Live Blood was recorded at the Sunbanks Music Festival in Washington State, and captures the band in their most natural of habitats: on stage and smokin. Live Blood is what Cold Blood fans have been waiting forlightning in a bottle, laid down by a tight six-piece band, fronted by the incomparable Ms. Pense. Live Blood stays true to the throbbing, thumping, horn-laced tunes for which the band has come to be known.
Lydia’s vocals are right-on and she’s sounding as good as she ever has. Needless to say Cold Blood’s performance is all about funk and soul, capturing the magic from the beginning of this record with the opening killer version of ‘I Just Want To Make Love To You", the 13 minutes "Funky On My Back" is a remarkable jam trip with guitar blasts, dymanic vocals and wind instruments..
Tracks
1. I Just Wanna Make Love To You (Willie Dixon) - 6:52
2. Can't Take It (Don't Give A Damn) (L. White) - 4:47
3. No Way Home (Raul Matute, Danny Hull) - 5:08
4. I'm A Good Woman (Barbara Lynn Ozen) - 4:28
5. Funky On My Back (Cecil Stoltie, Danny Hull, Larry Field, Lydia Pense, Raul Matute, Rod Ellicott) - 13:03
6. Back Here Again (Paul Tillman Smith) - 7:39
7. Face The Music (Steve Dunne) - 5:09
8. It Takes A Lot Of Good Lovin (Alvertis Isbell, Booker T. Jones) - 5:09
9. You Got Me Hummin' (David Porter, Isaac Hayes) - 8:37
A blend of contrasts highlights this fine record, from a group that seems equally at home with hard rockers, what used to be called "blue eyed soul" or wekk handled ballads. Adept at using a single lead voice with backup chorus or working with harmony.
Redbone have put together an exceptionally comercial set here with virtually every cut showing single possibility. Use of strings aids rather thatm hinders the material on the few cuts where they offered and the production of Pat and Lolly Vegas is superb.
B/Board October 1974
Tracks
1. One More Time (Lolly Vegas) - 3:05
2. Suzi Girl (Lolly Vegas) - 2:58
3. Only You And Rock And Roll (Pat Vegas, Lolly Vegas) - 3:01
4. Blood Sweat And Tears (Pat Vegas) - 2:51
5. Cookin' With D'redbone (Lolly Vegas) - 3:57
6. (Beaded Dreams Through) Turquoise Eyes (Pat Vegas) - 3:22
7. Beautiful Illusion (Lolly Vegas) - 3:42
8. Interstate Highway 101 (Pat Vegas) - 2:55
9. I'll Never Stop Loving You (Pat Vegas, Lolly Vegas, James Ford) - 2:49
10.Moon When Four Eclipse (Lolly Vegas) - 4:48
11.I've Got To Find The Right Woman (Lolly Vegas) - 3:15
12.Physical Attraction (Pat Vegas) - 2:59
13.Keep Me Uptight (Pat Vegas, Lolly Vegas) - 6:08
14.To Get the Love I Need (Pat Vegas, Lolly Vegas) - 3:02
15.A Little Bitty Ditty (Pat Vegas, Lolly Vegas) - 2:59
16.Echoes From Another Planet (Pat Vegas) - 3:39
Formed in fashionable Ladbroke Grove in 1969, this international six-piece played extended, improvisatory compositions highlighted by lengthy guitar solos, flute, sitar and communal, Indian-inspired chanting. They took on Eastern names to match their philosophies, with Australian flautist and founder Ronald Rothfield becoming Raja Ram, for example, and American bassist Richard Vaughan known as Shambhu Babaji. Far from a niche, underground concern, however, Quintessence quickly signed to Island after a major-label bidding war, and soon appeared frequently in the music weeklies, and even live on BBC2 and in Nicolas Roeg’s Glastonbury Fayre. Across five studio albums, ranging from 1969’s In Blissful Company to 1972’s Indweller, they journeyed into their own groovy mysticism, lyrically paying as much heed to St Pancras and Ladbroke Grove as to Mount Kailash and various deities.
Despite their popularity at the time, they have since slipped under the radar in recent years, being denied the resurgence of, say, The Incredible String Band, or even the credibility of weirder Eastern-inspired acts like The Third Ear Band. Spirits From Another Time attempts to rectify this, with two CDs of outtakes and alternative recordings from the vaults, many forgotten by their creators and in need of reconstruction; two cuts here even feature new guitar and vocals from Dave ‘Maha Dev’ Codling and Phil ‘Shiva’ Jones.
The results are impressive, though Quintessence were clearly at their best when they abandoned their scenester pretensions and Jones’ slightly hammy vocals, and instead launched into relaxed improvisation. Disc One’s 12-minute take of “Epitaph For Tomorrow” is stunning, a steady, subtle groove over which lead guitarist Allan Mostert is free to slowly unwind his subtle soloing, his instrument increasingly affected by echo and wah-wah effects; “Body” similarly embarks on some swinging guitar improvisation, while opener “Notting Hill Gate” moves from exhortations of meditation and “getting it straight” into peals of echoed flute and buzzing sitar. What’s most striking is the restrained, almost ambient manner of their sound, presumably aimed straight at enlightenment rather than hedonism.
If Quintessence’s music is at times too time-stamped, and lyrics like “celestial wine filling you with divinity” too gauche for the cynical decades that came after, perhaps now, with the continuing resurgence of new age music and renewed appreciation for the likes of the Grateful Dead, is the right time again to appreciate these overlooked cosmic adventurers.
by Tom Pinnock
Tracks Disc 1
1. Notting Hill Gate (Ronald Rothfield, Shiva Shankar Jones) - 5:42
2. Brahman - 5:38
3. Sea Of Immortality (Version 1) - 5:41
4. Epitaph For Tomorrow - 11:40
5. Only Love (Take 3) - 7:11
6. Spirits From Another Time - 1:22
7. Untitled Guitar - 2:33
8. Hari Om - 3:16
9. Body - 5:41
Disc 2
1. Sea Of Immortality (Version 2) - 5:30
2. Tree Of Life - 6:35
3. You Never Stay The Same - 6:32
4. Only Love (Take 2) - 7:59
5. Marwa - 3:10
6. Wonders Of The Universe - 3:38
7. Maha Mantra - 6:01
8. Untitled Harpsichord - 2:00
9. Sunlit Kitchens - 3:33
10.Twilight Zones (Lyrics by Stanley Barr) - 6:01
11.Move Into The Light - 6:25
All compositions by Quintessence except where noted
The Quintessence
*Allan Mostert - Lead Guitar
*Dave Codling - Rhythm Guitar
*Jake Milton - Drums
*Ron Rothfield - Flute
*Shambhu Babaji - Bass Guitar
*Shiva Shankar Jones - Vocals
By the time Second Hand released this, the band's second album, in 1971, the progressive elements were much stronger, and the group went further with experimentation. Only a couple tracks have guitar, but there are plenty of high-energy rockers just the same, especially the title track, "Lucifer and the Egg," and "Somethin' You Got," and the lack of guitar is more than made up for by plenty of long, wild organ solos. "Hangin' on an Eyelid" adds in easy listening elements to a rock song for an oddly effective mix.
The experimental leanings become especially prevalent on the second side of the record, where the group leaves song structure aside for several segued tracks of bizarre, mostly instrumental material, a wise choice given that Rob Elliott is only a marginally better vocalist than his brother Ken, who sang on the first album. (Fortunately, on many of the tracks they use processing to make the vocals sound more interesting.) "Cyclops" is a long instrumental of mostly keyboards, whereas "Sic Transit Gloria" has some weird chanting and explosions before suddenly going into "Revelations Ch. 16, Vs. 9-12" with nightmarish tones. The two bonus tracks on the CD, placed between the two sides rather than at the end, are quirky pop songs, one of which has guest saxophonist Lol Coxhill.
by Rolf Semprebon
Tracks
1. Death May Be Your Santa Claus (Ken Elliott) - 2:37
2. Hangin' On An Eyelid (Ken Elliott) - 4:19
3. Lucifer And The Egg (Ken Elliott) - 7:49
4. Somethin' You Got (Kieran O'Connor) - 2:57
5. Cyclops (George Hart, Ken Elliott) - 6:30
6. Sic Transit Gloria Mundi (George Hart, Ken Elliott, Kieran O'Connor) - 1:01
7. Revelations Ch. 16 Vs. 9-21 (Ken Elliott, Mike Craig) - 3:35
8. Take To The Skies (Ken Elliott, Mike Craig) - 2:04
9. Death May Be Your Santa Claus (Reprise) (Ken Elliott) - 5:21
10.Funeral (Paul Greedus, Alan Morgan) - 3:01
11.Dip It Out Of The Bog Fred (Ken Elliott) - 1:38
12.Baby RU Anudder Monster? (Ken Elliott) - 3:22
Released by MCA's Uni subsidiary, 1969's "The American Blues Do Their Thing" was a major improvement. Self-produced, the collection found the band opting for a major change in direction. Written by the Hills, material such as the lead-off "You Were So Close To Me", "Captain Fire" and "Just Plain Jane" found the band attempting to capitalize on San Francisco-styled psychedelics.
Elsewhere, the collection found the group mining a more conventional rock format; "Wonder Man" and "Shady" reflecting a distinctive Cream-influence, while the blazing "Comin' Back Home" (complete with Beard and Rocky Hill meltdown solos) offered up a nice Hendrix imitation. Sure, it was largely derivative, but that didn't lessen the enjoyment factor. A commercial failure, Uni promptly dropped the band. (On a personal note, we've always wondered about the discrepancy between the front and back covers showing a trio and the liner notes listing four members.) Beard promptly left to join the newly formed ZZ Top, quickly recruiting Dusty bassist.
Tracks
1. You Were So Close To Me - 3:32
2. Wonder Man - 2:25
3. Just Plain Jane - 2:37
4. Shady - 2:08
5. Comin' Back Home - 5:35
6. Captain Fire - 3:20
7. Chocolate Ego - 3:06
8. Nightmare Of A Wise Man - 3:26
9. Dreams - 2:58
10.Softly To The Sun - 2:34
All selections by Dusty Hill, Rocky Hill
The American Blues
*Dusty Hill - Bass, Lead Vocals
*Frank Beard - Drums, Vocals
*Rocky Hill - Guitar, Vocals
*Doug Davis - Keyboards, Vocals
The lost, third studio album from 1969 by this quite good psychedelic / proto-progressive band. An absolutely worthwhile release for fans of music of this era.
“Having made two superb psychedelic albums and gigged with The Doors, Frank Zappa, Pink Floyd, The Velvet Underground and many others, in June of 1969, The Mandrake Memorial came to London. The plan was to record with famed producer Shel Talmy (The Kinks, The Who, Pentangle), but when that fell through, they persevered alone.
Long thought to be lost, 3 Part Inventions anticipates the woozy, dream-like vibe of their 1970 masterpiece Puzzle, combining eerie vocals, trippy guitar and otherworldly electronics to create a unique whole.
Transferred directly from the master tape, it's released here for the first time, together with a detailed band history, rare images, two previously unheard outtakes from a 1969 acetate, and a rare radio interview.“
CD Liner-Notes
Tracks
1. The Puzzle - 2:52
2. Ocean's Daughter - 2:56
3. Tadpole - 2:32
4. Part Of My Dreams - 5:48
5. Wouldn't You Like It - 2:14
6. Bucket Of Air - 7:29
7. Witness The End - 10:06
8. Cassandra - 4:54
9. The 12th Brigade - 5:14
10.Rock Star Interview - 2:39
All compositions by Craig Anderton, Michael Kac, Randy Monaco, John Kevin Lally
The Mandrake Memorial
*Craig Anderton - Guitars, Electronics, Sitar
*Michael Kac - Keyboards, Voices
*Randy Monaco - Bass, Voices
*John Kevin Lally - Drums
With a killer leading couple of Jane Fonda and Donald Sutherland—fresh from their box office triumph co-starring in Klute—and a soundtrack by the Electric Flag’s Mike Bloomfield and Nick Gravenites—with performances by Paul Butterfield and Maria Muldaur—you would think that the 1972 film Steelyard Blues would be better known than it is. Alas, the film was one of those only-in-the-early-‘70s countercultural romps that died at the box office; Fonda plays a call girl (again) who hooks up with Sutherland’s bumbling ex-con to restore a seaplane and attempt an escape from The Man breathing down their collective necks. Poorly reviewed and largely forgotten by film audiences, it has remained a cult classic because of its soundtrack, which marked Mike Bloomfield’s first release of any kind in three years, and reunited him with Gravenites, with whom he’d composed music in the Electric Flag for the soundtrack to Roger Corman’s B-movie classic The Trip.
Here, the emphasis was less on psychedelia than on a jaunty mix of blues, rock and country to match the shambolic goings-on on screen; there’s no mistaking Bloomfield’s stinging blues-rock licks for those of any other guitarist, and a pre-“Midnight at the Oasis” Muldaur serves notice of her impending superstardom. Completing the musical cast was Paul Butterfield, in whose band Bloomfield first broke into prominence, keyboardist Merl Saunders, later of course to collaborate with the Grateful Dead’s Jerry Garcia, and Annie Sampson of the Bay Area group Stoneground.
by Richie Unterberger.
Tracks
1. Swing With It - 2:51
2. Brand New Family - 2:29
3. Woman's Love - 2:29
4. Make The Headlines - 1:53)
5. Georgia Blues (Maria Muldaur, Mike Bloomfield, Nick Gravenites) - 2:10
6. My Bag (The Oysters) - 3:17
7. Common Ground - 2:27
8. Being Different - 2:47
9. I've Been Searching - 2:13
10.Do I Care (Maria Muldaur, Merl Saunders) - 3:08
11.Lonesome Star Blues (Maria Muldaur) - 4:19
12.Here I Come (There She Goes) - 2:11
13.If You Cared - 2:25
14.Theme From Steelyard Blues (Drive Again) - 2:16
All compositions by Mike Bloomfield, Nick Gravenites except where noted
Venerated BBC Radio 1 DJ John Peel once called Bridget St. John “the best lady singer-songwriter in the country.” So when Peel formed Dandelion Records in 1969, the label’s first signing was St. John; in fact, Peel once commented that “the main reason why we started the label [was] ‘cos nobody else was going to record her stuff.” Cherry Red Records has just reissued all three of St. John’s moody, evocative Dandelion albums (individually released in 2005 on CD) recorded between 1969 and 1972, together with a bonus disc of the artist’s BBC recordings, in one 4-CD package as The Dandelion Albums and BBC Collection. It’s nearly one-stop shopping for those hoping to acquaint themselves with fans of this leading light of the English folk revival.
Most of the songs on 1969 debut Ask Me No Questions were penned while St. John was still a student at Sheffield University. A further testament of his dedication, Peel himself produced the sessions. (John Peel on Dandelion: “The half-witted, idealistic notion behind Dandelion and our other violent, capitalist enterprise, Biscuit Music, is that any profits, if such there be, should go to the artists, not to [partner] Clive [Selwood] nor myself.” ) John Martyn joined St. John on guitar for the baroque "Curl You Toes" and the title track, while future Fairport Convention member Ric Sanders added guitar to "Lizard-Long-Tongue Boy" and "Many Happy Returns.” Selwood used his Elektra Records connections to grant St. John’s entirely self-written debut an American release, but despite its hauntingly beautiful sound, it failed to make much of a commercial impression in either the United Kingdom or United States. Questions has been expanded with two bonus tracks: St. John’s rendition of Leonard Cohen’s “Suzanne” and her own “Passin’ Thru.” Both tracks are single sides from 1972 and 1973, respectively.
A change in distributors (from CBS to WEA) was just one of the problems facing Dandelion that kept St. John from releasing a second album until 1971. When Songs for the Gentle Man arrived, however, it was worth the wait. Produced by Ron Geesin (Pink Floyd’s Atom Heart Mother), it featured another array of beautifully pastoral St. John originals plus covers of John Martyn (“Back to Stay”) and Donovan (“The Pebble and the Man”). St. John’s husband Nigel Beresford co-wrote “Seagull Sunday.” Like its predecessor, Songs for the Gentle Man too gained an American release on Elektra.
St. John’s final long-player for Dandelion, Thank You For…, followed in 1972. This time, Jerry Boys (Steeleye Span, Sandy Denny) was at the helm and the U.K. release on Dandelion was distributed by Polydor. (The album wasn’t released in America.) With Thank You, St. John ventured into the realm of folk-rock with more layered arrangements, and covers of songs from a diverse crop of writers including Bob Dylan (“Love Minus Zero – No Limit”) and Buddy Holly (“Every Day”). Terry Hiscock of the band Hunter Muskett contributed “Silver Coin,” and “Good Baby Goodbye” was written by Beresford. (Hunter Muskett’s lost folk-rock classic Every Time You Move was also reissued by Cherry Red.) Her raga-rock reinvention of the traditional “Lazarus” also became a fan favorite. Six months after the release of the album, Dandelion folded, leaving St. John without a label. Despite St. John receiving regular airtime on the BBC, Thank You was her third album to fail to catch on with the record-buying public. This disc has been expanded with two single sides (“There’s a Place I Know” and “Passing Thru,” the latter originally released through MCA) and an eight-song set live at Montreux in April 1972.
The box set is rounded out by a 19-track collection of St. John’s BBC recordings for programs such as Top Gear, Night Ride and In Concert between 1968 and 1972. Among the many highlights of this disc are performances of John Martyn’s “The River” and Joni Mitchell’s “Night in the City.” Note that sound quality is admittedly variable on this disc; the liner notes indicate with welcome transparency that “the master tapes for the BBC recordings are long lost, and these copies have been taken from the best available sources.” (Note that additional BBC recordings for St. John were released in 2010 on the Hux label.)
Bridget St. John went on to record a fourth album for Chrysalis Records in 1974. Though she laid low for decades, she’s returned to performing in recent years and issued a rarities collection, Take the 5ifth, as her fifth proper album. This compact box set, produced with St. John’s cooperation, includes all four discs in handsome paper sleeves with the first three replicas of the original artwork (although gatefolds are not replicated). A 12-page book boasts compiler Richard Anderson’s essay as well as copious memorabilia images. Especially at this bargain price, there’s never been a better way to become acquainted with the music of Bridget St. John.
by Joe Marchese
Tracks Disc 1 Ask Me No Questions 1969
1. To B Without A Hitch - 3:07
2. Autumn Lullaby - 3:01
3. Curl Your Toes - 3:00
4. Like Never Before - 3:14
5. The Curious Crystals Of Unusual Purity - 4:00
6. Barefeet And Hot Pavements - 2:45
7. I Like To Be With You In The Sun (Song For The Laird Of Connaught Hall) - 2:35
8. Lizard-Long-Tongue Boy - 3:09
9. Hello Again (Of Course) - 4:11
10.Many Happy Returns - 2:17
11.Broken Faith - 4:56
12.Ask Me No Questions - 7:49
13.Suzanne (Leonard Cohen) - 5:31
14.The Road Was Lonely - 2:16
Disc 2 Songs For The Gentle Man 1971
1. A Day A Way - 3:18
2. City Crazy - 2:46
3. Early Morning Song - 1:56
4. Back To Stay (John Martyn) - 4:47
5. Seagull Sunday (Bridget St. John, Nigel Beresford) - 3:09
6. If You'd Been There - 4:09
7. Song For The Laird Of Connaught Hall, Pt. 2 - 1:28
8. Making Losing Better - 3:54
9. The Lady And The Gentle Man - 3:10
10.Downderry Daze - 3:21
11.The Pebble And The Man (Donovan Leitch) - 3:34
12.It Seems Very Strange - 0:41
Disc 3 Thank You For.. 1972
1. Nice - 3:23
2. Thank You for - 3:37
3. Lazarus (Traditional) - 4:22
4. Goodbaby Goodbye (Nigel Beresford) - 2:09
5. Love Minus Zero, No Limit (Bob Dylan) - 3:21
6. Silver Coin (Terry Hiscock) - 3:07
7. Happy Day - 3:55
8. Fly High (Bridget St. John, Robert Louis Balfour Stevenson) - 3:23
9. To Leave Your Cover - 3:22
10.Every Day (Charles Hardin, Norman Petty) - 4:21
11.A Song Is as Long as It Wants to Go On - 1:11
12.Passing Thru' (Richard "Dick" Cleveland Blakeslee) - 4:24
13.There's A Place I Know - 2:39
14.Nice - 5:09
15.Silver Coin (Terry Hiscock) - 3:47
16.Fly High (Bridget St. John, Robert Louis Balfour Stevenson) - 3:58
17.Lazarus (Traditional) - 4:45
18.The River (John Martyn) - 3:37
19.Thank You For - 3:55
20.Ask Me No Questions - 4:55
21.If You've Got Money - 2:58
Bonus Tracks 12-21 Recorded Live In Montreaux 28th April 1972
Disc 4 At The BBC 1968-72
1. To B Without A Hitch - 3:01
2. Ask Me No Questions - 4:06
3. Many Happy Returns - 1:42
4. Hello Again (Of Course) - 4:38
5. Rochefort - 2:21
6. Lizard Long Tongue Boy - 3:09
7. The River (John Martyn) - 3:33
8. Song To Keep You Company - 2:52
9. Night In The City (Joni Mitchell) - 3:05
10.Lazarus (Traditional) - 4:18
11.Curl Your Toes (Peter Sarstedt Session) - 2:59
12.Thank You For ... (Bob Harris Session) - 3:33
13.Leaves Of Lime - 2:52
14.City Crazy - 2:28
15.The Pebble And The Man (Donovan Leitch) - 3:29
16.Back To Stay (John Martyn) - 4:21
17.Song For The Laird Of Connaught Hall Part Two - 2:30
18.Jolie Madame (Kevin Ayers) - 2:46
19.The Spider And The Fly (Kevin Ayers) - 2:02
All compositions by Bridget St John unless as else indicated.
Musicians 1969 Ask Me No Questions
*Bridget St. John - Vocals, Guitar, Keyboards
*John Martyn - Guitar
*Richard Sanders - Guitar
*Simon Stable - Bongos 1971 Songs For The Gentle Man
*Bridget St. John - Guitar, Harmonium, Keyboards, Vocals
*Robert Bourdon - Alto Flute
*Colin Busby - Trombone
*Angela East - Cello
*Elizabeth Edwards - Violin
*Brian Etheridge - Vocal
*Ron Geesin - Guitar, Keyboards
*Peter Hall - Vocal
*Kate Jacobs - Violin
*Derek James - Trombone
*Geoffrey Mitchell - Vocal
*Tony Parsons - Trombone
*John Pritchard - Trombone
*Richard Sanders - Guitar
*Derek Simpson - Cello
*Alan Stivell - Horn
*John Thompson, Jr. - Viola
*Charles Tunnell - Cello 1972 Thank You For..
*Bridget St. John - Guitars, Keyboards, Vocals
*Gordon Huntley - Pedal Steel Guitar
*Rick Kemp - Bass, Drums
*John Martyn - Electric, Acoustic Guitars
*Dave Mattacks - Drums
*Pip Pyle - Drums
*Tim Renwick - Guitar
*Andy Roberts - Guitar
*Richard Sanders - Guitar
*Bruce Thomas - Bass
*Ian Whiteman - Keyboards, Piano
*John Wilson - Drums
Most music lovers know Joe Beck as a famous jazz guitarist, composer and producer. At the early age of eighteen he left his home town Philadelphia to New York, where due to his extraordinary talent he soon became co-artist with famous jazz musicians ( such as Paul Winter, Charles Lloyd, Gary McFarland and Chico Hamilton). Miles Davis took him on as the first “electric guitarist”. In late 1966 he recorded the LP “Rock Encounter” with Sabicas, one of the world’s greatest flamenco guitarists, a truly extraordinary album, even in hindsight (first published on CD on Long Hair, LHC 48). The recordings on this LP earned him a record deal with MGM/Verve, and in 1967/68 “Nature Boy” was recorded. For further details please note the following remarks by Joe Beck in person!
Since at the time of the recording session Joe Beck did not have an own band, he won drummer Donald McDonald, who was to be his fellow artist with the band Jeremy And The Satyrs and was also drummer with the Tim Hardin Band and under contract with Verve. Joe Beck (guitars, bass, organ) and Donald McDonald (meanwhile deceased) recorded most of the album, with the occasional help of Don Payne, bass, Crazy Horse guitarist Danny Whitten (died in 1972) and trumpeter Randy Brecker.
Except for the jazz-standard “Nature Boy” all titles were composed by Joe Beck. Later on he did a few more recordings of the title song “Nature Boy” (composed by a certain Eden Ahbez) with various famous jazz musicians. “Nature Boy” had previously been recorded by Nat King Cole, Frank Sinatra, Miles Davis, John Coltrane and several others, and - interestingly so - is part of the soundtrack of the movie Moulin Rouge - sung by David Bowie! It is a very adaptable song that lends itself to a variety of interpretations, and in this album is brilliantly presented by Joe Beck and his extraordinary guitar work as a psychedelic rock song.
“Nature Boy” is a congenial opener of the album of the same name, which Vernon Joynson in his recommendable book “Fuzz, Acid and Flowers” aptly described as a mixture of psyche, rock and jazz, with occasional classic influences, but clearly dominant psychedelic and rock elements. A fascinating album with exciting compositions that display high technical skills.
In 1968 Joe Beck joined Jeremy Steig’s The Satyrs. Rather unusual from today’s point of view, Jeremy and The Satyrs toured the United States together with Cream. Since he was open for musical ideas and forms apart from jazz, Joe Beck could not escape the fascination of this extraordinary band. He was also quite impressed by Jimi Hendrix’ guitar play, which was new and unusual at that time.
Apart from being bandleader, producer, composer, arranger and co-artist with many famous jazz, jazz-rock and funk artists, Joe Beck made himself a name as composer of theme songs for TV and radio and has also been famous for his film music and for adding sound to TV documentaries. He also recorded with the Royal Philharmonic Orchestra in London, the Milan Philharmonics and the Paris String Ensemble in joint studio productions.
The making of this record could be the plot of a movie. A sixties adventure! It started out with me signing a contract with Verve for $100,000.00 advance. A large sum in 1967. I insisted that the recording be done in my house and that they also sign Warren Bernhardt. They agreed to these unheard of demands and much more and the project started soon after.
I had the musicians living in my house and had rented every conceivable instrument and recording device possible at the time, including Jay Messina, the engineer. All in my house. We had a month to do the project. My fiancé at the time (Diane Doe) and Warren’s future wife got into a fight and all music ceased. Needless to say, neither marriage lasted very long. To make the very long story short, after all the contract talks and money to make this project work, we spent the entire budget on parties and who knows what and, at the end of a month, we had just one basic track. One track! It was acoustic guitar and conga drums – “Spoon’s Caress”. We had spent $100,000.00 and achieved nothing. The sixties.
Now it was time to show Verve what a great project they had paid for. Out of desperation, I started recording tunes with myself playing all the parts except drums, which Donald MacDonald agreed to do. I sang, I played bass, I played piano, guitar, percussion, whatever it took to get the record done. As I worked, people came by the studio and that is how Randy Brecker came to play on it as well as Danny Whitten on a vocal or two.
“The Rapid Disintegration of a Chamber Orchestra” starts with part of a piece I wrote for my friends to play as a Christmas present the year before. I think I was 20 or 21 when I wrote it. It really was a gift for the players who worked for me at the time in the TV commercial business. They were all great musicians and I just wanted them to get a chance to play something not written for a commercial. Also, I wanted to play piano and this was part of a twenty minute piece for piano which has been lost over the years.
To tell the whole story of this project would take a long time and I’m not sure it is worth the telling. I suppose it is an accurate picture of my life at the time, but a little painful to look at too closely. Some of the people involved with this project passed away as a result of the times, others have left the business. I think I can safely say that those of us who survived the music and life of the sixties have a great respect for our art and how it affects others. I think of the ones we lost every day of my life and dedicate this new project to the memory of Donald MacDonald. He was my favorite drummer of all time and touched thousands of people with his music and his love.
by Joe Beck, May 2006
Tracks
1. Nature Boy (Eden Ahbez) - 5:32
2. Spoon's Caress - 3:16
3. Let Me Go - 3:44
4. Come Back: Visions Without You - 6:05
5. Maybe - 3:21
6. No More Blues - 6:26
7. Goodbye L.A. - 6:22
8. Please Believe Me - 5:27
9. Ain't No Use In Talking - 5:33
All titles by Joe Beck except where stated
Stone the Crows was a tough-luck, working class, progressive soul band that came out of the pubs of Scotland in the early '70s. They had everything going for them at the start: not one, but two gritty singers, a talented guitarist, a rhythm section that had played with John Mayall, and the name recognition of having Led Zeppelin manager Peter Grant as their producer. Despite favorable reviews by the critics, however, they never managed to sell their hybridized soul music to a large audience. In addition, they lost two of their key members early on, one of whom was tragically electrocuted, and the group broke up after four albums.
Their biggest contribution to rock was the immense vocal talent of one Maggie Bell. Winner of several Top Girl Singer awards in Britain, Bell had a raunchy, gutbucket voice that, although it fell short of the naked emotion and range of Janis Joplin's, came probably closer to her style than any other female singer. She first attracted notice when she jumped up on stage at a show in Glasgow to wail with Alex Harvey of the Sensational Alex Harvey Band. Impressed by her talent (and audacity), Harvey hooked her up with his guitar-playing younger brother Les, then fronting a local band called the Kinning Park Ramblers. After playing army bases in Europe for several years as Power, Bell, Harvey, bassist Jim Dewar, keyboardist Jon McGinnis, and drummer Colin Allen (who had played with future bass player Steve Thompson in John Mayall's band), came to the attention of Peter Grant and they changed their name to Stone the Crows, which supposedly is a Scottish variation of "the hell with it."
Both of their first two albums received good reviews upon release, but sold very meagerly. Then bassist/vocalist Jim Dewar quit the band to join Robin Trower's fledgling group, to be replaced by the non-singing Steve Thompson. Shortly after releasing Teenage Licks, guitarist Les Harvey was electrocuted onstage during a gig at Swansea University. This appeared to end the band, but they carried on, recruiting young Jimmy McCulloch from Thunderclap Newman and released "'Ontinuous Performance." Although the rock press lauded the singing of Bell, her group couldn't seem to emerge from the shadows and they broke up after this last album, with McCulloch flying away to join Paul McCartney in Wings.
by Peter Kurtz
Tracks Disc 1 Stone The Crows 1970
1. The Touch Of Your Loving Hand (James Dewar, Leslie Harvey) - 6:03
2. Raining In Your Heart (James Dewar, Leslie Harvey) - 5:09
3. Blind Man (Josh White) - 5:12
4. A Fool On The Hill (John Lennon, Paul McCartney) - 4:09
5. I Saw America (Colin Allen, Leslie Harvey, Mark London) - 17:21
6. Freedom Road (Radio Sesions) (Maggie Bell) - 10:32
7. Hollis Brown (Radio Sesions) (Bob Dylan) - 13:05
Disc 2 Ode To John Law 1971
1. Sad Mary (John McGinnis) - 6:54
2. Friend (James Dewar, Leslie Harvey) - 6:28
3. Love (John McGinnis) - 6:36)
4. Mad Dogs And Englishmen (Colin Allen, Leslie Harvey) - 3:34
5. Things Are Getting Better (John McGinnis) - 6:10
6. Ode To John Law (Colin Allen, Leslie Harvey) - 5:44
7. Danger Zone (Curtis Mayfield) - 6:21
8. The Touch Of Your Loving Hand (Radio Sessions) (James Dewar, Leslie Harvey) - 6:01
9. Raining In Your Heart (Radio Sessions)(James Dewar, Leslie Harvey) - 4:14
Stone The Crows
*James Dewar - Bass, Vocals
*Colin Allen - Drums, Percussion
*Leslie Harvey - Guitar
*Maggie Bell - Vocals
*John McGinnis - Organ, Piano
Not only is Medusa the finest offering from '70s outfit Trapeze, it is one of the decade's most underappreciated hard rock recordings. With a lineup that consisted of future Deep Purple, Judas Priest, and Black Sabbath members, there seems to be proof that at least a few fellow musicians appreciated this 1971 offering. Fans of his later work might be surprised by Glenn Hughes' soulful vocal delivery, especially on the midtempo blues-rockers like "Black Cloud" and "Your Love Is Alright." Guitarist Mel Galley also deserves mention for his sparse approach to classic rock riffing that is catchy and affective.
Even the ballads are focused, memorable, and unique. There are some melodic moments on the closing title track that sound almost as if a '90s alt-rock crooner composed them. Considering that Medusa predates many similar, and more successful, classic rock LPs from the likes of Bad Company, Nazareth, Foreigner, and others, it's a wonder that the record isn't mentioned more when influential albums of this era are discussed.
by Jason Anderson
Tracks
1. Black Cloud (Mel Galley) - 6:11
2. Jury (Glen Hughes) - 8:10
3. Your Love Is Alright (Mel Galley, Glen Hughes, Dave Holland) - 4:55
4. Touch My Life (Mel Galley) - 4:07
5. Seafull (Glen Hughes) - 6:32
6. Makes You Wanna Cry (Mel Galley) - 4:43
7. Medusa (Glen Hughes) - 5:44
Trapeze
*Glen Hughes - Bass, Piano, Lead Vocals
*Mel Galley - Guitar, Vocals
*Dave Holland - Drums
After British Lions broke up, Dale Griffin (and Morgan) went in the studios to put together this compilation of rare and unreleased Mott The Hoople material from Island's vaults. Mott recorded virtually everything they wrote, and just about any day not spent gigging was spent in the studio. As a result, there is a lot of unreleased (and unfinished) material in there.
What an absolute peach this collection is. Unreleased tracks, rare b-sides and early versions of songs that would be recorded later on... this album has long been sought after by fans, and is now at long last available on CD.
It starts with a rare vocal version of the Kinks' You Really Got Me. Next up is Ian's first stab at social commentary, Road To Birmingham which was the b-side to Rock And Roll Queen, Mott's first single. Then there's the alternate version of Thunderbuck Ram, with Verden's organ featuring much higher in the mix. The studio version of Keep a Knockin' is fast and furious, and an absolute belter.
Movin' On is next - slated for the original vinyl but withdrawn at the last minute is a medium-paced rocker that Mick Ralphs would eventually re-record with Bad Company. Ride On The Sun is beautiful - this again would be re-recorded (as Sea Diver) later on - and is possibly one of Ian's best ballads.
Growin' Man Blues is another fast rocker which I never grow tired of hearing. Till I'm Gone is another ballad, beautifully sung by Mick Ralphs (for a version of him sharing the vocals with Ian, check out the Anthology). One Of The Boys is an acoustic version of the song that would be re-recorded later on. Black Scorpio (Momma's Little Jewel) is faster than the version that would be recorded for the Dudes album.
Two more bonus tracks close the album, The Debt (which was the b-side to Midnight Lady) and the non-LP single Downtown, with Mick Ralphs again supplying the vocals for this Neil Young/Crazy Horse cover.
As always with Angel Air, packaging is excellent with excellent and informative sleeve notes by Dale Griffin. Sound quality throughout is excellent (a lot better than the original LP). Strangely, tho' the running order on the Bald At The Station side is different from the original LP. No matter - this is an important album in Mott's history.
Tracks
1. You Really Got Me (Ray Davies) 3.08
2. The Road to Birmingham (Ian Hunter) 3.30
3. Thunderbuck Ram (Mick Ralphs) 4.41
4. Going Home (Mick Ralphs) 3.00
5. Little Christine (Mick Ralphs) 3.06
6. Keep a Knockin' (Richard Penniman) 3.25
7. Black Hills (Mick Ralphs) 1.32
8. Movin' On (Mick Ralphs) 2.44
9. Ride On the Sun (Ian Hunter) 3.38
10.Growin' Man Blues (Ian Hunter) 2.46
11.Until I'm Gone (Mick Ralphs) 3.14
12.One of the Boys (Mick Ralphs, Ian Hunter) 4.19
13.Surfin' U.K. (Mick Ralphs) 2.37
14.Black Scorpio (Ian Hunter, Peter Overend Watts) 3.36
15.Ill Wind Blowing (Ian Hunter) 3.53
16.The Debt (Ian Hunter) 4.15
17.Downtown (Danny Whitten, Neil Young) 3.03
Mott The Hoople
Ian Hunter - Vocals, Piano, Guitar
Mick Ralphs - Guitar, Vocals
Peter Watts - Bass Guitar, Vocals
Dale Griffin - Drums
Verden Allen - Organ
The Hoople was Mott's third album release on CBS/Columbia Records and the band had much to live up to after their two previous studio work outs. All the Young Dudes had taken the group in an exciting new direction under David Bowie's tutelage and the self-produced Mott was so strong that its sequel inevitably faced unjust criticism. However, there were some mitigating circumstances. Organist Verden Allen and founder/lead guitarist Mick Ralphs had both left Mott in 1973. The group considered Joe Walsh, Tommy Bolin and Ronnie Montrose as Ralphs' replacement but opted for Luther Grosvenor, who joined as 'Ariel Bender'.
These developments changed the character of the band quite significantly firstly because vocalist Ian Hunter was now the undisputed group leader, secondly because Grosvenor was not a musical collaborator as Ralphs had been and thirdly because Ian effectively became sole writer. But Mott's front man had composed some fearsome new songs and The Hoople marked a solid progression. In retrospect, the album deserves greater merit for the diversity and power of Hunter's material. The 'updated' top ten hit single "Roll Away the Stone" and its follow up, "The Golden Age Of Rock ln' Roll", closed and opened the LP, acting as bookends to the eclectic material within. In 1974 there was a strong UK lobby to limit the noise level at rock concerts to 96 decibels and 'Golden Age' was an expression of Hunter's annoyance but also a celebration of the glamorous and buoyant music scene that was thriving at that time.
Roxy Music's Andy Mackay contributed rousing saxophone to the new single and he also played to great effect on "Pearl 'n' Roy (England)", a tale of social and political frustration referencing the British Conservative Prime Minister of the time, Ted Heath. Mott was renowned for its passion towards guitars and cars. After "Drivin1 Sister" and "I'm a Cadillac" on the Mott album, bassist Overend Watts contributed "Born Late '58," a very credible rocker that Ian thought was a potential single at the time. It was the only Mott track not to feature their front man who was in America when the band cut the song Ian also extended his tales of New York City with "Alice" which trod in the tracks of Mott's "Whizz Kid". Hunter's lyrical outpouring on "Alice" was unprecedented and consequently the song was performed only once in concert. Morgan Fisher, Verden Allen's replacement, fitted the band like a glove, as exemplified by his fantastic organ playing on this cut.
"Through the Looking Glass" is unique in the Mott canon with its stunning dynamics and orchestral arrangement rising and falling dramatically behind Hunter's expressive vocals. "Trudi's Song", a beautiful ode to lan's wife, inspired by Dylan's Nashville Skyline album, is a gentle contrast to much of The Hoople's hard edge. With the headlines 'Fragments of Madness' and 'Hoople's Blood and Thunder', two British rock journals were clearly startled by Hunter's powerful and highly charged masterpieces, "Crash Street Kidds" and "Marionette". Echoing "Violence" from Mott, "Crash Street Kidds" tells the tale of a street gang who have become so socially disenchanted that they decide they are going to take over Britain. In the end, youth fails with lan's transformed 'dalek voice' and a 'machine gun' heralding the gang leader's demise. Originally conceived as "The Bash Street Kidds", it was to be the album's theme and title but the publishers of the Beano comic (which featured the Bash St characters) would not countenance Hunter's concept.
The cornerstone of The Hoople is unquestionably "Marionette", lan's five minute mini opera describing the corporate side of rock music and its effect on artists. Crazed violin, frantic saxes, staccato cellos, Quasimodo choruses and manic laughter surround Hunter's nightmare of a rock star driven to submission. Ian was often ahead of the field and within 18 months Queen had written a certain smash hit operetta and 'marionette' was used to describe David Essex in his portrayal of a fading pop star in the movie Stardust. Within nine months Ian Hunter would be confined to a hospital bed. Before then, "The Golden Age Of Rock 'n' Roll" hit #16 in Britain and The Hoople reached #11. Mott played a 6week American tour with Queen as support and became the first rock band to sell out a week of Broadway concerts in New York's theatre land. Hunter's acclaimed book Diary of a rock 'n' roll Star was also published around this time. It was a peak period for the group.
During The Hoople sessions the band recorded the reflective "Rest In Peace" and a further Spector-style single "Foxy Foxy" for summer release. In the autumn of '74 it was felt that Ariel Bender did not suit Mott as lead guitarist and in spite of his whirlwind energy and the renewed spirit he had injected into the group, Grosvenor left, turned down an offer to join Sparks and formed Widowmaker instead. Bender's replacement was the brilliant Mick Ronson whose recruitment by Hunter was a masterstroke. 'Ronno' laid down guitar for a single entitled "(Do You Remember) The Saturday Gigs?" and an intended B side, "Lounge Lizzard". The self-referential "Saturday Gigs" was deemed a huge potential hit but it stalled inexplicably at #41 in the UK.
European concerts with Ronson were highly praised but there were increasing tensions in the band and Hunter's subsequent breakdown led to the cancellation of a sold out British tour. Mott ceased to exist. The Hoople is Mott the Hoople's final creative offering and one of their most under-rated albums lying as it does in the wake of Brain Capers, AH the Young Dudes and Mott. It is still a remarkable record and Hunter's compositions "Crash Street Kidds" and "Marionette" pointed the group in a new and exciting direction that sadly they were unable to follow. Little wonder that Ian had planned to feature a straight jacket on the cover of their next album. 'Fragments of Madness' indeed!
by Campbell Devine
Tracks
1. The Golden Age of Rock 'n' Roll - 3:26
2. Marionette - 5:08
3. Alice - 5:20
4. Crash Street Kidds - 4:31
5. Born Late '58 (Overend Watts) - 4:00
6. Trudi's Song - 4:26
7. Pearl 'N' Roy (England) - 4:31
8. Through the Looking Glass - 4:37
9. Roll Away the Stone - 3:10
10.Where Do You All Come From (B-side) (Dale "Buffin" Griffin, Ian Hunter, Mick Ralphs, Peter Watts) - 3:26
11.Rest in Peace (B-side of "The Golden Age of Rock 'n' Roll" single) - 3:55
12.Foxy, Foxy (Non-LP single A-side) - 3:31
13.(Do You Remember The) Saturday Gigs (Non-LP single A-side) - 4:20
14.The Saturday Kids (Work in progress mixes) - 6:03
15.Lounge Lizzard (Aborted single b-side) - 4:19
16.American Pie/The Golden Age of Rock 'N' Roll (Live from Broadway) (Don McLean, Ian Hunter) - 4:15
All tracks written by Ian Hunter except as noted.
The Brighton band Leviathan, previously known as Mike Stuart Span, featured in one of the very best TV programmes ever about Pop Music. It is also unintentionally very funny indeed. In their episode “Big Deal Group”, part of BBC’s “A Year In The Life” series, “the Span” begin as a group on the up being managed by the hapless Mike Clayton, who demonstrates his acumen early on by signing away an extra 5% of their earnings to a booking agency for seemingly doing nothing much at all. Clearly way out of his depth when it came to the London Showbiz mafia and not exactly a Peter Grant figure, it was no surprise when he and the group parted company after a series of mishaps, including an underwhelming television appearance and unwisely buying a record shop on the royalties from a non-selling single. This left the Mike Stuart Span forlornly rehearsing at a local Youth Club, contemplating a spell working on building sites instead of the glamour in the last dying breathes of Swinging London. Of Clayton, we saw no more.
After this inevitable parting of the ways, something new was needed for the band. Luckily a deal with US label Elektra, home of the Doors and Love amongst others, came out of the blue on the proviso that the group’s name be changed to the more 1969 sounding Leviathan. Though not that enamoured with the new moniker (and the decision on this came right from the top, from none other than Jac Holzman, Elektra president), the band generally welcomed this unexpected upswing in fortune.
The tail end of “Big Deal Band” shows Clive Selwood, John Peel’s mate and now the band’s handler, attempting unsuccessfully to hustle the newly rechristened Leviathan some air time on the Kenny Everett radio show. Presumably it was also Selwood’s idea to release two singles by the band on the same day – the kind of ploy that rarely worked, but I suppose desperate times called for desperate measures. By the time the documentary aired, the band were no more, their dreams of UK and Stateside success dashed when Elektra (and Holzman again being personally involved) rejected their first attempt at making an album. They told them to go back and try again, but by this time Leviathan had run out of money and with nothing forthcoming from the US, that was that.
The LP that they recorded has remained in limbo ever since, apart from a brief vinyl release a short while back, but now we can hear it in all its glory, nearly 50 years after it was recorded. And, despite at times taking rather too strongly an influence from the preeminent UK band of the time Cream, it is a beaut. Though looked upon as a change from the “Psychedelic” Mike Stuart Span to a more “Progressive” sound, it’s not a startling alteration of style. Leviathan do occasionally fall back on the kind of “Blues” jamming that tended to rule in Blighty at the time – but for the most part inventive, catchy Heavy Psych/late period Freakbeat is the order of the day.
Their best single “Remember The Times”, cruelly missed out on the charts despite being on a par with great bands like the Move and there’s a touch of “Sunday Afternoon” era-Kinks in the mix, very agreeable indeed. Though a touch more guitar gung-ho than in their Span years (even further back they started as a Soul band with a full brass section), they still manage to make a catchy concoction of their contradictions (i.e wanting the fame and fortune that success would bring, but also a need to be “taken seriously”). Occasionally they trip over into self-parody, with the multi-section anti-war “War Machine” making one stifle a few giggles but feel a bit mean afterwards, as they were undoubtedly being earnest. “Flames”, another single side, manages to neatly bolt together the Progressive and Pop with a complicated guitar riff dovetailing nicely with a doleful but memorable song. They never lost their Pop smarts, though perhaps “Evil Woman” does go a little too far down the “Clapton Is God” path. “Just Forget Tomorrow”, another side of the ill-fated double single, is another good one. At times they had a bit in common with the Who of the same period, with strong vocals complimenting powerful but fluid instrumentation. Also Leviathan had the advantage of not having to weld their cracking tunes to an unwieldy concept unlike Rog and the boys.
“Leviathan – The Legendary Lost Elektra Album” may well have disappeared without making much of a ripple even if it had seen the light of day back in 1969, knowing the band’s luck, but that is not to blind us from its many good qualities. Though Leviathan were never destined to make the higher reaches of the charts and struggled to even get their records released, they had an innate skill for producing excellent Psychedelic-toned Pop Music and finally, all these years later, we have the proof.
by Ian Canty
Tracks
1. Remember The Times (Stuart Hobday) - 2:46
2. Second Production (Stuart Hobday, Gary Murphy, Roger McCabe, Brian Bennett) - 4:44
3. The War Machine (Stuart Hobday) - 5:19)
4. Through The Looking Glass (Stuart Hobday, Brian Bennett) - 5:45
5. Blue Day (Stuart Hobday, Brian Bennett) - 6:38
6. Time (Gary Murphy, Brian Bennett) - 4:00
7. Flames (Gary Murphy, Brian Bennett) - 4:47
8. World In My Head (Stuart Hobday, Brian Bennett) - 4:29
9. Evil Woman (Larry Weiss) - 7:57
10.Flames (Single Version) (Gary Murphy, Brian Bennett) - 3:48
11.Just Forget Tomorrow (Single) (Stuart Hobday, Brian Bennett) - 4:19
12.Remember The Times (Australian Single Version) (Stuart Hobday) - 2:41
Bonus tracks 10-12
