The Frost - Frost Music (1969 us, great detroit rock 'n roll band)

Frost was one of the most popular Michigan bands of the late 1960’s. Led by guitarist, singer, and songwriter extraordinaire, Dick Wagner, the group seemed poised to achieve national recognition with a collection of songs that were both heavy and tuneful. But they were saddled with a record company that undercut the band’s recordings with inadequate distribution and a lack of promotion that, as a result, severely hampered the band’s attempts to break big outside of Michigan.

Dick Wagner was born in the state of Iowa in 1942. After his family moved to Michigan, Dick grew up in the musical hotbed of Southeastern Michigan. Like many teens in the 50’s, he was turned on by the new sound of Rock and Roll. His love of Chuck Berry, Bo Diddley, and other early greats inspired him to pick up the guitar.

Completely self-taught, Wagner first played guitar in a Waterford, Michigan band called the Eldorados from 1962 to 1964. The band had a sax player as well as a keyboardist named Warren Keith; and they played early Motown, Rock and Roll, and Blues covers.

1964 would turn out to be a pivotal year for Dick Wagner. First, he and Warren Keith left the Eldorados and moved to Saginaw, Michigan. There, they joined forces with drummer Pete Woodman and bassist Lanny Roenicke and formed a new band called the Playboys. Covering the hits of the day, the Playboys quickly became Saginaw’s hottest band with their regular gigs at a popular club on the Saginaw River called the Village Pump.

Secondly, Wagner first heard the Beatles early in 1964 on his car radio in Saginaw. The Playboys quickly learned the Beatles’ singles and album cuts and incorporated them into their sets. Next, inspired by the songwriting of John Lennon and Paul McCartney, Dick started to write some original material. His first effort was called “Lonely & Crying Over You”. According to a 2003 interview in Review Magazine, Del Shannon’s manager expressed interest in his song, and invited Wagner to New York City for a Shannon recording session. Unfortunately, Dick’s song was not released, but it did give him the impetus to continue to write for the band.

After changing the band name to the Bossmen, the group recorded and distributed their first single, “Take A Look (My Friend)” on their own record label. The catchy Beatles-inspired song was played regularly on Saginaw-area stations like WSAM and WKNX, and became a local hit.

As a result of their recording and appearances on the emerging teen club circuit, the Bossmen began to rapidly develop a fan base around the state. Dick did most of the songwriting for the Bossmen, and he produced a batch of popular radio-friendly singles including, “Here’s Congratulations”, “Help Me Baby”, “Bad Girl” “Wait And See”, and “On The Road” during the next three years on a variety of self-owned labels including Soft, Dicto and M 'n' L.

Wagner pioneered do-it-yourself techniques in other areas as well. He commonly booked the Bossmen in local Armory Halls around the state, renting the halls for an evening and then charging admission at the door. The Bossmen also became adept at promoting themselves at local radio stations by doing on-air interviews and participating in skits with the local deejays.

In the late summer of 1966, the Bossmen became a quintet with the addition of Mark Farner. Farner, who had recently left Terry Knight & The Pack, played rhythm guitar and sang backing vocals on the biggest Bossmen single, “Baby Boy”. Farner also developed his guitar-playing skills and songwriting talents in his brief stint under Wagner’s wing. Mark wrote and performed his first song, “Heartbreaker”, while in the Bossmen, and he learned some lead guitar techniques from Dick Wagner that he put to good use when he returned to the Pack in 1967, and later with Grand Funk Railroad.

According to Wagner in the Review Magazine interview, the Bossmen broke up early in 1967 over a scandal involving drummer Pete Woodman being busted for smoking marijuana. At the time it seemed like a big deal, and the band got a lot of negative publicity that resulted in Wagner dismissing the popular drummer from the band. Things fell apart quickly after that, and Wagner looked to form a new group by joining forces with a band hailing from Alpena, Michigan, called Bobby Riggs and The Chevelles.

The band, now comprised of Wagner, drummer Riggs, bassist Jack Smolinski, and guitarist Donny Hartman, was billed as the New Bossmen at an April 15, 1967, gig at Bay City’s Band Canyon. They also performed as Dick Wagner & The Bossmen and then as Dick Wagner & The Frosts at venues throughout Michigan. This rendition of the band recorded a pair of terrific singles on the Date label in 1967, “Rainy Day” and “Sunshine”. Both were good indications as to what was to come as the band evolved into the Frost.

Dick Wagner also became involved with a number of Michigan bands at this time in the dual roles of both songwriter and producer. Wagner served as both for Saginaw’s Bells Of Rhymny on the single “She’ll Be Back/Wicked Old Witch” released on Wagner’s Dicto label in 1965. After the group had changed its name to the Cherry Slush, Wagner provided the band with its only nationally charting single when “I Cannot Stop You” reached # 119 on Billboard’s Bubbling Under The Hot 100 in 1968.

He also wrote and produced singles for two more Saginaw bands, Elation Fields and the Paupers. In addition, Wagner wrote and produced “Anytime You Want Some Lovin’/Easy Way Out”, the 2nd single by Grand Ledge’s Tonto & The Renegades. A certified Rock and Roll workaholic, Dick further managed to find the time to write “I’ve Got News For You” and “Wide Trackin’” for Mark Farner’s band, the Fabulous Pack. Several of these songs had originally been recorded by the Bossmen on Hugh “Jeep” Holland’s A-Square label out of Ann Arbor but were not released.

After failing an audition as guitarist for Blood, Sweat, And Tears in 1968, Wagner refocused on the Frost. He replaced Smolinski on bass with Gordy Garris, who had been playing in a Lansing-area band called the Beaux Jens, and the band began writing new songs.

The first big splash for the Frost in the Detroit area came at an outdoor concert in front of a crowd of over 10,000 at the Meadowbrook Theatre. The concert also featured the MC5 and the Stooges but the Frost stole the show with their combination of heavy guitars, melodic songs, and great vocals.

The Frost quickly became the talk of the Motor City and became regular performers at Detroit’s most prestigious rock venues, the Grande Ballroom and the Eastown Theater.

In the late 60’s, Michigan was a hotbed for Rock and Roll bands, and there were opportunities for the best of these groups to be signed by major recording companies. The Frost was being pursued by both Clive Davis of Columbia Records and Sam Charters at Vanguard Records. According to Wagner, Charters paid a great deal of attention to the Frost, flying in each week and wining and dining the group. Although Vanguard was mainly a Folk label, they spent the most time and effort in wooing the band, and Charters signed the Frost to his label in 1969.

The Frost went immediately into the studio and recorded the original songs they had been playing live for the last year. The resulting album was called “Frost Music” and it quickly became the # 1 LP in Michigan, selling over 50,000 units in a matter of months. Although it suffered from Sam Charters’ thin production, “Frost Music” was chock full of great guitar-driven songs and was listed among the Top 3 LPs for five consecutive weeks on Detroit’s powerful AM station WKNR. The album’s centerpiece, a combination of “Take My Hand/Mystery Man”, was a staple on Detroit’s FM stations for months.

Tracks
1. Jennie Lee - 3:02
2. The Family - 3:00
3. A Long Way Down from Mobile - 3:05
4. Take My Hand - 4:22
5. Mystery Man - 4:24
6. Baby Once You Got It (Bob Rigg, Don Hartman, Gordy Garris) - 2:36
7. Stand in the Shadows - 8:00
8. Little Susie Singer (Music to Chew Gum By) - 2:42
9. First Day of May - 3:27
10.Who Are You? - 5:18
All songs by Dick Wagner except track #6

The Frost
*Dick Wagner - Lead. Guitar, Vocals
*Donny Hartman - Guitar, Vocals, Harmonica
*Gordy Garris - Bass, Vocals
*Bobby Rigg - Drums, Vocals

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Rare Earth - Fill Your Head (1969-1974 us, amazing classic rock r 'n' b, three cds box set, five studio albums plus outtakes and alternative versions)

This 2008 compilation puts Rare Earth's early Motown catalog back into print in one fell swoop with a three-disc package featuring remastered sound, new liner notes with full credits, and exact reproductions of the album's original art. Unfortunately, that means you have to spring for the whole set to get access to any one of the five for a physical copy, but there is always selective downloading.

While Rare Earth was never an A-list contender even during its salad days, the group, led by singing drummer Pete Rivera (nee Hoorelbeke) had many fine moments, not all of them collected on the various best-of sets already in print. As Motown's first foray into white rock, Rare Earth also became the name of the company's subsidiary label that they, along with a handful of mostly forgotten other acts (Toe Fat anyone?), recorded for.

Notes writer Scott Schinder's five-page recap of the Earth's 1969-1974 run, which also includes an interview with Rivera, provides excellent background information along with anecdotes and reminiscences from its founding member and featured voice. Nine difficult-to-find bonus tracks (edited singles, non-album A- and B-sides) are somewhat incongruously tacked onto the end of disc one (which also includes the Get Ready debut) instead of being sequenced next to the album they are associated with. Otherwise, this set, with its rounded tombstone packaging that mimics the unique shape of many of the first Rare Earth label releases, is a straightforward presentation of the five records, along with liner notes and even inner record sleeve reproductions.

These records established Rare Earth as rugged, working semi-stars. They persevered through hard touring, a few top-notch songs such as One World's "I Just Want to Celebrate" (written for them by Nick Zesses and Dino Fekaris), and imaginatively rearranged rock and R&B covers, to attain at least a footnote in pop music history. At its best, generally on the Norman Whitfield productions of his own compositions such as Ecology's "(I Know) I'm Losing You" and the Ma album, Rare Earth personified a style of blue-eyed, jammy psychedelic soul that, while dated, still holds up as unique enough to have resulted in more hits than the group actually achieved. Since its most recognizable music is well represented on Motown's impressive two-disc Anthology:

The Best of Rare Earth and other discs, this is for collectors who need everything from Rare Earth's most commercially and artistically successful years. As such it is a classy presentation of a band whose finest moments remain impressive, even occasionally innovative, but just short of influential.
by Hal Horowitz

Tracks
CD-1
Get Ready 1969
1. Magic Key 4:01
2. Tobacco Road 7:17
3. Feelin' Alright 5:10
4. In Bed 3:08
5. Train To Nowhere 3:27
6. Get Ready 21:35
Bonus Tracks Rare (Earth) Singles
7. Generation (Light Up The Sky) 2:47
8. Get Ready (Single Version) 2:50
9. (I Know) I'm Losing You (Single Version) 3:42
10.When Joanie Smiles 2:57
11.Here Comes The Night 3:29
12.Hey Big Brother 4:47
13.Love Shines Down 3:41
14.Chained 3:36
15.Fresh From The Can 5:18

CD-2
Ecology 1970
1. Born To Wander 3:24
2. Long Time Leavin' 4:54
3. (I Know) I'm Losing You 10:58
4. Satisfaction Guaranteed 4:38
5. Nice Place To Visit 4:01
6. No. 1 Man 4:55
7. Eleanor Rigby 6:44
One World 1971
8. What'd I Say 7:17
9. If I Die 3:33
10.The Seed 3:35
11.I Just Want To Celebrate 3:44
12.Someone To Love 3:49
13.Any Man Can Be A Fool 3:38
14.The Road 3:38
15.Under God's Light 4:51

CD-3
Willie Remembers 1972
1. Good Time Sally 2:55
2. Every Now And Then We Get To Go On Down To Miami 3:14
3. Think Of The Children 5:39
4. Gotta Get Myself Back Home 3:03
5. Come With Your Lady 5:49
6. Would You Like To Come Along 2:51
7. We're Gonna Have A Good Time 3:28
8. I Couldn't Believe What Happened Last Night 12:38
Ma 1973
9. Ma 17:22
10.Big John Is My Name 4:25
11.Smiling Faces Sometimes 6:03
12.Hum Along And Dance 5:18
13.Come With Me 4:46

Rare Earth
Get Ready 1969
* John Parrish - Trombone, Bass Guitar, Vocals
* Gil Bridges - Sax, Tambourine, Vocals
* Kenny James - Organ, Electric Piano, Vocals
* Rod Richards - Guitar, Vocals
* Pete Rivera - Drums, Vocals

Ecology 1970
* Gil Bridges - Flute, Saxophone, Tabla, Vocals
* Eddie Guzman - Conga
* Kenny James - Organ, Keyboards
* John Persh - Bass, Tambourine, Vocals
* Rod Richards - Guitar, Vocals
* Pete Rivera - Drums, Vocals

One World 1971
* Pete Rivera - Drums, Lead Vocal, Percussion
* John Parsh - Bass, Vocal
* Gil Bridges - Woodwinds, Vocal, Percussion, Flute
* Ray Monette - Guitars, Vocal
* Mark Olson - Keyboards, Vocal
* Ed Guzman - Conga, Percussion

Willie Remembers 1972
* Pete Hoorelbeke - Drums, Percussion, Lead Vocal
* Gil Bridges - Woodwinds, Percussion, Vocal
* Mike Urso - Bass Guitar, Vocal
* Ray Monette - Lead Guitar
* Mark Olson - Keyboard, Vocal
* Ed Guzman - Congas, Percussion

Ma 1973
* Gil Bridges - Flute, Saxophone, Vocals
* Peter Hoorelbeke - Drums, Percussion, Lead Vocals
* Ray Monette - Lead Guitar, Vocals
* Mark Olson - Keyboards, Vocals
* Mike Urso - Bass, Vocals
* Edwin Guzman - Congas, Timbales

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Pacific Drift - Feelin' Free (1970 uk, exceptional post psych prog rock, 2006 edition)

Released to widespread indifference back in January 1970, Manchester band Pacific Drift’s album Feelin’ Free surely deserved a better fate. A sparkling, West Coast-influenced amalgam of post-psychedelic pop and early progressive rock, skilfully weaving wistful hippie laments and riff-laden rockers into a fully cohesive whole, it didn’t really attract any kind of attention until the Great Prog Rock Stampede of the late Eighties, when albums that couldn’t be given away when first released suddenly began to change hands for significant sums of money.

This first-ever authorised reissue of what has become a highly sought-after album adds three tracks from the variant US release as well as the band’s version of the Spirit song ‘Water Woman’, only released at the time as a UK single. With rare photos, new band quotes and master-tape sound quality, this long-overdue release is unquestionably the definitive Pacific Drift anthology.

Though their sole album wouldn’t emerge until the dawn of the Seventies, Pacific Drift had been around for some while by that point. A product of the highly incestuous Manchester group scene of the mid-to-late Sixties, they had first come together in 1967 as the Sponge - essentially an updated, psychedelic-era version of the Tony Merrick Scene, with singer Merrick and guitarist Graham Harrop involved alongside other musicians, including an Asian drummer. But there were several early personnel changes, culminating with Merrick leaving in early 1968 to form a new Manchester ‘supergroup’, Sweet Marriage.

Barry Reynolds (who, in addition to releasing a 1982 solo album, I Scare Myself, would act as Marianne Faithfull’s musical director for many years as well as working with the likes of Grace Jones, Joe Cocker and John Martyn) quit in late September to link up again with Jack Lancaster in Blodwyn Pig, Pacific Drift duly imploded. Brian Chapman hooked up with Chicken Shack, Graham Harrap reunited with a couple of his old Toggery Five colleagues in Young & Renshaw, and Larry Arends left the full-time music scene to move into photography. It was a low-key end to a band that, as can be heard on this definitive Pacific Drift anthology, had briefly promised so much. “I always felt the band had great potential”, claims Larry. “We would have gone on to produce much more focused and specialised material, as all the members were full of creative and original ideas. Unfortunately, these ideas weren’t allowed to come to fruition. We had hoped to follow up Feelin’ Free, but Decca never gave us the chance to do so…”
by David Wells

Tracks
1. Plaster Casters Usa - 2:56
2. Tomorrow Morning Brings (G. Harrop, B. Chapman, B. Reynolds) - 2:35
3. Feelin' Free - 2:31
4. Just Another Girl (Matus) - 3:05
5. Garden Of Love (Lancaster, B. Reynolds) - 1:43
6. Norman (G. Harrop, B. Chapman, L. Arends, Neale, B. Reynolds) - 3:09
7. Grain Of Sand (Lancaster, B. Reynolds) - 2:16
8. Greta The Legend (B. Reynolds) - 5:04
9. Going Slow - 2:56
10.God Had Given Me - 2:56
11.Happy Days - 7:23
All song by B. Reynolds and L. Arends except where noted.

Pacific Drift
*Lawrence Arendes - Drums, Percussion, Vocals
*Graham Harrop - Buitar, Bass
*Barry Reynolds - Guitar, Vocals
*Brian Shapman - Keyboards, Vocals

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Bacon Fat - Grease One For Me (1970 us, remarkable blues psych rock)

Bacon Fat, originally the Southside Blues Band, was a Los Angeles, California blues band noted for a dual-harmonica-driven, Chicago blues sound.

Following the breakup of the Dirty Blues Band in 1968, Rod Piazza and George “Harmonica” Smith, whom Piazza credits with putting him “straight on the chromatic harp,” formed the Southside Blues Band. The band toured with Big Mama Thornton and, in 1969, released “George Smith of the Blues” (or, “… Of The Blues”, as it appeared on the album cover) as ‘George “Harmonica” Smith & His Blues Band.’ Originally released on World Pacific, the album was reissued in 1974 by ABC/Bluesway (BLS 6029), and in Germany in 1987 on Crosscut (CCR 1015). Smith’s “Juicy Harmonica” from this album is regarded as a chromatic harmonica classic; indeed, Piazza covered “Juicy Harmonica” on “Grease One for Me.”

Recorded on February 27 and 28, 1969 in Hollywood, personnel on “… Of The Blues” are listed as Smith and “Lightnin’ Rod” (Piazza) on harmonicas; Richard Davis, trumpet ; Jim Wynn and Ed Davis, saxes; Robert Schedel, piano; Marshall Hooks and Arthur Adams, guitars; and Curtis Tillman, bass. The drummer is not listed.

Shortly after the release of “…Of The Blues”, British producer Mike Vernon persuaded the band to move to Blue Horizon and to change their name. The band renamed themselves Bacon Fat, the title of an Andre Williams recording. The lineup of the band at this time, in addition to Smith and Piazza, were Buddy Reed, guitar; Gregg Schaefer, guitar; JERRY SMITH, bass; Dick Innes, drums; and J. D. Nicholson, piano.

Vernon decided to first record an already-scheduled gig opening for, and backing up Pee Wee Crayton, November 16, 1969, at the “Bar Paradise A Go Go” (widely known as “Small’s”), a club at E53rd St and Avalon Blvd in South-Central LA. These tracks were subsequently released in 1986 by Blue Moon as “Live at Small’s Paradise” (BMLP 1.029).

The following day, November 17, 1969, was spent at the Eldorado Recording Studio in Hollywood, recording tracks for Bacon Fat’s first album, “Grease One for Me”. On the 18th, Bacon Fat, plus guitarists Pee Wee Crayton and Marshall Hooks recorded 8 tracks that were released as “No Time For Jive” under “George Smith.” Smith appears on only one track of “Grease One for Me”; Piazza does not appear at all on “No Time For Jive”. Mike Vernon, the producer of both albums, maintains that the segregation of Smith and Piazza on these releases was coincidence and, in hindsight, it was probably a mistake to lose the dual-harp format that had made Southside/Bacon Fat successful in the first place.

A tour of Europe to promote both “Grease One for Me” and “No Time For Jive”, originally planned for May, was delayed until November, 1970. While in the UK, Bacon Fat recorded the tracks for their second album. The sale of the Blue Horizon label to Polydor by CBS delayed the release of “Tough Dude” until March, 1971, allowing the excitement generated by the tour to fade. Bacon Fat broke up sometime in 1971.

Tracks
1. Up the Line (Walter Jacobs, Willie Dixon) - 4:13
2. Boom Boom (Out Goes the Lights) (Stanley Lewis) - 3:46
3. Small's on 53rd (Rod "Gingerman" Piazza) - 3:45
4. She's a Wrong Woman (Rod "Gingerman" Piazza) - 5:22
5. I Need Your Love (J.D. Nicholson) - 3:45
6. Juicy Harmonica (Jerry Smith) - 3:53
7. Nobody but You (Walter Spriggs) - 2:12
8. Telephone Blues (Jerry Smith) - 5:57
9. You're So Fine (Walter Jacobs) - 3:08
10.Too Late (Willie Dixon) - 5:58

The Bacon Fat
*Rod "Gingerman" Piazza - Harp, Vocals
*George "Harmonica" Smith - Harp, Vocals
*Buddy Reed - Guitar, Vocals
*Gregg Schaefer - Guitar
*J.D. Nicholson - Vocals, Piano
*Jerry Smith - Bass
*Dick Innes, Jr. - Drums

Related Act
1967-68  Dirty Blues Band - Dirty Blues Band / Stone Dirt (2007 remaster)

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The Animals - The Complete French EP (1964-67 uk, all time classic blues psych rock, ten disc edition)

This may seem like a strange way to listen to a group's legacy, 42 songs on 11 CD platters in a box. It is a bit pricey, as well, but going up four songs at a time with the Animals sort of makes sense, at least as far as distilling down their most successful and interesting work. The group never quite got the hang of making successful albums; that doesn't mean that they didn't do some very good ones, including their two for EMI, but their 12" platter sales never remotely matched the popularity of their nine hit singles from 1964 through 1966.

Their EPs were a different matter -- while the group strained in the studio to assemble 40 minutes of attractive listening, their songs made great four-track platters. In England, they issued five extended-play singles, while in France the group saw twice that many issued in their name, both by EMI Records and the Barclay label. The 11 discs in this box (counting the bonus CD single of "San Franciscan Nights" b/w "Good Times") make up their French EP output across three years, each song remastered in state-of-the-art, 24-bit digital audio and sounding most impressive.

Starting with The Animals, containing "House of the Rising Sun," "Talkin' About You" (the official "short" edit), "Gonna Send You Back to Walker," and "Baby Let Me Take You Home," there's a good cross-section of the best work out of just about every group of recording sessions the band ever had -- they never knew how to program an album for mass appeal (especially as they couldn't include any singles on them). The EMI sides are a match in fidelity to the sound on the 24-bit Japanese remasters of the two EMI albums, but the box continues on up past that point to their brief stay with England's Decca Records and Burdon's closing out of the Animals name and eventual formation of Eric Burdon & the Animals.

All of the EMI material, and even a major chunk of the Decca-recorded sides (now owned by B&C Recordings), was upgraded elsewhere by 2003, but not the MCA-owned sides such as "Hey Gyp," "When I Was Young," the mastering of which here makes the quality on Polygram's Best of Eric Burdon & the Animals, 1966-1968 sound like it's mastered off of 45s.

There is one genuine obscurity, "Ain't That So," from their early psychedelic period. The artwork on the individual sleeves is also more interesting than the images on the jackets of either of their EMI LPs, at least until 1966, when the group's lineup became very fluid and Burdon became the focus of the graphics -- and one also gets a good picture of the 1967-vintage group on the bonus disc sleeve.
by Bruce Eder

CDE1 The Animals - 1er EP
1. The House Of The Rising Sun - 4:29
2. Talkin’ About You (French EP version) - 1:51
3. Donna Send You Back To Walker - 2:29
4. Baby, Let Me Take You Home - 2:20

CDE2 The Animals - 2eme EP
1. I’m Crying - 2:46
2. Take It Easy - 2:51
3. She Said Yeah - 2:18
4. I’m In Love Again - 2:59

CDE3 The Animals - 3eme EP
1. Boom Boom - 3:17
2. Club-A-Gogo - 2:19]
3. Don’t Let Me Be Misunderstood - 2:27
4. Roadrunner - 2:48

CDE4 The Animals - 4eme EP
1. Bring It On Home To Me - 2:41
2. Hallelujah! I Love Her So - 2:45
3. For Miss Caulker - 3:56
4. Mess Around - 2:19

CDE5 The Animals - 5eme EP
1. We’ve Gotta Out Of This Place - 3:12
2. I Can’t Believe It - 3:32
3. I Ain’t Got You - 2:27
4. How You’ve Changed - 3:12

CDE6 The Animals - 6eme EP
1. It’s My Life - 3:04
2. Believe To My Soul - 3:22
3. I’m Going To Change The World - 3:33
4. Let The Good Times Roll - 1:55

CDE7 The Animals - 7eme EP
1. Inside Looking Out - 3:43
2. That’s All I Am To You - 2:23
3. She’ll Return It - 2:41
4. Outcast - 3:03

CDE8 The Animals - 8eme EP
1. Don’t Bring Me Down - 3:15
2. Cheating - 2:24
3. What Am I Living For - 3:12
4. I Put A Spell On You - 2:55

CDE9 Eric Burdon and The Animals - 9eme EP
1. See see rider - 4:00
2. Mama told me not to come - 2:14
3. Help me girl - 2:36
4. That ain’t where it’s at - 3:00

CDE10 Eric Burdon and The Animals - 10eme EP
1. Hey Gyp - 3:47
2. In The Night - 2:29
3. When I Was Young - 2:59
4. Ain’t That So - 3:18

CDS Bonus Eric Burdon and The Animals - Bonus CD Single
1. San Francisco Nights - 3:19
2. Good Times - 2:58

The Animals (1962–1965)
* Eric Burdon - Vocals
* Hilton Valentine - Guitar
* Alan Price - Keyboards
* Chas Chandler - Bass
* John Steel - Drums

The Animals (1965)
* Eric Burdon - Vocals
* Hilton Valentine - Guitar
* Mick Gallagher - Keyboards
* Chas Chandler - Bass
* John Steel - Drums

The Animals (1965–1966)
* Eric Burdon - Vocals
* Hilton Valentine - Guitar
* Dave Rowberry - Keyboards
* Chas Chandler - Bass
* John Steel - Drums

The Animals (1966)
* Eric Burdon - Vocals
* Hilton Valentine - Guitar
* Dave Rowberry - Keyboards
* Chas Chandler - Bass
* Barry Jenkins - Drums

Eric Burdon And The Animals (December 1966-1968)
* Eric Burdon - Vocals
* Vic Briggs - Guitar, Piano
* Danny McCulloch - Bass
* John Weider - Bass, Guitar, Violin
* Barry Jenkins - Drums

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Skip Bifferty - The Story of Skip Bifferty (1966-69 uk, fascinating psychedelic beat pop, double disc edition)

The origins of Skip Bifferty can be traced back to the mid-60s and the North of England's Newcastle beat scene. The Chosen Few were one of the leading unsigned bands and featured founder members Alan Hull (guitar/vocals, later in Lindisfarne) and Mickey Gallagher (keyboards). Both had played together in local outfits previously, starting with The High Five in 1962. Gallagher was playing in another local group, The Unknowns when Alan Price announced his departure from The Animals. Mickey Gallagher was drafted into the famous Geordie outfit for a short tour of Scandinavia and the UK, playing keyboards for Eric and the boys.

On his return to Newcastle, Gallagher and drummer Alan Jackman from The Unknowns recruited old pal Alan Hull and singer Rod Hood together with bassist Alan "Bumper" Brown to form The Chosen Few. They rehearsed at the Key Club in Newcastle, which was owned by their manager, Bill Keith, who managed to get them a 15-minute slot on Radio Luxemburg performing live, and, from that broadcast, the group was signed to Pye Records.

By the Summer of 1966, with a year of successful gigs and two singles under their belts, the band lost Alan Hull and "Bumper" Brown, but found replacements in Colin Gibson (bass) and John Turnbull (guitar). The young duo had been friends since the age of five, and were both former members of The Primitive Sect, a group which also featured Bob Sergeant on organ (later in Junco Partners).

A few months later, Graham Bell returned to his home town of Newcastle after his group, The Graham Bell Trend, had broken up due to lack of interest down south. Bell had met up with Mickey Gallagher during his stint in The Animals, and The Chosen Few offered him the vocalist spot. Although he'd released one 45 on Polydor, which was in an MOR direction, he saw The Chosen Few as where it was happening.

The group secured some London gigs, and it was during a particularly scorching set at the Marquee that Don Arden approached them with an offer that they couldn't refuse: "In 9 months you'll be as big as the Stones", he said.With that, the band signed, and Arden immediately put them up in a house in Beckenham to "get it together", which they did, pouring out new songs with intricate arrangements that showcased their many talents. To further highlight their artistic talents, they also painted the lawn red!

Arden secured a deal with RCA in the Summer of 1967, and the first fruits of that deal was the bands' first 45, "On Love"/"Cover Girl". The A-side featured a blistering killer fuzz guitar riff underpinning Graham Bell's superb soulful Spencer Davis-like vocals. The pirates, Radio Caroline and Radio London, loved it and gave it heavy rotation, but due to the BBC's playlist policy at that time, the latter failed to pick up on a classic single. The track was later recorded as "Our Love" by The Sons Of Man on their hideously rare "Oak" EP from the same year. Meanwhile, work flooded in, including appearing in the cult 60s film "Smashing Time", featuring Rita Tushingham. Sadly, their music doesn't appear on the LP soundtrack.

A follow-up single was required, and with more than a little influence from Don Arden, the band wrote the flower-power pop ballad, "Happy Land", which was recorded at Decca's West Hampstead studios during the first session for a projected album.The band began to do regular sessions on John Peel's "Perfumed Garden" and became firm underground favourites. "Happy Land"/"Reason to Live", their second 45, was issued in the late Autumn of 1967. Sadly, it, too, failed to ignite record buyers' interest, and RCA sat on their album.

Chris Welch, staff writer at Melody Maker, discovered the group around this time and began to write about them. They played gigs and worked hard, gaining a respectable following over the country. A third and final RCA 45, "Man in Black"/"Money Man", was issued in July 1968, arranged and produced by Small Faces duo Steve Marriott and Ronnie Lane (both of whom were also on Arden's books).

The label were certainly unsure of how to market the band, as a promo 45 with "Money Man" as the A-side was pressed up in limited quantities just prior to its release, before the sides were flipped! This early version is markedly different and raw-sounding. "Man in Black" was eventually pressed as the A-side with the finished studio LP version of "Money Man" on the B-side. The 45 certainly showed a return to form for the band, however, the single only sold at underground level.

With further recordings made, RCA finally issued their debut, self-titled LP, complete with sleevenotes by John Peel. Unfortunately, many of the credits were wrong, and mono pressings had stereo labels and vice-versa. To cap it all, the band were unhappy with the sound of the LP! Under pressure, the record company had the LP re-cut, and it was re-launched a month later with a better sound and with orange RCA labels (the original pressing had black labels)

For underground psych fans, this LP was a major release, and Chris Welch in Melody Maker gave it a rave review. The LP showed the band to be experimenting with different sounds, effects, tape loops, phasing, while still retaining a classic pop music sound.

The band half-heartedly began working on a follow-up LP, called "Skiptomania". Colin Gibson even completed artwork for the album, but the label decided not to extend their contract. To make matters worse, the band's relationship with Don Arden was now strained to say the least, mainly due to him not grasping the reality of the late 60s music scene. He was still treating them like a beat group whose very existence relied on their hits.

In order to shake off their restrictive management deal with Arden, the band made a shock announcement in the music press that they were disbanding in November 1968. In actual fact, the whole band nipped off to the Isle of Wight, where they rented a cottage, rehearsing and writing new material. Mickey Gallagher made several trips back to London in an effort to secure a new record deal and attracted the attention of Chris Blackwell of Island Records.

A publicity scam was cooked up, and 'Time Out" magazine ran an advertisement for a mystery group called Heavy Jelly. The result was the longest 45 released at that time."I Keep Singing That Same Old Song"/"Blue", written by bassist Colin Gibson, was released in June 1969. Apart from the length of the song, it was also issued in a picture sleeve - unheard of for Brit 45s then.

There was a lot of guesswork as to their identity, with people citing Spooky Tooth as the culprits, but "Time Out" magazine gave the biggest clue of all when they stated that the single "really skips and biffs along"! The 45 became a hit all over Europe and was included on the Island sampler, "Good Enough to Eat".

As an aside, it's worth mentioning two other enterprising companies who also got in on the act using the moniker Heavy Jelly. One was Head Records, who put together a group, later to back Jackie Lomax, and recorded a whole LP. They also released a 45, and test pressings of their LP turned up in the early 70s, later to be reissued by the Psycho label in 1984. The other outfit was created Simon Napier-Bell and only got to be issued in the States. In any case, Don Arden, worked out the identity of the real Heavy Jelly, and Chris Blackwell, not wanting any conflict, backed out of working with Skip Bifferty. The band, meanwhile, by this time with new drummer Fred Wheatley, were without a record deal, returned to Newcastle and split.

Band members quickly moved onto other projects; Graham Bell and Colin Gibson were soon to form Griffin in 1969 where they issued a 45 on Bell. Meanwhile, Mickey Gallagher and John Turnbull formed Arc in early 1970 where they signed to Decca issuing an LP in 1970 and recording tracks for the film soundtrack to "Extremes", issued in 1972 on Deram. With Graham Bell joining them in 1972, they became Bell & Arc and signed to Charisma where a further LP was released in 1972.

Gallagher & Turnbull continued working together, and in 1976 with a name change to Loving Awareness, with Charlie Charles (drums) and Norman Watt-Roy (bass, ex-Greatest Show On Earth), in total antithesis to the emerging punk scene, they attempted to re-capture the sound of the 60s, where they even recorded a version of Skip Bifferty's "Guru". However, the LP failed to sell, but, in any case, the band achieved success in the late 70s backing Ian Dury with a name change to The Blockheads.

Colin Gibson worked with various groups in the early 70s after Griffin and eventually teamed up with Mark Almond for a US tour and an LP on Harvest. In July 1973, he teamed up with ex-Procol Harum/ Freedom drummer Bobby Harrison (vocals/percussion), ex-Tramline members Mick Moody (guitar) and Terry Popple (drums) and with Pete Solley (organ) to form the heavy rock outfit Snafu where they recorded two albums for WWA and one for Capitol during 1973-75. Colin later joined late 70s outfit Radiator and worked again with Alan Hull on Alan's solo LP. Up until the present day, he is still working in blues bands.

Most of CD1 from "The Story of Skip Bifferty" is their single eponymous album recorded in the autumn of 1967, but only released nearly a year later. However, the interest for Yes fans comes later. The band officially dissolved in 1968 following (violent) disagreements with manager Don Arden. However, the line up actually continued, adopting the name Heavy Jelly (the name of a fictitious band in a spoof review in Time Out) and recording the single included here (36-7). One historical website has it that Heavy Jelly subsequently changed drummer to Dave Potts (who also auditioned for Bill Bruford's spot in Yes when he first left the band) and then to Alan White before splitting up.

White had been working with Kirtley and Craddock as Alan Price's backing band and under the name Happy Magazine. Joined by Gibson, they formed Griffin. Graham Bell soon followed and the three tracks here (38-40) were recorded. The first two are from a Sep 1969 single and the third from an Oct 1969 BBC session for Top Gear.

Tracks
Disc 1 - The Album
1. Money Man [Bell/Turnbull/Gallagher/Gibson/Jackson]
2. Jeremy Carabine [Bell/Turnbull/Gibson]
3. When She Comes to Stay [Turnbull/Bell]
4. Guru [Bell/Gallagher]
5. Come Around [Bell/Gallagher/Turnbull]
6. Time Track [Bell/Turnbull]
7. Gas Board Under Dog (Part 1) [Bell/Turnbull/Gallagher]
8. Inside the Secret [Bell]
9. Orange Lace [Bell/Turnbull]
10. Planting Bad Seeds [Smith/Gallagher/Turnbull/Bell]
11. Yours for at Least 24 [Bell/Turnbull/Gallagher]
12. Follow the Path of the Stars [Smith/Bell/Gallagher]
13. Prince of Germany the First [Gibson/Turnbull]
14. Clearway 51 [Bell/Gibson/Gallagher]
- Bonus tracks
15. Man in Black [Gibson/Bell/Turnbull/Gallagher; arr. Steve Marriott]
16. On Love [Gibson/Bell/Turnbull/Gallagher]
17. Cover Girl [Gibson/Bell/Turnbull/Gallagher]
18. Happy Land [Gibson/Bell/Turnbull/Gallagher]
19. Reason to Live [Gibson/Bell/Turnbull/Gallagher]
20. Round and Round [Gibson/Bell/Turnbull/Gallagher]
- Alan Hull/Skip Bifferty
21. This We Shall Explore [Gibson/Bell/Turnbull/Gallagher]
22. Schizoid Revolution [Gibson/Bell/Turnbull/Gallagher]

Disc 2 - BBC Sessions
23. The Hobbit [Turnbull]
24. Man in Black [Gibson/Turnbull/Gallagher/Bell]
25. Once [Gibson/Bell/Turnbull/Gallagher]
26. Aged Aged Man [Gibson/Bell/Turnbull/Gallagher]
27. Higher Than the Clouds [Gibson/Bell/Turnbull/Gallagher]
28. The Lion & the Unicorn [Gibson/Bell/Turnbull/Gallagher]
29. Disappointing Day [Gibson/Bell/Turnbull/Gallagher]
30. Money Man [Gibson/Bell/Turnbull/Gallagher]
31. I Don't Understand It [Gibson/Bell/Turnbull/Gallagher]
32. Don't Let Me Be Understood [Benjamin/C/M]
33. In the Morning [Gibson/Bell/Turnbull/Gallagher]
34. Follow the Path of the Stars [Gibson/Bell/Turnbull/Gallagher]
35. When She Comes to Stay [Gibson/Bell/Turnbull/Gallagher]
- Heavy Jelly
36. I Keep Singing the Same Old Song [Gibson]
37. Blue [Bell]
 - Griffin
38. I am the Noise in Your Head [Kirtley/Gibson/Craddock]
39. Don't You Know [Kirtley]
40. Shine (BBC Session) [Bell/Gibson/Craddock]

Musicians
*Graham Bell - Vocals (all)
*Mickey Gallagher - Keyboards (1-37)
*Tommy Jackman - Drums (1-35)
*Colin Gibson - Bass (all)
*John Turnbull - Guitar, Vocals (1-37)
*Alan Hull - Vocals (21, 22)
*Paul Nicholls - Drums (36, 37)
*Pete Kirtley - Guitar (38-40)
*Kenny Craddock - Organ (38-40)
*Alan White - Drums (38-40)

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The Damnation Of Adam Blessing - The Damnation Of Adam Blessing / The Second Damnation (1969-71 us, superb heavy acid garage psych)

Cleveland, Ohio's Damnation of Adam Blessing scored only a few regional hits and barely dented the national charts, but artistically, they were far and away more original and innovative than any band from their hometown and could even make that case with plenty from outside Ohio. Damnation's focus was obviously on contemporary hard rock, but the arrangements were far more advanced.

While most heavy rock acts featured screaming or shouting vocalists, Damnation tested the waters with low-range, gospel-like harmonies and Adam Blessing's grinding yet melodic leads. Songs would quickly shift from simple rock arrangements into idiosyncratic middle-eights - sometimes over a pounding rhythm by drummer Bill Schwark and bassist Ray Benich, sometimes enhancing a ballad. And when it came to hooks, Damnation could lure in the listener almost every time. And yet, outside of their four albums and a brief appearance in a Rock & Roll Hall of Fame exhibit on Cleveland bands, little evidence remains.

As literally hundreds of inferior contemporaries have seen their albums reissued on CD, not a single note of Damnation music has entered the digital realm. It's a damned shame - or rather, shameful. A band that infused broad influences of the Beatles, Vanilla Fudge, John Mayall, and Stax/Motown into its own sound deserves, at the very least, some sort of tribute. In the inexcusable absence of a CD anthology, we present our own here.

Tracks
Damnation of Adam Blessing 1969
1. Cookbook - 3:55
2. Morning Dew - 5:15
3. Le' Voyage - 3:53
4. You Don't Love Me - 3:18
5. Strings and Things - 5:45
6. Last Train to Clarksville - 4:18
7. Dreams - 4:52
8. Hold On - 2:16
9. Lonely - 4:55
Second Damnation 1970
10.No Way - 3:17
11.Death of a Virgin - 3:40
12.Driver - 3:25
13.Everyone - 4:10
14.Back to the River - 5:20
15.Money Tree - 4:48
16.Ba-Dup - 3:20
17.New York City Woman 5:54
18.In the Morning - 6:13
19.Smile - 1:27

Damnation of Adam Blessing
*Adam Blessing (Bill Constable) - Lead Vocals
*Bob Kalamasz - Lead Guitar, Backing Vocals
*Jim Quinn - Rhythm Guitar, Percussion, Electric Pillow, Backing Vocals
*Ray Bench - Bass Guitar
*Bill Schwark - Drums

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Paul Brett's Sage - Paul Brett's Sage (1970 uk, fabulous psychedelic rock, japan edition)

The colour of Sage , most likely purple with streaks of blue, well that’s if you’ve ever listened to Paul Brett’s Sage. The multi-colored juggled history of Paul Brett most likely started with the group SW4 headed by future Blonde On Blonde Ralph Denyar. Paul would also replace Jimmy Page in Neil Christian & The Crusaders. A brief entry into the Arthur Brown Union yielded their first single, the Pete Townshend produced “Devil’s Grip” with Ronnie Wood on bass.

After brief excursions in 1967 with the Overlanders and Warren Davis Monday Band, Paul would enjoy sessions with the Dave Terry Band which later evolved into Elmer Gantry Band. The age of psychedelia had provided enriched pathways for the gifted Brett as he took his riffs to Tintern Abbey and springboarded from their into the melting pot of Elmer Gantry’s second album Ride A Hustler’s Dream which pushed out an urgent version of Blind Willie McTell’s “Statesboro Blues”.

The roads were many and the options countless but a distinct destiny drew Paul into the Soulmates where he met the gifted twelve string guitarist, ex Levee Breakers Johnny Joyce who at that stage had just left Velvet Opera. The group Friday’s Chylde had just metamorphosed into Fire and churned out a surging psyche single called “Father’s Name Was Dad” with future Strawb Dave Lambert on lead. Paul would enter for the 1970 conceptual Magic Shoemaker, acknowledged as a masterpiece in the same spirit as the Small Faces’ Ogdens' Nut Gone Flake.

The Brett sessions Paul’s sessions were scattered and endless as he persued the majestic chord that David once held in his Solomon wisdom. Amongst the chosen and frozen were poet Roy Harper’s unforgettable Sophisticated Beggar, Al Stewart’s Zero She Flies alongside Jimmy Page ..the “Volcano” and “Mary Jane” singles honed from Elmar Gantry’s debut which did not include Paul as an official member.

Paul would further his sessions with Strawbs on Dragonfly (lead guitar on "The Vision Of The Lady Of The Lake") and various singles included on Classic Strawbs. To add to this magnificent database Paul Brett also filled in the gaps with The Ivy League, The Flower Pot Men, Status Quo, the prolific Barclay James Harvest, ex Strawbs - Hudson & Ford, Max Bygraves, The Cyril Stapleton Orchestra, Lonnie Donegan and folk stalwart Ralph McTell, known for his hit “Streets Of London”.

The first coming of Sage ignited when ex Fire lighters Dick Dufall and percussionist ,vocalist Bob Voice joined lead guitarist Paul Brett to form Paul Brett's Sage with added employment of Nicky Higginbottom on flute and sax. The 1970 self titled ‘Hourglass’ debut was celebrated by the superb seven inch “Three D Mona Lisa” / “Mediterranean Lazy Heat” riddled with superb time signatures. The album was a shivering fusion of bongos , astounding acoustic and pulsing rhythms superbly enhanced by Jethro Tull arranger David Palmer.The percussive rhythms of “The Sun Died” and bass ambling “Little Aztec Prince” are the core style of this story tell album. Often not told are the superb lyrics ..”Reason For Your Asking” - .’You asked me why a flower died and why the Eastern horsemen rides, Why the silver lash of rain hides footprints in the dusty lane’ . Tolkienistic dimensions and apocalyptic visions cradle “Trophies Of War” and the severing “Warlock”. The 1971Jubilation Foundry, more of an acoustic affair and in hindsight Sage’s most established creation with it’s mature fusion of acoustic and harmonies now included ex Titus Groan Stuart Cowell as lead guitarist who later did some amazing things with Al Stewart.

Paul King who later played with Lambert in the King Earl Boogie Band played the harmonica on Jubilation. The album yielded the single “Dahlia” / “Cottage Made for Two”. A strong country element threads the album with elements of Strawbs, Magna Carta but a more definitive pick can be found in the heart sagging “I Fell So Far” and harmony filled “Tuesday Evening”. A cry from the gutter to the utter spills out of “Help Me Jesus” an eerie bluesy ballad that carries it’s message into the follow up holler “Jubilation Foundry”.

By the time the 1972 Schizophrenia hit the shelves Sage were back into electric with some stirring lead fusion on “Custom Angel Man”. a psychedelic master of note. The album enlisted Dave Lambert on piano and organ. Schizophrenia also sprouts some very fast guitar and nifty riffs on “Song Of Life, “Song Of Death” and “Slow Down Man” with Rod Coombes on drums. In the spirit of Jubilation’s “Tuesday Evening” those S&G harmonies reel through “Tale Of A Rainy Night”. Rob Young stepped in for the flute and oboe on the exquisite “Autumn”, a Strawb template in anybody’s book. Paul brett would later team up with ex Levee Breakers Johnny Joyce from Velvet Opera as an acoustic duo and then Cyril Stapleton Orchestra (with Dave Palmer of Jethro Tull and Bob Voice of Fire.

Paul’s awesome fretwork spills through (Bradley’s Records) “Mr.Custer“ & “Summer Driftin“ singles. From 1973 Paul’s solo albums on Bradleys Records, backed by violinist/guitarist Mike Piggott first heard with John Dummer Blues Band , Bert Janch and added multi-instrumentalist Dave Griffiths rule the roost. Further albums most likely deemed Prog or Suites wash Clock’s , Phoenix Future and Earth Birth, the latter a must.

The definitive purchase must be Fretdancer by Paul and that 12-string mandarin called Johnny Joyce that even Shawn Phillips stands in awe of. Paul Brett continues to record, evolving with each recording. Sadly Johnny Joyce passed from this world to a far greater dimension.
by Shiloh Noone

Tracks
1. 3D Mona Lisa (Bob Voice) - 3:22
2. The Sun Died - 4:04
3. Little Aztec Prince (Bob Voice) - 4:25
4. Reason for Your Asking (Paul Brett, Bob Voice) - 4:13
5. Trophies of War - 3:49
6. The Tower  - 5:18
7. The Painter - 4:14
8. Mediterranean Lazy Heat Wave (Bob Voice) - 3:21
9. Warlock - 5:42
10.Wher Have All The Clowns Gone?  - 3:05
11.One Night  Stand  - 2:46
All songs by Paul Brett except where indicated.

Paul Brett Sage
*Paul Brett - Guitar, Vocals
*Dick Dufall - Bass
*Bob Voice - Drums
*Nicky Higginbottom - Saxophone, Flute

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The Corporation - The Corporation (1969 us, splendid garage psych rock)

The Corporation formed in 1968 at the Galaxy Club, located in Cudahy, WI, a southeastern suburb of Milwaukee. Some months later, they were discovered by Capitol Records executives while playing at another local club called The Bastille. Members included Kenneth Berdoll (bass, vocals), Patrick McCarthy (organ, trombone), Daniel Pell (vocals), Gerard Smth (lead guitar, vocals) and brothers John Kondos (guitar, flute, harp, piano, vocals) and Nicholas Kondos (drums, vocals).

Their first, self-titled LP was released in early 1969 and contains some great musicianship and original melodies. Highlights on the album include 'Ring That Bell', 'Smile' and the 19½ minute psychedelicized version of the John Coltrane instrumental 'India'. Although the album was a smash on the local Milwaukee charts, peaking at #3, it only reached #197 nationally. Even though the record ended up not being a huge commercial success, the band continued to write and record with hopes of a follow up LP on Capitol.

Tracks
1.I Want to Get out of my Grave - 5:31
2.Ring That Bell - 4:52
3.Smile - 2:51
4.Highway - 3:04
5.Drifting - 4:05
6.India - 19:33

The Corporation
*Kenneth Berdoll - Bass, Vocals
*John Kondos - Guitar, Keyboards, Fute
*Nick Kondos - Drums, Vocals
*Patrick McCarthy - Keyboards, Trombone
*Daniel Vincent Peil - Vocals
*Gerard Jon Smith - Lead Guitar, Vocals

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Wicked Lady - The Axman Cometh (1968-72 uk, fantastic heavy fuzz psych rock)

Wicked Lady exemplifies the "record collector" bands that gain new life through reissues "The Axeman Cometh" and "Psychotic Overkill". Their appearance marked some belated recognition for the power trio, which Northampton singer-guitarist Martin Weaver formed in 1968 with drummer "Mad" Dick Smith and bassist Bob Jeffries. However, Wicked Lady never came within a whisper of the stratospheric status attained by Cream, or the Jimi Hendrix Experience.

The band's liberal use of feedback -- and large biker following -- kept them relegated to clubs, even during the twilight hours of the psychedelic era. Awash in drink and drugs, Wicked Lady split up in 1970, but Smith and Weaver soon regrouped with new bassist, Del "German Head" Morley. The new lineup duly set about documenting its existence, as captured on Psychotic Overkill -- whose feel is looser than Axeman Cometh. The effect is a shotgun marriage of Black Sabbath-style rifferama, supported by a less risk-taking rhythm section. Weaver's vocal style lacks charisma, but his wah-wah and fuzz-driven guitar style carries the day.

The highlights include a bluesy cover of Hendrix's "Voodoo Child," the sex 'n' drugs snapshot of "Sin City," and the howling, 21-minute epic, "Ship Of Ghosts." But Wicked Lady's erratic ways proved too difficult for clubowners, who eventually refused to let them play. (At one gig, the band reportedly played the same song over and over until an irritated management pulled the plug on them.) Wicked Lady imploded in 1972, but Weaver rebounded that same year by joining the Dark, a more psychedelic- and progressive-outfit.

Their Round The Edges album became a Holy Grail for collectors -- because only a handful of copies were made for band members and their associates. Weaver next teamed with classically-trained keyboardist Dave "Doc" Wadley -- who'd worked with a pre-Sabbath Tony Iommi -- in the Mind Doctors.
by Ralph Heibutzki.

Tracks
1. Run The Night - 5:08
2. War Cloud - 7:37
3. The Axeman Cometh - 6:52
4. Life And Death - 9:58
5. Wicked Lady - 6:01
6. Out Of The Dark - 10:14
7. Rebel - 3:32
8. Living On The Edge - 10:09

All songs by Bob Jeffries, Dick Smith, Martin Weaver

Wicked Lady
*Bob Jeffries - Bass
*"Mad" Dick Smith  - Drums
*Martin Weaver - Guitars, Vocals

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Tomorrow - Tomorow (1968 uk, excellent beat acid psych with Keith West and Steve Howe)

Tomorrow was one of the most innovative of the late 1960s British "psychedelic" groups." Keith West, Steve Howe and John Wood had all been in the In Crowd that had released a few singles while Twink joined from the Fairies.

Tomorrow was an exciting live act as the tracks on 50 Minute Technicolour Dream testify. They supported artists such as Jimi Hendrix who even jammed on stage with them at Brian Epstein's Saville Theatre. Pink Floyd had been a major influence on artists such as Twink who saw something different in the improvisation and light shows. Other influences came through Steve Howe's liking for jazz as well as the direction being supplied to everyone by the Beatles and the Byrds. The jazz influences can be heard on one of Tomorrow's earliest tracks, Why? At the same time vocalist Keith West had started writing his own material for the group.

Word got to Michaelangelo Antonioni that there was an exciting band around and he spoke to them about appearing in his forthcoming film, Blow Up. Although Antonioni said he liked the songs, the band was dropped to be replaced by the Yardbirds. However, they did appear in the film Smashing Time where they were billed as The Snarks.

Tomorrow's own material started simple but contained different sounds thus making the tracks sound far more complex than they actually were. Drugs such as acid may have played a role in tracks such as Real Life Permanent Dream and Hallucinations.

The group made two singles, one of which, My White Bicycle, is a British psychedelic classic. The other single was Revolution. These did not make an impact on the charts although the group did manage to build up a sizeable underground following. One of the group's earlier champions was disc jockey John Peel who played the first single extensively on his Perfumed Garden radio show. He also had a Night Ride session recorded early in 1968 which was broadcast although the tapes were subsequently lost or, in true BBC style, erased.

The strength of the band live belied their poor commercial success. They were playing gigs most nights and became one of the hottest brands of the London scene alongside Pink Floyd and the Soft Machine. However, this did not always translate into success outside the capital.

Keith West may be better known as a participant in the Teenage Opera project that gave him a solo hit single Excerpt from a Teenage Opera (Grocer Jack) and brief commercial success. This was part of an idea for all the members of Tomorrow to have parallel solo careers alongside tomorrow. However, the move to work on other projects pulled the group apart with Twink joining the Pretty Things and the Pink Fairies. Poor record sales did not help either.

An album was released called Tomorrow in early 1968. This was billed as Tomorrow featuring Keith West, hoping to cash in on his solo success. It was also released too late to benefit from the summer of love and had a compromise cover that did not do justice to the material within.

By spring 1968 the group was no more. Steve Howe later joined Yes. Incidentally, My White Bicycle was included on the Heavy Karma album by the Young Ones' Neil.
Making-Time

Tracks
1. My White Bicycle - 3:18
2. Colonel Brown - 2:53
3. Real Life Permanent Dream - 3:17
4. Shy Boy - 2:27
5. Revolution - 3:50
6. The Incredible Journey Of Timothy Chase - 3:18
7. Auntie Mary's Dress Shop - 2:46
8. Strawberry Fields Forever - 3:59
9. Three Jolly Little Dwarfs - 2:28
10.Now Your Time Has Come - 4:53
11.Hallucinations - 2:43
12.Claramount Lake - 3:02
13.Real Life Permanent Dream (Alternative Early Mono Version) - 2:24
14.Why - 3:59
15.Revolution (Phased Mono Version) - 3:50
16.Now Your Time Has Come - 3:05
17.The Aquarian Age - 10,000 Words In A Cardboard Box  - 3:27
18.The Aquarian Age - Good Wizzard Meets Naughty Wizzard - 4:42
19.The Aquarian Age - Me - 3:12
20.Keith West - On A Saturday  - 3:13
21.Keith West - The Kid Was A Killer - 2:31
22.Keith West - She - 2:30
23.Keith West - The Visit - 4:05

Tomorrow
*Keith West - Vocals
*Steve Howe - Guitar
*John "Junior" Wood - Bass
*John Adler "Twink" - Drums

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Humble Pie - Eat It (1973 uk, great classic glam rock, 2007 japan mini LP remaster)

This '73 album marked a turning point for Humble Pie following their legendary Rockin' The Fillmore live double and their best selling follow-up Smokin'. It clearly showcased four facets of Pie's music (it was originally a 2 LP set) - a slightly subdued but still rockin' section, four soul/funk songs written by the likes of Ike & Tina Turner, Ray Charles and Edwin Starr with the Blackberries girl backing singers much in evidence throughout, light Marriott love songs/singalongs, and one side recorded live in Glasgow that picks-up where Fillmore left off : hard rock boogie with big dirty meaty riffs and fluid soloing and interplay.

If you accept that Steve Marriott was the greatest British soul/rock singer ever then none of these elements are a problem, but sales dipped and their label rejected some later material as Marriott took the band further down the laid back and soulful road. I saw them support the Who at Charlton FC in mid '74 and they turned in a trimphant crowd pleasing heavy set that showed they still had rock potency.
by Pete Max

Tracks
1. Get Down to It (Marriott) – 3:27
2. Good Booze and Bad Women (Marriott) – 3:18
3. Is It for Love? (Marriott) – 4:41
4. Drugstore Cowboy (Marriott) – 5:40
5. Black Coffee (Ike Turner, Tina Turner) – 3:11
6. I Believe to My Soul (Ray Charles) – 4:05
7. Shut up and Don't Interrupt Me (Bristo, Starr) – 3:07
8. That's How Strong My Love Is (Roosevelt Jamison) – 3:49
9. Say No More (Marriott) – 2:01
10.Oh, Bella (All That's Hers) (Marriott) – 3:28
11.Summer Song (Marriott) – 2:48
12.Beckton Dumps (Marriott) – 3:16
13.Up Our Sleeve (Humble Pie-lyrics by Steve Marriott) – 5:02
14.Honky Tonk Women (Keith Richards, Mick Jagger) – 3:58
15.(I'm A) Road Runner (Eddie Holland, Lamont Dozier, Brian Holland) – 13:29

Personnel
*Steve Marriott - Vocals, Guitar, Harmonica, Keyboards
*Greg Ridley - Bass
*Dave "Clem" Clempson - Guitar
*B.J. Cole - Steel Guitar
*Sydney George - Saxophone
*Jerry Shirley - Drums
*The Blackberries, Clydie King, Billie Barnum, Venetta Fields - Vocals

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Humble Pie - Smokin' (1972 uk, great classic rock, 2007 japan remaster)

Often considered to be the very best Humble Pie album, Smokin' is a bluesy hard rocking record that, like so many albums from the 60s and 70s, suffered a large drop in quality when it was transferred to CD. The original remaster of the album from the early 90s sounds muddy and tinny, too often turning Steve Marriott and Clem Clempson's guitar work into a indistinct sea of distortion and dampening the power of the rhythm section. Until now, those seeking a better mastering of the record have had to search for the 2007 limited edition Japanese remaster. With the release of a new SACD version of Smokin' from Analogue Productions comes a new way to hear the album.

The first thing you notice about the remastering is how crisp and clear the guitars sound. The sound of Clempson's wah-wah pedal is no longer lost in the mix. Greg Ridley's bass has a new prominence, providing a larger low end to anchor the band's riffs. Jerry Shirley's drums are so well mixed it can be hard to get used to--the hi-hats and cowbells ring out so loudly they can almost become distracting. The only sound that remains tinny and flat is the acoustic guitar on “You're So Good For Me”, though I think I prefer it to the too-prominent sounds of the nylon guitar strings on “Old Time Feeling” - you can hear the pick scraping against the strings!
by Daniel Krow

Tracks
1. Hot 'N' Nasty 3:22
2. The Fixer 5:02
3. You're So Good To Me 3:51
4. C'mon Everybody 5:13
5. Old Time Feelin' 4:01
6. 30 Days In The Hole 3:57
7. Road Runner / Road Runner's 'G' Jam 3:44
8. I Wonder 8:53
9. Sweet Peace And Time 5:48

Humble Pie
* Steve Marriott - Vocals, Guitar, Harp, Keyboards
* Clem Clempson - Guitar, Keyboards, Vocals
* Greg Ridley - Bass, Vocals
* Jerry Shirley - Drums, Keyboards
Guest Musicians
* Alexis Korner - Vocals, Mandolin-type
* Stephen Stills - Organ,  Vocals
* Doris Troy - Vocals
* Madeline Bell - Vocals
* Martin Tipple - Guitar

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Humble Pie - Humble Pie (1970 uk, 3rd album, classic rock, japan remastered edition)

Alternating hard-driving blues-rockers with country-folk numbers, Humble Pie neatly showcases the two sides of this band's personality on their first release for a major American label and third album overall. All of the elements are in place for the sound that would reach its studio peak with the next release, Rock On, and culminate with the classic Live at the Fillmore album.

"Earth and Water Song" provides a blueprint for the acoustic guitar-based sound Peter Frampton would ride to multi-platinum success as a solo artist later in the decade. "One Eyed Trouser-Snake Rumba" and "Red Light Mama, Red Hot!" show the hard-rocking direction in which Steve Marriott would move the band after Frampton's departure the following year.

Tracks
1. Live With Me  (Marriott, Frampton, Ridley, Shirley) - 7:55
2. Only a Roach  (Shirley) - 2:49
3. One Eyed Trouser Snake Rumba  (Marriott, Frampton, Ridley, Shirley) - 2:51
4. Earth and Water Song  (Frampton) - 6:18
5. I'm Ready (Dixon) - 4:59
6. Theme from Skint (See You Later Liquidator)  (Marriott) - 5:43
7. Red Light Mama, Red Hot!  (Humble Pie, Lyrics Marriott) - 6:16
8. Sucking on the Sweet Vine (Ridley) - 5:46

Humble Pie
* Steve Marriott - Guitar, Keyboards, Vocals
* Greg Ridley - Bass, Guitar, Vocals
* Jerry Shirley - Drums, Guitar, Vocals
* Peter Frampton - Guitar, Keyboards, Vocals
Guests
* John Wilson - Drums on "Only a Roach"
* B.J. Cole - Steel Guitar

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Andromeda - The Definitive Collection (1967-69 uk, great hard psych, prog rock with John DuCann, double disc set)

One of the most bootlegged and legendary LP's to come out of the late 60's was the self titled album ANDROMEDA which is included in full on this 2CD set. On CD2 are tracks never before released including 5 tracks recorded for John Peel's Top Gear show during 1968 and 3 tracks recorded live at Round House and Covent Garden London during 1967. This 2CD set is the Definitive collection lovingly prepared by JOHN DU CANN who has put together over two and a half hours of music.

This is a definitive 2-CD account of one of the seminal UK prog-rock bands of the late sixties. Beefed out with never before released material, including five tracks recorded for the John Peel "Top Gear" show during October 1968 and three tracks recorded live at the Roundhouse and Covent Garden, London in 1967. Remastered and fully annotated by guitarist and band founder John Du Cann, this release also provides a connection to Atomic Rooster with whom Du Cann featured in 1970.

Andromeda developed out of Du Cann's band The Attack who at this time were supporting bands such as The Yardbirds on the London gig circuit. After producing an album for the budget label Saga, with a "thrown-together" band called Five Day Week Straw People, Du Cann formed Andromeda with Mick Hawksworth (bass) and Jack Collins (drums) - whose brother was Jimmy McCulloch (sometime guitarist in Paul McCartney's band Wings).

As Du Cann recalls, when the album was originally released it received great reviews "...it wasn't just a basic rock album, it had a few light-and-shade parts in it and went into different little instrumental passages and things." That album is presented in its entirety on CD1 whilst live tracks and demos (for a projected second album) are on CD2.

Disc 1
1. Too Old
2. The Day of the Change
3. Now the Sun Shines
4. Turns to Dust
5. Return to Sanity
6. The Reason
7. I Can Stop the Song
8. When to Stop
9. Go Your Way
10.Keep Out 'Cos I'm Dying
11.The Garden of Happiness
12.Return to Exodus
13.Journey's End (Reprise)
14.Let's All Wacth the Sky Fall Down
15.Darkness of Her Room
16.See Into the Stars

Disc 2
1. The Day of the Change
2 .The Reason
3. Return to Sanity
4. Keep Out 'Cos I'm Dying
5. Search On
6. Ode to the Sea
7. Lonely Street's
8. Sleep Like a Child
9. I Was Left Behind
10.I Just Wanna Live My Life
11.The Lodger
12.Dreamland
13.Round House Blues (Live)
14.Walking On (Live)
15.I'm Searching (Live)
16.Acidus (Live)
17.All in You
18.Step this Way

Andromeda
*John DuCann - Guitar, Vocals
*Mick Hawksworth - Bass, Vocals
*Jack McCulloch - Drums
*Ian McLane - Drums

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Top Drawer - Solid Oak (1969 us, fetching heavy psych blues)

Top Drawer hailed from the rural center of the United States, coming right out of Kentucky. There aren’t many facts to be said about the band, considering they were around back in 1969-1970 and they only have one album that I am aware of. Their one and only album, titled “Solid Oak”, was recorded back in 1969 at Fultz Recording Studio over in Kentucky, and if you have one of these original records in mint condition, it could sell for well over a hundred dollars. The album is constantly being sought out due to it’s rarity.

Tracks
1. Song Of A Sinner (Steve Geary) - 5:42
2. What Happened Before They Took The People Away (Steve Geary) - 5:19
3. Middle Class America (Alan Berry) - 4:55
4. Time Passes Much Too Quickly (Steve Geary) - 3:30
5. Messed Up (Ron Linn) - 3:46
6. Baker’s Boogie (John Baker) - 3:39
7. What’s In Store (Steve Geary) - 4:26
8. Sweet Memories (Alan Berry) - 4:56
9. Lies (Steve Geary) - 5:10

Top Drawer
*Steve Geary - Trumpet, Vocals, Harmony
*Ray Herr - Percussion, Harmony
*John Baker - Guitar, Harmony
*Alan Berry - Bass Guitar, Harmony, Vocals
*Ron Linn - Organ, Harpichord, Rhythm Guitar

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