Mason - Starting As We Mean To Go On (1973 uk, wondrous harmonies in a folk soft rock marquetry)

The title of the lone album by Mason is rather ironic when considering the band's fate; not only did they fail to "go on," their album wasn't even released until 37 years after the fact. In retrospect, it's hard to believe that a soft pop/folk-rock gem like this could languish in limbo for so long, but one has to consider the back-story. After the breakup of ‘60s U.K. pop stars Dave Dee, Dozy, Beaky, Mick and Tich, Dave Dee briefly worked with singer/songwriter Peter Mason, whose biggest claim to fame at the time was the fact that he almost replaced Robin Gibb in the Bee Gees. Dee's solo efforts came to little, but Mason eventually hooked up with Beaky (John Dymond) and Tich (Ian Amey) to make Crosby, Stills & Nash-inspired harmony-laden folk-pop. 

They signed to Pye's prog rock-oriented imprint Dawn under the name Mason, but after releasing a couple of unsuccessful singles, the label lost interest and declined to release the 1973 album. Decades later, Mason's album sessions were discovered moldering in the archives, and finally given an official release in 2010. While it seems unlikely that the easygoing acoustic sounds of Starting as We Mean to Go On would have made a big impact in glam-era England, it's entirely reasonable to assume that any one of the lambent soft rock delicacies contained herein could have connected with the U.S. charts, which were full of similarly minded artists at the time. 

While the band's CSN influence can be clearly heard on "It Was Me Who Left Her," which is a close cousin to the American trio's "Helplessly Hoping," Mason undeniably establish their own identity over the course of the album. For all the American rural rock touches (including the overt country-rock of the fiddle-driven "My Country Home"), there's an unmistakable Englishness to the melodic sensibilities here, one that connects Mason as much to the likes of John Pantry and the Bee Gees as to CSN, Bread, et al. 

by James Allen

Tracks
1. Don't You Ever Change Your Mind (Mason, Harman) - 4:21
2. To 50 From 45 (Mason, Dymond) - 3:55
3. It Was Me Who Left Her - 2:58
4. Love's Evening Song - 2:39
5. You've Gotta Get Up (Mason, Dymond) - 3:24
6. When Freedom Comes - 2:55
7. Lordy - 5:14
8. It's All Gone Wrong - 3:28
9. My Country Home - 3:44
10.J'Ann Here Is A Song - 2:14
11.48 Now To Each Day (P. Mason, Barry D. Mason) - 4:07
12.It's Alright - 4:37
13.Fading (Ian Amy, John Dymond, Mason) - 3:09
14.Rise With The Morning - 5:58
All songs by  Peter Mason unless as else stated

Mason
*Peter Mason - Vocals, Guitars, Bass,
*Ian "Tich" Amey - Vocals, Lead Guitar, Pedal Steel, Mandoline
*John “Beaky” Dymond - Vocals, Guitars, Banjo, Mandolina
*Chas O’brien - Vocals, Drums
*Bob Taylor - Bass

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Keith Christmas - Tomorrow Never Ends The Anthology (1974-76 uk, bright melodic folk prog rock with funky soul vibes, 2010 double disc edition)

After his first three albums in the late 1960s and early '70s, Keith Christmas was without a record deal for a few years and left the music business, returning to the fray with a couple of albums on Emerson, Lake & Palmer's Manticore label. This two-CD set has both of these (1974's Brighter Day and 1976's Stories from the Human Zoo), adding two tracks that appeared only on 1974-1975 singles, as well as previously unreleased early versions of four songs from Brighter Day. 

As he had on his earlier albums, Christmas remained a frustrating artist for listeners inclined to the kind of eclectic British singer/songwriter material he recorded. He was obviously more talented (particularly as a guitarist) than the bulk of singer/songwriters seeking record contracts, yet not such a striking or memorable vocalist or composer that his albums figure among the more impressive records of their time, even on a cult level. Influenced by folk-rock and mid-'70s mainstream rock of both the U.K. and U.S. variety, these were pretty ordinary if unobjectionable albums of their type, particularly in the melodic department. Brighter Day had strong connections to King Crimson alumni, as it was produced in London by Greg Lake and Pete Sinfield, with contributions by Ian Wallace, Mel Collins, and Ian McDonald. 

The songs mixed some folk, progressive rock, orchestral pop, and even soul influences with lyrics that got into some unusual (for rock) subjects, like trendy religious conversions, vagabonding on the rock circuit, and gypsy lifestyles, often in a storytelling fashion. Christmas was only an average-at-best tunesmith, though, and his vocals were adequate but thin, working better on the more introspective, acoustic-oriented numbers (especially the one most indebted to British folk, "Robin Head") than the harder-rocking ones. 

Recorded in Hollywood with contributions from Steve Cropper and Duck Dunn of Booker T. & the MG's, Stories from the Human Zoo was more oriented toward harder, at times slightly Dylanesque mainstream rock, though not enormously so. Again, Christmas probed some fairly unusual territory in songs like "The Astronaut (Who Wouldn't Come Down)" (he did play on Bowie's Space Oddity album, after all) and "Last of the Dinosaurs." Most often, though, he left the impression of a sensitive soul observing the small trials and sad vignettes of life and taking them to heart, most suitably when he came up with melancholic melodies to go with them on "High Times" and "Tomorrow Never Ends." 

As for the six bonus tracks (all grouped together at the end of disc one), the four early versions of songs from Brighter Day are, as expected, simpler productions (though not extremely so) than the ones on the album. The 1974 B-side "Sweet Changes" is very much in the reserved folky style he favored, while the 1975 A-side cover of the soul standard "My Girl" seems a ridiculous mismatch for Christmas' style. The 20-page booklet gives the material deluxe treatment, with lengthy liner notes including memories from Christmas himself, as well as lyrics for all of the songs on both albums. 

by Richie Unterberger

Disc 1 

Brighter Day 1974

1. Brighter Day - 6:15 

2. Foothills - 3:59 

3. Country Farm - 2:53 

4. The Bargees - 6:06 

5. Lovers' Cabaret - 4:30 

6. Robin Head - 4:48 

7. Gettin' Religion - 4:23 

8. Could Do Better - 4:46 

9. Song Of A Drifter - 3:07 

10.Brighter Day (First Version) - 7:46 

11.Foothills (First Version) - 4:08 

12.Robin Head (First Version) - 4:52 

13.Lovers' Cabaret (First Version) - 4:33 

14.Sweet Changes (B Side) - 4:14 

15.My Girl (1975 Single A Side) - 3:09

All compositions by Keith Christmas

Disc 2 
 Stories From The Human Zoo  1976
1. The Dancer - 4:28
2. The Nature Of The Man - 3:32
3. 3 Golden Rules - 4:12
4. Souvenir Affair - 2:55
5. The Last Of The Dinosaurs - 4:37
6. The Astronaut (Who Wouldn't Come Down) - 3:14
7. High Times - 6:19
8. Tomorrow Never Ends - 4:04
9. Life In Babylon - 5:41
All compositions by Keith Christmas

Musicians
*Keith Christmas -  Congas, Flexatones, Guitars, Tambourine, Vocals,
*Mel Collins  - Flute, Horn Arrangements, Saxophones, Soloist
*Steve Cropper  - Guitar
*Martin Drower  - Trumpet
*Donald "Duck" Dunn  - Bass
*Malcolm Griffiths  - Trombone
*Andy Hendriksen  - Engineer
*Neil Hubbard  - Guitar
*Skaila Kanga  - Harp
*David Kemper  - Drums
*Greg Lake  - Producer
*Henry Lowther  - Trumpet
*Ian Mcdonald  - Piano
*Eddie Mordue  - Alto Sax
*David Nicterne  - Guitar
*Dean Olch  - Flute
*Tommy Reilly  - Harmonica
*Darryl Runswick  - Bass
*William D. "Smitty" Smith  - Keyboards
*Pete Solly  - Clavinet, Moog Bass, Piano
*Alan Spenner  - Bass
*Cat Stevens  - Horn Arrangements, String Arrangements
*Snuffy Walden  - Guitar
*Wendy Waldmann  - Vocals
*Ray Warleigh  - Alto Sax

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Kathy McCord - New Jersey To Woodstock (1968-79 us, brilliant soulful folk psych with jazz expansions, 2010 two disc set)

Had events taken a different turn, Kathy McCord might now be regarded as a 60s pop icon, rather than a cult heroine. It was her early mentor Chip Taylor’s intention that she would record the original of the now-classic ‘Angel Of The Morning’, but his partner Al Gorgoni favoured Evie Sands. Instead Kathy got to record a single for their Rainy Day label in 1968 that fell stillborn from the presses.

A year later, Kathy became the first non-jazz artist to be signed to Creed Taylor’s renowned CTI imprint. Her eponymous album featured musicians of the calibre of John Hall, future founder of Orleans, on guitar and flautist Hubert Laws. Its ethereal beauty failed to reach its intended audience, and it was not until years later – decades, even – that it started to achieve a belated recognition, particularly among those who enjoy the works of such McCord peers as Nick Drake and Vashti Bunyan. Copies of the original LP have crept up in price and nowadays fetch a pretty penny when offered for sale. A limited edition Japanese CD from the mid-90s sold out almost before it hit the streets.

In the 21st century, the cult of Kat continues to snowball. When the opportunity arose for Ace to license and re-reissue “Kathy McCord”, we jumped at it. She is, after all, family by relation – her big brother Billy Vera has long been part of the Ace team, as both compiler and annotator. Billy is a thrilled as we are that we’re able to give his little sister the treatment that her small but mighty catalogue deserves. It was Billy who approached her on our behalf to see if she had unissued material lurking in corners or cupboards that we could use to make that catalogue even bigger.

To everyone’s delight, Kathy trawled through her tapes and found 16 tracks that make up CD2 of this set. The fi is not always hi on these, but her abundant talent shines through on each and every one of them. They were recorded at various times during the 1970s, while Kathy was living in Woodstock and hanging out with the likes of the Fabulous Rhinestones, Amos Garrett, Paul Butterfield and assorted members of the Band – most if not all of whom can be heard in this half of our programme.

Listening to the repertoire of “New Jersey To Woodstock”, it’s quite incredible that Kathy never got the kind of breaks that were afforded to considerably less talented contemporaries of hers. She had the look, and the looks. She wrote most of her own material and sung it with supreme confidence and soulfulness. Her lack of success can only be down to a matter of being on the wrong label, or in the wrong place, at the wrong time. But it’s never too late to travel from New Jersey To Woodstock, so buy your ticket and let Kathy McCord make your journey worthwhile.

by Tony Rounce

Tracks

Disc One

New Jersey. The 60’s Recordings

1. Rainbow Ride - 5:05

2. I'm Leaving Home (She's Leaving Home) (John Lennon, Paul McCartney) - 4:20

3. Candle Waxing - 4:12

4. Baby James - 3:14

S. The Love Flow - 3:00

6. New York Good Sugar/Love Lyric #7 - 3:57

7. For You, Child - 3:08

8. Jennipher - 4:39

9. Take Away This Pain - 5:36

10.Velvet Smile (Kathleen McCord, Billy Vera) - 3:16

11.I'll Give My Heart To You (Chip Taylor)  - 3:47

12.I'll Never Be Alone Again (Chip Taylor, Al Gorgoni) - 2:27

All titles written by Kathleen McCord except where noted

Disc Two
Woodstock. The 70s Recordings
1. New Horizons - 3:22
2. Acapulco - 3:07
3. Baby, Come Out Tonight - 2:55
4. That's A Love That's Real - 3:54
5. No Need To Wait - 3:11
6. I'll Be Lovin' You Forever - 3:18
7. Magnolia - 3:06
8. Madman - 3:53
9. Captain Cody Memorial - 3:55
10.Keep Peace In The Family - 3:41
11.You'd Convince The Devil - 2:42
12.Who's Been Coolin' You? - 5:57
13.Don't Go Talkin' To Strangers - 4:02
14. Every Little Thing You Do - 3:56
15. I Wanna Know Why - 4:38
16. Shine On - 3:57
All titles written by Kathleen McCord

Musicians
*Kathy McCord - Vocals, Guitar
*Harvey Brooks - Bass
*Kal David - Guitar, Vocals
*Marty Grebb - Keyboards
*Lenon Helm - Drums
*Rick Danko - Bass
*Amos Garrett - Guitar
*Tommy "T-Bone" Wolk - Bass
*Howard "HoJo" Johnson - Saxophone
*John Platania - Guitar
*Tom Malone -  Trumpet, Tuba, Saxes, Flutes
*Lou Marini - Saxophone
*David Sanborn - Alto Saxophone
*Lew Del Gato - Sax
*Michael Brecker - Sax, Flute
*Randy Brecker - Trumpet, Flugelhorn
*Ed Shaughnessy - Drums, Tabla
*Don Sebesky - String, Brass Arrangements
*Hubert Laws - Flute
*Paul Harris - Piano, Organ
*John Hall - Guitar
*Willis Kelly - Drums

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Luv Machine - Luv Machine (1970 barbados, great hard guitar rock with prog traces)

Originally released in 1970, the single "Witches Wand" is as classic as it gets from this magical era in underground music. To this day it remains a firm favourite at 60s mod and psych and 70s rock clubs up and down the UK.

Formed in the tropical climes of Barbados in 1967, the Luv Machine relocated to the UK in late '68 to seek fame and fortune in those swinging times.

The band started out by playing the underground black soul clubs in the Midlands area. Their sound was a lot harder-edged than the usual acts on the initial club circuit on which they were being booked.

Influenced by Hendrix, Cream, Credence Clearwater Revival as well as more obscure hard rock bands of the time, Luv Machine managed to combine elements of both rock & soulful psych with a funky progressive groove. Added to this was a Caribbean vibe, which made them completely unique amongst rivals of the day.

The band's self-titled debut album that was released for Polydor in 1971 has become a much-revered and collectable item amongst collectors and fans of the era.

Unfortunately, the band split before the album was actually released, which meant it was never actually given the publicity it surely deserved. Who knows what may have happened if the situation was different for them.

Tracks
1. Witches Wand - 2:45
2. You're Surprised - 2:41
3. It's Amazing - 3:21
4. Happy Children (Bishop, Bradshaw) - 3:07
5. Everything (Martin Hall) - 3:16
6. Maybe Tomorrow - 4:19
7. Reminiscing (Vernon Pareira) - 2:52
8. Change your Mind - 2:57
9. Corrupt One - 3:47
10.Lost - 3:06
11.My Life Is Filled With Changes - 3:05
12.Portrait Of Disgust - 4:53
All songs by Michael Bishop except where noted

Luv Machine
Michael Bishop - guitar, vocals
Bob Bowman - guitar, vocals
Errol Bradshaw - drums, vocals
John Jeavons - bass, vocals

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Beast - Beast (1969 us, fantastic psych jazz rock, 2010 edition)

Beast's debut album is a crossline between psych and brass rock. The band offers great moments, some cool jazz rock and relaxed psychedelia, with intense glimpses of progressive rock. There are also moments when the band goes through creative experimental fields, looking for their identity in the musical whirlwind of the late 60's. Although the album has different influences, it manage to stand at a high level, creating the foundations for their great forthcoming second release.

Tracks
1. Prelude For Today - 0:44
2. Floating (Down By The River) (Robert Yeazel) - 3:53
3. Spaceman (Robert Yeazel) - 3:34
4. Alley Sam (I Feel A Change) (Robert Yeazel) - 3:12
5. Goin'downtown (Robert Yeazel, Ken Passarelli, David Raines) - 1:55
6. Listen (Robert Yeazel, Ken Passarelli, David Raines) - 2:57
...Cannabis Sativa L (Robert Yeazel) -
7. Ev'ry Man Hears Different Music (Robert Yeazel, Gerry Fike) - 3:40
8. Love Like (David Raines) - 2:43
9. Dear Ruth (David Raines) - 2:07
10.When We Rise (Robert Yeazel, Michael Kerns, Roger Bryant) - 2:30
11.(Strange Places Like) Santo Domingo (Robert Yeazel) - 6:37
12.On My Way (David Raines) - 2:42
13.Treat Her Right (Roy Head) - 1:55
14.Wow Wow (Robert Yeazel, Ken Passarelli) - 0:51

Beast
*David Raines - Lead Singer
*Robert Yeazel - Lead Guitar
*Gerry Fike - Organ
*Larry Ferris - Drums
*Michael Kerns - Flute, Saxophones
*Ken Passarelli - Bass, Harmonica
*Dominick Todero - Trumpet

1970  Beast - Beast (2013 Flawed Gems issue)
Related Acts
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Windflower - Windflower (1974 us, heavenly ethereal prog folk with jazzy shades)

Band formed in Alaska in late 1972. All members belonged to the Baha'i Faith and many of the gigs the group played were associated with Baha'i community events.

Windflower recorded one album of original material in 1973 at Studio 70 in Munich, West Germany, during a European tour (also associated primarily with Baha'i events at the time) which included performances in Germany, England, Austria, Lichtenstein, Switzerland, Israel, Norway and Finland. The album was privately pressed and released in early 1974.

Prior to returning to Alaska and retiring from professional music, the group also performed at various venues in Oklahoma, Hawaii. Band members including Gary Lamar, Marshall Murphy, and Gavin Reed, along with vocalist Barbara Taylor, performed casual gigs for a number of years, based out of Anchorage, Alaska, while they were all resident there, until the mid-1990's. 

by Gavin Reed 

Tracks 
1. Headed For The Country - 4:22
2. You Know It Ain't Often - 4:23
3. Children Of The Loom - 5:13
4. Remover Of Difficulties - 3:40
5. Marriage Of Two Minds - 4:36
6. God Is Passing By - 3:00
7. Wind Dance - 7:01
8. Back To The Calling Of Home - 3:55
9. Song Celestial - 4:47
All compositions by Victor Wong, David Rychetnik, Gary Lamar, Gavin Reed, Marshall Murphy.

Windflower 
*Victor Wong - Vocals, Keyboards,Mellotron, Acoustic Guitar, Bass
*David Rychetnik - Vocals, Acoustic Guitar, Flutes
*Gary Lamar - Vocals, Acoustic And Electric Guitar, Bass, Mandolin
*Gavin Reed - Vocals, Acoustic Guitar, Bass, Mandolin
*Marshall Murphy - Vocals, Percussion
*Kitty Wong - Vocals, Percussion
*Zonettah Varley - Vocals, Percussion

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Wool - Wool (1969 us, splendid psych rock with funky sunny rays, 2006 remaster)

This 1969 release by Watertown, New York’s Wool proves that even when you have strong talent and all the right connections, sometimes it still isn’t enough to get your band to break.

The group formed in the early ’60s, and were originally known as Ed Wool and The Nomads.  Ed Wool, who was a master guitar prodigy and excellent songwriter, was influenced early on by the new British Invasion sound and later on by the cream-of-the-crop of soul/R&B.  Ed Wool and The Nomads were huge in the mid-60s’ thriving Northern/Upstate New York music scene, even sharing the stage with bands such as Mitch Ryder & The Detroit Wheels, The (Young) Rascals, and The Rolling Stones.  In 1966, Ed and The Nomads scored a recording contract with RCA Victor and made one single, “I Need Somebody” b/w “Please, Please, Please,” which flopped.  

Several line-up changes ensued as the ’60s progressed, but with Ed Wool still as the main focal point. The group was known as “The Sure Cure” for a brief amount of time, releasing the Feldman/Goldstein/Gottehrer penned “I Wanna Do It” for the Cameo-Parkway label, which also flopped.  Next, as “The Pineapple Heard,” Ed’s group even had the chance to be the first group to record the Boyce & Hart tune “Valleri” in 1967, a year before The Monkees had a hit with it.  That single, released on the tiny Diamond label, again, flopped.  Starting circa 1968, Ed Wool finally settled with a new and final line-up, which included his younger sister Claudia on vocals, and began going by the simple, unique name “Wool.”  The group traveled to New York City and began laying down tracks for their lone eponymous album for ABC Records.

This time around, the group managed to establish a songwriting connection with Neil Diamond, and had folk/pop songwriter and musician Margo Guryan at the helm for production help.  Surely, this should’ve been a recipe for success. Unfortunately, the album went virtually unnoticed nationally, and scored at the very bottom of the Billboard Top 200.  In Upstate/Northern NY, the album was a hit, with several of the tunes being played constantly on local radio stations.  Although it was largely unknown, one can assume that a lack of promotion from ABC Records was likely to blame for the album not being a hit.  It’s a shame, because the music contained on the album is downright good, with even some moments of greatness.

The album is a super tight blend of psych-rock, pop, and funk.  The album’s biggest highlight, a cover of Big Brother & The Holding Company’s “Combination Of The Two” absolutely blows the original out of the water in every aspect. Both the music and vocals make Big Brother’s version sound…dare I say…weak?!  One should especially pay attention to the wild vocals of Claudia Wool and the jaw-dropping fuzzy bass solo, courtesy of Ed Barrella.  The second highlight of the album is an Ed Wool original, entitled “If They Left Us Alone Now.”  A stark piece of psych-pop balladry, the tune belonged in the Top 40.  The Neil Diamond-penned “The Boy With The Green Eyes” also had hit written all over it.  Their cover of “Any Way That You Want Me,” which was better known by The Troggs, The Liverpool Five, and later Evie Sands, may be the best recorded version.  The album closes with the nine-and-a-half minute cover of Buffalo, NY’s Dyke & The Blazers’ “Funky Walk” and perfectly showcases Ed Wool’s superb guitar chops.

After Wool released this album, they recorded a handful of singles for Columbia (yet another major label!), all of which fell upon deaf ears.  Ed Wool is now based in Albany, NY playing blues-rock with a new line-up.  Wool reunited in 2007 for a concert at the famous Bonnie Castle Resort in Alexandria Bay, NY playing some of their old ’60s songs.  As for this album, it was definitely Wool at their peak of creativity. Wool has become a cult classic of sorts, and can be a bit pricey on eBay.  Luckily, in 2006, the UK’s Delay 68 label reissued a remastered version of the album on CD with plenty of photographs and liner notes, and is available for purchase on Amazon.  If you have the extra cash, pick this little gem up.  It will not disappoint the average ’60s rock fanatic.

by Katie Kanitz 

Tracks
1. Love, Love, Love, Love, Love (John Hill, Don Cochrane) -3:14
2. Combination Of The Two (Sam Andrew) - 3:05
3. If They Left Us Alone Now (Ed Wool) - 3:36
4. To Kingdom Come (J. R. Robertson) - 2:28
5. I Don't Like You Anymore (Ed Wool) - 2:55
6. Any Way That You Want Me (Chip Taylor) - 4:07
7. It Was Such A Lovely Night (Loving You Tonight) (Ed Wool) - 2:20
8. The Boy With The Green Eyes (Neil Diamond) - 3:35
9. Funky Walk (Lester Christian) - 9:40

Wool
*Ed Wool - Lead Guitar, Vocals
*Claudia Wool - Vocals, Percussion
*Ed Barrella - Bass
*Tom Haskell - Rhythm Guitar, Vocals
*Peter Lulls - Drums

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Plainsong - Plainsong (1972 uk, wonderful folk rock, 2013 japan remaster and 2005 double disc edition)

Plainsong was a short-lived folk-rock outfit with country-rock leanings that briefly provided a pretty close British equivalent to the likes of Crosby, Stills & Nash. Singer-songwriter Iain Matthews had been the frontman with Fairport Convention during their early West Coast-influenced period, and had subsequently enjoyed moderate success as a solo artist and with his pioneering British country-rock outfit Southern Comfort. His main collaborator in Plainsong would be guitarist and multi-instrumentalist Andy Roberts, former musical kingpin of the loose collective of folk musicians and performance poets known as the Liverpool Scene. Rounding out the new band were bassist/pianist David Richards and Californian acoustic guitarist Bob Ronga, with percussion being provided on an ad-hoc basis by Iain’s former Fairport colleague Dave Mattacks or fellow folk-rock stalwart Timi Donald. The gentle irony of the band’s name belies their strengths: Matthews’s angelic voice and their superb four-part harmonies, plus immaculate instrumental backings.

Prior to their formation in early 1972 Roberts had become infatuated with the alternative version of the Amelia Earhart story propounded in Fred Goerner’s book The Search For Amelia Earhart , which suggested that she had been on a clandestine aerial spying mission for the US government on the Japanese at Saipan in 1937 and had perished at their hands, the whole affair then being hushed up to avoid an early war. Matthews became readily interested in the topic. Unable to stretch the concept to a whole album, they decided to make a short suite on it the centrepiece of their Elektra debut, which also took as its title that of Goerner’s tome and featured appropriate cover art. A cover of David McEnery’s traditional account “Amelia Earhart’s Last Flight” was followed by Matthews’s own “True Story Of Amelia Earhart” which proffered the Goerner line. Cleverly splitting the two was a soulful version of the old bluegrass spiritual “I’ll Fly Away”. The remainder of the album comprised mellow, thoughtful compositions by Matthews and widely varying but carefully chosen covers of numbers by obscure but respected folk-rock and country artists, including Paul Siebel’s “Louise”, Henske and Yester’s “Raider” and Jim & Jesse’s rollicking “Diesel On My Tail”.

What you got from this apparent mishmash was a beautifully coherent folk-country-rock album with glorious vocals and superbly understated, largely acoustic accompaniment with the occasional fiery Telecaster tail-twist, the whole having a wistful, summery feel absolutely redolent of 1972. It nonetheless failed to trouble the Top 100 album charts, and the Ronga-less follow-up provisionally titled Now We Are 3, which moved further towards country-rock, was shelved when the remaining band members split abruptly due to ferocious antipathy between Matthews and Richards and Iain’s long-aspired determination to move his muse to California. The album lay dormant till 2005 when the Water label in San Francisco released it as part of an absolutely stunning 2-CD compilation entitled simply Plainsong which includes the debut album, the unreleased follow-up, an early single and a dozen live stage and radio recordings: just about everything laid down by the original line-up. Matthews and Roberts had meanwhile reunited in a new Plainsong in the nineties, but I’ll leave you to investigate that if you will.

It's not often you hear mandolins duelling with wah-wah guitars on the same track, or a traditional tale of northern millworkers preceding a Merle Haggard saloon lament, but Plainsong had no use for rulebooks; they were far too busy crafting intelligent acoustic soundscapes and toying with accepted pop sensibilities, and to be presented with 40 examples of such joyousness in one tidy case is a rare and wonderful thing... "Quite simply and without any hype - a supergroup"

by Adamus67

Tracks

Japan 2013

1. For The Second Time (Ian Matthews) - 3:51

2. Yo Yo Man (Rick Cunha, Marty Cooper) - 2:13

3. Louise (Paul Siebel) - 3:18

4. Call The Tune (Ian Matthews) - 5:22

5. Diesel On My Tail (Jim Fagan) - 2:03

6. Amelia Earhart's Last Flight (Dave Mcenery) - 4:05

7. I'll Fly Away (Albert E. Brumley) - 2:03

8. True Story Of Amelia Earhart (Ian Matthews) - 4:32

9. Even The Guiding Light (Ian Matthews) - 4:12

10.Side Roads (Ian Matthews) - 3:29

11.Raider (Jerry Yester, Judy Henske) - 4:32

Tracks

Disc: 1

1. For The Second Time - 3:50

2. Yo Yo Man - 2:13

3. Louise - 3:18

4. Call The Tune - 5:22

5. Diesel On My Tail - 2:03

6. Amelia Earhart's Last Flight - 4:05

7. I'll Fly Away - 2:03

8. True Story Of Amelia Earhart - 4:32

9. Even The Guiding Light - 4:12

10. Side Roads - 3:29

11. Raider - 4:38

12. Seeds And Stems - 3:58

13. Tigers Will Survive - 5:02

14. Spanish Guitar - 5:29

15. Time Between - 2:31

16. Truck Driving Man - 2:58

17. I'm So Lonesome I Could Cry - 2:47

18. Wreck Of The Old 97 - 1:55

19. I'll Fly Away (Demo) - 0:39

Disc: 2
1. Old Man At The Mill - 2:33
2. Urban Cowboy - 3:43
3. The Fault - 2:50
4. Swinging Doors - 2:57
5. Keep On Sailing - 4:40
6. Miss The Mississippi - 2:51
7. Home - 3:33
8. First Girl I Loved - 4:03
9. Save Your Sorrows - 2:22
10. Nobody Eats At Linebaugh's Any More - 4:07
11. The Goodnight Lovin Trail - 4:38
12. All Around My Grandmothers Floor - 3:12
13. That's All It Could Amount To - 1:25
14. Amelia Earhart's Last Flight - 5:17
15. Any Day Woman - 4:24
16. Poor Ditching Boy - 3:33
17. Even The Guiding Light - 3:19
18. True Story Of Amelia - 4:20
19. Raider - 5:01
20. Miss The Mississippi - 3:35
21. Along Comes Mary - 2:47
22. Even The Guiding Light - 3:26

Plainsong
*Ian Matthews - Guitar, Vocals
*Dave Richards - Guitar, Vocals
*Andy Roberts - Guitar, Vocals
*Bob Ronga - Bass, Vocals
Additional Musicians
*Timi Donald - Drums
*Martin Jenkins - Cello, Mandola, Mandolin
*Dave Mattacks - Drums

Related Act
1971  Ian Matthews - If You Saw Thro' My Eyes (2012 remaster)

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Sage - By Sage (1970 us, fine southern rock)

Sage' was a Tampa, FL based band that was founded in 1967. Sage began playing local dances and clubs which eventually brought the band to the attention of Blues Image's Mike Pinera who signed them to his small Illusion label.  It is widely rumoured that Illusion was some sort of a tax scam with albums by Sage and stable mates Hopney being given away or destroyed immediately upon release. 

There probably is more than just a small grain of truth in this rumour, as this particular album is spectacularly rare and almost never comes up for sale. Sage By Sage is a strong album with some first-rate playing and excellent song writing.

by Adamus67

Tracks
1. My Girl - 3:10
2. Lovely Lady - 4:08
3. Don't Stop Loving Me - 4:09
4. No One But You - 3:52
5. I'm Satisfied With You - 3:27
6. I Believe In You - 4:27
7. Morning Dove - 5:54

Sage
John Cameron (guitar)
Hilda Williers (bass)
Ray Williers (guitar)
Rodger Stephan (drums)

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Chris Spedding - Backwood Progression (1970 uk, awesome classic rock with glam and folk traces, 2014 remaster)

Chris Spedding is a special character in the history of English rock of the 70s is somehow the most visible musicians and rock stars more discreet, still right in the middle, centrist total, neither white nor black, perfect gray. At least that's what we can conclude listening to albums of his solo career, a career that began in 1970 with the album "Backwood progression.

Born in Derbyshire June 17, 1944, raised in Sheffield and Birmingham by adoptive parents, Chris Spedding embrace a musical career in the late 60s by joining the Battered Ornaments, jazz and rock group led by the legendary Pete Brown, poet, Cream lyricist and future host Piblokto, interesting English progressive rock band in the early 70s.  when Brown left the Battered Ornaments, they enter in a phase of decay, and one that we sense as savior Chris Spedding. Guitarist gifted jazzman who is also coach at Nucleus, Spedding can only note that the Battered Ornaments do not want to continue the adventure or even enjoy free recording hours available to them at the famous Abbey Road Studios in London.

As the group is still bound to a contract Harvest label, Chris Spedding is alone on board with Abbey Road sessions to the eye and an obligation to put out a record as soon as possible. It is these circumstances that give rise to the first solo album by Spedding, "Backwood progression." But the good Chris is primarily a musician accompanying a shark studio that will also be found a part of his career on this lucrative business. As he has never written a single song before the album he jumped into the water and made a dozen titles for the occasion.

Solo artist and composer default, Chris Spedding is going to deliver a decent album but completely outside the trade routes of the time it released. Neither hard nor soft, neither experimental nor commercial, nor adventurous nor nerdy, neither aggressive nor soft nor provocative preservatives or rock or jazz or prog or psych, or anything or everything, in short, completely neutral, "Backwood progress" door its name: One step forward, one step back but in the end, something that can defy time with an album to consistent quality, without exaggeration or weakness, balanced on allowing federate various tastes .

Without knowing it, without want it, Chris Spedding commits good album par excellence, one that will produce no tub, the one the rock critics fail to catch, as it is without bumps. Chris Spedding shows "Please Mrs. Henry" Bob Dylan, in a friendly version. And the most remarkable is when he refers to the condition of a session musician, with a "Session Man" which allows him to copy several styles of guitar (Jimmy Nolen Ritchie Havens), something that he happily emerge in 1976 on his song "Guitar jamboree" where he likes to copy lots of famous musicians. For it may be that, Chris Spedding: a great imitator, a guitarist who can do many things, and can truly forge his own style.

by François Becquart

Tracks
1. For What We Are About To Hear - 2:29
2. Backwood Progression - 3:44
3. Words Don't Come - 1:47
4. The Hill - 3:28
5. You Can See - 5:19
6. Session Man - 1:28
7. Please Mrs. Henry (Bob Dylan) - 2:19
8. The Soldiers And The Goodtime Girls - 3:58
9. Ought To Be A Law - 2:30
10.She's My Friend - 3:10
11.Should The Occasion Arise (Roger Potter) - 2:15
12.Never Carry More Than You Can Eat - 2:26
13.Backwood Theme - 2:05
All songs by Chris Spedding except where stated

Personnel
*Chris Spedding - Vocals,  Guitars
*Roy Babbington  - Bass
*Laurie Allan - Drums
*Paul Abrahams - Organ
*Royston Mitchell – Piano, Harmonium,  Backing Vocals
*Frank Ricotti - Conga

1972  Chris Spedding - The Only Lick I Know
1977  Chris Spedding - Hurt
1975-77  Chris Spedding - Chris Spedding (2013 Audiophile edition)

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Fynn McCool - Fynn McCool (1970 Rhodesia / uk, magnificent prog classic rock, 2014 edition)

The story of the Shake Spears is one of the most absorbing within the annals of 1960’s rock and roll. Despite enduring numerous line-up changes involving key members throughout their history, the band persevered, successfully bridging different eras – the mid 60’s British Invasion, psychedelia and late 60’s hard rock. This is an impressive achievement, as trends in music did not last long in this most volatile decade. The Shake Spears also stand among the very few notable bands of the era to originate from the African continent. Their history began with two young bands in the early sixties in Rhodesia, the Dynamics and the Phantoms.

Unfortunately, Shakespeare’s Spanish adventure was over when their sponsor suffered a heart attack and the group was forced to return to England as they were left with no money coming in.

This line-up of Shakespeare didn’t last long after their return. Disillusioned by their failed tour to Spain and with no hope of going to the US, the band envisioned no bright future and decided to split up.

Martin and Georgie left, but Alan (now the senior member of the group), Chris, and Mick had new plans. It just happened that at the same time the English psychedelic-pop / blues-rock band Grapefruit had also disbanded, so they could enlist Grapefruit’s keyboard player Mick Fowler for their new project. They teamed up as an entirely new band, for which they chose the name Fynn McCool (after Finn McCool, originally Fionn mac Cumhaill in Gaelic, a figure in Irish mythology).

The group signed to RCA, which had not only been the Shake Spear’s last record label, but also that of Grapefruit (who were signed to the RCA Dunhill label in the USA), so the company was familiar with both bands and knew about their popularity in Europe, so that it was easier to promote them. Fynn McCool toured through the countries that had been the creative home of the Shake Spears before: the Benelux states, Germany, and especially France.

The 1960’s came to an end, and the new decade looked promising for the group. Soon they started recording at Olympic Studios, and their style would be far different from the Shake Spears. Fynn McCool now was into heavier, progressive tunes – no more pop for Belgian kids. Their first record, “U.S. Thumbstyle” / “Diamond Lil'” (RCA 1956; A-side by Chris Stone, B-side by Mick Fowler) was released in May 1970 and the group’s album was still being completed, when RCA suddenly decided to release it prematurely in August 1970 – the tracks were not fully worked out and the model that was being built for the cover art wasn’t finished either.

Fynn McCool turned out to be a fluctuating group, as by the time the album (recorded with the initial line up) came out, the line up had already been changed, as two more ex-Grapefruit members, Bob Wale (replacing Chris Stone on guitar) and Geoff Swettenham (brother of Pete Swettenham; replacing Mick Carter on drums) were recruited in July. Bob Wale had joined Grapefruit in spring 1969, and had been a key figure in the group’s immediate change of style from sweet baroque pop to heavier tunes. Vik Tedeschi, a Swiss-German Jazz musician, joined on saxophone, oboe and flute, but for just a couple of months. Fynn McCool broke up in February 1972.

20-Flight-Rock

Tracks
1. U.S. Thumbstyle (Chris Stone) - 2:55
2. Hopeless Prescription (Chris Stone) - 4:09
3. Hey Ho (Mick Fowler) - 2:53
4. Diamond Lil (Mick Fowler) - 4:03
5. Great Change Coming On (Alan Escombe, Chris Stone, Mick Fowler) - 3:18
6. The Road To Wisdom (Mick Fowler) - 4:06
7. The Only Way To Feel (Chris Stone) - 3:25
8. Faith Of Clay (Chris Stone, Mick Fowler) - 3:59
9. Coming On Stronger (Mick Fowler) - 3:47
10.Shattered (Part 1) (Alan Escombe, Chris Stone) - 3:18
11.Shattered (Part 2) (Alan Escombe, Chris Stone, Mick Fowler) - 4:51

Fynn McCool
*Chris Stone - Guitar, Vocals
*Alan Escombe Wolhuter - Bass, Vocals
*Mick Carter - Drums
*Mick Fowler - Guitar, Piano, Lead Vocals

Related Act
1969  Grapefruit - Deep Water

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Tommy Peltier Feat. Judee Sill - Chariot Of Astral Light (1969-74 us, ouststanding folk psych rock)

Tommy Peltier started out as a trumpet player. Born and raised in New Orleans, he moved with his family to California at the age of 13. He formed a Dixieland band, and then was drafted into the U.S. Navy and spent two years working with their ensembles. After his stint expired, he settled back in Southern California and set to work with the Jazz Corps, a group who played mostly local gigs and ended up cutting a few sides with a young Roland Kirk. Judee Sill wound up circling in this orbit as well, and the two became occasional collaborators, sometime lovers, and lifelong friends.

But in 1970, an injury prevented Peltier from playing trumpet and thus excised him from the jazz world. Not one to be undone, he took a few chords that he had learned from friends like Sill and set out as a singer-songwriter. None of that music saw the light of day until now, collected together as Chariot of Astral Light.

The Sill connection is the key here. The two worked together on a lot of Peltier's material, and Judee pops up on half of the disc's 12 tracks, handling backing vocals, guitar and organ lines. She's an obvious influence on these songs, but her starry, oblique introspection and deep-seeded religious fascination didn't carry over so much into Peltier's tunes. These tracks tend to be relentlessly optimistic and upbeat, although they do bear a striking resemblance to the work of both Tom Rapp and Neil Young in parts (mainly in Peltier's high-pitched vocal delivery).

It's unclear what Peltier planned to do with a lot of these songs. He had a house in Echo Park where he held weekly Saturday recording sessions in his front room that a number of peripheral scenesters would attend (Lynn Blessing, Wolgang Melz, and Dave Purlato - all of whom appear here). Aside from the few takes done at actual studios, the bulk of the stuff on display here was recorded in that tiny room.

This record is somewhat curious, then, released in anticipation of Water's forthcoming reissues of Sill's two Asylum LPs from the early 1970s and hot on the heels of her now recovered and somewhat completed third album. If that connection is what it takes to get this music out there, then so be it. Peltier probably won't be remembered in any great lineage for his efforts, but as evidenced here he wrote some pretty nice tunes,  a good picture of what could have been, or at the very least an in-depth portrait of what he describes as a difficult period in his life.

Sill is absent from the first half of the disc, but even without her Peltier is in fine form. He checks in with six originals that range from the bristling stomp-cum-country-psychedelia of "Time After Time" to the sly boogie of "Red Rider." When Sill steps in for the remainder of the album, her efforts mesh well and become another piece of the support system. Her unmistakable vocals and lazy farfisa lines color the title track, but the drawing is all Peltier. Better still is "Here Today," Tommy's first attempt at vocals, played with only Judee backing him up. With only acoustic guitar and two voices, you can hear Peltier finding his range and his voice with increasing confidence as the song spins.

Chariot of Astral Light – another one of those "what could have been" records that seem to pop up with more and more frequency these days (see also: Gary Higgins, Simon Finn, etc.). It works well as a spotlight on a few songs that never had their moment to shine, but also as a testament to the power and impact Judee Sill had during her brief life.

by Michael Crumsho

Tracks
1. 10,000 Greyhounds 4:14
2. Time After Time (Sammy Cahn, Julie Styne) - 6:29
3. Oneness - 3:29
4. Butterflies 2:16
5. Red Rider 3:32
6. Beautied Out 4:34
7. Pocket Socket 3:26
8. Chariot Of Astral Light 3:24
9. Here Today 2:57
10.Oneness - 4:47
11.Smile All The While 4:02
12.My Friend 3:22
All songs composed by Tommy Peltier except where indicated.

Musicians
*Judee Sill - Farfisa Organ, Guitar, Organ, Vocals
*Tommy Peltier - Farfisa Organ, Guitars, Vocals
*Dave Parlato - Bass
*Wolfgang Melz - Bass
*Art Johnson - Guitar
*Lynn Blessing - Farfisa Organ
*David Bearden - Harp
*Barry McManus - Drums
*Judy Hemmel - English Horn
*Bobby Toris - Congas
*Bob Harris - Keyboards
*Kathryn Reynolds - Vocals
*Mope Dido - Congas

1971  Judee Sill (2013 Japan remaster)

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The Butterfield Blues Band - Live Vol.2 (1970 us, great blues rock)

A smoking live set from the Butterfield Blues Band – and like all the group's work, as much of a jazz and soul album as a blues one! Butterfield drew his inspiration from the Chicago bluesmen, it's true – but his style also has plenty of echoes of New Orleans soul, Memphis R&B, and other strands of American work – in a mode that's quite similar to some of the changes that were going on in the British beat group scene at the end of the 60s. 

The lineup here features some really nice touches on sax from Trevor Lawrence and Gene Dinwiddie – and the live setting only seems to loosen all the players up even more than usual, and let them hit a few nice funky moments. 

Dusty-Groove

Tracks
1. Gene's Tune (Gene Dinwiddie) - 12:29
2. Nobody's Fault But Mine (Otis Redding) - 6:58
3. Losing Hand (Charles Calhoun) - 14:28
4. All In A Day (Hod Hicks) - 8:11
5. Feel So Bad (Chuck Willis) - 4:43
6. Except You (Jerry Ragavoy) - 4:51
7. You've Got To Love Her With A Feeling (Freddie King, Sonny Thompson) - 5:23
8. Love March (Gene Dinwiddie, Philip Wilson) - 12:25    

The Butterfield Blues Band
*Paul Butterfield - Harmonica, Vocals
*George Davidson - Drums
*Gene Dinwiddie - Soprano, Tenor Sax, Vocals, Lead Vocal On Track 8
*Ted Harris - Keyboards
*Rod Hicks - Fretless Bass, Vocals
*Trevor Lawrence - Baritone Sax, Vocals
*Steve Madaio - Trumpet, Vocals
*Ralph Walsh - Guitar                          

Paul Butterfield's mosaic
1964  The Original Lost Elektra Sessions
1965  The Paul Butterfield Blues Band
1966  East West
1966  East-West  (2014 Audio Fidelity Hybrid SACD) 
1966-68  Strawberry Jam
1967  The Resurrection Of The Pigboy Crabshaw
1968  In My Own Dream
1969  Keep On Moving
1970  Live 
1971  Sometimes I Just Feel Like Smilin'
1973  Paul Butterfield's Better Days
1973  It All Comes Back (Japan Edition)
1976  Put It In Your Ear

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The Youngbloods - Rock Festival (1970 us, exceptional blend of psych folk blues jazz rock)

Working the early ‘60s folk circuit, Jessie Colin Young would play sets with Jerry Corbitt whenever he was in Corbitt’s homebase of Cambridge, MA. Liking how their voices sounded together, they began touring as a duo, taking the name “The Youngbloods” from a title of Young’s second solo LP, Youngblood. Corbitt introduced Young to multi-instrumentalist Lowell “Banana” Levinger who joined the duo. Levinger, in turn, recruited drummer Joe Bauer for the band and the Youngbloods full line-up was complete. Their combination of folk, rock and jug band elements drew comparisons to the Lovin’ Spoonful and indeed, the two bands played many of the same venues.

After establishing a successful residency at Café Au Go Go in NYC, the band was signed to RCA and recorded their self-titled debut LP, released in 1967. The album contained a mid-charting single, “Grizzly Bear,” as well as what would become their signature song, “Get Together.” Written by Dino Valente under the pen name Chet Powers, the song made it up to #62 before stalling on the charts. The album also contained well-chosen blues covers as well as original songs written by Young.

Two years after its release, “Get Together” was used in a public service campaign, sparking renewed interest. This interest translated into airplay and this time, the song climbed all the way to #2. During this period, Corbitt left the band to pursue a solo career and the remaining members carried on as a trio. Relocating to Marin County, California, the band cultivated a loyal following through their dynamic live shows, featuring inspired instrumental interplay. They carried on until 1972, leaving a rich catalog in their wake. 

Rock Festival documents the group's work around and about the San Francisco Bay area in the spring and summer of 1970, recorded in various places such as the Family Dog Great Highway San Francisco March 29 1970, Provo park Berkeley May 19th 1970, University of Santa Clara  April 18 1970, Euphoria San Rafael July 19 1970, Pacific High San Francisco July 21  1970, Barn Marshall April 16 1970.  The album peaked at #80 on Billboard 200.

Sun/azed

Tracks
1. It's A Lovely Day (Jesse Colin Young) - 2:37
2. Faster All The TIme (Lowell Levinger) - 4:49
3. Prelude (Joe Bauer, Lowell Levinger, Jesse Colin Young) - 1:01
4. On Beautiful Lake Spenard (Lowell Levinger) - 4:52
5. Josiane (Jesse Colin Young) - 6:34
6. Sea Cow Boogie (Joe Bauer, Lowell Levinger, Jesse Colin Young) - 0:25
7. Fiddler A Dram (Traditional arr. by Lowell Levinger) - 5:13
8. Misty Roses (Tim Hardin) - 4:13
9. Interlude (Lowell Levinger) - 2:14
10.Peepin' 'N' Hidin' (Baby, What You Want Me To Do) (Jimmy Reed) - 5:03
11.Ice Bag (Joe Bauer, Lowell Levinger, Jesse Colin Young) - 2:18

The Youngbloods
*Joe Bauer - Drums
*Jesse Colin Young - Bass, Guitar, Vocals
*Lowell Levinger "Banana" - Vocals, Keyboards, Guitar
With
*Rick Anderson - Harmonica

1967/69  The Youngbloods / Earth Music / Elephant Mountain (2014 japan blu spec issues)
1969  Elephant Mountain (Sundazed expanded and 2014 japan blu spec issue)
1971  Beautiful! Live In San Francisco (Sundazed edition)
1972  High On A Ridge Top (Sundazed remaster)

Jesse Colin Young releases
1972  Together
1973  Song For Juli (2009 remaster)
1974  Light Shine
1976  On The Road (Japan remaster)

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Dr Feelgood - Be Seeing You (1977 uk, powerful boogie pub rock, 2014 SHM remaster)

Wilko Johnson had left in early 1977 and in April that year the Canvey Island band introduced their new line-up by way of a secret warm up show in their hometown. By summer ’77 they were making the first record with Gypie, the Nick Lowe produced Be Seeing You. Although Mayo was still working his way into the band's sound, Dr. Feelgood retained their tough, hard-rocking appeal.

Three further studio albums would be recorded with Mayo, including Private Practice which contained the UK top ten single Milk And Alcohol.

After what he describes as a ‘four year binge party’ Gypie Mayo quit the band and the end of 1980 (although he would stay on for a further six months), in part, to spend more time with his family.

by Paul Sinclair

Tracks
1. Ninety-Nine And A Half (Won't Do) (Steve Cropper, Eddie Floyd, Wilson Pickett) - 3:08
2. She's A Wind Up (Lee Brilleaux, John Martin, John Mayo, John B. Sparks) - 2:00
3. I Thought I Had It Made (Lee Brilleaux, John Mayo) - 2:16
4. I Don't Want To Know (Lee Brilleaux, John Mayo) - 2:42
5. That's It, I Quit (Nick Lowe) - 2:34
6. As Long As The Price Is Right (Larry Wallis) - 3:09
7. Hi-Rise (John Mayo) - 2:37
8. My Buddy Buddy Friends (Aaron Corthon) - 2:45
9. Baby Jane (Bishop, Nesbitt, Reed, Simmons, Wilson) - 2:58
10.The Blues Had A Baby, And They Named It Rock 'n' Roll (Brownie Mcghee, Morganfield) - 2:20
11.Looking Back (Johnny Guitar Watson) - 2:00
12.60 Minutes Of Your Love (Isaac Hayes, David Porter) - 2:24  
13.Long As The Price Is Right (Second Version) (Larry Wallis) - 3:20
14.You'll Be Mine (Willie Dixon) - 2:54
15.My Buddy Buddy Friends (Aaron Contion) - 2:49
16.Looking Back (Johnny Watson) - 2:29
17.Homework (Perkins , Clark) - 2:23
18.You Upset Me Baby (King, Josea, Davis) - 4:23
19.Hey Mama, Keep Your Big Mouth Shut (Ellis McDaniels) - 3:50

Dr Feelgood
*Lee Brilleaux - Vocals, Guitar, Harmonica
*John B. Sparks - Bass Guitar, Vocals
*Gypie Mayo - Guitar
*The Big Figure (John Martin) - Drums, Vocals

1974  Down By The Jetty (2014 Japan SHM edition)
1976  Dr Feelgood - Stupidity (2014 Japan SHM edition)
1975  Malpractice  (2014 Japan SHM edition)

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