Michael Tschudin is taking his new group, Cynara, on me road to play rock clubs and music festivals free as a trailer for his debut record for Capitol. The free dates are part of Capitol's over-all promotion campaign for Cynara, as well as part of Tschudin's plan to get as wide an audience as possible 'into the group', and to give the group a chance to 'get it together'.
Among the free dates played by Cynara are Ungano's in New York and the upcoming Harmony Music Festival in Atlantic City beginning Tuesday. Touring with Tschudin, who composed the songs for Cynara's first Capitol LP, are Jeff Watson (lead singer), Cal Hill (bass), Les Lumley (guitar) and Chip White (percussion). The album, which was produced by Tschudin and Capitol A&R staffer Ken Cooper, is the first all-New York production to go into release.
It's scheduled for an August 24th shipment. Tschudin, who has studied with Rudolf Serkin and E. Power Biggs, and who says that "Johann Sebastian Bach is my greatest teacher," has three one-year options with Capitol and a guarantee of two album releases a year. Capitol's New York office will be keeping tabs on Cynara as they go into the free situations, and the company's men in the territory will be alerted to make these dates pay off in potential album sales'
Bil/rd, August 1st 1970
Tracks
1. Life Stories - 5:55
2. Hello You - 3:56
3. Stoned Is (Gil Moses, Michael Tschudin) - 4:07
4. Religious Song - 5:20
5. Mermaid Song - 7:59
6. Lullaby For CIA - 11:21
All songs by Michael Tschudin except where noted.
Cynara
*Jeff Watson - Lead Vocals
*Cal Hill- Bass
*Michael Tschudin - Keyboards, Drums
*Les Lumley - Guitar
*Chip White - Percussion Guest Musician
*Elvin Jones - Drums
In September 1971 Eugene Carnan entered a UK -wide competition for "Best New Band" run by the famous Melody Maker magazine. The competition took place in regional venues all over the UK and the South Wales heat was held in a Club in Caerphilly - a town famous for it's ancient Castle, it's Cheese and later to be the home of the Manic Street Preachers.
Each band was asked to play 3 numbers. We decided to perform our own compositions rather than covers and so we played : "I Found Out", "Blues Thing" and '"Mountain". We took care in the choice of songs to balance the pace and feel to try to capture the essence of a Eugene Carnan live gig in a 12 minute slot. We had even written 'Blues Thing' especially to play at this competition because we hadn't up to then had any original slow numbers.
When the results of the heat were announced we were very disappointed not to have been selected to go though to the final. However, as we were packing up we were approached by a guy who introduced himself as Wayne Williams and said he had a small recording studio and he was interested in recording us. Wayne's offer was to record a demo of the band for free then he said he would try to get some record companies interested. If he did we could discuss terms then. Of course our initial reaction was sceptical and wary because there were so many stories of bands getting ripped off.
However, what made us change our mind was that Wayne mentioned that he was backed by a gentleman called Major Arthur Kenny. This name meant nothing to the other band members but it did to me. Major Kenny was the musical director of The Cory Band, one of the UK's top league brass bands, which was based in the Rhondda . My father played cornet in Cory Band for many years and I had also played a number of sessions with the band and had been a member of the Cory junior band. Because of this connection we agreed to go along with Waynes suggestion. However, it was many months later that Wayne contacted us again and we went over to his studio in Risca, Monmouth on Sunday 26th March and the following Friday 31st March which was Good Friday and Bank holiday.
These few weeks in March were one of the busiest ever for the band. I have an accounts book that shows we had gigs in Teorchy on both the 24th and 25th and in Crumlin on the 30th March. Wayne's studio was in a converted stand-alone garage set away from any houses. Inside a small control room had been built in one corner and the rest of the space was the recording area. The walls were covered with cardboard egg boxes - a popular do-it-yourself form of sound proofing. Wayne's recording equipment consisted of a Sony Stereo 2-track tape recorder and a small mixer.
The band set up and we had a two microphone to record the guitars - one for each amplifier and there were 3 mics for the drum kit - for the kick, snare and an overhead mic. Very simply we played the tracks live – exactly as we did in gigs with Adrian signing along as well but without microphone so that Wayne could recorded the instruments on one channel without any vocals. Then Adrian would 'overdub' the vocals onto the second track. Of course with this equipment there could be no post-production editing or effects added afterwards. So what you hear is what we really did play and sound like in that place in 1972.
The recordings have all our mistakes, some duff notes, I even hit a microphone while aiming for the hi-hat in one of the songs and you can hear this on the record. You can hear some echo on the vocals – but again this was recorded live using the tape loop echo effect we used for gigs. We recorded 8 tracks during the two days. The missing track was called -"Camburoo" - a song with an African-type drum beat inspired by Osibisa a band we admired at the time. The name was a made-up joke word - sounding to us, part Welsh (Cambrian) and part Africa (Uroo came from Lieutenant Uhura in Star Trek).
After we did the recordings several things happened at the same time. Wayne had a falling-out with Major Kenny and said that he was packing-in the studio. But he offered to give us the tapes. Second, our bass guitarist Mickey Williams started to get very unreliable and eventually decided to leave the band. I met up with Wayne in June 1972 and he gave me a tape reel that he said had all our tracks on it. Unfortunately, one track was missing - and when I contacted him, he said that it has been on another tape reel, but he thought he had recorded over it - so we never did get to hear "Camburoo". Despite the break-up of the band I decided that we should at least get some IP's made for our own collections and also to have the songs available for a new replacement bass guitarist to learn.
With this in mind on 28th July 1972 I went to London by myself on the train and took the tapes to J Eden Studio in Kingston-upon-Thames who offered a tape-to disc service. I found about about them though an advert in the back pages of Melody Maker. At the studio they cut 4 copies of the 7 tracks on the tape direct to Acetate LP.
The process was of course analogue and live - the guy played the tape through and a stylus cut the grooves in the plastic. He did this 4 times to get the 4 discs, stopping to turn the disc over half way though the duplication so we ended up with 4 tracks on one side and 3 on the other. I came back to the Rhondda with the 4 IP's and gave one to each of the band and the other to one of our roadies. Later I was able to make some Cassette copies for friends from my copy, and several years later I loaned the original reel-to-reel tape to my then brother-in-law Colin Benjamin to whom I am grateful for its recent return.
The Eugene Carnan tracks capture the live raw sound of a young band with very limited resources and equipment who played with enthusiasm and passion because they enjoyed what they did. Of course we dreamt of making it big, but really never expected to and so I suppose our fate was that of the many over the few. These were the tracks that got away, that we didn't get to play on The Old Grey Whistle Test' or Top of the Pops'. Now, I hope that almost 40 years later - others will enjoy them and smile.
by Mike Evans, Sheffield , February 2011
Tracks
1. Confusion - 4:33
2. I Found Out (Adrian Llewellyn) - 3:27
3. People In the City - 5:12
4. Black As Night (AdrianLlewellyn) - 3:22
5. Blues Thing - 4:07
6. On Your Mind - 4:16
7. Mountain - 5:05
All songs by Adrian Llewellyn, Michael Williams, Mike Evans except where indicated
One of the most unique rock groups of the 1960s, The Hello People, was created during late 1967 in New York by producer Lou Futterman. There is precious little information on this group that is available on the Internet. This is an attempt to fill that void.
The idea for creating the group stemmed from Marcel Carné's film Children of Paradise (Les Enfants du Paradis). Etienne De Crux, the father of French mime, plays the part of Bapties's father in the film. During the sixties De Crux taught painting to a group of musicians. Since these musicians learned to paint so quickly, De Crux reasoned that musicians could also learn mime and apply it in some new way to create a new form. The manager of the musicians De Crux taught, Lou Futterman, decided he would implement this new concept. He then put together a new group of musicians who would perform in mime makeup and do mime routines between songs, never speaking a word to the audience.
The group recorded for Philips Records, performed at the Café Wha? in Greenwich Village in 1968 and at The Players Theater, upstairs above the Café Wha? Although the group didn't have a hit record they were often seen on major network television shows such as The Tonight Show with Johnny Carson and the controversial Smothers Brothers Show.
"They say I was born in the land of the free but the home of the briefcase is all I can see." W. S. Tongue.
Baxter were one of those early-'70s US bands who can only really be described as 'rock': not heavy enough to be 'heavy', prog enough to be 'prog' or soft enough to be 'West Coast'. Their sole, eponymous album from '73 displays a mixture of styles, from the twin-guitar hard rock of '51 through the near-country balladry of Gentle Arms to the almost-prog of Renaissance Woman and Moonfire II, the two main tracks that save this album from mediocrity and gain it an extra half star. There are other progressive moments, not least in Doctor Doctor and 197Three, but too much of this album is mid-paced third-division material, which explains why you've probably never heard of them before.
Mellotron from both Doug Arioli and Steve Kirshenbaum, though I've no idea who played what and where. Renaissance Woman marks the first entrance of the Mellotron, with a cello part that couldn't be anything else, with a more 'normal' string part on Gentle Arms, leaving the album's major Mellotron interjection to side two's Moonfire II, with some very upfront strings and less of the same on closer 197Three. So; Baxter is a game of two halves, the band's proggier material being dragged down by their more straightforward stuff. However, I'm quite sure that the latter went down better on stage and, since I'm sure they relied on live work to pay the bills, who can blame them for recording some of it? Anyway, not bad, not great, with a surprising amount of Mellotron work.
Planet-Mellotron
Tracks
1. By The Gates (Steven Kirshenbaum) - 3:55
2. Give It All (John Linde, Peter Antell) - 2:56
3. Renaissance Woman (Steven Kirshenbaum) - 7:36
4. "51" (Steven Kirshenbaum, Lawrence Di Natale, Steve Belgrade, Edwin Damus Perry) - 4:32
5. Gentle Arms (Doug Arioli) - 3:02
6. Moonfire II (Lawrence Di Natale, Steven Kirshenbaum) - 7:32
John Martyn debuted as a fresh-faced teenage folky with 1967's London Conversation, he soon embarked on a restless musical odyssey. Built on a foundation of folk, blues, and jazz, Martyn's music has ranged from effects-laden experimentation, through rock, to fusion-influenced pop. This overview of Martyn's Island recordings ignores his first two albums and two releases with then-wife- Beverley, picking up with Bless the Weather (1971). Although ornate love songs from that record like "Head and Heart" remain close to Martyn's traditionalist roots, the instrumental "Glistening Glyndebourne" shows he was keen to distance himself from the Donovan-Cat Stevens orbit of twee folk-pop.
Solid Air, 1973's sublime follow-up, is well represented here. On it, Martyn moved effortlessly among light acoustic tunes ("Over the Hill"), darker numbers ("Solid Air," his ode to friend Nick Drake), and gizmo-enhanced excursions (his rendering of Skip James' "I'd Rather Be the Devil"). Martyn pursued his experimental inclinations further with the jazz-folkadelic Inside Out (1973). By the gently droning "Eibhli Ghail Chiuin Ni Chearbhaill," which reworks a 19th century Celtic folk tune with such late 20th century rock tools as a fuzzbox and phase-shifter. Sunday's Child (1974) returned to a more focused song format, as demonstrated by mournful "Spencer the Rover." Martyn's next studio venture, One World (1977), combined chilled-out ("Small Hours"), ("Dancing"), the latter tendency even more prominent on Grace & Danger (1980) and exemplified by the delicate "Sweet Little Mystery." While Martyn's later Island releases were less memorable, those mid-'80s numbers collected here hold up well.
by Wilson Neate
This album provides a great introduction to John Martyn; its only weakness is the omission of his earliest efforts, a sampling of which would give a fuller sense of his work's evolution. There's no doubt what so ever that Martyn himself must have suffered his fair share of hangovers. You can hear it in his voice when those crooning, slurring tones eventually degenerated into something like a wino's rasp- Before his untimely death at the age of 60 in 2009, a few weeks after he was awarded an OBE.
by Greg Freeman
Tracks
Disc 1
1. Bless The Weather - 4:32
2. Head And Heart - 4:55
3. Glistening Glyndebourne - 6:34
4. Solid Air - 5:46
5. Over The Hill - 2:52
6. Don't Want To Know - 3:01
7. I'd Rather- Be The Devil (Skip James) - 6:21
8. May You Never - 3:44
9. Fine Lines - 3:50
10.Eibhli Ghail Chiuin Ni Chearbhaill (Traditional) - 3:09
11.Make No Mistake - 5:58
12.One Day Without You - 3:00
13.Lay It All Down - 1:52
14.Root Love - 4:36
15.Sunday's Child - 3:17
16.Spencer The Rover (Traditional) - 4:13
17.You Can Discover - 3:44
18.Call Me Crazy - 7:30
Lyrics and Music by John Martyn except where indicated
Disc 2
1. Couldn't Love You More - 3:07
2. Certain Surprise - 3:51
3. Dancing - 3:56
4. Small Hours - 8:44
5. Dealer - 4:56
6. One World - 4:02
7. Some People Are Crazy - 4:19
8. Lookin' On - 5:13
9. Johnny Too Bad (Derrick Crooks, Roy Beckford, Trevor Wilson, Winston Bailey, John Martyn) - 3:57
10.Sweet Little Mystery - 5:27
11.Hurt In Your Heart - 4:59
12.Baby Please Come Home - 3:54
13.Sapphire (Alan Thompson, John Martyn) - 5:16
14.Fisherman's Dream - 4:18
15.Angeline - 4:45
16.Send Me One Line - 4:45
Words and Music by John Martyn unless as else written
Dropped by Capitol, the band were enticed back by Gerry Bron who had managed the Manfreds in the years before their demise. They recorded two albums for Bron's label, Bronze, 'C'est La Vie' and 'Rainbow' and in spite of recapturing their former sound (with new members Jim Evans on guitar and Lou Stonebridge, ex Palladin, on keyboards and vocals) they finally called it a day in 1975 after Hughie Flint suffered a collapsed lung and it was clear he would be convalescing for some time.
Tracks
1. Catfish (Tom McGuinness) - 3:32
2. C'est La Vie (Tom McGuinness) - 3:07
3. Ride That Horse (Tom McGuinness) - 5:05
4. (I Don't Like Your) Country Music (Dixie Dean, Mike McGann) - 3:46
5. Please Give Me (Dixie Dean) - 3:39
6. Fast Eddie (Tom McGuinness) - 4:28
7. Siren Sadie (Dixie Dean) - 5:12
8. Union Hall (Lou Stonebridge) - 3:03
9. Rabbitt Isle (Lou Stonebridge) - 7:24
McGuinness Flint
*Dixie Dean - Vocals, Bass Guitar, Guitar, Horns, Harmonica
The Early Late Unicorn" kicks off with Unicorn's swan song – the legendary Shed Sessions of '77-'78. Picture this: a garden shed transformed into a recording studio, where musical magic happened even as punk was busy pogoing all over the charts. It's like the band said, "If we're going out, we're going out in style... and in a shed."
Ken Baker, Unicorn's songwriting wizard, proves he could pen a catchy tune faster than you can say "missed opportunity." From the heartstring-tugging "Open Books" to the reggae-tinged "Can't Stop Thinking About You," it's a masterclass in what-could-have-been pop perfection.
But wait! Just when you think it's all over, we hit the rewind button. Suddenly, you're transported back to 1967-69, grooving with The Late (Unicorn's previous incarnation, because why be on time when you can be awesome?). It's raw, it's fresh, it's Unicorn before they even knew they were magical.
And for the grand finale? A cherry on top of this time-warped sundae – a live version of "Weekend" from 1975, catching Unicorn at their peak. It's the perfect bridge between their early days and shed-bound swan song.
"The Early Late Unicorn" is both a perfect introduction for newcomers and a treasure trove for long-time fans, proving that Unicorn's magic never fades – it just gets better in reverse.
TLAK
Tracks
1. Open Sea - 3:08
2. Don't Want To Go Home Alone - 3:19
3. Canada's A Long Way - 3:37
4. Singing You Praise - 4:39
5. Social Shirker - 3:44
6. You Can Have A Dream - 3:45
7. Get It Back - 3:56
8. Rainy Season - 4:50
9. Open Books - 3:32
10.Restless - 3:10
11.Is That A Shame? - 5:10
12.Stay Out Of My Dreams - 3:19
13.Can't Stop Thinking About You - 4:07
14.You Tell Too Many Lies - 4:49
15.Family Tree - 2:32
16.Train Coming My Way - 2:48
17.Queen Of Hearts - 2:37
18.Working Man - 3:36
19.Doris - 2:09
20.Going Back Home - 3:18
21.Faint Is The Song - 3:17
22.Weekend - 3:12
All songs by Ken Baker except track #15 by Pat Martin
Tracks 1-14 from the 1977-78 Shed No Tear Sessions
There’s an old video floating around online of John Martyn performing in Germany that neatly encapsulates the brilliance of his 1973 album with only a rendition of its title track. In it, he swigs a beer, boisterously breaks a string and riffs with the crowd: “Couldn’t ask for something nice and simple, could ya?” A couple of minutes and a few jokes at B.B. King’s expense go by, and the quips suddenly stop. He slips effortlessly into ‘Solid Air’, and it’s devastating. His voice is gruff but pleading: “I know you, I love you. I will be your friend.” Written as an ode to his friend Nick Drake, who committed suicide just 18 months after the project’s release, it’s haunting and resigned to the inevitable.
That video specifically speaks to the emotional whiplash of Solid Air. You can bounce between pure folk, flashes of rock and blues, and be bathed in Echoplex tape delay effect only a few songs in. The husk of Martyn’s voice and his unrestrained approach to writing about love and loss *“You know I love you like I should / You hold no blade to stab me in my back / You know that there’s some of them that would” *make it one of the most profound offerings of British folk.
But it always seemed like Martyn couldn’t bear the seriousness of it all. When pressed on its themes, he only said: “It has got a very simple message, but you’ll have to work that one out for yourself.” There was synth and sax and moments of silence, but never simplicity. Every song on Solid Air is textured and laced with Martyn’s evocative writing, barring a rogue Skip James cover. Martyn took ‘Devil Got My Woman’ and injected it with warped delay until it arrived as as the spaced out ‘I’d Rather Be the Devil’.
Recorded live, the album sessions wrapped up in only eight days. Tony Coe, who provided saxophone on ‘Dreams by the Sea’ and ‘Solid Air’ once admitted in an interview he didn’t even remember being there. Although it was the defining project of Martyn’s career, you get the sense he probably felt the same. If his warning that fans needed to figure out its core message were anything to go by, he wanted to excise his worries about Drake and leave them in the studio in one blacked-out haze.
The album also featured Martyn’s longtime collaborator, Danny Thompson, whose double bass waves in and out of focus as an unmistakable presence. In the liner notes to the Solid Air CD, it’s noted that Thompson and Martyn used to call the heavy title track ‘Sausages’, in yet another example of Martyn’s compulsive need to find light relief on what was a viscerally gutting work.
Thompson so casually moulded his bass around the timbre of Martyn’s voice; those same liner notes have to reiterate how seismic his contribution actually was. Every musician that appeared on the album, from John ‘Rabbit’ Bundrick to Sue Draheim, played with such clarity and focus that it sounded like second nature to all of them, and it’s almost easy to overlook quite how miraculous their collective sound is.
While Solid Air and its dedication to Drake later became a prelude to tragedy, it could be as uplifting as it was emotionally ruinous. “I don’t want to know ’bout evil,” he sings on ‘Don’t Want to Know’. “Only want to know ’bout love”. In essence, the entire album is a love letter. While it’s often deeply introspective, you feel the depth of his love for his folk roots, Drake, distortion, and dreams, which are translated with the same emotive force. You couldn’t place it to a specific year or genre if you tried. It is a totally timeless record, and as the years go on, hitting timely annual anniversaries of Drake and Martyn’s deaths, you realise just how ahead of his time Martyn was.
by Poppy Burton, Mon 12 February 2024
Tracks
Disc 1
1. Solid Air - 5:45
2. Over The Hill - 2:54
3. Don't Want To Know - 3:02
4. I'd Rather Be The Devil - 6:19
5. Go Down Easy - 3:36
6. Dreams By The Sea - 3:17
7. May You Never - 3:41
8. The Man In The Station - 2:53
9. The Easy Blues / Gentle Blues - 3:20
Lyrics and Music by John Martyn except track #4 written by Skip James
Disc 2
1. Solid Air - 5:49
2. Over The Hill - 3:30
3. Don't Want To Know - 3:28
4. I'd Rather Be The Devil - 7:41
5. Go Down Easy - 4:57
6. Dreams By The Sea - 3:24
7. May You Never - 3:35
8. The Man In The Station - 5:34
9. The Easy Blues / Gentle Blues - 4:51
10.Keep On - 4:59
11.Never Say Never - 8:39
12.In The Evening - 4:06
13.May You Never - 2:45
14.The Easy Blues - 4:23
15.May You Never - 4:07
16.I'd Rather Be The Devil - 8:33
Words and Music by John Martyn except tracks 4 & 16 written by Skip James
2000 Island Remaster
1. Solid Air - 5:46
2. Over The Hill - 2:55
3. Don't Want To Know - 3:04
4. I'd Rather Be The Devil - 6:20
5. Go Down Easy - 3:37
6. Dreams By The Sea - 3:19
7. May You Never - 3:43
8. The Man In The Station - 2:54
9. The Easy Blues (Jelly Roll Blues/Gentle Blues) - 3:24
10.I'd Rather Be The Devil - Live - 6:11
All compositions by John Martyn except track 4 & 10 by Skip James
Personnel
*John Martyn - Acoustic Guitar, Electric Guitar, Vocals, Synthesizer
*Dave Pegg - Bass
*Speedy (Neemoi Acquaye) - Congas
*Danny Thompson - Double Bass
*Dave Mattacks - Drums
*Rabbit (John Bundrick) - Piano, Electric Piano, Organ, Clavinet
When I got Nick Jameson's “Already Free” I was surprised to find that he plays all the instruments except Eric Parker's drums and the legendary Paul Butterfield's harmonica, which was the key to my decision to buy the vinyl. I put it on the turntable at home, and I was immediately hooked: country rock, folk, soft rock and 70's RnR twinned in a natural way, without stridency, with great melodies and harmonicas of extreme quality by Butterfield. The surprise comes when I start to investigate Jameson: fasten your seatbelts!!!!
He debuts in 1970 with the band “The American Dream” (whose eponymous debut will be the first production of the legendary Todd Rundgren), in the middle of the decade he establishes himself as a solo artist (“A Crowd of One” from 1986 is his second and last work) and also produces a couple of records to Tim Moore, his colleague Paul Butterfield, and Foghat: the three most popular records of the band (“Rock and Roll Outlaws”, “Fool for the City” and “Live”) bear his signature !!!! But apart from his musical facet Jameson has developed a career as an actor, dubbing specialist (animation and video games) and stand-up comedian... !!!!!
But possibly what fascinated me most of all the interactions, coincidences and twists was his participation in my favorite series of all time, “Lost”. Chance and fate played in my favor so that I could enjoy an album without great pretensions, but super entertaining, well thought out and well played. Lie down in your favorite armchair, listen to “I Ain't Searching” and enjoy. Everything happens for a reason...
Raisin Kane was from Martin, Tennessee and recorded their LP "It's About Time" at Sound Farm Studios in Puryear, Tennessee, circa 1978. An excellent mix of 70s Country Rock / Southern Rock with fantastic guitar sessions. Rare private press in the vein of The Outlaws, Allman Brothers and Marshall Tucker.
Tracks
1. Raisin´ Kane (Larry Bedwell, Russ Hall) - 2:31
2. Tennessee Foxy Lady (Gary Wadley, Larry Bedwell) - 3:26
3. Autumn - 3:25
4. Rock 'n' Roll Song - 3:08
5. We´ll Find A Way (Riley, Larry Brewer) - 3:56
6. I Don´t Want To Take It (Elmore, Larry Bedwell) - 2:31
7. You Don´t Listen To What I Say - 3:30
8. All I Can Do - 2:49
9. Neon Lights (Gary Wadley, Larry Bedwell, Larry Brewer) - 7:32
The most exciting facet of this tremendous album is not so much that it contains the Procols' best recorded works to date, but that their potential is still nowhere near being fully spent.
If this is an example of what their experiments can lead them to, long may they continue to push out past the accepted frontiers of pop.
It would be hard to pick a stand-out but the title-track, also their current single, must rank as their most potently commercial offering since Whiter Shade of Pale. The poetic quality of Keith Reid's lyrics delivered by Gary Brooker against music that rises and crashes like the waves adds up to a positively stunning track.
Brooker takes five other writing credits; Milk of Human Kindness is a personal favourite, mainly for its gorgeous razzy guitar. Too much Between Us, which he co-wrote with Robin Trower, is wispy and dreamy with shades of Incredible String Band in the harmonies. The Devil Came from Kansas has a distinct country feel with Barrie Wilson's powerful drumming behind a piano running rife. All This and More is nearer the old Procols.
Boredom, by Brooker and Matthew Fisher, has the latter featured strongly on marimba with a pretty calypso lilt making it one of the most appealing songs.
Fisher on his own has two entries, stand out being Wreck of the Hesperus with a complex arrangement for piano and strings that spins like whirlpools of water and has a charm and prettiness little found in today's pop.
The album also marks the emergence of Trower as a writing force. His two songs include Juicy John Pink, a strident rock blues with shades of John Lee Hooker. Other titles: Crucifiction Lane, Pilgrim's Progress
by Nick Logan in New Musical Express, 5 July 1969
Tracks
1. A Salty Dog - 4:39
2. The Milk Of Human Kindness - 3:44
3. Too Much Between Us - 3:40
4. The Devil Came From Kansas - 4:33
5. Boredom - 4:37
6. Juicy John Pink - 2:04
7. Wreck Of The Hesperus - 3:44
8. All This And More - 3:47
9. Crucifiction Lane - 4:56
10.Pilgrim's Progress - 4:33
11.Long Gone Geek - 3:18
12.Goin' Down Slow - 7:48
13.Juicy John Pink - 2:39
14.Crucification Lane - 4:35
15.Skip Softly My Moonbeams / Also Sprach Zarathustra - 5:29
16.The Milk Of Human Kindness - 3:47
All Lyrics by Keith Reid except track #12
Tracks 1-5,8,11,15,16 Music by Gary Brooker
Tracks 3,6,9,13,14 Music by Robin Trower
Tracks 5,7,10,11 Music by Matthew Fisher
Track 12 written by James B. Oden
Tracks 12-15 recorded in USA April 1969
Track 16 Take 1 / Raw Backing Track
Same Tracklist as above
Disc 1
1. A Salty Dog - 4:39
2. The Milk Of Human Kindness - 3:45
3. Too Much Between Us - 3:43
4. The Devil Came From Kansas - 4:36
5. Boredom - 4:34
6. Juicy John Pink - 2:06
7. Wreck Of The Hesperus - 3:48
8. All This And More - 3:51
9. Crucifiction Lane - 5:00
10.Pilgrims Progress - 4:31
All Lyrics by Keith Reid
Tracks 1-5,8,11 Music by Gary Brooker
Tracks 3,6,9 Music by Robin Trower
Tracks 5,7,10 Music by Matthew Fisher
Disc 2
1. Skip Softly (My Moonbeams) - 3:47
2. Wish Me Well - 3:41
3. Long Gone Geek - 2:42
4. Goin' Down Slow - 7:48
5. Juicy John Pink - 2:38
6. Crucifiction Lane - 4:46
7. Skip Softly My Moonbeams / Also Sprach Zarathustra - 5:25
8. The Milk Of Human Kindness - 3:39
9. Juicy John Pink - 2:15
10.A Salty Dog - 4:36
11.Long Gone Geek - 3:10
12.The Milk Of Human Kindness - 3:57
All Lyrics by Keith Reid except track #4
Tracks 1-3,8,10-12 Music by Gary Brooker
Tracks 5,6,9 Music by Robin Trower
Tracks 3,11 Music by Matthew Fisher
Track 4 written by James B. Oden
Tracks 1,2,3,9 recorded at 'Top Gear' BBC Radio One Session
Tracks 4-7 recorded in USA April 1969
Track 8 recorded at 'Symonds On Sunday' BBC Radio One Session
Having issues with their label, as their commercial success was declining dramatically, and the changes in music with disco and punk taking the lion's share of the sales, the times were difficult but they stayed together and in 1980 they recorded and released “Right On Time”, on Auric Records, a Florida based label. The bulk of the compositions of course goes to Dru Lombar, who signed half of the album's 10 songs.
There's another version of our favourite “Lady Luck”, of the three that have appeared on three different albums in total. Τhe music follows the familiar sound fields, with the guitars dominating, the vocals and the rest of the instruments all in high standards. A year later, “Have Band Will Travel” released on the independent Robox Records and soon after, -they realized that as a band they had hit a dead end- broke up. We love Grinderswitch, we love Southern Rock, we don't expect innovations, we are not disappointed by this album.
Tracks
1. Movin' On Back To You (Dru Lombar, Stephen Miller, Joe Dan Petty, Rick Burnett) - 3:42
2. Lady Luck (Dru Lombar) - 4:56
3. Confusion (Dru Lombar) - 6:57
4. 80 Miles To Memphis (Joe Dan Petty) - 3:08
5. Slow Movin' Dancer (Joe Dan Petty, Larry Howard) - 4:17
6. Brand New Feeling (Dru Lombar) - 3:56
7. When The Rain Comes Down (Dru Lombar, Chris Anderson) - 6:38
Despite further changes, album number 3 from Atlantis was not long in coming. “Ooh, Baby” was recorded in the summer of 1974 and produced by Dieter Dierks . One drastic change was certainly the departure of old comrade Jean-Jacques Kravetz , who only appears as a guest on piano. Adrian Askew has now taken over the keyboards and the guitar position has also been reassigned, this time with Alex Conti . The songs are short and concise and are a mix of rock, blues, soul, funk and gospel. The following year they achieved one major goal: an extensive tour of the USA. They opened for acts such as Lynyrd Skynyrd and Muddy Waters . But they also experienced the downside in the form of their American record company, who offered absolutely no support.
After the aforementioned US tour, Conti left the band again, and with returning guitarist Diez and newcomer Rainer Marz, they had two guitarists on board, producing "Get on Board" in 1975, their last album on Vertigo. Here, too, they start right away with the title track, a catchy number with good vocal arrangements, with all the musicians contributing background vocals. Overall, this album is a bit more rock-oriented, with the guitars clearly dominating.
Eventually, the band's spirits ran out, and in early 1976, the band's end was announced. An album called "Top of the Bill" was supposed to be released, but it contained material from '76, on which Inga Rumpf was not present (!), as well as songs from the '75 lineup. The live album recorded in 1975 will also be re-released soon.
by Juergen Meurer, January 26, 2025
Tracks
1. Brother - 3:09
2. Son Of A Bitch's Son - 3:51
3. Waiting And Longing - 3:15
4. Mr. Bigshot - 5:31
5. The Way I Choose - 3:52
6. Ooh, Baby - 2:53
7. Smiling People (Inga Rumpf, Jean-Jacques Kravetz) - 3:31
8. New York City - 4:38
9. Godfather - 3:43
10.Leave It To The Devil - 3:12
11.Good Friends - 3:34
12.Mainline Florida (George Terry) - 2:55
13.He's Got A Gun In His Hand (Frank Diez) - 4:14
14.Hot Rocks (Mary S. Applegate, Rainer Marz, Robert A. Smith-Diesel) - 2:54
15.Out Of Tune - 3:23
16.Don't Put The Lady Down (Frank Diez, Richard Palmer-James) - 3:19
17.Northern Bounty (Mary S. Applegate, Rainer Marz, Robert A. Smith-Diesel) - 4:00
18.Haven't You Heard - 5:30
19.Just Blues (Adrian Askew, Inga Rumpf, Karl-Heinz Schott, Ringo Funk, Rainer Marz, Frank Diez) - 11:28
Tracks 1,3,6,11,15,18 written by Inga Rumpf
Tracks 2,4,5,8,9,10 written by Adrian Askew
Tracks 1-10 are taken from the LP "Ooh Baby".
Track 11 is taken from the single "Good Friends"
Track 12 is taken from the single "Mainline Florida".
Tracks 13-19 are taken from the LP 'Top of the Bill'.
Shine On Brightly, released in 1968, was Procol Harum’s second studio album. It followed on from their iconic single, A Whiter Shade of Pale, which reached No. 1 on the UK Singles Chart, and their 1967 debut studio album, Procol Harum.
Shine On Brightly highlights the progressive path the band were trailblazing in 1968, with a unique mix of rock, blues, classical, and psychedelic influences. Quite Rightly So, the opening track, showcases all these elements. Matthew Fisher’s Hammond organ mixes classical and psychedelic influences, over which Gary Brooker’s expressive voice, and urgent piano playing, give flight to Keith Reid’s figurative lyrics. Robin Trower part way through the song adds a trademark squall of bluesy guitar. The very capable rhythm section of Dave Knights on bass and B. J. Wilson on drums, propel the song forward with some very funky playing. A really striking opening to the album.
Shine On Brightly, the title track, features B. J. Wilson’s imaginative drumming built on subtle fills and splashing cymbals, and Robin Trower’s atmospheric and wailing guitar phrases. Gary Brooker’s vocal has a lament quality, as he gives an eloquent reading of Keith Reid’s lyrics which convey bewilderment and questioning. The opening couplet is quite intriguing
Matthew Fisher’s organ solo at the midpoint in the song is quite exquisite, and the song is undoubtedly one of the album highlights.
Skip Softly (My Moonbeams) is possibly the most psychedelic track on the album. It has a playful musical feel, with what sounds like a tuba in the mix. The song then evolves and offers up an impressionistic instrumental section, that begins softly with just organ and piano, before Dave Knights’s bass brings back in the drums and guitar, with a marvellous solo from Robin Trower, full of ringing reverb. Wish Me Well, offers another side of the band, and has an expansive blues base, where Gary Brooker’s rolling piano chords and soaring voice prove irresistible. Complementing this is Robin Trower’s sublime sustain laden guitar fills and solo.
Rambling On has a classic progressive rock flavour, with its slow build, anthemic middle section, and slight return coda. Magdalene (My Regal Zonophone), in contrast, is a slow paced ballad, that shines the spotlight back on Gary Brooker’s very fine voice. Both these tracks set the scene nicely, for the lengthy five section suite that follows, In Held Twas in I. It is a hugely ambitious piece with varying musical colours and lyrical concepts, and evidences the innovative and creative drive that was at the heart of the band.
Part One, Glimpses Of Nirvana, has two mystical spoken word passages, that appear to muse on philosophical questions about being. A central musical theme is played, which at different points involves piano, organ, guitar, sitar, and choral voices. Part Two, Twas Tea Time At The Circus, begins with tubular bells, and has a freewheeling and jaunty mood, which somewhat contrasts with the lyrical content which asks the listener to look below the surface of what we think we see. Part Three, In The Autumn Of My Madness, mixes a lilting organ harmony, and syncopated rhythm, with random sounds that fly in and out of the mix, including an old-fashioned car horn and sirens. Part Four, Look To Your Soul, has an initial instrumental section, with some wondrous hard rock guitar effects and an organ motif, that are complemented by some precision ensemble playing. When the vocal enters, Gary Brooker’s voice weaves around the tumbling drums and then soars over the music. The very best vocal performance on the album and a perfect complement to the words that pose the process of learning and seeking as the key to being. Part five, Grand Finale, is a majestic instrumental piece that has the choral vocals returning and provides the setting for Robin Trower’s stand out guitar solo, full of melodic runs. It just has to be heard
by Gareth Allen on 23rd May 2024
Tracks
1. Quite Rightly So (Gary Brooker, Keith Reid, Matthew Fisher) - 3:38
2. Shine On Brightly - 3:30
3. Skip Softly (My Moonbeams) - 3:43
4. Wish Me Well - 3:20
5. Rambling On - 4:28
6. Magdalene - 2:47
7. Glimpses Of Nirvana (Gary Brooker, Keith Reid, Matthew Fisher) - 4:20
8. Twas Teatime At The Circus (Gary Brooker, Keith Reid, Matthew Fisher) - 1:15
9. In The Autumn Of My Madness (Gary Brooker, Keith Reid, Matthew Fisher) - 3:02
10.Look To Your Soul (Gary Brooker, Keith Reid, Matthew Fisher) - 4:49
11.Grande Finale (Gary Brooker, Keith Reid, Matthew Fisher) - 3:39
12.Quite Rightly So (Gary Brooker, Keith Reid, Matthew Fisher) - 3:42
13.In The Wee Small Hours Of Sixpence - 3:02
14.Monsieur Armand - 2:39
15.Seem To Have The Blues - 2:48
16.McGreggor - 2:47
17.The Gospel According To... - 3:28
18.Shine On Brightly - 3:23
19.Magdalene - 2:25
20.A Robe Of Silk (Gary Brooker) - 1:59
21.Monsieur Armand (Gary Brooker) - 2:42
22.In The Wee Small Hours Of Sixpence (Gary Brooker) - 3:00
All Music by Gary Brooker, Lyrics by Keith Reid except where indicated
Bonus Tracks 12-22
Same tracklist as above
Disc 1
1. Quite Rightly So (Gary Brooker, Keith Reid, Matthew Fisher) - 3:40
2. Shine On Brightly - 3:31
3. Skip Softly (My Moonbeams) - 3:45
4. Wish Me Well - 3:18
5. Rambling On - 4:29
6. Magdalene (My Regal Zonophone) - 2:48
"In Held 'Twas In I"
7. Glimpses Of Nirvana (Gary Brooker, Keith Reid, Matthew Fisher) - 4:29
8. Twas Tea Time At The Circus (Gary Brooker, Keith Reid, Matthew Fisher) - 1:19
9. In The Autumn Of My Madness (Gary Brooker, Keith Reid, Matthew Fisher) - 3:08
10.Look To Your Soul (Gary Brooker, Keith Reid, Matthew Fisher) - 4:58
11.Grand Finale (Gary Brooker, Keith Reid, Matthew Fisher) - 3:36
12.Il Tuo Diamante - 3:27
13.Quite Rightly So - 3:41
14 In The Wee Small Hours Of Sixpence (Gary Brooker) - 3:00
All Music by Gary Brooker, Lyrics by Keith Reid except where noted
Tracks 1-11 Stereo Mix Released as Regal Zonophone SLRZ 1004 in December 1968
Bonus Tracks 12-14
Disc 2
1. Quite Rightly So (Gary Brooker, Keith Reid, Matthew Fisher) - 3:34
2. Shine On Brightly - 3:27
3. Skip Softly (My Moonbeams) - 3:41
4. Wish Me Well - 3:12
5. Rambling On - 4:25
6. Magdalene (My Regal Zonophone) - 2:46
'In Held 'Twas In I'
7. Glimpses Of Nirvana (Gary Brooker, Keith Reid, Matthew Fisher) - 4:25
8. Twas Tea Time At The Circus (Gary Brooker, Keith Reid, Matthew Fisher) - 1:18
9. In The Autumn Of My Madness (Gary Brooker, Keith Reid, Matthew Fisher) - 3:05
10.Look To You Soul (Gary Brooker, Keith Reid, Matthew Fisher) - 4:53
11.Grand Finale (Gary Brooker, Keith Reid, Matthew Fisher) - 3:33
All Music by Gary Brooker, Lyrics by Keith Reid except where stated
Mono Mix Released As Regal Zonophone LRZ 1004 in December 1968
Disc 3
1. Monsieur Armand (Gary Brooker) - 2:29
2. Seem To Have The Blues (Most All The Time) - 2:46
3. Magdalene (My Regal Zonophone) - 2:24
4. Shine On Brightly - 3:19
5. In The Wee Small Hours Of Sixpence (Gary Brooker) - 3:02
6. Monsieur Armand - 2:45
7. A Robe Of Silk (Gary Brooker) - 1:56
8. McGreggor - 2:45
9. The Gospel According To... (Wish Me Well) - 3:32
10.Skip Softly (My Moonbeams) - 3:28
11.Quite Rightly So (Gary Brooker, Keith Reid, Matthew Fisher) - 3:38
12.Ramblin' On - 4:12
13.Shine On Brightly - 3:41
14.Skip Softly (My Moonbeams) - 3:27
15.Wish Me Well - 2:31
16.Long Gone Geek - 2:32
17.In Held 'Twas In I (Look To Your Soul / Grand Finale) - 3:59
All Music by Gary Brooker, Lyrics by Keith Reid unless as else written
Tracks 1-9 from "Top Gear" BBC Radio One Session - 14 February 1968
Tracks 10-13 from "Top Gear" BBC Radio One Session - 19 August 1968
Tracks 14-16 from "Top Gear" BBC Radio One Session - 6 October 1968
