. Brierley made his recording debut in 1966 with a five-song acoustic EP for Transatlantic Records that was similar in nature to the early acoustic recordings of Donovan and Bert Jansch.
by Richie Unterberger
Hello might be described as a bit more ambitious than the first LP, and certainly more commercial. The arrangements are a lot bigger, with the string section from the London Symphony Orchestra hired to play on a couple of tracks and a lot of well-placed Hammond organ. There's a lot more stylistic variety from one song to the next, the tongue-in-cheek, honky-tonk shuffle of "O Honey" (featuring Dudley Moore, Arthur himself, on the piano!) transitioning into "A Presence (I Am Seeking)" with sparse acoustic guitar, flute, and Eastern hand percussion. The poppier songs on Hello remind me a little bit of some of the stuff on Cat Stevens' first two records, although nothing Brierley wrote is nearly as infectious as "Here Comes My Baby." If anything comes close, its his hugely uplifting final single "Be My Brother," which sounds to me like it should've been a massive hit. The other single, "Stay A Little Longer Merry Ann," is pretty damn good, too, and is notable for its now infamous producer and arranger: a teenage Andrew Lloyd Webber, believe it or not.
Brierley, today a freelance photographer and journalist, wrote the reissue's great liner notes, in which he reminisces about the minutia of his career. He talks about having a terrible cold the week he was in the studio for Welcome To The Citadel and about the tremendous difficulty he had with recording his vocals and guitar parts separately. He also has a word or two to say about his influences and about the ideas behind some of his songs. His thoughtful and charming remarks are merely the icing on the cake of this near-perfect package, a long overdue introduction to a unique and remarkable artist whose music is more than worthy of a prime spot in the folk-rock canon.
by Rob Hatch-Miller
Tracks
1. Sunny Weather - 2:44
2. Lady Of The Light - 2:52
3. Today I Feel Like Leaving You - 2:22
4. O Honey - 3:42
5. A Presence (I Am Seeking) - 6:46
6. The Room - 7:42
7. Byrd Lives - 1:28
8. Hello - 2:48
9. Lookin' Around The Room - 3:23
10.When Martha Comes - 4:33
11.Be My Brother - 3:26
12.If You Took The Bandage Off Your Head You Wouldn't Be So Blind - 3:29
13.The Best Part Of The Night - 3:29
14.In This Hour Of Love - 2:52
15.One Fine Morning (You Will Wake Up) - 3:01
16.Screaming Schizophrenia Blues - 3:02
17.Abide With You - 3:36
18.Brown Ships - 4:45
19.For People Who Are Parted - 4:45
20.Sweet Summer - 2:25
21.Be My Brother - 3:15
Words and Music by Marc Brierley
Original Album Tracks 1-10
CBS Singles Tracks 11-12
Island Records Demos Tracks 13-20
Rehearsal Demo Track 21
Musicians
*Marc Brierley - Acoustic Guitar, Vocals
*Harold McNair - Flute
*Dudley Moore - Piano
*Graham Todd - Organ
*Mox - Mouth Harp
*John Fiddie - Bass
*Tony Carr - Percussion
*Dougie Wright - Drums
*Billy Butler - Guitar, Vocals
*Andy Bown - Piano
*London Symphony Orchestra - Strings
Cold Blood is one of the original R'n'B horn bands from the late 60's/ early 70's that exemplified the "East Bay Grease" melding of funk & rock with blues and jazz elements. Lydia Pense has been compared to Janis Joplin, but is a true original and a pioneer in the women's rock movement. Lydia Pense and Cold Blood packed the San Francisco Ballrooms in their heyday, but that was then and this is now. In the now, Lydia Pense and Cold Blood still fill halls with cheering, dancing, foot-stomping fans. Far from fading over the years, Cold Blood has flourished.
In 1974 their 5th released simply called "Lydia", legendary Stax guitarist Steve Cropper produced and and played on three cuts. A soulful approach with the band playing a blue-eyed funk crossbred. Lydia Pense is in fine form as always.
Tracks
1. Ready To Live (Lonnie Hewitt, Paul Edward Smith) - 5:24
2. Simple Love Life (Paul Edward Smith, R. Smith) - 3:18
3. Under Pressure (Fred Gowdy, Larry Wilkins) - 3:30
4. When My Love Hand Comes Down (Gloria Jones, Pam Sawyer) - 4:23
5. When It's Over (A. Wayne) - 2:33
6. Consideration (Steve Cropper) - 3:36
7. I Only Wanted Someone To Hear Me (Allan Rush, Dee Presley) - 3:54
8. You're Free Lovin' Me (Carl Marsh, Steve Cropper) - 3:51
9. Come Back Into My Life Again (B. R. Charles) - 3:40
10.Just Like Sunshine (Paul Edward Smith, Raul Matute) - 4:38
The riots on Los Angeles' Sunset Strip took place in the summer and fall of 1966. As riots go, they were a far cry from those that afflicted the city during either Watts or those inspired by the Rodney King beating in 1991. Hundreds of teenagers began peacefully hanging out on the Strip on weekends, creating a traffic problem (though little else) while waiting for the latest phenomenon of the '60s - the 'Happening'.
The LA police over-reacted, imposing a curfew on under-21 year olds and heavy-handedly breaking up the crowds that continued to gather. These rather one-sided violent affairs were magnified by the popular press of the time into The Riots On Sunset Strip. The Stephen Stills/ Neil Young band Buffalo Springfield documented the affair in the song For What It's Worth, which charted nationally putting the civil rights issues involved once more on view from Coast to Coast. Sam Katzman (the man behind the movie Rock Around The Clock) rushed out a cash-in film Riot On Sunset Strip.
All the hallmarks of the teenage movie were there - hokey plot, wooden acting and cheap sets - but the film has survived as a firm cult favourite, mainly for the night-club scenes featuring (amongst others) The Standells and The Chocolate Watchband. The original soundtrack album reissued here includes The Chocolate Watchband's Don't Need Your Lovin' and Sitting There Standing, two of their wildest performances and reportedly close to the raw feel the band generated in-person. The Standells' appearance in the movie further fuelled their punk notoriety. As an added bonus for their fans, Rarities contains 11 rare and unissued tracks including the early (1965) recording It's All In Your Mind, recorded at Gold Star Studios in Hollywood. The CD booklet also contains many rare photographs.
Artists - Tracks
1. The Standells - Riot On Sunset Strip (Tony Valentino, John Flack) - 2:25
2. The Mugwumps - Sunset Sally (Vincent Malamed) - 2:20
3. The Sidewalk Sounds - The Sunset Theme (Mike Curb) - 2:25
4. Debra Travis - Old Country (Debra Travis) - 2:02
5. The Chocolate Watchband - Don't Need Your Lovin' (David Aguilar) - 2:39
6. The Mom's Boys - Children Of The Night (The Mom's Boys) - 2:29
7. The Sidewalk Sounds - Make The Music Pretty (Guy Hemric, Jerry Styner) - 1:41
8. The Standells - Get Away From Here (Larry Tamblyn) - 2:09
9. Drew - Like My Baby (Mike Curb, Drew Bennett, Davie Allen) - 2:02
10.The Chocolate Watchband - Sitting There Standing (David Aguilar, Gary Andrijasevich, Bill Flores, Mark Loomis, Sean Tolby) - 2:23
11.The Standells - Love Me (Dick Dodd, Tony Valentine) - 2:46
12.The Standells - Batman (Neal Hefti) - 3:06
13.The Standells - Our Candidate (Mike Smith) - 4:12
14.The Standells - The Boy Who Is Lost (Larry Tamblyn) - 2:34
15.The Standells - It's All In Your Mind - 2:42
16.The Standells - School Girl (Graham Gouldman) - 2:17
17.The Standells - I Hate To Leave You (Tony Valentino, Dick Dodd) - 2:33
18.The Standells - Looking At Tomorrow (Barry Mann, Cynthia Well) - 2:18
19.The Standells - Don't, Say Nothing At All (D. Washington) - 2:32
20.The Standells - Try It (Joseph Levine) - 2:50
21.The Standells - Rari (Ed Cobb) - 5:33
TASTE - THE ISLE OF WIGHT FESTIVAL, August 28, 1970
The 1970 Isle Of Wight festival is remembered for several reasons: it would prove to be the largest rock festival yet held - attracting, it is estimated, up to 600,000 people and so leading to a ban on music festivals on the IOW for the next 32 years. While a ticketed festival, the huge numbers of people heading to the island meant it quickly became a free festival (with much rhetoric being spouted alongside several stage invasions by self-proclaimed "hippie activists"). Alongside leading rock, soul and |azz musicians the IOW hosted what would turn out to be the final UK performances of both Jimi Hendrix and The Doors. The IOW also featured a particularly ferocious set by Taste.
Taste were formed in the city of Cork. Ireland, by 18-year old Rory Gallagher in 1966. By then Gallagher was a veteran of the showband circuit, had toured much of Europe and played a residency in Hamburg. With Taste he mixed original material with blues covers, the band's raw, dynamic sound quickly establishing them In Belfast then London. Just before Taste signed with Polydor Records the band's management insisted on replacing the Cork rhythm section with drummer John Wilson and bassist Richard McCracken, both veteran Belfast musicians (Wilson had played in Them). Taste's exciting live performances set attendance records at London's Marquee Club and they gained wide European popularity with their eponymous 1969 debut album.
1970 should have been Taste's year: they released their sophomore album 'On The Boards' on January 1st. 1970, to rave reviews across Europe and the US. The band's work effort and inspired live performances had established Taste truly as a "people's" band. Praise for the band - and, especially, Rory Gallagher - came from many noted musicians: John Lennon championed Taste while Jimi Hendrix, when asked how it felt to be the world's greatest guitarist, replied that he had no idea and the question should be redirected to Rory. Yet, internally. Taste were bitterly divided due to differences between Gallagher and the rhythm section over management, money and status.
A break-in to the band's van (only drum pedals were stolen) the night before they headed to IOW brought tensions to a head with Rory emphasising that if management had provided Taste with a superior vehicle (as long requested) the theft wouldn't have occurred. If tensions were simmering in the van the Southampton ferry crossing on Friday morning provided a sense of exhilaration - they could feel the excitement building as thousands of rock fans gathered for the festival. Unfortunately, the huge numbers of people arriving on the IOW (population 100,000) meant Taste struggled to get on site in time for their late afternoon set. Things only got worse once there as they became aware the festival was being filmed: their manager threatened to cancel Taste's performance.
But perform they did: taking the stage in perfect conditions. Taste tore into 'What's Going On'. The huge audience, until then somewhat subdued in response to the afternoon's bands, rose to their feet. The ten thousand hours Kory had put in playing live over the past six years ignited a truly explosive performance. Perhaps the inter-band tension also fuelled Taste as the trio played superbly, giving their absolute all. each member listening and responding so creating music alive with excitement and possibility. Electricity was in the air and the audience screamed for an encore. Taste obliged but the audience refused to let them go. One - two - three - encores! Right then everyone bearing witness agreed: Taste were the most exciting live band in the world.
Backstage Taste were charged with adrenalin and aware they had achieved something special. This is what it's all about - playing rock and roll like your very life depended on it! But the ill feeling remained and. when photographer John Minihan requested that Taste gather for a portrait, the trio were reluctant. Finally, bassist McCracken said, "come on guys, even if it is the last one" and grabbed Gallagher and Wilson for the photo. Photo taken, Rory and his brother Donal then went off to watch Tony Joe White play. Rory was so impressed he would later include White's 'As The Crow Flies' in his live set. Taste might have had the adulation of an adoring public ringing in their ears but their IOW performance did not heal the band's divisions and they would confirm that they were to split a few days later. As Taste were contractually committed to a European tour they continued until a final Belfast concert on New Year's Eve, 1970. In that tumultuous year their Isle Of Wight performance sealed Taste as more a legend than a band.
by Garth Cartwright
Tracks
1. What's Going On - 5:31
2. Sugar Mama (Traditional) - 10:47
3. Morning Sun - 4:37
4. Gambling Blues (Traditional) - 4:52
5. Sinner Boy - 5:41
6. I'll Remember - 8:29
7. I Feel So Good (Big Bill Broonzy) - 10:26
8. Catfish Blues (Traditional) - 14:14
9. Same Old Story - 6:54
10.Blister On The Moon - 7:46
All songs by Rory Gallagher except where stated
The Taste
*Rory Gallagher - Guitars, vocals
*Richard McCracken - Bass
*John Wilson - Drums
The first album from this Long Island-based ensemble was a tuneful and ambitious collection of psychedelic folk-rock tricked out with polished harmonies and arrangements featuring elaborate horn and string charts. If anything, Tuesday, April 19 often sounds a bit too elaborate for its own good; the arrangements certainly reflect the trippy, philosophic bent of Gene Stashuk's lyrics (which also suggest a Christian undertow), but fairly often they also tend to overpower them, and on these sessions the Unspoken Word sound more like a studio project than an organic group with a personality of its own.
The irony is this has a great deal to do with the precision with which the Unspoken Word play their music; Angus MacMaster's keyboard work is especially impressive, with a striking dynamic sense, and vocalist Dede Puma would have done any number of Broadway musicals proud with her rich, expertly modulated instrument.
On tunes like "After the Before," the Unspoken Word sound a bit like the Free Design after an acid trip and a couple semesters of philosophy class, and while that might sound like damning the Unspoken Word with faint praise, the truth is few bands embraced the psychedelic philosophy while maintaining a composer's fine control over their music the way the Unspoken Word did on Tuesday, April 19. If the two sides don't always mesh perfectly, fans of oddities of the psychedelic era will doubtless find this to be intriguing stuff.
by Mark Deming
Tracks
1. Anniversary Of My Mind - 2:37
2. For The World - 1:48
3. Waking Up (Gene Stashuk, B. Barrette, Denise Puma) - 3:22
4. Moving Day - 2:13
5. After The Before (Gene Stashuk, Denise Puma) - 3:45
6. Distant, Oh So Far - 3:04
7. Rossby (Gene Stashuk, Angus MacMaster, Les Singer) - 2:42
8. Flock Of Birds (Gene Stashuk, Angus MacMaster) - 2:28
9. Sunday Suit of Clothes - 2:27
10.We're Growing - 2:58
11.Boy - 2:06
12.Nobody's Nothing - 2:19
13.On A Beautiful Day - 2:31
14.And It's Gone (Gene Stashuk, Denise Puma) - 1:53
All songs by Gene Stashuk except where noted.
Singer Terry Clarke, guitarist Derek Smallcombe and drummer Roger 'Spodge' Siggery had all played in UK psych legends Jason Crest. Following their collapse in 1969, Clark joined short-lived UK rockers Hunter, whose sole LP was released in America only under the band name Orang Utan, while his former bandmates played with High Broom, best-known for releasing a version of Dancing In The Moonlight on Island in 1970. Smallcombe then played a stint with progressive rockers Samuel Prody, whose sole LP was released in Germany only, before rejoining Clark and Siggery in 1972 to form the quintet Holy Mackerel, along with new recruits Chris Ware (guitar) and Tony Wood (bass).
Having relocated from their native Kent to rural Lancashire, they devised a set that drew on progressive, pop and country influences before starting to gig. According to their LP's sleevenotes, they 'took the Northern college circuit by storm, experimenting and refining their music until they were ready for their album'. Having come to the attention of producers Roger Easterby and Des Champ (best-known for making hits with pop artists including Vanity Fare, Deep Feeling, Dr Marigold's Prescription and Chicory Tip), they were signed to CBS and entered the studio. A single coupling Rock-A-Bye and New Black Shoes was issued in late October 1972, preceding the appearance of their self-titled LP in November.
Unfortunately, as 1973 came around the market for such records was fast shrinking, and it sold poorly despite an enthusiastic endorsement from John Peel ('A group to watch and, of course, a good one to listen to as well') and 45 releases in Germany, Turkey and elsewhere. They appeared on Peel's show in November, performing Waterfall, Spanish Attraction, Oh! and Trie Boy & The Mekon, but it made little difference to their success. They did go on to record a follow-up album, entitled Closer To Heaven, but CBS didn't release it and it languished until finally appearing in 1993.
Having departed CBS, the band remained with Easterby and Champ for three further singles that appeared on the producers' own Santa Ponsa label (a subsidiary of Pye), but none of those charted, so they finally called it quits in mid-1974.
CD Liner-Notes
Tracks
1. Going To The Country (Steve Miller, Ben Sidran) - 3:05
2. Virginia Water (Derek Smallcombe) - 3:49
3. Spanish Attraction (Terry Clark) - 7:38
4. Rock-A-Bye (Barry Ian Green, Ron Roker) - 2:36
5. Oh! (Derek Smallcombe) - 5:19
6. Were You At All (Chris Ware) - 2:59
7. New Black Shoes (Terry Clark, Roger "Spodge" Siggery, Chris Ware, Derek Smallcombe, A. Wood) - 3:49
8. The Boy And The Mekon (Terry Clark) - 5:50
The Holy Mackerel
*Terry 'Nobby' Clark - Vocals
*Derek 'Mort' Smallcombe - Lead Guitar, Acoustic Guitar, Harmonica, Vocals
*Chris Ware - Lead Guitar, Acoustic Guitar
*Tony Wood - Bass
*Roger 'Spodge' Siggery - Drums
Singers/guitarists Martin Curtis and Bob Poton started their professional musical careers in 1963 as members of the beat band The Pandas. By 1966 they'd expanded their line up to include Kent Mick Glass and drummer Steve Chapman. They'd also opted for a name change, dropping The Pandas for the hipper Pandamonium.
Produced by Shel Talmy and Hugh Murphy, the collection found the duo supported by members of Fairport Convention/Fotheringay (Jerry Donahue, Gerry Conway and Tim Donaldson) and Heads, Hands and Feet (Albert Lee and Chas Hodges). Musically the album was quite different from the earlier "Thoughts & Words" release. Whereas the former sported a distinctive reflective folk feel, material like 'I Know You', the Badfinger-ish 'Sunrise' and 'Sit and Watch the Sunshine' showcased a far more commercial and up-tempo pop feel.
Showcasing all original material, the pair had a clear knack for crafting the kind of melodies that crawled into your head and wouldn't let go - I dare you to shake 'I Believe In You' out of your memory. Curiously, as lead singers neither Curtis nor Ponton had great voices, but when they were paired together they somehow managed to turn in some truly stunning harmony work (the country-tinged 'If I Could Be With You').
Even more interesting were a couple of psych-influenced numbers. 'I Am What I Am' sported another mesmerizing melody, couple with one of the best fuzz and backward guitar solo sections I've ever heard. Yeah, there were a couple of duds - 'Baby I'll Be Yours' was a forgettable country-influenced number, 'Who Knows What We May Find' was a fey ballad, and 'Waiting for Summer' was a strange Latin-flavored piece that wouldn't have sounded out of place on an Everything But the Girl album. Still, one of my favorite recent discoveries the big mystery being why Liberty would have shelved an album with so much commercial potential ...
Tracks
1. I Know You - 3:18
2. It´s A Long Time - 3:14
3. I Am What I Am - 3:54
4. Sunrise - 4:10
5. If I Could Be With You - 2:15
6. Sit And Watch The Sunshine - 3:11
7. Baby I´ll Be Yours - 3:52
8. Send Out A Smile - 3:04
9. Who Knows What We May Find - 3:15
10.Waiting For The Summer - 2:30
11.I Believe In You - 3:57
All songs by Bob Ponton, Martin Curtis
For the band's second album, Divergence, Peter van der Sande was replaced by Guus Willemse. The new line-up seemed to gel better, and this line-up would stay the same (although with various guests such as Jan Akkerman joining in) until the band's demise in 1983. Divergence was less energetic and more ruggedly powerful than its predecessor, containing more structured pieces than before.
Ironically, the band reveal in the second line of Second Line that English is not their native tongue: 'Well here I am/Look me into my face.' In fact, the first half of Second Line consists of an astonishingly beautiful piano ballad, in the style of Elton John perhaps. Barlage's sax solo is incredibly moving. The production makes everything sound like a dream. This is the sort of song that needs lyrics you can shout at the top of your lungs, and yet whenever Willemse is not mumbling his lines, they don't make any sense, a shame indeed. The second half of the song consists of a Soft Machine-y jazz fusion instrumental, which has nothing to do with the first half, and seems a little out of place.
This album is most famous for its title track that was covered by Focus in their epic suite Eruption from the Moving Waves album. Oddly enough, Moving Waves had come out the previous year, which lead to many people believing Solution had just stolen a track from Focus. This track is really a chance for Barlage to show just how he can hold a saxophone. He gets to repeat the same monumental sax solo a total of three times throughout the track's six minute length. On the other hand, the rest of the instrumental is very straightforward, and I found that I pretty much worked out how it pieced together after three listens. Interestingly, a drum pattern from Koan reappears, and is very similar to another pattern heard on the title track from Supersister's Pudding en Gisteren.
One throwaway piece later, and we get to Concentration, probably the finest track of the lot. Once again, we can split this song into two halves, the first a smooth laid-back blues piece with lyrics, the second a speedy 7/8 instrumental in the style of Soft Machine's Esther's Nose Job. The instrumental in the first half of the song contains a subtle hint of the proggy goodness that's in store. The lyrical section is a perfect blend of jazz and blues. Willemse's lyrics aren't always audible, but he delivers them with gusto. Afterwards, the brisk 7/8 instrumental section leads us on a roller-coaster of themes and riffs, keeping the listener hooked throughout. A masterpiece track if I ever heard one.
Yet another throwaway track later and we finish on New Dimension. The use of organ on this track is simply mesmerising, and the riff and chord sequences used are subtle but also darkly powerful, playing with the mind on a subconscious level. Before I knew it, I was coming back for repeated listens of this bizarre piece.
Esoteric have done a wonderful job with these albums. Both booklets contain similar well-written essays by Wouter Bessels. I did spot a minor mistake however, because it appears that the track Theme from Divergence was sampled in Erykah Badu's track Soldier, not in Victory as the notes suggested. Nevertheless, these notes tell you all you need to know about the band. The artwork reproduction (back and front) is spot on, no less than what the paying customer deserves. The remastering is also brilliant, with everything sounding crystal clear, and the bass coming through especially nicely. Sadly, there are no bonus tracks appended to the albums, but this is not necessarily Esoteric's fault.
Solution may not have all the skill and songwriting ability as some of their contemporaries *cough* Supersister *cough*, but they certainly have enough to keep this prog fan satisfied. With only a few minor weaknesses, the band's first two albums are gems of the jazz-prog genre, and have yet again convinced me of the quality of Dutch progressive rock. Even if you aren't so keen on jazz, you may be pleasantly surprised by what you hear.
by Basil Francis
Tracks
1. Second Line - 8:48
2. Divergence - 6:00
3. Fever - 4:27
4. Concentrantion - 12:31
5. Theme - 0:42
6. New Dimension - 6:26
All compositions by Hans Waterman, Tom Barlage, Guus Willemse, Willem Ennes Solution
*Tom Barlage - Saxophone, Flute
*Willem Ennes - Keyboards
*Guus Willemse - Bass Guitar, Vocals
*Hans Waterman - Drums
England's Climax Blues Band saw their first taste of mainstream acceptance with 1975's Stamp Album, a solid mix of blues rock, funk, and jazzy pop that paved the way for their eventual platinum success with Gold Plated a year later. Led by the stellar guitar work & vocals of Pete Haycock, the band was completed by Colin Cooper (sax, clarinet, flute, keyboards), Derek Holt (bass, vocals), Richard Jones (keyboards, bass, guitar, vocals), and John Cuffley (drums, vocals), in what is considered one of the strongest line-ups the band had.
Haycock's stinging guitar licks & Cooper's melodic sax drive the catchy, upbeat blues rocker "Using the Power", a great opener to Stamp Album that sets the stage for the rest of the record. "Mr. Goodtime" is a smoldering slice of bluesy, jazzy funk, littered with Jones' clavinet and Haycock's biting lead guitar, and the hook laden, rootsy "I Am Constant" was the albums hit single, a catchy rock number that will appeal to any fan of Little Feat or the Doobie Brothers. "Running Out of Time" is a pulsating funk rocker with a great vocal from Cooper and more delicious clavinet & guitar.
The band dives into melodic pop on the engaging "Sky High", a song I'm surprised the band didn't release as a hit single, and burst through with scorching Lynyrd Skynyrd styled southern rock on the nasty slide guitar attack of "Rusty Nail/The Devil Knows". Haycock really nails it with some searing slide on this gritty bluesy hard rock song, and the tune also features some wild Jethro Tull inspired flute from Cooper and Jones' great piano lines. Jones and his honky tonk piano & Cooper's soaring sax are all over "Loosen Up", and the closing instrumental "Cobra" sees the band combining rock, blues, and jazz-fusion styles for an exciting, yet brief ride.
As with most of Esoteric's CBB reissues, there are a wealth of bonus tracks here on Stamp Album. The BBC Radio One John Peel session tracks are especially enjoyable, and include songs from this album as well as the previous Sense of Direction release. "Before You Reach the Grave" is especially funky, and "Reaching Out" is given smoldering treatment, with Haycock & Cooper reaching deep with some ripping guitar & sax. The remaster treatment on the original album is crisp and clear, and the booklet contains a wealth of information about the sessions and plenty of photos. A splendid reissue of a great band from the always dependable folks at Cherry Red.
by Pete Pardo
Tracks
1. Using The Power - 4:29
2. Mr. Goodtime - 5:16
3. I Am Constant - 3:10
4. Running Out Of Time - 5:23
5. Sky High - 5:07
6. Rusty Nail The Devil Knows - 4:15
7. Loosen Up - 4:56
8. Spirit Returning - 2:54
9. Cobra - 2:18
10.Before You Reach The Grave (BBC Radio One John Peel Session) - 4:36
11.Reaching Out (BBC Radio One John Peel Session) - 4:53
12.Spirit Returning (First Version) - 4:20
13.Rusty Nail The Devil Knows (First Mix) - 4:28
14.I Am Constant (BBC Radio One John Peel Session) - 3:11
15.Running Out Of Time (BBC Radio One John Peel Session) - 4:51
All songs by Climax Blues Band
Bonus Tracks 10-15
The Climax Blues Band
*Colin Cooper – Vocals, Soprano, Alto, Tenor Saxes, Clarinet, Flute
*Peter Haycock – Vocals, Lead, Slide, Acoustic Guitars
*Derek Holt – Vocals, Bass, Vibes
*Richard Jones – Vocals, Keyboards, Bass, Acoustic Guitars
*John Cuffley – Drums, Percussion
The Dutch band Solution was formed back in 1966, and in a career that lasted until 1983 they explored quite a few different types of music prior to calling it a day. Their most interesting productions from a progressive rock point of view have generally been subscribed to their self-titled debut from 1971 and the following year’s production "Divergence". Both albums have been unavailable for a number of years now, until the UK label Esoteric Recordings decided to reissue them on CD in the fall of 2012 – as usual from this fine label, complete with a nice and good quality digital remastering.
The 70's in general and the start of that decade in particular is by many regarded as a golden age of progressive rock music. This fascination for days gone by isn't totally without reason, and the debut album by Solution documents quite nicely some of the reasons for it. It is a fairly eclectic production, of the kind that you can't really pinpoint into a narrowly defined specific style, and fairly innovative to boot. Fine musicians given more or less free reigns, creating their music without bothering too much about a target audience as such, I suspect. Kicking off in a fine manner with jubilant brass fanfares in a song that from then on flirts with majestic symphonic art rock, traditional 70's jazz rock, a careful and fragile version of the same sporting a nervously resonating piano motif as well as a gentler variety of symphonic art rock again with flute and careful keyboards as main features.
While piano and flute are used fairly often on this production, it is the organ that dominates these proceedings. Employed alongside the saxophone for the aforementioned jubilant opening piece Koan, these two instruments also take the lead when Solution hits the traditional jazz rock territories. The organ returns for the brief interlude Preview, alongside the piano, and the following construction Phases also features the organ in the initial part, now combined with flute and backing vocals to explore a fragile cosmic inspired theme.
With bombastic organ driven passages explored later on, in a manner similar to early Van Der Graaf Generator, a revisit of the careful, Pink Floyd-evoking territories and in the only sequences sporting lead vocals on this disc we're treated to themes that sound like a direct continuation of Jethro Tull's classic tune ‘My God’, albeit featuring organ instead of the traditional flute that could have been employed. Trane Steps and Circus Circumstances aren't quite as eclectic and broad in scope, but again we're treated to a band that effortlessly and gleefully wanders back and forth in stylistic expressions also on these two compositions, now mostly staying put within a dual jazz rock and symphonic art rock universe.
Both of the pieces are a treat to experience, and on these efforts, as well as on the album as a whole, the bass and drums of Van Der Sande and Waterman respectively add striking and intricate details to the proceedings. It's easy to loose oneself in the keyboard displays of Ennes and the flute and sax of Barlage when describing this production, but the rhythm section is just as much of an essential feature as the more striking parts of the instrumentation here. Impeccable and skilled performances are needed to pull off such an adventurous mix of music, and this foursome is all equally capable in that department.
As far as debut albums go, "Solution" is a very interesting one. Innovative, adventurous and broad in musical scope, I'm slightly mystified as to why this album isn't high on the list of classic albums progressive rock fans should sample. The very eclectic nature of this disc will not be to everybody's taste admittedly, but for those with a broad range in musical tastes and a keen interest in early 70's progressive rock Solution's debut warrants a keen inspection.
by Olav M Bjornsen
Tracks
1. Koan (Tom Barlage, Willem Ennes, Hans Waterman) - 7:52
2. Preview (Tom Barlage) - 0:59
3. Phases (Tom Barlage, Willem Ennes, Hans Waterman, Peter V. D. Sande) - 12:19
4. Trane Steps (Tom Barlage, Willem Ennes, Hans Waterman) - 10:21
5. Circus Circumstances (Jacques Ibert, Emmerson, Tom Barlage, Willem Ennes, Hans Waterman) - 7:05
The Solution
*Tom Barlage - Flute, Alto, Soprano Sax
*Willem Ennes - Piano, Electric Piano, Organ
*Peter V. D. Sande - Bass, Vocals
*Hans Waterman - Drums
*Steve Boston - Congas, Cowbell On "Phases"
Ayers Rock was the leading Australian 'jazz-rock' group of the 70s, fusing rock with influences from soul, R&B, jazz and Latin music. The band was built on world-class standards of playing and complex arrangements, and inspired by overseas groups such as Traffic, Santana and Weather Report. The original members were all seasoned players, widely regarded as among the best musos in the country, and their musical connections were woven through a series of major bands of the 60s and early 70s.
Mark Kennedy was and is still widely regarded as one of Australia's best drummers. He rose to prominence as the original drummer in Spectrum. He left that band in late 1970, just after recording their first LP, and he became an in-demand session player, as well as working in a series of loosely connected groups including King Harvest (where he first teamed up with McGuire and Doyle) and Friends with Leo De Castro.
Duncan McGuire was a true rock veteran (and one of the unsung heroes of Aussie music). His first band was The Phantoms way back in 1959. He was a member of The Epics (1962-64), who backed Little Pattie live and on her early Singles and first album, as well as playing with Reg Lindsay, Johnny Ashcroft, Brian Davies, Jay Justin and Johnny O'Keefe. From 1966-68 he was a member of The Questions (Doug Parkinson's first major band) which also included Ray Burton and Doug Lavery (who later joined The Valentines and Axiom). McGuire stayed with Parkinson through In Focus and Fanny Adams before shifting to Melbourne and playing with King Harvest and Friends.
Jimmy Doyle had been a member of the backing bands for The Delltones and Dig Richards, and during the early Sixties he also worked as the musical director for renowned honky-tonk pianist Winifred Atwell.
Ray Burton had been the rhythm guitarist in the Dave Bridge Quartet in the early Sixties, and then a member of the Delltones' backing band, after which he joined the first lineup of successful Sydney harmony-pop group The Executives. He worked variously with Doyle, McGuire and Kennedy in King Harvest, Doug Parkinson In Focus and Friends. He relocated to the USA in the early 70s, where he worked Helen Reddy and co-wrote her 1972 international mega-hit "I Am Woman".
In 1973 the above-named four took the logical step and formed their own band, McGuire Kennedy Burton. Later in the year, they added another player, multi-intrumentalist Col Loughnan. Col had actually started his career as lead singer with Sydney vocal group The Crescents. In 1962 Col was recruited to replace Noel Widerberg, lead singer with The Delltones, who had been tragically killed in a car accident earlier in the year. Col performed with The Delltones for five years (1962-67). In the late Sixties Col returned to his first love, jazz, and his prowess on a wide range of instruments (alto, tenor and baritione saxophones, flute, keyboards and percussion) gave the Ayers Rock sound a distinctive edge.
With Loughnan on board, the new band changed their name to the more marketable (and patriotic) Ayers Rock. They were one of the first groups signed to Michael Gudinski's newly established Mushroom label, and their debut single, "Rock'n'Roll Fight", was issued at the end of 1973.
They performed at Sunbury '74 and one track from their set, Ray Burton's "Morning Magic", was included on the Highlights of Sunbury 1974 LP, which has recently been re-released in the 2-CD set Highlights of Sunbury 1973 and 1974 on Michael Gudinski's Liberation Blue label. These tracks are the only extant Ayers Rock recordings to feature Burton, who left the band during 1974. Col Loughnan's official website features a superb colour clip of the group performing live at Sunbury, with excellent sound.
He was replaced by singer-guitarist Chris Brown, whose previous credits included a stint in Little Sammy & The In People, the noted '60s Sydney club outfit led by singer Sam "Little Sammy" Gaha (father of TV's Eden and Danielle Gaha); although not commercially successful, this notable band variously included Brown, Harry Brus, Michael Carlos, Barrie McAskill, Col Nolan and Janice Slater.
Ayers Rock's debut album Big Red Rock was taped live before an invited audience at Armstrong's Studios in Melbourne over two nights in September 1974. The live-in-the-studio approach worked extremely well for Ayers Rock, and the album clearly demonstrated why their awesome live 'chops' had made them such a popular concert attraction. But it also was something of a necessity for the cash-strapped label -- they took the same approach with andnother early signing, Mackenzie Theory. The Ayers Rock LP reportedly cost Mushroom a mere $5000 to record.
Big Red Rock was an early critical and commerical success for Mushroom, showcasing the band's considerable prowess and the material was a good balance between the more commercial song-based material of McGuire and Brown and the more adventurous instrumentals. The LP features three songs by McGuire, including their memorable second single, the Latin-flavoured "Lady Montego", a song that dated back to McGuire's stint in Friends; an earlier, slower version appears (in a live recording) on the Garrison: The Final Blow LP.
Big Red Rock also features two excellent pieces by Loughnan, two songs by Chris Brown, and a dazzling cover of Joe Zawinul's "Boogie Woogie Waltz", originally recorded by Weather Report (who were at that time virtually unknown in Australia). Loughnan's power-jam "Crazy Boys" is also worth hearing for its hilarious intro; dedicated to an unnamed Sydney hamburger joint, it includes a sly reference to a "Gudinski burger" and very funny joke about "Dr Hopontopovus, the Greek gynaecologist".
As Vernon Joyson has noted, Ayers Rock's recordings suggest that there was some dilemma about whether they should pursue a more expansive instrumental-based approach or opt for a more song-based commercial sound. From the evidence of Big Red Rock, its arguable that its the instrumental tracks -- "Crazy Boys", "Big Red Rock" and the brilliant cover of "Boogie Woogie Waltz -- that stand up best today, but the demands of radio airplay and gigging meant that this dilemma was never satifactorily resolved, and the group's relatively short lifespan and small catalogue meant that they never really got the chance to reach their full potential.
In the late 1975 Ayers Rock performed at the final gigs at Melbourne's fabled Reefer Cabaret. Live versions of the Stones' "Gimme Shelter" and "Boogie Woogie Waltz" were included on the double-album A-Reefer-Derci, culled from performances from the last two nights on 30 and 31 December 1975, and released by Mushroom in 1976. Like Mushroom's earlier Garrison: The Final Blow set, it commemorated the closure of the venue and was a means of thanking the Reefer Cabaret for supporting Mushroom's artists during 1974-75.
During '75-76, Kennedy began working with Marcia Hines and they later became engaged, which led to him leaving Ayers Rock in 1976. He was replaced for a time by Russell Dunlop, who, like Kennedy, was a seasoned veteran, and a respected session player and producer, but his permanent replacement was hotshot young drummer Hamish Stuart, who has since become a mainstay of the Sydney music scene and one of the most respected drummers in the country. At this point the group also added a permanent keyboard player, Andy Cowan (ex Madder Lake).
Ayers Rock's second LP Beyond was not quite as successful sales-wise, but no less impressiv musically. By this time the emphasis had shifted to longer works that allowed the band to showcase its considerable improvisational skills, and the LP consists of just six tracks, three each by Col Loughnan and Chris Brown. One of Brown's songs, "Little Kings", was lifted to become their third single.
Recorded in Los Angeles, the album was vastly more expensive to record than its predecessor, reportedly costing Mushroom a whacking $60,000, but by this time Mushroom's coffers had been swelled by the massive success of Skyhooks. The LP was also released in the USA, with different cover art. Their fourth and final single for Mushroom, "Song For Darwin" (May 1976) was inspired by the Cyclone Tracy disaster that had devastated the city on Christmas Day 1975.
After parting with Mushroom, the band broke up for about three years, but it was reformed by Brown, Doyle, Stuart and Cowan in 1979 and they established their own label, Red Rock. A new single, "On The Avenue" was released at the end of 1979, followed by "Lies" in early 1980, both issued through Polydor. The singles were both included on their third and final LP Hotspell, distributed by RCA. Unfortunately, the album was not successful and the band broke up in 1981.
Founding members Jimmy Doyle and Duncan McGuire have, sadly, both since passed away; Duncan died in 1986 from a brain tumour and Jimmy died in May 2006 from liver cancer.
Recorded in one, live-in-the-studio session in September 1974, Big Red Rock was one of the first albums issued on the mighty Mushroom label. Despite the brief nature of the recording, the band was well prepared and the album stands as a fine example of musical skill and technique combined with song writing brilliance. This is where jazzy pop and blues rock textures meet jazz rock explorations and trippy soundscapes, where the band’s sound coalesced into a cogent whole.
Ayers Rock could move from one style to the next with consummate ease. From the silky, jazzy pop of ‘Lady Montego’ (issued as a single), into the tough blues rock of ‘Nostalgic Blues’ which glides into the Frank Zappa Hot Rats styled jazz rock of ‘Crazy Boys’ and onto the jazz fusion magnificence of their version of Weather Report’s ‘Boogie Woogie Waltz’. The band also explored trippy soundscapes in the evocative title track where treated sax solos and wah-wah guitar emulated the didgeridoo, calling to mind the vast, forbidding landscape of the Red Centre.
The group went on to make a mark on the vast USA touring circuit, playing to massive crowds and paving the way for Little River Band, AC/DC, Air Supply, Men at Work and INXS.
Presented in a Deluxe Digi-Pak, Aztec’s expanded CD edition of Big Red Rock adds the rare 1973 single ‘Rock ’n’ Roll Fight (Going On)’ – featuring the band’s original guitarist Ray Burton – plus other live material from Sunbury 1974 (‘Morning Magic’) and Reefer Cabaret (‘Gimme Shelter’). Remastered sound by Gil Matthews, colour booklet with rare photos by Philip Morris and liner notes by Ian McFarlane.
Tracks
1. Lady Montego (Duncan McGuire) - 2:51
2. Talkin' 'Bout You (Duncan McGuire) - 3:58
3. Goin' Home (Duncan McGuire) - 3:04
4. Crazy Boys - The Hamburger Song (Col Loughnan, Stephen Ian) - 9:11
5. Nostalgic Blues (Chris Brown) - 4:37
6. Big Red Rock (Col Loughnan) - 8:29
7. Boogie Woogie Waltz (Joe Zawinul) - 10:11
8. Get Out To The Country (Chris Brown) - 4:39
9. Rock 'n' Roll Fight (Going On) (Raymond Doughty) - 3:11
10.Sorrowful Eyes (Raymond Doughty) - 4:54
11.Morning Magic (Raymond Doughty) - 5:47
12.Boogie Woogie Waltz (Joe Zawinul) - 11:04
13.Gimme Shelter (Mick Jagger, Keith Richards) - 7:29
Tracks 9-10 Single release 1973
Track 11 Live at Sunbury January 1974
Tracks 12-13 Live at Reefer Cabaret December 1975
The Ayers Rock
*James Doyle - Electric, Acoustic Guitars
*Col Loughnan - Tenor, bariton Saxophone, Flute, Percussion, Vocals
*Duncan McGuire - Bass, Percussion
*Mark Kennedy - Drums, Percussion
*Ray Burton - Guitar, Lead Vocals (Tracks 9-11)
*Chris Brown - Lead Vocals, Electric, Acoustic, 12 String Guitars, Parcussion (Tracks 1-8, 12.13)
