Remembered chiefly as proto-punkers who reached the top of the charts with the "caveman rock" of "Wild Thing" (1966), the Troggs were also adept at crafting power pop and ballads. Hearkening back to a somewhat simpler, more basic British Invasion approach as psychedelia began to explode in the late '60s, the group also reached the Top Five with their flower-power ballad "Love Is All Around" in 1968. While more popular in their native England than the U.S., the band also fashioned memorable, insistently riffing hit singles like "With a Girl Like You," "Night of the Long Grass," and the notoriously salacious "I Can't Control Myself" between 1966 and 1968. Paced by Reg Presley's lusting vocals, the group -- which composed most of their own material -- could crunch with the best of them, but were also capable of quite a bit more range and melodic invention than they've been given credit for.
Hailing from the relatively unknown British town of Andover, the Troggs hooked up with manager/producer Larry Page (who was involved in the Kinks' early affairs) in the mid-'60s. After a flop debut single, they were fortunate enough to come across a demo of Chip Taylor's "Wild Thing" (which had already been unsuccessfully recorded by the Wild Ones). In the hands of the Troggs, "Wild Thing" -- with its grungy chords and off-the-wall ocarina solo -- became a primeval three-chord monster, famous not only in its original hit Troggs version, but in its psychedelic revamping by Jimi Hendrix, who used it to close his famous set at the 1967 Monterey Pop Festival.
"Wild Thing" made number one in the States, but the Troggs' momentum there was impeded by a strange legal dispute which saw their early records simultaneously released on two different labels. Nor did it help that the band didn't tour the U.S. for a couple of years. As a consequence, the fine follow-up single "With a Girl Like You" didn't do as well as they might have.
by Richie Unterberger
Tracks
1. With A Girl Like You - 2:07
2. From Home - 2:21
3. I Just Sing - 2:09
4. Hi Hi Hazel (Bill Martin) - 2:43
5. Lost Girl - 2:32
6. Evil (Shelby S. Singleton Jr.) - 3:14
7. Wild Thing (Chip Taylor) - 2:34
8. Our Love Will Still Be There - 3:08
9. Jingle Jangle - 2:26
10.When I'm With You - 2:23
11.Your Love (Michael Julien) - 1:53
12.I Want You (Colin Michael Frechter) - 2:14
All songs by Reg Presley except where indicated
The Troggs
*Ronnie Bond - Drums
*Chris Britton - Lead Guitar
*Reg Presley - Lead vocals
*Peter Staples - Bass
After Tony Kaye left Yes he formed Badger and in an unprecedented move of great confidence the band supported Yes at The Rainbow in London and recorded their show, playing completely unknown material to the audience and then released it as their first album. Brave on many levels and although they were surely well received with ex-Yes man Tony Kaye in the line-up, the audience reaction sounds rather too good to be true.
The band plays that kind of seventies music that no one remembers. A great band, with Roy Dyke on drums from Ashton Gardner and Dyke, (Dyke played On George Harrison’s Wonderwall) and I presume David Foster on bass, who shares lead vocals with guitarist Adrian Parrish. But what are they – not Progressive, not Pop, not Blues or anything you can put your finger on – not that it should matter. But produced by Geoffrey Haslam and Jon Anderson (whatever that means in this live setting) they were really good at a nameless style. I’m not sure if it’s the songs or the singing but the more I hear it I equally admire and dismiss it. It’s the strangest feeling to be both impressed and unmoved simultaneously. Maybe you have to get to know the songs but really, why did they not release a studio record? The answer to that is probably that they were good enough to not have to, and maybe the record is better than it would have been with studio polish. I’ve never felt as ambivalent towards a record as I am towards this one.
It obviously wasn’t working for the singers in the band either with Foster and Parrish both leaving. They hired Kim Gardner, from Ashton Gardner and Dyke on bass and then established singer Jackie Lomax (whose debut solo album was released on Apple and produced by George Harrison). Lomax took over the band and wrote most of the materal in a Soul/Blues direction releasing White Lady – a studio album in 1974, produced by New Orleans legend Allen Toussaint.
That was it, and it would be unfair to remember them just for the Roger Dean cover art and the pop-up badger in the gatefold of the debut album, that novelty item notwithstanding, their claim to fame is lost in the cruel mists of time.
by Marty Willson-Pipe
The early '70s marked the heyday of progressive rock -- it seemed like every time you turned around and everywhere you looked, there were top-flight bands like Yes, King Crimson, ELP, Pink Floyd, the Moody Blues, et al., all around, and their emulators and lesser rivals spreading out as far as the eye could see. Badger was part of that whole scene, a Yes offshoot group that managed to get signed by the same label. Officially, the group's origins go back to 1972 and Tony Kaye's departure from Flash, the group he'd co-founded with his fellow ex-Yes alumni, guitarist Peter Banks. Kaye was a virtuoso who favored more traditional instruments such as the Hammond organ over the more modern Moog synthesizer (not that he didn't play the latter, but he used the organ more prominently), and who had the bad fortune to have been succeeded in Yes by the much flashier Rick Wakeman. This time out, he was going to put together his own progressive rock supergroup, on a firmer footing than Flash (whose work had sometimes strayed too close to that of Yes).
The ex-Yes keyboard player called on his longtime friend David Foster, who had managed to skirt the orbit of Yes several times without ever being asked into that lineup (in part because his instrument was the bass, and Yes was incredibly well covered in that department by Chris Squire). Foster had been a member of the Warriors, Yes lead singer Jon Anderson's mid-'60s group, and had co-authored songs with Anderson on Yes' second album, Time and a Word. Kaye had ended up working with Foster on what was ultimately to be an unreleased Foster album -- when Kaye quit Yes in 1971, he initially joined Banks in founding Flash, but after his exit from the latter, Kaye and Foster decided to finally take the plunge. They recruited drummer Roy Dyke, lately a member of Family and, before that, Ashton, Gardner & Dyke -- he was a Liverpool veteran whose career went back to the early '60s and the Remo 4 and Brian Epstein protégé Tommy Quickly, and had played on one hit single, Ashton, Gardner & Dyke's "Resurrection Shuffle"; he, in turn, steered the organizers to Brian Parrish, an ex-member of Medicine Head and Three Man Army, who had played with Paul Gurvitz and Mike Kellie in an outfit called Parrish & Gurvitz, who'd cut one LP for Regal Zonophone.
The quartet, christened Badger, fit together perfectly, and after some rehearsals began building a name for itself on a European tour opening for Black Sabbath. The band was signed by Atlantic Records, which already had Yes and saw Badger as potentially offering another group of the same caliber. When it came time to record an album, however, it was decided that nothing they tried in the studio was capturing the intensity and involvement they demonstrated on-stage, and that a live album was the best way to introduce Badger. A show at the Rainbow Theatre, opening for a now well-established Yes, was recorded, produced by Jon Anderson and Geoffrey Haslam. One Live Badger did rather better in Europe than it did in America, though it got strong reviews everywhere. Perhaps if it had come out at another time -- and not in the same season that the first wave of progressive rock albums from ELP's Manticore label was being released, with lots of publicity and advertising support -- it might've done better, and a single might've been a help (even Yes had needed "Roundabout" to find a mass audience).
by Bruce Eder
One Live Badger is the easier Badger album to find, and the one worth having anyway. As the album's title indicates, the band also took the unusual step of making their first album a live recording of original songs. It has aged very well -- with all the energy of live performance, there's none of the usual studio excesses or noodling of the era. The Yes connection via Tony Kaye is abundantly evident; the album was co-produced by Yes singer Jon Anderson, uses long instrumental breaks and prominent Hammond organ solos, and features the obligatory Roger Dean cover art. Nonetheless, the brooding lyrics and soulful harmonies make comparisons to Traffic and Blind Faith a much closer musical match. The first half of the album is excellent, kicking off with the pleasingly hoarse vocals of David Foster on the full-tilt rocker "Wheel of Fortune" and the pensive "Fountain." There's an especially tight rhythm section underlying the restrained guitar work of "Wind of Change," combining to produce the album's best song.
by Paul Collins
Tracks
1. Wheel Of Fortune - 7:56
2. Fountain - 7:24
3. Wind Of Change - 7:15
4. River - 6:53
5. The Preacher (Brian Parrish) - 4:00
6. On The Way Home - 7:40
All compositions by Brian Parrish, Tony Kaye, Dave Foster, Roy Dyke, except track #5
Recorded live at The Rainbow Theatre 15th/16th December, 1972
This Edmonton power trio combine some frenetic post-Cream guitar thrills with gruff, hyper-macho vocals on their one and only LP. The lads - Edmontonians Robert Edwards, Michael Richards, and Ron Lukawitski - actually trekked as a quartet to Montreal in 1966 but, after losing their drummer to personal family issues, regrouped back in Alberta. There, in a rather deft homage to their shared Eastern European heritage, they dubbed themselves Troyka though whether their namesake was a powerful triumvirate or an antiquated three-horse cliche has certainly blurred with the passage of time.
Troyka even comes speckled with Slavic elements two tack-on instrumentals, the lilting 'Introduction' and the closer 'Troyka Finale', bookend the record, but for the most part it relies on crotch-heavy amplification to counter the relative paucity of ideas here. 'Natural', for instance, sports some prime virtuosic guitar work, though the constipated vocals reek of facile sexism - as if an axe and some fine chops weren't enough to get you laid without pubescent posturing like, "Hey mama, won't you come down by the river, and give me some". 'Rolling Down the Road', with its nearly proto-speed metal, fares much better, channelling frantic hyper blues into an almost MC5-like abandon. Other tracks hint at a more delicate side, especially the wistful soft-psych instrumental 'Dear Margaret Malagosia', with its Spanish tinges and flecks of John Williams-ish guitar.
Troyka's flaws aside, the guys were often hailed for their legendary live sets - one particularly raucous set at New York's Fillmore East saw them flagged back for a triple encore. By 1970 they seemed to be hitting their stride, scoring a coveted support slot in Toronto for the mother of all troikas, Leslie West's Mountain. But alas, while poised to secure a page in history alongside the Band, the Grateful Dead and Janis Joplin aboard the infamous bourbon-and-barbiturate-laced Festival Express cross-Canada train tour in the summer of 1970, guitarist Rob Edwards left to tend to family concerns and, thus, fame turned to footnote for Troyka.
by Michael Panontin
Tracks
1. Introduction - 0:34
2. Natural - 2:48
3. Early Morning - 3:54
4. Life's O.K. - 4:01
5. Burning Of The Witch - 3:03
6. Rub-A-Dub-Dub Troyka In A Tub - 2:20
7. Troyka Lament - 0:33
8. Troyka Solo - 0:37
9. Rolling Down The Back Road - 4:05
10.Berry Picking - 2:41
11.Dear Margaret Malgosia - 2:31
12.Go East Young Man Beautiful Eyes - 6:17
13.Troyka Finale - 0:31
14.The Wedding Song - 4:55
All Words and Music by Mike Richards, Robert Edwards, Ron Lukawitski
Don Nix may not be a household name, but for serious fans of 1960s and 1970s music, he is an important figure: as a multi-instrumentalist, arranger, and producer. He also looms large in his home town of Memphis' musical history. Nix was a member of the legendary Mar-Keys and played saxophone on the hit "Last Night." He produced records at Stax (including Delaney & Bonnie's Home) and, while at Ardent, he wrote "Going Down" for Freddie King (later covered by Jeff Beck and Stevie Ray Vaughan quite successfully). Nix played on and arranged a boatload of records. He was on the Mad Dogs & Englishmen tour, and arranged the choir for George Harrison's Concert for Bangladesh. Living by the Days was his second album of 1971 and appeared on Elektra. His first, In God We Trust, was released by Leon Russell's Shelter Records.
Recorded at Muscle Shoals, its lineup includes Donald "Duck" Dunn, Barry Beckett, David Hood, Jimmy Johnson, Roger Hawkins, Claudia Lennear, and Kathi McDonald. Opener "The Shape I'm In" (not the Robbie Robertson tune, but Nix's own; he wrote or co-wrote everything but the tepid cover of Hank Williams' "I Saw the Light"), "She Don't Want a Lover (She Just Needs a Friend)," and closer "My Train's Done Come and Gone" sound somewhat similar to the music the Band was making. Gospel, loose Southern gothic funkiness, and roots rock all commingle, but Nix's plaintive voice is drenched in authenticity. (And no disrespect to the Band, but the musicians here are on a wholly different -- higher -- level.)
Stomping Southern R&B and early Memphis rock & roll fuel "Olena," and one can hear more than a trace of the sounds that the Rolling Stones would "borrow" on Sticky Fingers (on which Lennear also appeared). One can hear the influence of Russell on the honky tonk gospel of "Three Angels." Despite the shortcomings of "I Saw the Light" (Furry Lewis' opening narration is priceless), Nix and the Memphis bluesman were quite close. "Going Back to Iuka" begins as a conventional electric blues but becomes a tribute to "Mystery Train," with great slide guitar work and a popping funky bassline. While Living by the Days is very much a record of its time, it is from an era that has proven timeless in appeal to subsequent generations of rock fans. Living by the Days is well worth seeking out as one of the more obscure offerings issued by a major in 1971.
by Thom Jurek
Tracks
1. Shape I'm In - 5:44
2. Olena - 4:19
3. I Saw The Light (Hank Williams) - 3:55
4. She Don't Want A Lover (She Just Needs A Friend) - 4:25
5. Living By The Days - 3:18
6. Going Back To Iuka - 4:29
7. Three Angels (Don Nix, Lonnie Mack) - 3:45
8. Mary Louise (Don Nix, Marlin Greene) - 2:47
9. My Train's Done Come And Gone - 5:00
All songs by Don Nix except where indicated
Originally known as New Blues, they were basically an electric blues band with horns and some jazz influences. From Milwaukee, Winconsin they relocated to San Francisco where they became a popular live attraction at venues like the Fillmore and Avalon in the late sixties.
Released following personnel changes which saw drummer Anderson replaced by Rick Jaeger and the addition of guitarist James Cooke, 1970's "Ramblin'" teamed the band with producers Kim Fowley and Michael Lloyd. Surrounded by an all-star cast, including appearances from guitarist Elvin Bishop, Dave Roberts and Steve Miller associate/keyboardist Ben Sidran.
Tracks
1. Gotta Be Free (Dennis Geyer, James Cooke) - 2:36
2. My Baby's Quit Me (Doc Pomus, Joe Kookoolis) - 3:54
3. Pearl (James Cooke) - 1:41
4. Lady In The Dark (James Cooke) - 4:30
5. Hope For The Future (James Cooke) - 3:17
6. Sweet Mother Earth (Dennis Geyer) - 4:02
7. Groovin' (Ben E. King, James Bethea) - 3:35
8. Trackin' Shoes (Jim Marcotte, Rick Jaeger, Dennis Geyer) - 4:35
9. I'm Walkin' (Antoine Domino, James Bartholemew) - 2:45
10.Gazebo (Dennis Geyer, James Cooke, Jim Marcotte, Rick Jaeger) - 6:06
A.B. Skhy
*Dennis Geyer - Guitar, Vocals
*James Curley Cooke - Guitar, Vocals
*Dr. Rick Jaeger - Percussion
*Jim Marcotte - Bass With
*Wally Rose - Piano
*Ben Sidran - Keyboard
*Terry Andersen - Drums, Vocals
*Elvin Bishop - Guitar
Buzzy Linhart's first of two albums for Kama Sutra, three if you include the band Music's on the Buddah-distributed Eleuthera Records, 1971's The Time to Live Is Now has the songwriter playing with different styles and sounds in a setting that is not as refined as the Eddie Kramer co-produced Music album or Barry Beckett and Roger Hawkins' production of 1974's Pussycats Can Go Far. But don't blame the artist for that. In an exclusive interview for the All Media Guide conducted February 28th, 2002, Linhart revealed some of the secrets of The Time To Live Is Now: Bill Takas and Luther Rix, the bass player and drummer, are "world class jazz and classical musicians." Bill Takas spent nine years on the Tonight Show, and they co-founded Ten Wheel Drive (with Genya Ravan; see the Construction #1 LP). "We had been performing eight-to-ten months as a trio, sometimes with sax...it was supposed to be more [produced] like 'Pussycats' (Pussycats Can Go Far)...but [record exec] Neil Bogart played this for a group of 30-something pros for Buddah/Kama Sutra, and they got up out of their chairs and danced to it."
That resulted in the late Neil Bogart deciding he wanted to release the roughs -- the rough vocals, the rough mix, even with a 32,000 dollar budget, which was pretty good at that point in time. They called this "rock-folk," rock with a jazz tinge as opposed to "jazz rock" that was Blood, Sweat & Tears. Even in its raw form, it is great stuff. Linhart lifts lines from here and there. Four lines from the Beatles' 1968 hit "Lady Madonna" are taken almost verbatim in the title track -- "Who buys the money, when you pay the rent" -- while the strange "Cheat Cheat Lied" is fused with Percy Mayfield's "Hit the Road Jack," Linhart lifting a melody and line from Blind Faith's "Presence of the Lord." On the following album, Buzzy (also called "The Black Album" as his 1969 outing on Phillips was also titled Buzzy), he's more blatantly lifting "What the World Needs Now Is Love" for his "Rollin' On" title. When he goes into Chester Powers' 1963 composition "Let's Get Together," you think he's absconding with lyrics and melody again, but it's actually a very cool cover of the Youngbloods' "Get Together," which hit for them in 1967 and 1969.
It is charming, as is the first appearance of "Friends," the Barry Manilow-produced hit for Bette Midler in 1973, re-cut by Buzzy on Pussycats Can Go Far and the only appearance here of friend Moogy Klingman, in the capacity of co-writer. Most of the material is by Linhart, "Good Face" being co-written with future Music bandmemberDoug Rodrigues, while drummer and co-producer Luther Rix pens and sings "Comin' Home." The group covers Jordan Kaplan's "There's No Need" with the legendary Ken Ascher on piano, and Jeannie Linhart does a vocal harmony on "The Love's Still Growing," but other than that, it's the three-piece unit producing and performing on this Kama Sutra debut album. Todd Rundgren would come onboard to mix "The Black Album," 1972's Buzzy, which would replace Takas with Danny Trifan on bass, and add Jeff "Skunk" Baxter on guitar, but The Time to Live Is Now remains an important, albeit raw, document of a major talent emerging from the early '70s.
by Joe Viglione
William Linhart was born March 3, 1943, in Pittsburgh, Penn. In 2018 Linhart suffered a heart attack, he was subsequently hospitalized, then was moved to a nursing home in Berkeley. Following his health issues, Linhart had hoped to return to the concert stage on July 14 2018, to perform at the Art House Gallery & Culture Center in Berkeley, Calif. Though the event took place, Linhart was not well enough to attend. He died on February 13, 2020.
Tracks
1. The Time To Live Is Now (Buzzy Linhart) - 2:38
2. There's No Need (Jordan Kaplan) - 3:37
3. Comin' Home (Luther Rix) - 3:10
4. Heaven (Buzzy Linhart) - 3:22
5. Crazy (Buzzy Linhart) - 3:31
6. Let's Get Together (Chester Powers) - 5:36
7. Leila (Buzzy Linhart, Skip Brooker) - 2:02
8. I Don't Evere Want To Say Goodbye (Buzzy Linhart) - 2:50
9. The Love's Still Growing (Buzzy Linhart) - 4:55
10.Friends (Buzzy Linhart, Mark Klingman) - 3:11
11.Cheat-Cheat-Lied-Hit The Road Jack (Buzzy Linhart, Percy Mayfield) - 8:02
12.Good Face (Buzzy Linhart, Doug Rodrigues) - 1:26
Along with Ry Cooder, Taj was a founder of the legendary Rising Sons, and went on to release two stripped down delta-blues classics in 1968. Giant Step, released concurrently with a raw collection of solo recordings called De Ole Folks At Home in 1969, would be his third, and personal favorite to many. It’s the title track’s delicate, sparse mood I can’t stuff in my head enough. Taj transforms the Monkees hit, composed by Carole King and Gerry Goffin, into a relaxed and gorgeous rural roamer – his muddy vox rolls all over the changes, miles beyond blues. And though Giant Step isn’t completely free of the old I-IV-V, just let the feedback harmonica moan from Give Your Woman What She Wants hook you in, the toe-tapping Cajun feel to You’re Gonna Need Somebody On Your Bond take you along, and overpowered drive of Six Days On The Road stamp it down, then see who cares about chord progressions anymore.
The most fun comes from inventive production touches: childish piano tittering on Good Morning Little School Girl, metronomic banjo rapping on Farther On Down The Road (one of two originals on the record and an easy classic), ace country guitar leads all throughout provided by Jesse Ed Davis, here accompanying Taj for the third and final record before embarking on his own solo career (releasing three solid records and sessioning with plenty of the greats). The final track, Bacon Fat, is a pretty standard blues originally penned by The Band, and here mostly a drawn out jam affording everbody last licks.
The album is actually 2 in 1, accompanied with De Ole Folks At Home, an acoustic solo set with Taj providing old-time steel-body slide picking, clawhammer banjo, harp, and hambone on traditional and classic numbers like Cluck Old Hen and Fishing Blues, as well as several originals. It’s like pulling up a hot seat on Taj’s front porch, who would pass? An excellent pairing, this record is essential on its own and along with Giant Step you can’t refuse. Downhome grooves, raw authentic performances, a plain fun record that got me rethinking the blues. “Take a giant step outside your mind.”
by Brendan McGrath, September 2nd, 2009
Tracks
1. Ain't Gwine Whistle Dixie Anymo' (Jesse Ed Davis, Taj Mahal, Chuck Blackwell, Gary Gilmore) - 1:04
2. Take A Giant Step (Carole King, Gerry Goffin) - 4:18
3. Give Your Woman What She Wants (Joel Hirschhorn, Taj Mahal) - 2:32
4. Good Morning Little School Girl (Bob Love, Don Level) - 3:46
5. You're Gonna Need Somebody On Your Bond (Buffy Sainte Marie) - 4:59
6. Six Days On The Road (Carl Montgomery, Earl Green) - 3:03
7. Farther On Down The Road (You Will Accompany Me) (Jesse Ed Davis, Taj Mahal, Chuck Blackwell, Gary Gilmore) - 4:41
8. Keep Your Hands Off Her (Huddie Ledbetter) - 2:17
9. Bacon Fat (Garth Hudson, Robbie Robertson) - 6:47
10.Linin' (Huddie Ledbetter) - 1:43
11.Country Blues #1 (Taj Mahal) - 2:40
12.Wild Ox Moan (Ruby Pickens Tartt, Vera Hall) - 2:48
13.Light Rain Blues (Taj Mahal) - 3:24
14.A Little Soulful Tune (Taj Mahal) - 2:40
15.Candy Man (Rev. Gary Davis) - 2:58
16.Cluck Old Hen (Taj Mahal) - 2:34
17.Colored Aristocracy (Taj Mahal) - 2:08
18.Blind Boy Rag (Taj Mahal) - 4:14
19.Stagger Lee (Harold Logan, Lloyd Price) - 3:26
20.Cajun Tune (Taj Mahal) - 1:59
21.Fishin' Blues (Henry Thomas, Jay Mayo "Ink" Williams) - 3:11
22.Annie's Lover (Taj Mahal) - 3:34
Personnel
*Taj Mahal - Vocals, Harmonica, Banjo, Acoustic Guitar
*Jesse Ed Davis - Electric, Acoustic Guitar, Piano, Organ
*Chuck Blackwell - Drums
*Gary Gilmore - Bass
Though having been a member of the New Christy Minstrels and Modern Folk Quartet, and a replacement for Zal Yanovsky in the Lovin’ Spoonful, Jerry Yester is known mostly for his behind-the-scenes work as a studio musician, arranger and producer. His album with then-wife Judy Henske, Farewell Aldebaran, and a follow-up collaboration as Rosebud, are both highly revered, but did little to establish Yester’s name commercially. A pair of 1967 singles on the Dunhill label were his only commercially released solo material, but he wrote and recorded at a variety of Los Angeles studios throughout the 1970s, and fifteen of those pieces are collected and released here for the very first time.
These are finished studio recordings, not songwriter demos, and their artistry, quality and polish are undimmed by the decades they’ve spent on the shelf. Yester’s collaboration with lyricist Larry Beckett yielded a wide range of material, with the former responding musically to the latter’s words. The material covers pop, folk, bubblegum, country-rock, baroque and more. The lyrics, which were often inspired by real-life events, are filled with yearning, period detail and allegorical depth. The overdubbed harmonies of “Brooklyn Girl” show what Yester could accomplish on his own, and the backing of the Manhattan Transfer’s Laurel Massé on “Dance for Me, Anna Lee” shows off the artistic circles in which he traveled.
Yester repurposed a few of his earlier melodies, borrowed a few from Bach, and for the vocal intro of “Brooklyn Girl,” he deftly lifted the hook from “Stop! In the Name of Love.” The latter’s production of beautifully layered harmonies and harmonium combine to suggest the Tokens singing a Left Banke song. There are several songs of unrequited infatuation, and Beckett’s lyric of marital dissolution, “The Minutes,” echoed Yester’s split from Judy Henske. Although several of these songs were recorded by a reformed mid-70s MFQ, the originals remained on Yester’s shelf until now. It’s surprising that no one spotted the commercial possibilities of “All I Can Do Is Dance” or the FM potential of an album. Liner notes by Barry Alphonso and photos by Henry Diltz fill out a very special package.
Tracks
1. Pass Your Light Around (Larry Beckett) - 2:29
2. My Dusty Darling - 2:20
3. Brooklyn Girl - 3:01
4. The Whiskey Moon (Larry Beckett) - 2:38
5. Showboat - 3:27
6. The Sun Is Like A Big Brass Band (Jerry Yester, Larry Beckett, Johan Sebastian Bach) - 2:08
7. Corn Cracker - 3:04
8. Dance For Me, Anna Lee - 2:56
9. With A Hickory Pole - 2:58
10.Seesaw - 2:57
11.The Minutes - 2:56
12.The Rose - 3:00
13.Across The Persian Gulf (Jerry Yester, Larry Beckett, Johan Sebastian Bach) - 2:11
14.All I Can Do Is Dance - 3:59
15.Hip Toad - 2:07
Compositions by Jerry Yester, Larry Beckett except where stated
Mountain's follow-up to the very successful Climbing! is another tour-de-force of heavy rock styles, mixed this time even more effectively with an increased sense of experimentalism. Columbia/Legacy has once again put together a nice little remaster package here, with liner notes from Leslie West and Corky Laing, photos, and vibrant sound.
The hard rock sounds of "Don't Look Around" start the CD off in head-banging fashion, with West's throaty growl and rampaging guitar riffs backed by the rhythm section of Laing and Felix Pappalardi, and contrasted by the lush Mellotron notes from Steve Knight. The epic title track is an early 70's classic, featuring melodic vocals from Pappalardi, huge pounding guitar parts from West, and Knights cascading keyboards. West assaults the listener with stinging lead lines and churning rhythm guitar on the rocking "You Can't Get Away", and angry song that just screams to be played live, and "Tired Angels" features some wicked pentatonic licks (listen to this song and hear where Michael Schenker and Uli John Roth might have gotten some inspiration) and layers of organ and piano from Knight.
"The Animal Trainer and the Toad" is a funky but heavy blues-rocker, while "My Lady" has a hint of psychedelia as well as good early 70's pop. The CD ends with the metal-meets-prog of "Travellin' In The Dark (To E.M.P.)" and the electric blues of "The Great Train Robbery", highlighted by some nasty slide guitar from Leslie West. The bonus track on this reissue is a live version of "Travellin' In The Dark (To E.M.P.)", that suffers a bit from the bass and organ being way too high in the mix, but is neat to hear nevertheless.
While not the out-and-out ball-buster that Climbing! is, Nantucket Sleighride is a great follow-up, and an important album in hard rock history that cemented Mountain as a force to be reckoned with and Leslie West a bona-fide guitar hero.
by Pete Pardo
Tracks
1. Don't Look Around (Leslie West, Sue Palmer, Felix Pappalardi, Gail Collins) - 3:47
2. Taunta (Felix Pappalardi) - 1:00
3. Nantucket Sleighride (To Owen Coffin) (Felix Pappalardi, Gail Collins) - 5:55
4. You Can't Get Away (Leslie West, Gail Collins, Corky Laing) - 3:28
5. Tired Angels (To J.M.H.) (Felix Pappalardi, Gail Collins) - 4:42
6. The Animal Trainer And The Toad (Leslie West, Sue Palmer) - 3:29
7. My Lady (Corky Laing, Felix Pappalardi, Gail Collins) - 4:36
8. Travellin' In The Dark (To E.M.P.) (Felix Pappalardi, Gail Collins) - 4:27
9. The Great Train Robbery (Leslie West, Corky Laing, Felix Pappalardi, Gail Collins) - 5:50
10.Travellin' In The Dark (To E.M.P.) (Live) (Felix Pappalardi, Gail Collins) - 5:10
Sky Saxon and the Seeds were an aggregation who, at their peak, understood how to unleash the unbridled cathartic power of rock’n’roll in their live performances. Their swansong album “Raw & Alive: The Seeds In Concert” is a remarkable encapsulation of this gift. Its contents were not recorded “live” on location, although that had been the original intention and, apart from added crowd noise, there is no studio trickery or editing of the performances. The record really is the Seeds “raw” and it delivers the sense of chaotic excitement their audiences have long enthused about. It remains a fitting tribute to the power of the original Seeds quartet.
At the start of 1968, the Seeds needed help, especially after the disappointing reaction to their “Future” and “Seedy Blues” albums. They had fired voluble manager Lord Tim Hudson and were playing fewer and fewer dates, as Sky now preferred to hold stoned court at his Malibu crash pad. A long-playing record showcasing their strength as a live act was mooted. The original plan was to record in the studio in front of a small invited audience, but the dynamics of a true Seeds show were lacking and the results were scrapped. Disc 2 of our reissue contains this performance as it went down. It is a fascinating document, featuring different arrangements of some Seeds classics and a wholly unreleased song, ‘Hubbly Bubbly Love’.
The band tried again in April 1968, this time without an audience but in the same warts-and-all “live” mode. The selections were a combination of singles, classic album cuts and some new material including the spooky ‘Forest Outside Your Door’ and ‘Mumble And Jumble’. The experimental ‘Night Time Girl’ featured a prototype Vox guitar/organ combination, and the fuzz-tinged rocker ‘Satisfy You’ was a real return to form. Once completed, the tracks were overlaid with the sort of frenzied screaming that might have been heard at the Seeds concerts a year before, but was now in increasingly short supply. Hearing the undubbed original renditions, as presented on Disc 1 for the first time, suggests this fake applause was probably unneccessary, such is the power of Sky, Daryl, Jan and Rick on these essential cuts.
The deluxe remastered reissue of “Raw & Alive: The Seeds In Concert” comes in a gatefold digipak that contains a fat booklet crammed with full details on the making of the album and dozens of photos of the Seeds in action during their heyday.
by Alec Palao
Tracks
Disc 1
1. Introduction By "Humble Harve" Miller/Mr. Farmer - 3:58
2. No Escape (Jimmy Lawrence, Jan Savage, Sky Saxon) - 2:27
3. Satisfy You (Sky Saxon, Jan Savage) - 2:04
4. Night Time Girl - 2:33
5. Up In Her Room - 9:56
6. Gypsy Plays His Drums (Sky Saxon, Daryl Hooper) - 4:35
7. Can't Seem To Make You Mine - 2:40
8. Mumble And Bumble (Sky Saxon, Daryl Hooper) - 2:27
9. Forest Outside Your Door (Sky Saxon, Daryl Hooper) - 2:41
10.Pushin' Too Hard - 2:53
11.Introduction By "Humble Harve"/Mr. Farmer - 4:07
12.No Escape (Jimmy Lawrence, Jan Savage, Sky Saxon) - 2:30
13.Satisfy You (Sky Saxon, Jan Savage) - 2:07
14.Night Time Girl - 2:31
15.Up In Her Room - 9:56
16.Gypsy Plays His Drums (Sky Saxon, Daryl Hooper) - 4:40
17.Can't Seem To Make You Mine - 2:38
18.Humble And Bumble (Sky Saxon, Daryl Hooper) - 2:30
19.Forest Outside Your Door (Sky Saxon, Daryl Hooper) - 2:42
20.900 Million People Daily All Making Love - 4:55
21.Pushin' Too Hard - 2:56
All songs by Sky Saxon except where noted
Disc 2
1. Introduction By Gene Norman - 2:51
2. Mumble And Bumble (Sky Saxon, Daryl Hooper) - 2:21
3. Gypsy Plays His Drums (New Mix) (Sky Saxon, Daryl Hooper) - 4:44
4. Mr Farmer - 4:01
5. No Escape (Jimmy Lawrence, Jan Savage, Sky Saxon)2:44
6. Satisfy You (Jan Savage, Sky Saxon) - 2:04
7. Can't Seem To Make You Mine - 2:52
8. Two Fingers Pointing On You - 3:17
9. 900 Million People Daily All Making Love - 8:56
10.Forest Outside Your Door (Sky Saxon, Daryl Hooper) - 3:26
11.Hubbly Bubbly Love - 2:15
12.Up In Her Room - 7:39
13.A Faded Picture (Sky Saxon, Daryl Hooper) - 6:50
14.Fallin' (Sky Saxon, Daryl Hooper) - 7:22
15.Pushin' Too Hard (New Mix) (2:49
16.Wdgy Spots - 0:55
All songs by Sky Saxon except where stated
In the early ‘70s, the transition of rock as a form of expression towards the mass market entertainment industry swept aside in its wake a large number of musical pioneers – pioneers such as Mountain, the missing link to heavy metal’s beginnings, among others. The rock behind the mountain is none other than Leslie West, one of history’s most influential guitarists who the gods have only looked down kindly upon the one time, when he was courting a certain queen from Mississippi. Having recently turned 71 (born in October 1945), his biography may not take up that much space in the encyclopaedias, but that great song can still often be heard on the radio. Maybe his mistake was arriving at the right place, but at the wrong time in the history of rock.
Climbing! , Mountain’s debut album in 1970, was in fact the ex-guitarist of The Vagrants’ second record, with whom he had already made a name for himself - both for his imposing frame and his unusual technique. He recorded his first album, a sublime slice of blues, by himself – tracks which convinced record producer Felix Pappalardi that this giant of a man was the perfect candidate to take over from Cream, another of his creations. It wasn’t long before a contract with Atlantic Records was laid on the table to be signed.
Back then, Clapton was god and West was set on sounding like him, exactly like him. This was going to be a dream come true for the 25-year-old New Yorker. To keep him company, Pappalardi had brought in Steve Knight on the keyboards and Laurence ‘Corky’ Laing on drums. Before he knew what had hit him, West found himself up on stage at Woodstock and about to become legend.
He took full advantage of the opportunity handed to him and surprised all and sundry with a record that didn’t just follow in the stellar path of the legendary trio, but was much grittier. That said, Pappalardi ensured that a piece by Jack Bruce was on there, even though it wasn’t one of the composer’s best efforts. The one-hit-wonder that Mississippi Queen would prove to be aside, songs such as Never in My Life (very popular back then), with their heavy, hypnotic riffs, were the early signs of hard rock’s coming of age. On Side B, back when you had to turn a record over and that pause in the proceedings actually mattered (not like with today’s CDs and USBs), the psychedelic hues present were more along the lines of progressive rock. At times it’s quite impossible to not think of Rush.
Apart from the elaborate and perfectionist work of West, also of note is the music played by Knight on the piano in Boys in the Band – almost the only chance that the keyboard player got to shine in an album ruled by West’s Gibson Les Paul Jr., a guitar that he is famous for, along with the Electra Plexiglass that he used to fool around with during his early concerts.
However, the hidden gem that can be found in Climbing! is the acoustic beauty, To My Friend, and the only song that West wrote entirely on his own. A fine example of just how well this maestro of the six strings can play.
Tracks
1. Mississippi Queen (Corky Laing, David Rea, Felix Pappalardi, Leslie West) - 2:32
2. Theme From An Imaginary Western (Jack Bruce, Pete Brown) - 5:08
3. Never In My Life (Corky Laing, Felix Pappalardi, Gail Collins, Leslie West) - 3:53
4. Silver Paper (Corky Laing, Felix Pappalardi, Gail Collins, George Gardos, Leslie West, Steve Knight) - 3:19
5. For Yasgur's Farm (Corky Laing, David Rea, Felix Pappalardi, Gail Collins, Gary Ship, George Gardos) - 3:23
6. To My Friend (Leslie West) - 3:38
7. The Laird (Felix Pappalardi, Gail Collins) - 4:39
8. Sittin' On A Rainbow (Corky Laing, Gail Collins, Leslie West) - 2:23
9. Boys In The Band (Felix Pappalardi, Gail Collins) - 3:43
10.For Yasgur's Farm (Live) (Corky Laing, David Rea, Felix Pappalardi, Gail Collins, Gary Ship, George Gardos) - 4:19
Bonus Track #10
First record from this duo, recorded while they were still in high-school. This two young Boston based folk duo released this strong rural inspired beautiful folk album. The album is nowhere near as well known as the slightly more produced "Every Loving Day", but it will appeal to the same people, and just may well be a better album.
It’s a distinctive and well-written collection of 14 short songs, starkly arranged in the best tradition of 1962 Greenwich Village (they even cover a Fred Neil song) and with an old-timer kind of world-weary feel. Some pianos and acoustic 12-string guitars give the album some variety despite the simple arrangements. This is not “pretty” folk, but it is melodic nonetheless. It doesn’t get much more “real” than this album. Highly recommended to any fan of folk/loner folk.
Acid Archives
Tracks
1. Drink Away Your Blues - 2:25
2. Lisa - 3:25
3. Don`t Make Promises (Tim Hardin) - 2:40
4. Nothing To Say (Stephen Tuttle) - 3:14
5. Chase It Away (Steve Prentice) - 1:45
6. Hello Hobo - 2:28
7. Granny`s Bacon - 3:27
8. You Couldn`t Tell (Stephen Tuttle) - 3:09
9. Mr. Sandman - 2:32
10.Don`t Cry For Me (Stephen Tuttle) - 2:27
11.A Friend - 2:25
12.I Go Crazy - 1:59
13.Only Good Nights - 2:46
14.Don`t Go To Sleep Maria - 0:41
Music and Words by Stephen Tuttle, Steve Prentice excpet where stated
In early 1968 the Dukes went on to studio to record their second album "Journey to the Center of the Mind", it was released in April 1968, on the local "Mainstream" label.
The title track, which Nugent wrote the music for Steve Farmer's lyrics, was released as a single and climbed the U.S. pop chart to number 16. Despite its apparent drug related theme, Nugent himself claims to have "never smoke a joint...never done a drug in my life. I thought 'Journey to the Center of the Mind' meant look inside yourself, use your head, and move forward in life".
This raw heavy acid psych gem was recorded amidst a whirlwind of lineup changes, many of them due to Nugent’s commandeering of the band and then firing everyone who, lyrics notwithstanding, struck him as a wee bit too pro-drug for real life.
At this point in time, the Nugent was an ambitious but interesting guitar player who was excessively hairy and liked jumping on top of things (moving cars, battle of the band judge tables, speaker cabinets, etc.). After his raging tours and hits of the late 70s, he quickly turned into a conservative caricature with a remarkable talent for being simultaneously entertaining and vile.
Tracks
1. Mississippi Murderer - 5:12
2. Surrender To Your Kings (Ted Nugent) - 2:53
3. Flight Of The Byrd (Ted Nugent) - 2:50
4. Scottish Tea (Ted Nugent) - 4:01
5. Dr. Slingshot - 3:09
6. Journey To The Center Of The Mind - 3:33
7. Ivory Castles (Steve Farmer) - 3:21
8. Why Is A Carrot More Orange Than An Orange (Steve Farmer) - 2:26
9. Missionary Mary (Steve Farmer) - 2:35
10.Death Is Life (Steve Farmer) - 2:09
11.Saint Philips Friend (Steve Farmer) - 3:33
12.I'll Prove I'm Right (Steve Farmer) - 1:39
13.Conclusion (Steve Farmer) - 1:59
14.You Talk Sunshine, I Breath Fire - 2:45
All somgs by Ted Nugent, Steve Farmer except where noted The Amboy Dukes
*Ted Nugent – Lead Guitar
*Greg Arama – Bass
*John Drake – Vocals
*Steve Farmer – Rhythm Guitar, Vocals
*Dave Palmer – Drums
*Andy Solomon – Organ, Piano, Vocals
Tony Joe White grew up in rural Louisiana and was nicknamed “the Swamp Fox” due to his ability to write songs that conveyed the humidity, idiosyncrasies and tensions of the US south.
The best known of these was Rainy Night in Georgia, which gained global recognition not through his own version but via a cover in 1970 from Brook Benton, followed by a number of other popular interpretations over the years, by artists from Ray Charles to Randy Crawford and Rod Stewart.
In fact his swamp songs proved surprisingly universal, and were recorded by everyone from Elvis Presley and Tina Turner to Dusty Springfield and Rory Gallagher. When his career was flagging in the 1980s, Turner brought his song Steamy Windows to wider attention as a Top 20 hit in various countries, and also used three of his other compositions on her highly successful 1989 album, Foreign Affair.
White was born into a farming family, the seventh son of Virgie (nee Andrews) and Charlie White, in Oak Grove, a small town in north-eastern Louisiana, and he grew up harvesting cotton and corn. A keen interest in music, especially the blues his African-American neighbours played, found White, upon graduating from high school, playing Texan honky-tonks where he recalled “the beer bottles would get to flying”.
In 1967 he was working as a dump truck driver for the local authority in Marietta, Georgia, and while doing so heard Bobbie Gentry’s groundbreaking 1967 hit Ode to Billie Joe. This inspired him to write songs about southern life and one of the first was Polk Salad Annie, a wry rocker about “a girl that I swear to the world/ would make the alligators look tame”.
White guessed he had something and, in late 1967, drove to Nashville. There he parked up and walked into the first music publisher’s office he came across. They asked him what kind of music he made and he replied, “well, it’s kind of swampy”. Directed across the road to Combine Music, the publisher of Dolly Parton and Kris Kristofferson, its head, Bob Beckham, recognised in White a maverick talent. Beckham suggested that Monument Records, the label that had made Roy Orbison famous, should sign White – and they did.
While his 45s initially failed to chart in the US – although Soul Francisco was a hit in France – White was certain that Polk Salad Annie had potential, as southern audiences loved the song. For almost a year the single’s momentum built as local radio stations played it, but it took a major Los Angeles radio station to add it to their playlist for White to get his break – Polk Salad Annie reached No 8 on the US pop charts in July 1969, his only US Top 40 hit. Presley, recognising a kindred spirit, began performing it in concert. White capitalised by releasing his debut album, Black and White, in 1969.
by Garth Cartwright, Sun 28 Oct 2018
When "Polk Salad Annie" blared from transistor radio speakers in the summer of 1969, the first thought was of Creedence Clearwater Revival, for Tony Joe White's swamp rock bore more than a passing resemblance to the sound John Fogerty whipped up on Bayou Country and Green River. But White was the real thing -- he really was from the bayou country of Louisiana, while Fogerty's bayou country was conjured up in Berkeley, CA. Plus, White had a mellow baritone voice that sounded like it had been dredged up from the bottom of the Delta. Besides "Annie," side one of this album includes several other White originals.
The best of these are "Willie and Laura Mae Jones," a song about race relations with an arrangement similar to "Ballad of Billie Joe," and "Soul Francisco," a short piece of funky fluff that had been a big hit in Europe in 1968. "Aspen, Colorado" presages the later "Rainy Night in Georgia," a White composition popularized by Brook Benton. The second side consists of covers of contemporary hits, with the funky "Who's Making Love" and "Scratch My Back" faring better than the slow stuff. Dusty Springfield had a minor hit with "Willie and Laura Mae Jones," and White's songs were recorded by other performers through the years, but "Polk Salad Annie" and the gators that got her granny provided his only march in the American hit parade.
by Jim Newsom
Tony Joe White, singer and songwriter, born 23 July 1943; died 24 October 2018
Tracks
1. Willie And Laura Mae Jones - 4:57
2. Soul Francisco - 1:57
3. Aspen Colorado - 2:50
4. Whompt Out On You - 2:25
5. Don't Steal My Love - 3:52
6. Polk Salad Annie - 3:46
7. Who's Making Love (Homer Banks, Bettye Crutcher, Don Davis, Raymond Jackson) - 3:14
8. Scratch My Back (James Moore) - 3:03
9. Little Green Apples (Bobby Russell) - 4:01
10.Wichita Lineman (Jimmy Webb) - 2:53
11.Look Of Love (Burt Bacharach, Hal David) - 3:24
12.Georgia Pines (John Adkins, Buddy Blue) - 2:58
13.Ten More Miles To Louisiana - 2:23
All compositions by Tony Joe White except where noted
Musicians
*Tony Joe White – Vocals, Guitar, Harmonica
*David Briggs: Piano, Organ
*Jerry Carrigan – Drums
*Norbert Putnam – Bass
*Chip Young – Guitar
*Jimmy Isbell – Drums
Has classic rock radio made a bad name for itself because the music doesn’t wear well with age, or is it because they keep playing the same old shit? In a perfect world, classic rock gems like Jericho would no longer be neglected by the airwaves and listeners would abound in new sounds from a previous era. Just imagine your local classic rock station slipped in one cut off this record, in place of the usual barrage of Zep and Skynyrd repeats; there could easily be a demand for this sweet sounding, authentic-as-it-gets, yet unissued and unplayed recording.
Jericho members Frank DiFelice, Denny Gerrard, Fred Keeler, Gordon Fleming hailed from Canada and recorded this one-off at the famous Bearsville studio in Woodstock, with engineering and production by Todd Rundgren. These guys were a part of the same scene as Jesse Winchester and The Band, sharing Rundgren as producer and art director Bob Cato between this and Stage Fright, and the music falls right in line, albeit with a harder edge.
They bust down the door with “True Fine Girl,” sounding like the Band on steroids with overdriven organ and screeching guitars notching a next-level sound. “SS #4” even sounds a little like hard rock “Cripple Creek,” but the key here isn’t loud guitar rippin but a loose knit down-home groove. There are nasty prog moves and killer Clavinet shredding on “Cheater Man;” Gordon Fleming really steals the show on keys, often overshadowing the guitar leads a rare feat for keyboardists. “Baby’s Gone Again” is a blues that shuffles harder than Cream and “Backtrack” is a killer Edgar Winter style instrumental with gnarly parts played thru Garth Hudson’s own Leslie speaker and Clav. I’m a sucker for “Goin’ To The Country,” a goofy, stoned country groover with wowy Moog bass replacing the “jug” line. The vocalist shines on this little number vocals are really great all the way through, actually that definitely stands out from the rest.
One track, “Make It Better,” would score a minor hit, but Jericho would be largely forgotten, unissued since its original release. I do find that this record tends to push a little too hard; it’s kind of relentlessly hard-rockin. But it deserved much more than it got.
by Brendan McGrath
Fred Keeler passed away on June 14th, 2019
Tracks
1. True Fine Girl (Fred Keeler) - 2:43
2. The Road I Never Took (Gordon Fleming) - 3:17
3. Lonely As Me (Fred Keeler) - 2:35
4. Cheater Man (Fred Keeler) - 2:21
5. Baby's Gone Again (Fred Keeler) - 3:02
6. Goin' To The Country (Fred Keeler) - 3:24
7. Fool Killer (Mose Allison) - 3:49
8. Intro: Into My Blue Heaven/Backtrack (George Whiting, Walter Donaldson, Denny Gerrard, Frank De Felice, Fred Keeler, Gordon Fleming) - 4:27
9. Make It Better (Fred Keeler) - 3:23
10.S.S. #4 (Gordon Fleming) - 3:48
11.Do You Want Me (Fred Keeler) - 3:24
12.Can't Seem To Make It Happen (Gordon Fleming) - 5:40
