Tamam Shud - Evolution (1969 aussie, significant hard psych rock with prog traces, 2007 japan extra tracks edition)

As the year progressed The Sunsets, now immersed in the blossoming psychedelic scene, reinvented themselves as Tamam Shud. Their new name was a Persian phrase meaning "the very end", which was taken by Bjerre from the closing words of the Rubaiyat of Omar Khayyam. (The naming of the group is recounted in a hidden track at the end of Permanent Culture, narrated by Tim Gaze's father.) They were certainly one of the first Australian groups to take up the new acid-rock style led by artists like Cream, Hendrix and Pink Floyd. As the above quote indicates, they were also strongly influenced by free jazz, and by the American West Coast groups like Love, Big Brother & The Holding Company, The Grateful Dead and Jefferson Airplane -- although they were (in my opinion anyway) far more coherent musically than the Dead, and their songs were less strident lyrically than some of the Airplane's more politicised material.

On stage, their live sound had a distinctive edge thanks to Bjerre's use of an acoustic guitar, amplified by a pickup, and right from the start they were respected by audiences and players alike for their musicianship. Their first appearance as Tamam Shud was at the Intermedia Circus in Sydney in 1967 and they soon became recognised as one of Australia's most innovative bands, with their sets including long, improvised instrumental sections. According to Noel McGrath, "...audiences never danced - they sat and listened".

Over the next five years Shud became one of the most popular live acts of the east coast scene, playing at all the major disco and 'head' venues in Sydney and Melbourne. The lingering "surf band" tag linked them with Sydney's northern beaches surf culture, and it's a misnomer that has been repeated in several refernece books, but according to Lindsay, Tamam Shud hardly ever played the northern beaches. In reality, the major fan base fopr them, and for contemporaries like The Dave Miller Set was on Sydney's university and college dance circuit, and with the 'hippy' audiences at inner city underground venues like the Mandala Theatre in Darlinghurst and the Beacon Theatre in Newtown.

The Shud also had a notable association with the famous Sydney film/lightshow collective UBU who promoted many pioneering multimedia events in Sydney, and Shud were regularly teamed with other leading progressive acts including Tully. They often played at UBU-organised events, including the legendary Underground Dances of 1968-69. In the press release for the first Underground Dance in December 1968, they were described as "the wildest new group on the local scene". They became firm favourites with Go-Set magazine (especially Sydney staff writer David Elfick) and featured regularly in its pages.

Not everyone was so appreciative however. At one early UBU concert -- a benefit for the Coogee Boardriders Club at the Heffron Hall in East Sydney on 10 August 1968 -- the Shud's performance and the UBU lightshow were brought to an early halt by the hall manager, who turned off the power, condemning the event as "the ultimate in depravity"!

Their first LP, recorded at the end of 1968, has been justly hailed by Ian McFarlane as: "... one of the first wholly original rock albums issued in Australia".

It was made independently, the session financed by filmmaker Paul Witzig to provide music for his surf film Evolution (the first Australian surf film to abandon narration and accompany the images with music alone). Four tracks -- Evolution, I'm No-One, Mr Strange and< Lady Sunshine -- were used in the film. These four tracks were later re-recorded, along with eight other originals, for what became Tamam Shud's debut album Evolution.

Most of Witzig's budget was committed to the considerable expense of transporting and filming surfers in exotic overseas locations (air travel was very expensive back then, relative to today) so the budget for the music was minuscule. Consequently, the twelve songs that make up Evolution were recorded live, with very basic equipment, in a single 2-1/2 hour session, and mixed in a mere 1-1/2 hours. Evidently most if not all of the tracks are first takes. The spontaneity is delightfully revealed by the intro to the bluesy Feel Free; the song breaks down just after the count-in and Bjerre is heard to laughingly say "Wait until the bass turns his amp on." Barron had indeed forgotten to switch on!

Although the recording quality is fairly rough, both the material and the performances are very strong, and it stands up extremely well today. Arrangements are excellent, performances are very energetic; Bjerre's strong, soulful vocals carry the songs with ease, Zytnic contributes some tasty acid-tinged lead breaks, and Barron and Davidson provide a solid and supple backing throughout. The standout track is without doubt the beautiful, jazzy Lady Sunshine, which was included on Raven's Golden Miles anthology in 1994. In the Freedom Train interview Lindsay named Falling Up as his personal favourite.

Evolution is now rare indeed; a good copy - if you can find one -- will set you back several hundred dollars on the collector's market, and it cries out for a CD release. There has been talk of one of the local reissue labels doing so, but nothing has eventurated to date. The album was leased to CBS, and both the film and its soundtrack were very successful, thanks in part to Go-Set, who supported the film with a poster competition, a 'win-a surfboard' competition, and regular features on the Shud throughout 1969

Tamam Shud official

Tracks
1a. Music Train - 3:52
1b. Evolution - 2:45
2. I'm No One - 2:08
3. Mr Strange - 2:34
4. Lady Sunshine - 4:39
5. Falling Up - 2:48
6. Feel Free - 3:12
7. It's A Beautiful Day - 2:53
8. Jesus Guide Me - 3:53
9. Rock On Top - 2:49
10.Slow One And The Fast One - 6:58
11.Too Many Life - 3:04
12.Bali Waters - 6:14
13.Got A Feeling - 2:37
14.My Father Told Me - 3:48
All songs by Lindsay Bjerre
Tracks 12-14 from "Bali Waters EP" (1972)

Tamam Shud
*Lindsay Bjerre - Songs, Guitar, Vocals
*Peter Barron - Bass
*Larry Duryea - Congas
*Tim Gaze - Guitar
*Kevin Stevenson - Reeds
*Richard Lockwood - Sax, Flutes
*Nigel Macara - Drums

1970  Goolutionites And The Real People

Free Text
Text Host

Kaleidoscope - White-Faced Lady (1970 uk, a luscious sustained reverie, japan two disc set edition)

This elaborate two-CD set collects two albums by Fairfield Parlour: From Home to Home, a somber, more mature album that was inspired by early Pink Floyd and released on Fontana's more progressive Vertigo imprint in 1969, and White Faced Lady, the band's so-called "lost masterpiece." Burning Airlines Records' 2001 reissue of White Faced Lady collects both albums -- which are accredited to the band's previous moniker, Kaleidoscope -- with the best packaging of these recordings thus far, including two lavishly designed, glossy booklets, including one that features singer Peter Daltrey's original White Faced Lady story and lyrics. 

The origin of White Faced Lady is quite interesting: over the spring and summer of 1970, the band's two songwriters -- Peter Daltrey and Eddie Pumer -- had noticed that quite a few of their new songs seemed to have a similar theme. They began shaping these tracks into what turned out to be an ambitious and conceptual pop opera, taking its name from a pivotal track, "White Faced Lady." The narrative followed the tragic life of a troubled movie starlet named Angel, desperate for both love and fame but finding neither. The story was said to have been based loosely on the tragic life of Marilyn Monroe. 

Musically, White Faced Lady was less British pop-like than their earlier recordings, as the band was then becoming more "renaissance/progressive" overall, even as it revealed they may have been straining beyond the scope of their sweeping orchestration vision. The first part of White Faced Lady had a wistful, somewhat light air about it, with acoustic guitars, flutes, full orchestra, and choir giving way to more complex and cluttered arrangements that sometimes blended in sitar ("Song for Jon") and other psychedelic elements along the way. 

Without a label's backing, however, the band had to invest their own money into the recordings. Later, their longtime producer, former Radio One DJ David Symonds, signed a leasing deal with a Vertigo exec who agreed to pay them upon delivery of the album. The sessions were continued the following spring at Sound Techniques in London's Chelsea district. 

Toward the end of the sessions, the band found out that their leasing deal was off, so this ornate and abstruse album was shelved for 20 years. It wasn't officially released, in a complete form, until 1991, when the band issued the vinyl version on their own Kaleidoscope label. Both albums were later collected on CD as Kaleidoscope: The Fairfield Parlour Years. 

by Bryan Thomas

Tracks

Disc 1

1. Overture - 2:47

2. Broken Mirrors - 2:49

3. Angel's Song: "Dear Elvis Presley..." - 2:38

4. Nursey, Nursey - 3:47

5. Small Song - Heaven In The Back Row - 3:21

6. Burning Bright - 2:03

7. The Matchseller - 3:50

8. The Coronation Of The Fledgling - 2:14

9. All Hail To The Hero - 3:09

10. White-Faced Lady - 4:46

Disc 2
1. Freefall - 5:13
2. Standing - 1:47
3. Diary Song: The Indian Head - 4:24
4. Song From Jon - 7:51
5. Long Way Down - 4:05
6. The Locket - 2:58
7. Picture With Conversation - 3:38
8. Epitaph: Angel - 7:54
All compositions by Peter Daltrey and Eddy Pumer.

Kaleidoscope
*Eddy Pumer - Lead Guitar, Keyboards
*Steve Clark - Bass, Flute.
*Dan Bridgman - Drums, Percussions.
*Peter Daltrey - Lead Vocals, Keyboards

Kaleidoscope's mosaic 
1967  Kaleidoscope - Tangerine Dream
1967-71  Please Listen To The Pictures / The BBC Sessions
1967-69 Kaleidoscope - Dive Into Yesterday
1969  Kaleidoscope - Faintly Blowing
1970  Fairfield Parlour - Home to Home

Free Text
Just Paste

rep>>> Various Artists - Floor Filler Killers • New Directions Vol. 3 (60's uk, excellent groovie garage beat psych)

Various Artists - Floor Filler Killers • New Directions Vol. 3 1965-69

Various Artists - Pebbles Vol. 6 • English Freakbeat • The Roots Of Mod (60's uk, rud 'n' sharp mod freakbeat)

Since the late 1940s when Joe Turner sang "Shake Rattle and Roll", the root of all rock and roll music has been rhythm and blues -Elvis Presley, Little Richard. Jerry Lee Lewis, they all played their part in exposing the white teenage audience to black music in various adaptations. 

Later, in the 60's; blues became familiar and commonplace to everyone, and was therefore abandoned by America's black culture, replaced by soul, then funk, then disco- all of which in turn influenced newer generations of white musicians. But let's take a look now at that period in the early 60s when blues and R & B were known only to the most adventurous whites, and considered dangerous, unknown, darkly mysterious territory. 

Into this unknown territory came a generation of musicians who were forming bands in the early 60's in America too, but primarily in England where the appallingly bland pop music of the time led to a massive backlash of bands and music that were, for the time, quite daring. Imagine the illicit thrills experienced by these lads of conservative British upbringing upon finding a rare imported album by John Lee Hooker, taking it home, learning to play the songs and practicing acting, talking, singing like the Negroes of their glamorized imagination. It's easy to see why it became an obsession among the musically-inclined hipsters of the time. 

The rhythm and blues scene in England had its peak in the years 1961-64, though its influence was felt for many years thereafter in the work of Eric Clapton, Alvin Lee, John Mayall, Jeremy Spencer, and many others. But by then it had become something different. In the early years it was a raw, impromptu music of the streets, scruffy and nasty. It was the punk music of its time and place, and it related to the Merseybeat trend of the same period just like today's punk bands relate to their more pop-oriented New Wave colleagues. 

It was a purer, tougher expression of the same rebellion against cultural tedium. On this album we have brought together some of the strongest and most sought-after examples of British R & B from the classic period. Are you ready? You may think you are, but just wait 'til you hear the contents of these grooves... 

I predict you'll be rubbing Shinola on your skin, hitting the streets in search of a beat-up Cadillac, a cheap harmonica in your back pocket, bent on jamming with Eric Burdon if it's the last thing you do...

by Nigel Strange, editor of "The Web of Sound" magazine. 

Artists - Tracks
1. The Fairies - Get Yourself Home - 2:17
2. Junco Partners  - Take This Hammer - 2:10
3. The Fairies - I'll Dance - 2:01
4. The Cheynes - Respectable - 1:51
5. The First Gear - Leave My Kitten Alone - 2:14
6. The Betterdays - Here 'Tis - 2:18
7. The Wild Ones - Bowie Man - 2:31
8. David John And The Mood - Bring It To Jerome - 2:07
9. The Wheels -  Road Block - 3:35
10.The Fairies - Anytime At All - 2:21
11.Rhythm And Blues Inc.- Honey Don't - 2:25
12.Erkey Grant And The Eerwigs - I'm A Hog For You - 2:11
13.David John And The Mood - I Love To See You Strut - 2:13
14.Bill And Will - Goin' To The River - 2:33
15.Blues By Five - Boom Boom - 2:25
16.Steve Aldo - Baby What You Want Me To Do - 3:49
17.Jason Eddie And The Centremen - Spoonful - 2:22
18.The Rats - Singing The Blues - 2:28
19.Bo And Peep - Young Love - 2:46

UK Freakbeat story
English Freakbeat Vol. 1
English Freakbeat Vol. 2
English Freakbeat Vol. 3
English Freakbeat Vol. 4
English Freakbeat Vol. 5

Just Paste
Free Text

Test Host

Kaleidoscope - Please Listen To The Pictures / The BBC Sessions (1967-71 uk, unique essential psychedelia)

Most of these recordings have seen the light of day in the form of a CD bootleg some time back, but I'll wager there are more people who want to hear them than actually have already. Therefore, this beautifully presented set is a most welcome addition to the much revered and loved Kaleidoscope / Fairfield Parlour canon. As with all the Circle releases, the packaging and presentation is sumptuous. If you have a record deck, plump for the vinyl edition, I do every time. The double LP comes in a heavy duty gatefold sleeve. The Kaleidoscope LP has a faux Fontana label and the Fairfield Parlour LP has a faux Vertigo label.

The liners by Peter Daltry in the gatefold itself tell of the dilemma of being a progressive band in a regressive recording environment (with the indifference of the BBC's white coated clock-watching engineers). The four page LP sized booklet features a raft of memorabilia in colour and b/w and further liner notes by Nigel Leese on the intriguing life expectancy of BBC transcription records and master tapes!

So how groovy are the grooves then? It should be said straight off, as do Circle themselves, that there are four off-air cuts from a manky old reel to reel tape, the only remaining extant recordings from two Kaleidoscope sessions. The first features 'Faintly Blowing' and '(Further Reflections) In The Room of Percussion' from a Tommy Vance hosted Top Gear session. These are actually pretty reasonable sound wise. Once the ears adjust, they are strangely compelling. Indeed 'Faintly Blowing' sounds like it has some interesting extemporisation going on which makes it worthwhile in itself. The second two off-air numbers, 'Do It Again For Jeffrey' and '(Love Song) For Annie' come from Radio 1 Club session and are pretty rough in sound quality, but nonetheless we're not exactly awash with Kaleidoscope sessions (see why in the liners! - there were plenty more at one time), so even a rough old tape has an aesthetic value.

That said, the rest of the album's 22 tracks are in excellent sound quality and all feature the introductions of Brian Matthew whose perky, effervescent style never really changed even though the music and the times did. Matthew 's continuity links indeed must amount to more than the sum total of some acts recorded musical output on reissue discs these days given the number of Saturday Club etc. sessions that have found their way onto reissues in recent years! Indeed, just listening to the brief interview he conducts with Kaleidoscope at the beginning of Side 1, LP 1, shows just how mannered and polite not to mention self-effacing some of these acts were (think Zombies, Eclection etc) in conversation, so unlike the 'yeh of course I'm brilliant, tell me something I don't know already' attitude of many of today 's popsters (and that's my pitch for a grumpy old man interview!).

As for the rest of the music, the Kaleidoscope tracks on Side 1 especially, throw the sound images of the released versions into relief. It is great to hear songs like 'Flight From Ashiya', 'The Murder of Lewis Trollani', 'A Dream For Julie' and 'Dive Into Yesterday' in the raw. The songs are so strong that even without the dreamlike embellishments of the studio, these songs stand up as masterpieces now as much as they did nearly 40 years ago. 'Snapdragon' is especially excellent. Daltry tells of the widespread practice of taking in pre-recorded backing tapes to the BBC studios to record against as it saved time and made the engineers happy! Both 'Snapdragon' and the studio version (as opposed to the off-air version) of 'Do It Again For Jeffrey' would appear to be of this ilk, featuring as they do brass sections, pianos etc.

The Fairfield Parlour numbers sound more produced (but it was 1970-71 by then) But it's very cool to hear the prominence of the sitar for instance on 'Bordeaux Rose' or the chorused guitar on the first version (of two) of 'Free'. 'Long Way Down, 'Diary Song' or 'Matchseller' are excellent renditions and enjoyable to the utmost, you'll be rooting out your 'White-Faced Lady' and 'From Home To Home' CDs to compare them with.

Overall this is another quality package from Circle and I can't think how the justice done to most of the songs here could be bettered. Fans will love this set, it's a real treat for the eyes and ears, rough old tapes and all!

by Paul Martin

Tracks
1. Kaleidoscope - Flight From Ashiya - 3:05
2. Kaleidoscope - The Murder Of Lewis Tollani - 2:51
3. Kaleidoscope - A Dream For Julie - 2:36
4. Kaleidoscope - Dive Into Yesterday - 3:32
5. Kaleidoscope - Do It Again For Jeffrey - 2:17
6. Kaleidoscope - Snapdragon - 2:25
7. Kaleidoscope - Bless The Executioner - 3:07
8. Kaleidoscope - Jump In My Boat - 2:31
9. Kaleidoscope - Balloon - 2:40
10.Kaleidoscope - Faintly Blowing - 4:50
11.Kaleidoscope - (Further Reflections) In The Room Of Percussion - 3:23
12.Kaleidoscope - Do It Again For Jeffrey - 3:16
13.Kaleidoscope - (Love Song) For Annie - 1:46
14.Fairfield Parlour - Bordeaux Rose - 2:34
15.Fairfield Parlour - Free - 3:20
16.Fairfield Parlour - By Your Bedside - 2:30
17.Fairfield Parlour - Aries - 2:49
18.Fairfield Parlour - Monkey - 2:26
19.Fairfield Parlour - Long Way Down - 3:38
20.Fairfield Parlour - Diary Song - 3:06
21.Fairfield Parlour - The Matchseller - 2:49
22.Fairfield Parlour - Free - 3:31
Words by Peter Daltrey Music by Eddy Pumer.

Kaleidoscope
*Peter Daltrey - Vocals, Keyboards
*Eddy Pumer - Guitars
*Steve Clark - Bass, Flute
*Dan Bridgman - Drums

Kaleidoscope's mosaic 
1967 Kaleidoscope - Tangerine Dream
1967-69 Kaleidoscope - Dive Into Yesterday
1969  Kaleidoscope - Faintly Blowing
1970  Fairfield Parlour - Home to Home

Free Text
Just Paste

rep>>> Various Artists - Three O'Clock Merrian Webster Time (1966-68 us, great texas psychedelic brands)

Various Artists - Three O'Clock Merrian Webster Time 1966-68

William Penn And His Pals - William Penn And His Pals (1966 us, remarkable garage psych, with Gregg Rolie pre Santana)

Also known as the William Penn Fyve on many bootlegs. It's been a long time coming, in fact about 35 years. This group was formed in 1965 and extinct by 1968. They were one of the most famous groups in The San Francisco Bay Area at the time and their name was all over Radio KYA, KFRC and KLIV as opening act for the biggest national and international acts as well as headlining their own shows.

The lineup boasted Mickey Hart (for a brief period) of the Grateful Dead and Gregg Rolie of Santana/Journey fame was a full time member for 1 1/2 years before he started a group with a dude name Carlos Santana. Gregg sings lead on all but one of these songs.

Wm. Penn used to go toe to toe in Battle of the Bands with the Grateful Dead and recorded one of the most famous Garage Rock Classics by the name of Swami. Swami appears on at least five bootleg compilations along with the flip side.. Blow my Mind. The group changed it's name briefly to Wm. Penn V for Swami (actually it was William Penn Fyve but Pebbles called them William Penn V since they were/are bootlegging Swami) and there is some confusion as to whether William Penn and His Pals was in fact the same Wm Penn Fyve; they were. 

Other songs have appeared on "The Scorpio Record Collection" put out by Ace/Fantasy. Finally all the songs of this classic group are available to the public in one professionally manufactured CD with 8 pages of facts and photos. There are even a few gems that nobody except a select few have heard. Here are clips from all of the songs on the CD so you can get a good sample of what you will get. Hearing these songs is almost like being at an show in the 60's at The Longshoremans Hall in San Francisco. 

Besides the wonderful songs the liner notes include the original copy from San Francisco's I.D. magazine with the run down on Wm Penn and his Pals written by their manager. You must read this to get the full scope of just how popular this group was.

Tracks
1. Swami - 2:57
2. Gotta Get Away - 2:34
3. Far And Away (Ron Cox, Gregg Rolie, Mike Shapiro, Jack Shelton, Steve Leidenthal) - 2:32
4. Blow My mind (Gregg Rolie, Mike Shapiro, Ron Cox, Steve Leidenthal) - 2:25
5. There I go I've Said It Again - 2:29
6. E2D - 2:25
7. Blow My mind(Gregg Rolie, Mike Shapiro, Ron Cox, Steve Leidenthal) - 2:06
8. Gotta get away - 2:44
9. There I go I've said it again - 2:36
10. Fly Fly PSA (Ron Cox, Neil  Holtman, Mike Shapiro, Jack Shelton, Steve Leidenthal, Vern Justus) - 1:00
All songs by Mike Shapiro except where indicated

Tracks 7-9  alternate versions

William Penn And His Pals
*Neil  Holtman (aka William Penn) - Lead Vocals, Hawaiian Guitar Steel
*Ron Cox - Vocals, Drums
*Mike Shapiro - Lead Guitar, Rhythm Guitar, 12-String Guitar
*Steve Leidenthal - Vocals, Bass
*Jack Shelton - Rhythm Guitar
*Gregg Rolie - Vocals, Organ
*Mickey Hart - Drums
*Vern Justus - Voice Over

Related Act

1969  Santana - Santana (2020 SACD)

1970  Santana - Abraxas (2020 SACD Hybrid and 2001 bonus tracks)  

1971  Santana - Santana III (2016 mobile fidelity and 2006 double disc edition)  

1972  Santana - Caravanserai (2011 MFSL Ultradisc)  

Just Paste

Text Host

Free Text

The Syndicate Of Sound - Little Girl (1966 us, superb garage beat, 1997 Sundazed and 1994 Perfomance edition)

Formed in San Jose, CA, in1964, the Syndicate of Sound were one of the premier garage bands and forerunners of psychedelic rock, establishing a national following based on one massive 1966 hit, "Little Girl." Comprised of vocalist/guitarist Don Baskin guitarist/keyboardist John Sharkey, lead guitarist Larry Ray, bassist Bob Gonzalez, and drummer John Duckworth, the predecessors to the Syndicate of Sound were groups called the Pharoahs and Lenney Lee and the Nightmen. After winning a Bay Area “Battle of the Bands” the Syndicate recorded an unsuccessful single for Del-Fi, “Prepare for Love”. On January 9, 1966, the Syndicate off Sound recorded "Little Girl", penned by Gonzalez and Baskin, at a studio in San Francisco for Hush Records; it became a regional hit in California after San Jose radio station KLIV latched onto it, attracting the attention of executives at Bell Records in New York, who later asked the group to record an album.

"Little Girl" began to break nationally first in Oklahoma City, and the record entered Billboard Magazine's Top 40; just before the single broke, original guitarist left the band, and was replaced by Jim Sawyers. Bell Records was anxious to get their group on the road, the Syndicate of Sound toured constantly for the latter half of 1966, taking time off to tape TV shows like “American Bandstand” and “Where the Action Is”. James Brown, who appeared with them on one of the TV shows, was so impressed that he invited them to open his Cow Palace show in San Francisco.

Drummer Duckworth joined the 6th Army Band rather than risk being drafted, and was replaced by Carl Scott. The pressures of constant touring and the need for a second hit caused tension in the group that ended with Sharkey’s leaving. As a four-piece group the Syndicate of Sound went back on the road and toured with a number of notable bands. They shared the stage with the Yardbirds, Mitch Ryder, Neil Diamond, Paul Revere and the Raiders, the Association, ? and the Mysterions, Janice Joplin, Jefferson Airplane, Sam the Sham and the Pharoes, the Left Bank, the Rascals and many others.

Little Girl topped out at number 8 on Billboard in May of 1966. The group recorded three additional singles up to the end of 1969, "You're Lookin' Fine" (a Kinks cover), "Brown Paper Bag," and "Mexico." Baskin moved to Los Angeles in 1970— the only remaining original member of the band — mounted an unsuccessful attempt at recording another album for Capitol Records in 1970, and then he disbanded the group.

Over the years, other artists have rerecorded "Little Girl" such as England's the Banned, who made it a Top Ten hit, and a “Punk Rock” classic. The DeVinyls made a video of their single, "Little Boy" (a gender change from the original “Little Girl”) which became a hit on MTV, and Dwight Yokham featured the song on his La Crox D’Amour album and subsequently made his recording of “Little Girl” part of his acclaimed “reprise Please, baby” boxed set. Not too surprisingly, a new radio-programming concept called classic rock was catching on and began kicking the dust off the hits of the 1960s up to current. "Little Girl," naturally, was among those getting significant airplay. In June 2007 reached the milestone of having over 1,000,000 major market plays, spurring on renewed interest in the Syndicate of Sound.

In 1990, original members Bob Gonzalez, and Don Baskin, along with John Duckworth, put the band back together. They called on Jim Sawyers for guitar and Ned Torney for keyboard. Jim was with the band during all the heavy touring after “Little Girl” became a hit. After the passing of Ned Torney in the fall of 2005, the band continues on as a four piece. With its current line-up, the band features three of its original members.

In 1995, Gonzalez and company were informed by the Rock & Roll Hall of Fame Museum that they were installing a plaque with the bands picture to be displayed in the museum citing "Little Girl" as a pivotal song in the history of rock & roll. Next to it is a tape-looped recording of "Little Girl" played at 20-minute intervals. The band achieving status as one of the most notable “One Hit Wonders”.

“Little Girl” was picked up by Touchstone in the spring of 2002 to featured in it’s movie; “Sorority Boy’s”. And Dick Clark featured “Little Girl” during a few episodes of his NBC series “American Dreams”.

The Syndicate of Sound was inducted into the San Jose Rocks Hall of Fame during its inaugural induction ceremony, October 2006.

The constant resurgence and ongoing popularity of their hit “Little Girl”; and their cult status as one of the greatest “Garage Bands” ever; will give the Syndicate of Sound their place in Rock and Roll history.

Official-Site

Tracks

Sundazed 1997
1. Big Boss Man (Luther Dixon, Al Smith) - 2:54
2. Almost Grown (Chuck Berry) - 2:11
3. So Alone (John Sharkey) - 3:04
4. Dream Baby (Cindy Walker) - 2:37
5. Rumors (John Sharkey) - 2:06
6. Little Girl (Don Baskin, Bob Gonzalez) - 2:27
7. That Kind of Man (Don Baskin) - 2:17
8. I'm Alive (Clint Ballard, Jr.) - 2:20
9. You (John Sharkey) - 2:44
10.Lookin' for the Good Times (John Sharkey) - 2:24
11.The Witch (Gerald Roslie) - 2:30
12.Is You Is or Is You Ain't My Baby? (Bill Austin, Louis Jordan) - 2:20
13.The Upper Hand (Bob Gonzalez, Don Baskin) - 2:14
14.Mary (Don Baskin) - 2:32
15.Keep It Up (Don Baskin) - 2:44
16.Good Time Music (Don Baskin) - 2:12

Perfomance 1994 

1. Little Girl (Bob Gonzalez, Don Baskin) - 2:29                      

2. Games (Don Baskin) - 2:42 

3. Rumors (John Sharkey) - 2:09 

4. Dream Baby (Cindy Walker) - 2:37 

5. Big Boss Man (Luther Dixon, Al Smith) - 2:56 

6. I'm Alive (Clint Ballard Jr.) - 2:23 

7. Mary (Don Baskin) - 2:39 

8. Get Outta My Life (Don Baskin) - 2:44

9. Keep It Up (Don Baskin) - 2:54 

10.The Upper Hand (Bob Gonzalez, Don Baskin) - 2:16 

11.You (John Sharkey) - 2:47

12.You're Lookin' Fine (Ray Davies) - 3:10 

13.Change The World (Eric Burdon) - 4:38 

14.Brown Paper Bag (Steve Jenkins) - 2:19 

15.Mexico (Don Baskin, Steve Jenkins) - 2:26 

16.First To Love You (Don Baskin, Steve Jenkins) - 2:35 

17.Reverb Beat (Don Baskin, Steve Jenkins) - 2:18 

18.Prepare For Love (Don Baskin, Bob Gonzales, Larry Ray, John Sharkey, John Duckworth) - 2:46 

19.Tell The World (John Sharkey) - 2:32 

20.Saturday Night (George Young, Harry Vanda) - 2:50 

21.Way Over There (Smokey Robinson) - 2:46 

22.Memphis Underground (Herbie Mann) - 3:06 

The Syndicate Of Sound
*Don Baskin - Flute, Saxophone, Vocals
*John Duckworth - Drums, Vocals
*Bob Gonzales - Bass
*John Sharkey - Guitars,  Keyboards, Organ, Piano, Vibraphone, Vocals
*Larry Ray - Lead Guitar
*Jim Sawyers - Guitar, Vocals

Free Text

Just Paste

The (Blues) Creation With Felix Pappalardi - Live At Budokan (1976 japan, raw hard blues rock, rare double disc japan issue)

Blues Creation was formed by guitarists Kazuo Takeda, Koh Eiryu and singer Fumio Nunoya, in early 1969, after the dissolution of their Group Sounds outfit The Bickies. Takeda played many guitar sessions and slowly began to gain confidence in himself as a lead vocalist, so much so that when he returned to the Japanese music scene, in 1973, to support Mountain, it was as the lead singer/guitarist of a new power trio called simply Creation. 

The urbane and gregarious Takeda hit it off with Leslie West and Mountain drummer Corky Laing, but became even bigger mates with bassist Felix Pappalardi and his wife Gail Collins, who had written most of the lyrics for Mountain's hits. 

However, Creation did not release their first LP until 1975, by which time Takeda ? nervous of his new role as lead singer ? invited rhythm guitarist Yoshiaki Iijima to join drummer Masayuki Higuchi and bassist Shigeru Matsumoto in the new line up. Takeda contacted Felix Pappalardi and asked him to produce the second Creation LP. 

Pappalardi, temporarily deafened by the high volume at which Mountain always played concerts, had already decided to concentrate on studio production, and so he and his wife began to write songs with Takeda at their Nantucket home in Massachussets. In April 1976, the results were released in Japan as "Creation With Felix Pappalardi" and in the US as  "Felix Pappalardi Creation". Unfortunately, the international acclaim that Kazuo Takeda so longed for was still unforthcoming, although the record was once more a mighty success in Japan. 

by Julian Cope

Tracks
Disc 1
1. Pretty Sue - 2:46
2. Lonely Night  / You Better Find Out - 3:53
3. A Magic Lady - 1:37
4. Tobacco Road - 6:15
5. Secret Power - 6:51
6. Dark Eyed Lady Of The Night - 8:07
7. MC / Blues - 8:46
8. Theme From A Imaginary Western - 5:58

Disc 2
1. Nantucked Sleighride (To Owen Coffin) - 11:57
2. Preacher’s Daughter - 3:26
3. Watch ‘N’ Chain - 15:16
4. MC - 1'06
5. Dreams I Dream Of You - 4:10
6. Guitar Solo - 1:05
7. High Heel Sneakers  - 3:32
8. Roll Over Beethoven -  3'41

The Creation
*Kazuo Flash Takeda - Guitar, Vocals
*Yoshiaki Iljima - Guitar
*Shigeru Matsumoto -  Bass
*Masayuki Higuchi -  Drums
*Felix Papalardi - Vocals, Bass

Free Text

Just Paste
Text Host

Various Artists - The Hush Records Story (1965-68 us, more treasures from the golden state)

The Nuggets series continues with a various artist compilation charting the life of the San Franciscan label Hush Records. Owner Garrie Thompson's story reads like an American dream come true-.-for a man whose forays in the music industry were no more than a hobby, he had an innate ability to spot a good singer and song. 

Though he will always be remembered as the producer of the one hit wonders Syndicate Of Sound, with the classic garage hit Little Girl, this 24 tracker shows the full extent of his and his artist's talents. The Syndicate were Thompson's best known band, a group of fine young musicians whose clear aim was to be successful. Consequently, their musical style evolved to fit the trend of the day: they had started out playing in James Brown-style combos but soon switched to the British sound of the Beatles. 

Little Girl was the culmination of a mostly improvised session. With only a rough structure to the song, and some spontaneous arrangement, Thompson recorded the session and achieved the dynamics of a hit record. Get Outta My Life was an attempt to create a similar track to Little Girl, brimming with attitude. Looking For The Good Times (The Robot) and Rumour were recorded for their Bell album-.-2 hard-edged original tunes stood out of an album which contained mainly covers. 

The Brogues were another of Thompson's discoveries, tabbing their music as "American Music With A British Accent". They regarded themselves as hard-line R&B musicians, playing gutsy, punkified tunes with a strong influence from British bands such as Manfred Mann and the Pretty Things. Though some of the tracks included on this compilation, such as Someday or But Now I Find are lightweight folk rock. 

Thompson recorded several other bands including Wm Penn & The Quakers, Gerry & Leslie, Stop Sign and the Diminished Fifth with their own brand of punk rock. Some of the best tracks from their repertoire has been included here. Hush sadly closed its doors in 1968, after a series of flops.

 "The Hush Records Story" contains the best of Thompson's work. Of the 24 tracks contained on this compilation 10 have never been issued before-.-some are alternate takes while others are stereo mixes.

Ace-recs 

Artists - Tracks

1. Syndicate of Sound - Little Girl (Bob Gonzalez, Don Baskin) - 2:25

2. Syndicate of Sound - Get Outta My Life (Bob Gonzalez, Don Baskin) - 2:38

3. The Brogues - Someday (Eddie Rodrigues) - 2:12

4. The Brogues - But Now I Find (Greg Elmore, Rick Campbell) - 2:13

5. William Penn and The Quakers - Believe Me (Dan White, Jim Slade, Lonny Gunther) - 2:23

6. William Penn and The Quakers - Hey Hey Hey Hey (Dan White, Jim Slade, Lonny Gunther) - 2:27

7. The Brogues - I Ain't No Miracle Worker (Annette Tucker, Nancy Mantz) - 2:57

8. The Brogues - Don't Shoot Me Down (Eddie Rodrigues, Greg Elmore, Rick Campbell, Gary Cole) - 2:25

9. Syndicate of Sound - Looking for the Good Times (The Robot) (John Sharkey) - 2:23

10.Syndicate of Sound - That Kind of Man (Don Baskin) - 2:16

11.Syndicate of Sound - Rumors (John Sharkey) - 2:07

12.Syndicate of Sound - Say I Love You (Bob Gonzalez) - 2:30

13.Gerry and Leslie - I Like That Girl (Jerry Ralston, Leslie Knutson, Michael Appleton) - 2:14

14.William Penn and The Quakers - Ghost of the Monks (Jo Ann Gunther, Lonny Gunther) - 3:07

15.William Penn and The Quakers - Care Free (Lonny Gunther) - 2:54

16.William Penn and The Quakers - Coming Up My Way (Gerald D. Tucker) - 3:50

17.Syndicate of Sound - Mary (Marrie) (Don Baskin) - 2:45

18.Syndicate of Sound - Games (Don Baskin) - 2:36

19.The Stop Sign - Nothing Matters Now (Ken Lively) - 3:06

20.William Penn and The Quakers - Little Girl (Bob Gonzalez, Don Baskin) - 2:30

21.The Diminished Fifth - Doctor Dear (Kenleigh Hall) - 2:21

22.The Diminished Fifth - Do You Hear (Kenleigh Hall) - 1:56

23.Syndicate of Sound - Saturday Night (Harry Vanda, George Young) - 2:57

24.The Brogues - Someday (Eddie Rodrigues) - 2:25

Just Paste
Free Text
Text Host

Various Artists - You Got Yours! East Bay Garage (1965-67 us, treasures from the golden state)

Directly across the Bay from San Francisco, in Alameda County, lies a thirty mile band of suburbia encompassing small cities like San Leandro, Hayward, Union City and Castro Valley, topped and tailed by Oakland and Fremont and linked by the winding thoroughfare of East 14th Street. 

A century ago, this was where a fledgling movie industry briefly considered making a home, before it discovered Hollywood to the south. And forty years ago, the East Bay brimmed with another 20th Century popular cultural phenomenon: the garage band. The ‘adult’ rock shenanigans of San Francisco’s hippie clique would have little impact in the clubs and dancehalls of this particular locale. Local teens demanded tough, danceable rock and soul: entertainment, not enlightenment.

Big Beat’s Nuggets From The Golden State series makes an overdue welcome return with “You Got Yours!: East Bay Garage” 1965-67. Returning to the regional themes espoused in earlier volumes, this power packed collection focuses on the East Bay mid-60s garage scene, one of the grungiest and most prolific in the Bay Area. It pays tribute not only to the hundreds of bands that populated the region, but also the scene’s enablers, like promoter Bill Quarry. 

This self-effacing man ran the legendary Rollarena in San Leandro, bringing Them to the venue for their first US show in 1966, and in short order also promoted the Yardbirds, Animals, Byrds, Paul Revere and many others, either at the Rollarena or as his confidence grew, bigger shows at venues like Oakland’s Auditorium and Coliseum. Most other parts of the country didn’t have such hit acts visit at all, let alone appear in a suburb of a major conurbation.

Naturally, Quarry booked a myriad local combos at his dances, inspiring local musicians with both the acts he brought to town, and the opportunity he gave them to show their wares. Be they the garage soul of the Spyders and US Male, the bright, British sounds of the Baytovens, Shillings and Peter Wheat & The Breadmen, or the droll Stonesy punk of the Harbinger Complex, Just Six and Soul Vendors, the East Bay bands had a distinct, decidedly blue-collar, flavour, and we’ve collected the best of them on “You Got Yours!”. 

Many of these tracks are acknowledged 60s punk classics, others are gems waiting to be discovered. There’s a healthy helping of unissued cuts, as well as a booklet jampacked with photos and memorabilia. The CD also acts as the audio soundtrack to a recent book by Bruce Tahlser of the US Male that documents the East Bay 60s rock scene (details at www.teensntwenties.com)

by Alec Palao

Tracks - Artists
1. Waiting For You - The Baytovens - 2:04
2. Baby What's New - Peter Wheat & The Breadmen - 2:41
3. Tomorrow's Soul Sound - The Harbinger Complex - 2:23
4. I'm Gonna Be Gone - The Just Six - 1:54
5. It's Up To You - The Shillings - 2:13
6. Her Heart Said No - The Blue Lite Conspiracy - 3:21
7. My House - The Baytovens - 2:48
8. You Got Yours - The Us Male - 2:47
9. Sometimes I Wonder - The Harbinger Complex - 2:18
10.Bo Said - The Just Six - 2:46
11.Humpty Dumpty - The Epics - 2:54
12.You're Gonna Cry - The Donnybrookes - 2:17
13.Who Stole The Batmobile - The Gotham City Crime Fighters - 2:19
14.Not The Least Bit True - The Shillings - 2:46
15.Get Out Of My Eye - The Soul Vendors - 2:06
16.Luv Look Away - The Baytovens - 2:23
17.Dynosaur - The Flintrocks - 2:19
18.I'm Feeling Good - The Bristol Boxkite - 2:19
19.You're Takin' Hold Of Me - The Immediate Family - 2:16
20.Away Girl - The Towaway Zone - 2:30
21.Gotta Find A New Love - The Spyders - 2:40
22.Look At The Sun - The Gants - 2:15
23.Such A Fool - The Baytovens - 3:17
24.Where I Belong - The Daytrippers - 2:55

Free Text
Text Host

Captain Beyond - Sufficiently Brethless (1973 us / uk, sensational hard progressive rock with smooth jazzy feeling)

Captain Beyond's second album must have confused the diehards. Where their self-titled debut had upheld the basic progressive heavy rock blueprint of lengthy instrumental explorations, constant tempo changes, and opaque, yet cinematic lyrics, Sufficiently Breathless downplays them for a subtler, song-oriented production. 

The predominant mood is snappy and businesslike; no track runs over five and a half minutes. This newfound conciseness certainly benefited such heavy-rocking efforts as "Distant Sun," even as the band stuck to their diverse guns on the moody, acoustic title track and the sleek Latin funk rock of "Bright Blue Eyes" and "Everything's a Circle." The results were intelligent and self-assured, yet the band's never-ending bad luck again intervened when vocalist Rod Evans quit in late 1973, leaving the album adrift. 

The band would proffer a markedly different style on their return four years later, but anyone dismissing progressive heavy rock as an oxymoron should definitely check out this album first. 

by Ralph Heibutzk

 Tracks

1. Sufficiently Breathless - 5:15

2. Bright Blue Tango - 4:11

3. Drifting In Space - 3:12

4. Evil Men - 4:51

5. Starglow Energy - 5:04

6. Distant Sun - 4:42

7. Voyages Of Past Travellers -1:46

8. Everything's A Circle - 4:11

All compositions by Lee Dorman

Captain Beyond
*Lee Dorman - Bass
*Rod Evans - Lead Vocals
*Guille Garcia - Congas, Timbales, Percussion
*Larry Reinhardt - Acoustic Electric, Slide Guitars
*Marty Rodriguez - Drums, Backing Vocals
*Reese Wynans - Acoustic, Electric Piano
*Paul Hornsby - Organ

Just Paste
Free Text
Text Host

Various Artists - Hot Generation: 1960's Punk From Down Under (60's aussie, raw juvenile tuneful garage beats)

According to popular stereotypes, Australians prefer their beer strong and their football played by their own rules: hard'n'fast. It's an attitude that frequently extends to their music. Rock'n'roll down under has long held a reputation for being hard, fast, loud and delivered with an untamed, youthful abandon analogous to the land itself. In Australia's mid-60s beat scene this wild spirit flourished, manifesting itself in the music of hundreds of young bands, some of which, fortunately, made it onto vinyl. 

Unfortunately, with a few notable exceptions (the Easybeats, the Missing Links, the Masters Apprentices), most of these amazing records remain largely unknown and unreleased outside of their homeland. Now some of the very best of these sought-after sounds can be heard on Big Beat International's ongoing Antipodean 1960s series, the latest instalment of which is Hot Generation, another collection of prime tracks from the archive of Festival Records.

While the artists here drew from a broad stylistic palette - beat, pop, R&B, soul, even surf - the music shares a raw energy and a sense of adventure indicative of the spirit we've come to call 'punk'. This new frontier punk spirit appears in a variety of moods, shapes and attitudes: The Sunsets' The Hot Generation is a relentlessly upbeat celebration of the nation's surfin' lifestyle, yet later the Lost Souls' dark, eerie lament Peace of Mind finds them marooned "a long way from home".

Steve & The Board's two contributions, I Want and I Call My Woman Hinges, typify the Aussie beat blueprint laid out by the Easybeats, combining crunchy guitar riffery, clever vocal harmonies and a unique sense of mischief. The Easys' touch is even more apparent on Johnny Young's Good Evening Girl, written by that group's prolific Vanda and Young. Elsewhere, the Soul Agents provide throbbing freakbeat on I'm Still Mad at You and back Marty Rhone on the vibrantly catchy Every Minute of You, while the Black Diamonds dish out soaring pop melodies on See the Way and Not This Time.

Other highlights include Robbie Peters' fiery version of the Zombies' She Does Everything For Me, the Purple Hearts' fuzz-inflected R&B wailer I'm Gonna Try, Russ Kruger & the Atlantics' powerful Keep Me Satisfied and Tony Worsley's savage take on the Birds' How Can It Be. The latter track was rather out of character for Worsley, who was a frequent visitor to the Aussie charts in his tamer moments, as was Normie Rowe, who shows his rougher side here on the lesser known With Me. Shout-outs should also go to Ray Brown & the Whispers, the Morloch, the Southern Gentlemen and the Pogs who all provide memorable moments. Whatever form it may take, the wild spirit of this 'Hot Generation' possesses every track.

by Mike Stax

Tracks - Artists
1. The Hot Generation - The Sunsets - 2:13
2. I'm Still Mad At You - The Soul Agents - 2:26
3. How Can It Be - Tony Worsley And The Fabulous Blue Jays - 3:11
4. Good Evening Girl - Johnny Young - 2:15
5. Every Minute Of You - Marty Rhone And The Soul Agents - 2:15
6. I Call My Woman Hinges - Steve And The Board - 1:58
7. Keep Me Satisfied - Russ Kruger - 2:39
8. She Does Everything For Me - Robbie Peters - 2:01
9. No - Toni McCann - 1:56
10. I'm Gonna Try - The Purple Hearts - 2:16
11. Naughty Girl - The Showmen - 2:31
12. Watch Out - The Id - 2:17
13. All Over You - Tony Worsley And The Fabulous Blue Jays - 1:34
14. See The Way - The Black Diamonds - 2:30
15. Go To Him - Ray Brown And The Whispers - 2:15
16. The Pogs Theme - The Pogs - 2:27
17. I'm Feeling Sad - The Morloch - 2:23
18. I Want - Steve And The Board - 2:39
19. Peace Of Mind - The Lost Souls - 2:51
20. Saturday Date - Toni McCann - 1:50
21. I'll Make You Cry Too - The Fabulous Blue Jays - 3:19
22. Leave Myself To Me - The Southern Gentlemen - 2:45
23. With Me - Normie Rowe And The Playboys - 1:47
24. (Ain't It) Strange - Ray Brown And The Whispers - 2:43
25. Beat It! - Tony Cole - 3:02
26. I Feel Good - Greg Anderson - 2:53
27. No More Moanin' - Tony Barber - 2:02
28. Not This Time - The Black Diamonds - 2:50
29. High Time Baby - Peter Doyle - 2:49
30. Why Why Why - The Dave Miller Set - 2:41

Free Text
Text Host

Magi - Win Or Lose (1975 us, high energy guitar rock, with Tom Stevens of Long Ryders fame)

This north Indiana outfit ruled the roost in the “Michiana” region in the mid-’70s, attracting huge crowds whenever they played live. Often compared with Led Zeppelin, this 5-piece outfit rocked the area with a tight and raw sound that combined in-your-face hard rock with undisguised psychedelic tendencies and lashings of fuzz. 

It must be said the boys didn’t do themselves any favours by issuing their only known album with a cover reminiscent of a Journey photo shoot, but regardless of their dubious hair and sense of dress, Magi certainly deserved more than the obscurity into which they ultimately lapsed. 

Win Or Lose, recorded at Uncle Dirty’s Sound Machine studios in Michigan in 1976, and which boasts a series of solid songs propelled by a tight rhythm section and some more-than respectable vocals, is always reviewed enthusiastically: “superb heavy rock fuzz spectacular with some psych feel” “ rare Led Zep-like masterpiece of killer rock ” “hard ro c k i n ’ with a psych edge that makes it totally unique” In another place or time this band could have been huge. 

As it is, we only have this one incredibly rare album to judge them by, but based on the evidence, Magi definitely receives an unqualified thumbs-up.  About a decade later Tom Stevens became one of the Paisley Underground's most active musicians, forming the Long Ryders and been a part of  Danny and Dusty's outfit.

Tracks
1. Win or Lose - 5:13
2. Undecided Man - 5:11
3. I Didn't Ask You - 5:51
4. Steven Jam - 4:48
5. Fryin' Away - 6:56
6. Snow Bound - 4:56
7. Runnin' Low - 5:43
8. Everytime I'm with You - 4:42

Magi
*Tom Stevens - Bass, Vocals
*Steve Vanlaningham - Guitar
*Larry Stutzman - Guitar, Vocals
*Jerry Wiggins - Drums
*John Gaut - Vocals

Free Text
Just Paste

The Open Mind - The Open Mind (1969 uk, splendid psych freak beat, 2006 bonus tracks remaster)

The band was formed in the mid 1960s by four musicians from Putney, South London.Initially named The Drag Set, they released a little-known single in February 1967, "Day and Night"/"Get Out of My Way". Shortly thereafter, they changed their name to The Open Mind and in July 1969 released a self-titled LP which has since become a highly sought-after collectible.

The Open Mind produced one of the finest UK psychedelic albums, which is excellent throughout and hardly contains a bad track. The music is characterised by some particularly strong psychedelic guitar work and good vocals. It's impossible really to pull-out particular tracks as highlights - they're almost all equally good.

Fortunately this album was re-released and this has made this classic piece of 60’s Freakbeat much more accessible to collectors of 60’s psychedelia. The reissue includes their second rare 45 release, which unlike the first wasn't taken from the album and is superb. A blistering 45 with tasty psychedelic fuzz guitar work. The band, however, is best known for its druggy August 1969 single, "Magic Potion", which did not appear on the album.

Tracks

1. Dear Louise - 3:11

2. Try Another Day - 2:41

3. I Feel the Same Way Too - 5:02

4. My Mind Cries (Mike Brancaccio, Terry Schindler) - 3:08

5. Can't You See? - 2:57

6. Thor the Thunder God (Mike Brancaccio, Terry Schindler) - 2:46

7. Horses and Chariots (Mike Brancaccio, Terry Schindler) - 3:35

8. Before My Time (Mike Brancaccio, Terry Schindler) - 4:06

9. Free as the Breeze - 5:37

10.Girl I'm So Alone (Mike Brancaccio, Terry Schindler) - 3:19

11.Soul and My Will - 2:56

12.Falling Again (Terry Schindler) - 3:08

13.Magic Potion - 3:24

14.Cast a Spell (Mike Brancaccio, Terry Schindler) - 2:12

15.Day and Night (Terry Schindler, Mike Brancaccio) - 2:15

16.Get out of My Way (Terry Schindler, Mike Brancaccio) - 2:19

All songs by Mike Brancaccio except where stated

Tracks from 13-16 are 45'  single releases

Tracks 15,16 perfomed by The Drag Set

The Open Mind
*Mike Brancaccio - Guitar, Vocals
*Timothy De Feu - Bass
*Phil Fox - Drums
*Terry Martin Schindler - Guitar, Vocals

Just Paste

Free Text

Text Host

Jeff Beck Group - Rough And Ready (1970 uk, stylish blues rock with funky soul jazzy vibes, 2005 japan remaster)

In 1970 Beck was badly hurt in a car crash, and had a long time in which to cool himself out. Which brings us up to this newest incarnation of the Jeff Beck Group, and its new record. Rough and Ready, a surprising, fine piece of work from a man who wasn't really expected to come back.

The first cut, "Got the Feeling," starts out strong with a tough percussive line from drummer Cozy Powell, weakens up a little with the introduction of Beck's new singer, Bob Tench, and gets shored up again with a jazz-tinged piano break by Max Middleton, followed by a hard, spicy solo from Beck, obviously back in his element, and noticeably a little mellower. Then comes "Situation," a long, well-played evocation of that misnamed hybrid jazz-rock, and a neat rocker called "Short Business." 

Vocalist Tench does a valiant job on both, considering the considerable handicap of being mixed down under the guitar. The album was produced by Beck, and there's that old ego at work again. Perhaps Beck figures he won't make the same mistake twice. Tench has a fine. gravel voice, uses Rod's phrasing and sounds sometimes like Felix Cavaliere. Trying to fill Stewart's high heels is no mean feat, and it's to Tench's credit that he carries himself well throughout.

Side one is rounded out with "Raynes Park Blues," a lovely, striking instrumental lament, the kind of wistful line a musician might write if he weren't working but wanted to. It's the best number here, evocative of somber times, the group cooking quietly. Toward the end there's a tolling bell in there, and one kind of wonders what it's all about.

Side two opens with three rockers reminiscent of the Beck of old: "I've Been Used" has a fine piano line on which Max Middleston shines, and a tortuous yet finely melodic break from Beck, plus a bass line from Clive Chaman that sounds like a sty of hogs in heat. This and the next cut. "New Ways" provide Tench with his finest moments here. After another nice solo from Beck. "New Ways" segues into "Train Train," which is a vehicle primarily for drummer Powell, a potent, intelligent musician who, like his predecessor in this band. Mick Waller, treats his rhythm with expert yet economical proficiency. 

by Stephen Davis - Rolling Stone- November 25, 1971

Tracks

1. Got the Feeling - 4:46

2. Situation - 5:26

3. Short Business - 2:34

4. Max's Tune (Max Middleton) - 8:24  

5. I've Been Used - 3:40

6. New Ways/Train Train - 5:52

6. Jody (Jeff Beck, Brian Short) - 6:06

All songs by Jeff Beck except where stated

The Jeff Beck Group
*Jeff Beck - Guitars, Bass
*Bobby Tench - Vocals, Rhythm Guitar
*Max Middleton - Piano, Keyboards
*Clive Chaman - Bass
*Cozy Powell - Drums

Free Text
Text Host

The Rationals - Temptation 'Bout To Get Me / Live At The Grande Ballroom Nov. 27 (1968 us, sharp and raw garage 'n' blues, 1995 Alive Vinyl issue)

Recorded live at Detroit's Grande Ballroom in November 1968, this finds the group using a much heavier hard/blues rock approach than they took on their singles, concentrating on blues,R & B covers. It has its use as a document of where they were at during this era. The sound quality isn’t really great (poor I would say), but  the onus is probably more in value as a documentary  heritage.

by Richie Unterberger (the half)

Tracks
1. Fever (Davenport, Cooley) - 4:44
2. I Get Evil (Whitaker) - 2:55
3. Temptation 'Bout To Get Me (The Knight Brothers) - 3:56
4. The Instrumental (Rationals) - 3:56
5. Wang Dang Doodle (W. Dixon) - 10:47

Rationals
*Scott Morgan - Lead Vocals, Flute, Harmonica, Percussions
*Steve Correll - Electric Guitar, Vocals
*Terry Trabandt - Bass, Vocals
*Bill Figg - Drums

Free Text
Just Paste