Klaatu - Sir Army Suit / Endangered Species (1978/80 canada, lovely beatlesque pop with prog touches)

In 1976, Capitol Records in L.A. signed a three record deal with a totally unknown band, sight unseen. The band, Klaatu, demanded not to appear in public, play live or give interviews to support the album. In fact, nobody at Capitol even knew who the band was.

This was unheard of in the music industry, but Capitol felt this progressive rock band from Canada had presented them with one of the finest albums they had ever heard. Their first record, simply entitled 'Klaatu' – released as '3.47 E.S.T.', in Canada — contained no names, photos or clues to the identity of the band members. All writing and production credits were given collectively to Klaatu.

They had spent three long years experimenting at night in the recording studio owned by producer Terry Brown (Rush, Max Webster) and Doug Riley (Dr. Music) to complete an album filled with creative new sounds and innovative techniques. To them, the studio was a fourth band member... and another reason why they didn't want to tour.

Although there were initial comparisons to The Beatles in the music press, plus Pink Floyd meets The Beach Boys, the band simply saw this as a compliment, since The Fab Four had been one of many inspirational bands to them since they were kids.

John is from the West-end of Toronto and attended York University's fine arts program. John first met Terry Draper at grade school in the early 1960s. They played in a number of bands together until 1967 when John left to get a head start songwriting and recording. In 1971, John and Terry formed the short-lived Mudcow, adding Dee Long as guitar player.

Their desire to play original music – and not tour the stripper circuit – led to Mudcow's demise. Then John met producer Terry Brown at a job interview… and Klaatu took flight.

However, to fully understand Klaatu and how events transpired, one must realize three key things about John Woloschuk: 1) His love of old black and white movies. 2) His passion for music. 3) His shyness. That's why his bio ends here.

Dee first met Terry Draper in 1968 when they played against each other during a Battle of the Bands competition. Determined to play his own original music, Dee left Mudcow when they were forced to do covers. So when John was given the opportunity by Terry Brown to play him some of his demo tapes, John invited Dee to play his demos as well.

Instantly recognizing their talent, Terry Brown invited them to record at Toronto Sound Studio during off hours. And the rest is history.

During the creation of Klaatu's five albums, Dee continued to develop his skills as an engineer and producer. Eventually leaving the band to focus on his own production studio -- later working with Sir George Martin at London Air Studios.

Dee now lives in British Columbia with his wife. He's created several CD's over the years, including his latest release Life AfterLife. Terry says he finally made it to the top – but only when he started his own roofing company!

The gregarious drummer joined his former Mudcow band mates in 1974, when John and Dee realized they needed a permanent drummer who understood what they were trying to do in the studio. Terry lives just north of Toronto with his wife.

Klaatu-theband

Tracks
Sir Army Suit 1978
1. A Routine Day (John Woloschuk) - 3:11
2. Juicy Lucy (John Woloschuk) - 3:39
3. Everybody Took A Holiday (Dee Long) - 3:00
4. Older (Dee Long) - 3:17
5. Dear Christine (John Woloschuk) - 3:53
6. Mister Manson (Dee Long) - 4:16
7. Tokeymor Field (John Woloschuk) - 3:29
8. Perpetual Motion Machine (Dee Long) - 3:17
9. Chérie (Dee Long) - 3:07
10.Silly Boys (Dee Long) - 4:59
Endangered Species 1980
11.I Can't Help It (Dee Long) - 3:41
12.Knee Deep In Love (JJohn Woloschuk, Dino Tome) - 3:15
13.Paranoia (John Woloschuk) - 4:12
14.Howl At The Moon (John Woloschuk, Dino Tome) - 3:32
15.Set The World On Fire (John Woloschuk) - 4:16
16.Hot Box City (Dee Long) - 3:48
17.Dog Star (Dee Long) - 4:17
18.Sell Out, Sell Out (John Woloschuk) - 4:55
19.All Good Things (John Woloschuk) - 1:57

Klaatu
*Dee Long - Lead Vocals, Keyboards, Guitars
*John Woloschuk - Bass, Acoustic Guitars, Keyboards, Vocals
*Terry Draper - Drums, Percussion, Vocals

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Brian Auger's Oblivion Express - A Better Land (1971 uk, amazing prog jazz fusion rock, 2006 japan remaster)

Whereas Brian Auger had taken the lion's share of composing responsibility on the deft, labyrinthine, jazz-rock debut album by the Oblivion Express, guitarist Jim Mullen steps up to the plate in a big way here, writing or co-writing seven of A Better Land's nine tracks, and arranging "Marai's Wedding," a traditional tune. Auger wrote just one, "Tomorrow City," and co-wrote two with Mullen. 

The feel and vibe of the record is almost a mirror image of its predecessor from earlier in 1971. Mullen composed on the guitar, therefore, the languid, sparer approach to harmony is everywhere apparent. But it's the songs themselves, with their lush use of acoustic guitars, country music melodies, and early rock tropes, such as on "Dawn of Another Day," the Band-inspired "Trouble," and the ethereal melody of "Women of the Seasons." There is also a pair of tracks here written with future AWB boss Alan Gorrie. The lilting jazz in the lead is countered with infectious pop hooks. 

On the Auger tunes, "Fill Your Head With Laughter," and "Tomorrow City," R'n'B is at their hearts. A Better Land is one of the more enduring pop records from the era, with its ultra-sophisticated compositioning and arrangement skills. It's as if the Oblivion Express wanted to reveal themselves as capable of anything, which, of course, they were. This is a fantastic place to start any Brian Auger collection. 

by Thom Jurek

Tracks
1. Dawn Of Another Day (Brian Auger, Jim Mullen) - 4:20
2. Mariah's Wedding (Traditional) - 4:24
3. Trouble (Brian Auger, Jim Mullen) - 3:17
4. Women Of The Seasons (Jim Mullen) - 5:05
5. Fill Your Head With Laughter (Brian Auger, Jim Mullen) - 3:53
6. On Thinking It Over (Brian Auger, Jim Mullen) - 5:25
7. Tomorrow City (Brian Auger) - 3:33
8. All Time There Is (Brian Auger, Jim Mullen) - 3:35
9. A Better Land (Allan Gorrie, Jim Mullen) - 5:31
10.Mariah's Wedding (Live In Germany, 1972) (Traditional) - 4:32

The Oblivion Express
*Brian Auger- Keyboards
*Jim Mullen - Guitar
*Barry Dean - Bass
*Robbie McIntosh - Drums

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rep>>> Water - The Second Day (1975 dutch, splendid soft progressive rock with jazzy soul tinges)

Water - The Second Day 

(1975 dutch, splendid soft progressive rock with jazzy soul tinges)

Various Artists - We Can Fly (1966-72 multiair, mod freakbeat acid psych sunny folk, five disc box set)

The five-volume We Can Fly series presented rare psychedelic rock spanning the mid-'60s to the early '70s, mostly centering on U.K. psych of the late '60s, though there's a little spillover from both the British Invasion and early prog rock eras. It's not all from the U.K., either, with a good number of entries from Continental Europe, as well as stray items from Australia, New Zealand, the U.S., and even Lebanon. This mini-sized box set compiles all five volumes, and while some of the 128 tracks have done the rounds on well-circulated compilations outside of this series, there can't be many collectors who would have all of them in one place before buying this anthology.

Though all of these cuts are unquestionably rare and as a whole representative of the scope of psychedelia in its British or British-derived form, they're pretty erratic in artistic quality, no matter what your taste. Some of these are unquestioned rare psych monsters that sound like tracks that should have qualified for the Nuggets II box of non-U.S. '60s freakbeat/psychedelia but somehow missed the cut. Among those near-masterpieces are the Lords' "Don't Mince Matter" (from Germany); 

Episode Six's brilliant "I Can See Through You," which is both tough and dreamy; Keith Relf's florid solo single "Shapes in My Mind," which hasn't been too easy to find on CD; the Afex's bopping mod rocker "She's Got the Time"; the Bunch's overlooked fanciful but melancholic "Looking Glass Alice"; the Peep Show's hazy "Mazy"; the Mickey Finn's crunchy "Garden of My Mind"; and Peter Cook & Dudley Moore's great psychedelic spoof "The L.S. Bumble Bee," often mistakenly bootlegged as a Beatles outtake, and surprisingly rarely reissued. There are also off the beaten path items by well-known or fairly well-known acts like Shocking Blue, the Mindbenders, Jackie Lomax, Terry Reid, Eire Apparent, Kim Fowley, Murray Head, Mick Softley, the Smoke, and East of Eden that, though not their best work, haven't been too widely heard.

Much of this box, however, has some fairly generic or even mediocre psychedelia that sounds like it might be championed by the odd collector here and there, but certainly wouldn't be recognized as consensus picks among the cream of the genre. In that sense, it often sounds like an alternate Nuggets II box set, Nuggets II being the major-league stars and the We Can Fly players stuck at the higher levels of the minor leagues. Sometimes the connections the artists had to major-league players are more interesting than the recordings themselves. 

The Bystanders, for instance, evolved into Man; the Cedars (from Lebanon, of course) were produced by Tony Hicks of the Hollies; Italian singer Giorgio is Donna Summer producer Giorgio Moroder; the Glass Menagerie were produced by Chas Chandler; Kippington Lodge had a young Nick Lowe in the lineup; the Iveys became Badfinger; Tangerine Peel were led by Mike Chapman; Trash were on Apple Records without releasing an LP; Danny McCulloch had been in Eric Burdon & the Animals; etc. All those loose ends and more are tied up in the 84-page booklet, which has plenty of information about the bands and their releases.

by Richie Unterberger

Tracks 

Disc 1 

1. The Penny Peeps - Model Village - 2:53 

2. The Loot - Try To Keep It A Secret - 3:11 

3. The Moving Finger - Pain Of My Misfortune - 2:32 

4. Anan - I Wonder Where My Sister's Gone - 2:50 

5. The Peep Show - Mazy - 3:07 

6. The Glass Menagerie - Fredrick Jordan - 3:16 

7. The Bunch - Looking Glass Alice - 2:34 

8. The Neat Change - I Lied To Auntie May - 2:18 

9. The Movement - Tell Her - 2:37 

10.Sands - Mrs. Gillespie's Refrigerator - 2:05 

11.Kippington Lodge - I Can See Her Face - 2:14 

12.Infantes Jubilate - Exploding Galaxy - 2:20 

13.The Smoke - That's What I Want - 2:27 

14.The QPR Supporters - Supporters, Support Us - 2:49 

15.Trash - Trash Can - 4:50 

16.The Orange Machine - Real Life Permanent Dream - 3:11 

17.Serendipity - Castles - 3:31 

18.The Mickey Finn - Garden Of My Mind - 2:31 

19.The Kytes - Running Through The Water - 2:34 

20.Portobello Explosion - We Can Fly - 2:44 

21.The Fox - Hey! Mr. Carpenter - 2:39 

22.The Mooche - Hot Smoke & Sassafras - 3:11 

23.The Fruit Machine - The Wall - 2:42 

24.The Image - Creation - 2:31 

25.Episode Six - Love, Hate, Revenge - 2:55 

26.Peter Cook & Dudley Moore - The L.S. Bumble Bee - 2:45 

Track No. 22 "Groovin' Slow" by "The Sound Barrier" although is listed on the CD credits was dropped probably due of copyright reasons. There are only 26 tracks on the CD. 

Disc 2 

1. Shy Limbs - Trick Or Two - 2:06 

2. Brainbox - Amsterdam, The First Days - 3:10 

3. The Cedars - Hide If You Want To Hide - 2:34 

4. Pugh - Love Love Love - 3:16 

5. The Lords - Don't Mince Matter - 3:51 

6. The Nite People - Love, Love, Love - 3:13 

7. The Montanas - Difference Of Opinion - 2:43 

8. The Julian Kirsch - Clever Little Man - 3:25 

9. Blonde On Blonde - All Day, All Night - 3:37 

10.Avalanche - Rabbits - 3:49 

11.West Coast Consortium - Colour Sergeant Lillywhite - 3:07 

12.The Tages - Fuzzy Patterns - 2:00 

13.The Mirage - Hold On - 2:22 

14.The Petards - Tartarex - 2:59 

15.The Bystanders - Cave Of Clear Light - 3:43 

16.A.P. Dangerfield - Conversations (In A Station Light Refreshment Bar) - 2:45 

17.A.P. Dangerfield - Further Conversations - 2:14 

18.The Blinkers - Original Sin - 3:55 

19.Danny McCulloch - Colour Of The Sunset - 2:42 

20.Joy Unlimited - Mr. Pseudonym - 3:47 

21.Moonshine - Garden Of Men - 3:40 

Track No. 5 "Stoned Out Of It" by "John Fitch And Associates" although is listed on the CD credits, was dropped probably because of copyright reasons. Officially there are only 21 tracks on the CD.

Disc 3 
1. The Magicians - Painting On Wood - 5:53
2. O' Hara's Playboys - The Ballad Of The Soon Departed - 2:31
3. St. John & The Crew - I'm A Man - 3:14
4. Murray Head - She Was Perfection - 2:47
5. Tales Of Justine - Monday Morning - 3:22
6. I Corvi - Sospesa Ad Un Filo - 2:34
7. Made In Sheffield - Amelia Jane - 2:32
8. The Mecki Mark Men - Free - 4:10
9. The Afex - She's Got The Time - 2:28
10.Jackie Lomax - Genuine Imitation Life - 3:32
11.Los Brincos - Passport - 2:52
12.The Excelsior Spring - It - 1:52
13.Daddy Lindberg - Wade In The Shade - 1:57
14.Pesky Gee - Where Is My Mind - 3:00
15.Cherry Smash - Sing Songs Of Love - 3:03
16.Mick Softley - Am I The Red One - 2:29
17.Callan & John - House Of Delight - 3:17
18.Brut - My Kind Of Feeling - 2:46
19.The Washington D.C.'s - Seek & Find - 2:08
20.The Sugarbeats - Alice Designs - 2:31
21.The League - Hey Conductor - 2:34
22.Shocking Blue - Send Me A Postcard - 2:34
23.The New Generation - Digger - 4:06
24.The Fox - Secondhand Love - 3:07
25.Bulldog Breed - Paper Man - 3:19

Disc 4 
1. Brass Tacks - Maxwell Ferguson - 2:46
2. Neo Maya - I Won't Hurt You - 2:32
3. Russell Morris - The Real Thing (Part 1,2) - 6:18
4. The Rokes - When The Wind Arises - 3:19
5. Eire Apparent - Here I Go Again - 2:11
6. Wimple Winch - I Really Love You - 3:41
7. Keith Shields - So Hard Living Without You - 3:21
8. ''14'' - Drizzle - 2:08
9.Lucas Tyson - Daylight Child - 3:29
10.Hopscotch - Look At The Lights Go Up - 2:17
11.The Truth - Sueno - 3:04
12.The Bunch - We're Not What We Appear To Be - 2:21
13.Griffin - I Am The Noise In Your Head - 3:56
14.Five Steps Beyond - No So Young Today - 2:48
15.Tangerine - Trapped - 2:23
16.Los Canarios - What Can I Do For You - 2:35
17.Strange Fox - Time And Tide - 4:19
18.The Mint - Love By Numbers - 2:23
19.Orange Machine - Dr. Crippen's Waiting Room - 3:02
20.The Ferris Wheel - I Can't Break The Habit - 2:14
21.The Beatstalkers - Sugar Chocolate M;achine - 2:17
22.The Mindbenders - My New Day And Age - 3:03
23.Les Baroques - Love Is The Sun - 2:12
24.Terry Reid - Fires Alive - 2:52
25.Magnet - Mr. Guy Fawkes - 3:57

Disc 5
1. Circus - Do You Dream - 3:07
2. Harsh Reality - How Do You Feel - 3:06
3. The Iveys - And Her Daddy's A Millionaire - 2:06
4. Old Gold - Teacher Of Electricity - 2:11
5. The Human Instinct - Rich Man - 2:41
6. Keith Relf - Shapes In My Mind - 2:16
7. Episode Six - I Can See Through You - 3:25
8. Gnomes Of Zurich - Second Fiddle - 2:18
9. Saker - Foggy Tuesday - 3:24
10.Kim Fowley - Lights - 2:17
11.The Loot - Radio City - 2:08
12.The Bunch - Spare A Shilling - 2:27
13.The Montanas - Anyone There - 2:34
14.Groep 1850 - Friday I'm Free - 2:51
15.Chris McClure - Meditation - 2:20
16.The Fruit Machine - Follow Me - 2:51
17.Giorgio - How Much Longer Must I Wait, Wait - 2:22
18.East Of Eden - Ballad Of Harvey Kaye - 2:07
19.I Corvi - Un Ragazzo Di Strada - 2:21
20.Elmer Gantry's Velvet Opera - Salisbury Plain - 2:35
21.The Gibsons - City Life - 2:58
22.Orange Peel - I Got No Time - 2:46
23.The Mirage - And Life Goes On - 2:14
24.The Cedars - I Don't Know Why - 2:12
25.Cuby & The Blizzards - Appleknockers Flophouse - 2:29
26.Silver Eagle - Theodore - 2:45
27.Nite People - P.M. - 2:56
28.The Nocturnes - Look At Me - 3:08
29.Danny McCulloch - Smokeless Zone - 2:01

Psychic Circle compilations
1961-64  Phantom Guitars: A Cool Collection of Twangin' Instrumentals
1966-72  With The Sun In My Eyes
1968-72  White Lace And Strange
1968-72  The Room Of Loud Sounds
1964-69  Realistic Patterns Orchestrated Psychedelia
1965-69  Wednesday Morning Dew 
1965-70  The Electric Coffee House 
1965-70  The Golden Road The Electric Coffee House Vol.2
1969-73  Cosmarama
1969-74  Blow Your Cool: 20 Prog Psych Assaults
1969-74  Lovin’ Fire 20 Obscure Gems
1970-77  A Visit To The Spaceship Factory

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Sproton Layer - With Magnetic Fields Disrupted (1970 us, experimental psych early prog, 2011 issue)

In March of 1969, in Ann Arbor, Michigan, Miller brothers Roger (17), Benjamin (15) and Laurence (15) had a mind-altering improvisation session on guitar, bass and drums in their basement.  They called it "Freak Trio Electric", and none of them, or their views on music, were the same after this event.  A few days later, after repeated and amazed listening to the tape - "Sounds like Pink Floyd cut with Captain Beefheart!" wrote Roger in his journal - they decided to form a band.  

Roger wrote many songs that spring incorporating riffs and motifs from their improvisations.  Later that year they added trumpeter Harold Kirchen (brother of Bill Kirchen of Commander Cody and the Lost Planet Airmen fame) and changed their name to Sproton Layer.  Benjamin and Laurence began composing around this time.

Their music was most definitely psychedelic, with many songs based on the "Toke Mythology."  The band played approximately 20 shows in 1969 and 1970 before folding in the fall of 1970 due to the conservative direction rock music was now moving.

In late summer 1970, they recorded an album's worth of material with classmate Mark Brahce engineering, again in their parents' basement.  Good friend Arnold Lelis drew the front cover illustration. This album, "With Magnetic Fields Disrupted", was released 23 years later on New Alliance, along with a 3-song 45rpm single from their 1969 recording sessions, to very little notice.

The album was first released in 1991 by New Alliance Records, but it did not catch much recognition among the '60's collector freaks. Here is the next chance to discover the whole story of one of the ?almost forgotten? US underground art-performance groups. Forty minutes long, the album was remastered from the original tapes creating a fresh, organic and punchy sound. 

The booklet features extended band info and about four dozen artifacts including drawings, set lists, photographs, journal entries and more. After Sproton Layer, all Miller brothers contributed to numerous bands such as Destroy All Monsters, Mission Of Burma, and M3 ? Truly a mind-expanding album!

Sproton Layer

Tracks
1. Gift - 2:44
2. Pretty Pictures Now - 4:42
3. In the Sun - 2:53
4. Sister Regis - 1:58
5. Bush - 1:57
6. Tidal Wave (L. Miller, B. Miller, R. Miller) - 4:25
7. Up - 2:54
8. The Blessing Of The Dawn Source (Benjamin Miller) - 3:46
9. Nocturnal Mission - 3:30
10.Point Of View - 2:42
11.New Air - 4:08
12.The Wonderful Rise - 4:32
All songs by Roger Miller except where indicated

Sproton Layer
*Benjamin Miller - Guitars, Vocals
*Larry Miller - Drums
*Roger Miller - Bass, Vocals
*Harold Kirchen - Trumpet

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Hunger - Strictly From Hunger And The Lost Album (1969 us, spectacular heavy psych, akarma edition)

By 1968 The Hunger! were on the verge of stardom. Having already headlined with Cream, Zappa, Neil Young and The Byrds, this now relatively unknown band were scheduled to play the Hollywood Bowl with The Young Rascals and Janis Joplin.

In a cruel twist of fate their equipment was stolen twice by the mob, and the group disbanded to be left wondering what might have been. But for these misfortunes Hunger might have amounted to more than just a record collector’s relic.

Hailing from Portland Oregon, The Hunger! had moved down to Los Angeles in the late sixties where they began to gain popularity amongst the burgeoning West Coast psychedelic scene.

Their sole album, Strictly From Hunger! was released on Public! Records in 1968 and is very much in keeping with the more prominent psych-rock bands of the Californian scene, inhabiting the same musical sphere as The Strawberry Alarm Clock, The Doors and Jefferson Airplane. All of the tracks are predominately organ lead with an emphasis on a heavy “swinging sixties” groove, orchestrated by some fantastic bass work by Tom Tanory and the rock steady drumming of Bill Daffern.

That is not saying, however, that the album is cast in the mould of sunshine/flower pop. Strictly From Hunger! certainly has it’s darker and heavier moments and there is an inescapable feeling of melancholy throughout the course of the record. The vocals (Parkinson, Daffern and Morton all take turns on various tracks) move between paranoia and despondency, highlighting the subtly surreal lyrics with minor melodies punctuated by the odd frenetic fuzz-guitar solo.

The band really could play, and it shows especially the wailing guitar solo on the instrumental jam “Portland 69” or the truly marvellous change up mid way through “The Truth”. Tracks like “Mind Machine” can’t fail to bring a smile to your face, as unashamedly redolent of the late sixties as “Incense and Peppermints”.

Elsewhere “Colours” appears broodingly sinister with its militant drum beat and echo-laden vocals and Morton’s guitar rides the heavy drum break into the stratosphere on “Trying to Make the Best” which is reprised in an extended form for the album closer (this track was also bizarrely put out as a single titled “Not So Fine” by the band calling themselves The Touch).

From this sole offering, it is easy to see that The Hunger! had a terrific amount of promise and if fate hadn’t stood in their way, maybe they would have become a household name, as much respected and influential as their West Coast contemporaries. 

by  Gerard Fannon

Tracks
1. Colors (Mike Lane) - 2:04
2. Workshop (Lane, Parkinson, Daffern, Morton, Tanory, Hansen) - 4:17
3. Portland (Lane, Parkinson, Daffern, Morton, Tanory, Hansen) - 5:35
4. No Shame (Art Wayne) - 2:26
5. Trying to Make the Best (Mike Parkinson) - 5:33
6. Open Your Eyes (John Morton) - 2:25
7. The Truth (J. Morton, T. Tanory) - 3:59
8. Mind Machine (Bill Daffern) - 3:30
9. She Let Him Continue (Paul Hampton) - 5:04
10.Trying to Make the Best No. 2 (Mike Parkinson) - 7:18
11.Portland 69 (Lane, Parkinson, Daffern, Morton, Tanory, Hansen) - 5:42
12.The Truth (J. Morton, T. Tanory) - 5:33
13.Open Your Eyes (John Morton) - 3:57
14.Trying to Make the Best (Version #2) (Mike Parkinson) - 7:38
15.Workshop (Lane, Parkinson, Daffern, Morton, Tanory, Hansen) - 7:16
16.She Let Him Continue (Paul Hampton) - 5:12

Hunger
*Mike Lane - Vocals
*Bill Daffern - Drums, Vocals
*Steve Hansen - Rhythm Guitar
*Tom Tanory - Bass
*John Morton - Lead Guitar
*Mike Parkinson - Vocals, Keyboards
*Ed King - Lead Guitar, Bass

Related Acts
1967  The Strawberry Alarm Clock - Incense And Peppermints (2011 sundazed issue)
1968  Strawberry Alarm Clock - Wake Up...It's Tomorrow

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Tommy Flanders - The Moonstone (1969 us, magnificent folk psych, 2006 digi pack edition)

Tommy Flanders the singer of The Blues Project  departed the group after their first LP, "Live At The Cafe Au-Go-Go". In 1969 he released this, his own Solo Debut LP, The Moonstone, featuring: J. Bruce Langhorne (Guitarist with Bob Dylan; Joan Baez, etc); Dennis McCarthy, Michael Botts (Drummer with Hoyt Axton, Karla Bonoff, etc); Dick Rosmini (Guitarist with Hoyt Axton; Doug Dillard; etc); and Jerry Scheff (Bass with Hoyt Axton; Marc Benno; The Association). 

The faded, melancholy vibe herein is somewhat unsettling, as the ghost of a fairly straight acoustic pop album is dimly apparent, and Tommy's voice still sounds occasionally as positive as it did on his earlier "Violets Of Dawn”.

Tracks
1. Since You've Been Gone - 2:37
2. Blue Water Blue - 3:05
3. Morning Misty Eyes (G. Meckler, T. Flanders) - 2:59
4. A Detective Story - 3:52
5. Purple And Blue - 3:40
6. The Moonstone - 4:38
7. By The Mailbox We Stood - 3:16
8. Angel Of Mercy - 3:42
9. Boston Girls - 3:08
10.Sleepin' - 3:50
11.She's My Love - 4:44
All compositions by Tommy Flanders unless as else stated

Musicians
*Tommy Flanders - Vocals
*J. Bruce Langhorne - Guitar
*Michael Botts - Drums
*Dick Rosmini - Guitar, Keyboards
*Jerry Scheff - Bass

Related Act
1966  The Blues Project - Live At The Cafe Au Go Go (2013 Japan SHM double disc set)
1971-72  The Blues Project - Lazarus / The Blues Project

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Corpus - Creation A Child (1971 us, spectacular texas hard acid rock, 2011 Axis remaster)

'Underrated, partly outstanding ballsy 1970s rock album in the Texas style, which means good production, strong vocals, and solid playing all around. Some of it is rootsy blues-rock which wins out on pure class and power, but the highlights are undoubtedly two psych-flavored epics that could easily slide onto the Garrett Lund or D.R. Hooker LPs: the nocturnal, moodily jazz-tinged Mythical Dream and the even better Joy, whose combination of soaring vocals and superbly controlled feedback licks will have any fan of 70s private press sounds flip out... 

The music is given additional appeal by realistic lyrics about relationships and fatherhood, planned and unplanned, that retain a male perspective without degenerating into macho cliches. I bet these guys were local heroes among kids cruising around Corpus, and in another time and place they would have hit the big time. Despite reservations, impressive and a must hear for 1970s rock fans, while undoubtedly too much 'classic rock' for '60s guys. A marvy cosmic yet primitive sleeve adds bonus points'.

The Acid Archives

Tracks
1. Cruising - 3:51
2. Joy - 6:20
3. Marriage - 3:38
4. Creation A Child - 6:54
5. Just A Man - 3:17
6. We Can Make It, Luv - 2:30
7. Not Mine - 3:31
8. Where Is She? - 3:36
9. Mythical Dream - 4:55
All songs by W. Grate, J. Castillo, F. Lianes, R. Deleon and G. Pena Jr.

Corpus
*William Grate - Lead Guitar, Background Vocals
*James Castillo (Beaver) - Bass
*Frudy Lianes - Drums
*Richard Deleon (De-De) - Rhythm Guitar, Lead Vocals
*Gilbert Pena Jr. - Lyrics

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Elderberry Jak - Long Overdue (1970 us, terrific psych rock melted with blues and folk, Gear Fab edition)

Imagine a time: Without cable TV, when more in-home screens  were black-andwhite than color. When FM radio stations were exceptions, not rules. When interstates and other four-lane highways were  in their infancy. We're talking more than 40 years ago, when much of the world seemed far more distant than now for those of us growing up on the north end of the Appalachian coal fields. It was a time when local musicians with dreams of rock 'n' roll success weren't sure music's stars could ever shine on someone from  these parts.

Elderberry Jak changed that with the release of "Long Overdue," on Nashville-based Silver Fox Records, which was owned by singer Kenny Rogers' brother Leland. Now, anyone with a computer can put their music in front of millions of potential listeners without ever leaving home. They just record the songs and upload them to Web sites like MP3.com. Randy Worsham, a singer/songwriter I played bass for in Spingfield, Mo., a few years ago, has done that. So has Joe Cerisano, Elderberry Jak's lead vocalist, with his more recent work. 

When "Long Overdue" first made its way onto vinyl, however, home computers as powerful as the Commodore 64, the 64 standing for 64 kilobytes of random access memory, were still on the drawing board. Most of us send email photos today that are larger than 64K! Back then, the hotspots in the still-young rock universe seemed as far away from north central West Virginia as the stars in Orion's belt. Things were happening in L.A., London and New York. Geez; Pittsburgh was a two-hour trip back then! Many of us who practiced in garages to play weekends in tiny little clubs around there took heart and hope in Elderberry Jak's success. Heck, I played covers of several "Long Overdue" cuts; "Changes," "Forest on the Mountain," Wishing Well," and "Vance's Blues."

"Little Joe," the late Dave Coombs, Joe Hartman and Tom Nicholas were several years older. I started playing locally, keyboards back then, after their debut album was recorded and released, and they'd gone on the road to support it. Dozens of Volkswagens now sit in the parking lot of what was, back then, The White House - along U.S. 119, north of Morgantown, almost to the Pennsylvania state line. To this second, I can recall the butterflies I got as a teenager the night. I first played there as a member of a Fayette County, Pa., band called Brimstone. Like the guys in Jak, my bandmates were several years my senior. A couple of them had jammed with Cerisano and Coombs when they were still part of J.B. and the Bonnevilles, pre-Elderberry Jak. All night long during that first White House gig, I willed us to be as good as Jak; but not with the goal of getting a record deal. At that point, none of us had even started working on original material.

Rather, my wish simply was that we use the stage, and those four 45-minute sets, as well as Elderberry Jak did because they showed all of us that it could be done. Even coal-patch musicians from this part of the world had a shot at realizing our goals if we let the music do the talking and respected it... worked at it... as much as some of those who'd crossed that stage before us. The White House was the only nightspot I ever played that Jak had ruled around here before recording "Long Overdue." As a result, the nights spent on its stage are among my fondest musical memories. Meeting Joe Cerisano also is among them. He continues to sing songs on the soundtrack of my musical dreams.

Inspiration provided through the years by "Long Overdue" helped me achieve much of what I had hoped to in music. Some goals remain, so I keep listening to Jak to remind me that it's never too late. Some might argue; but from here, it seems Jak was ahead of its time. Listen to Hartman's pounding double-bass footwork on "Vance's Blues"and "Changes," for example. Jon Bonham, of Led Zeppelin, was playing that way back then. But most of the others - Alex Van Halen, Tommy Aldridge (Black Oak Arkansas, PatTravers and Whitesnake), Denny Carmassi (Montrose and Heart) were at least a few years away from the spotlight.

Nicholas' guitar work rivals the kind of thick, chunky and powerful hard rock riffs that helped Joe Walsh become a star with The James Gang, which he parlayed into a successful solo career and a long stint as arguably the most brash member of The Eagles. Coombs' bass made every song work. He kept the rhythm with Hartman while using every inch of his guitar's fingerboard to find just the right notes for every measure of every Jak original. Measure Cerisano's talent by the full body of his professional work. First with Jak, later with Silver Condor and as an alwaysworking studio musician, and more recently on solo releases and tours with the Trans Siberia Orchestra, "Little Joe" remains big on the ability to lend just the right touch to every lyric he sings.

What we have here is proof that these four men, together, made and played their music from the heart and soul. That this wonderful album has made its way to CD is a blessing beyond belief.

by Tim Lilley

Tracks
1. Going Back Home - 3:17
2. Forrest On The Mountain (Mike Snyder) - 2:51
3. Vance's Blues - 3:47
4. Inspired (Mike Snyder) - 3:29
5. Restless Feeling - 3:40
6. Wish Me Well (Brooker, Reid) - 3:25
7. Mr. Sun - 3:43
8. My Lady - 3:45
9. Changes - 4:51
10.You're The One (Mike Snyder) - 4:01
All songs by Elderberry Jak except where noted

Elderberry Jak
*Joe Cerisano - Vocals
*Tom Nicholas - Guitar, Vocals
*Dave Coombs - Bass, Vocals
*Joe Hartman - Drums, Vocals

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rep>>> John Sebastian - Faithful Virtue • The Reprise Recordings (1969-76 us, wonderful folk blended with various tunes, 2001 three disc set)

John Sebastian - Faithful Virtue • The Reprise Recordings 1969-76

 with Lovin' Spoonful
1965  Do You Believe In Magic
1966  Daydream (Japan remaster)
1966  Hums Of The Lovin' Spoonful (Japan remaster)
1967-68  You're A Big Boy Now / Everything Playing (2011 edition)

Sonny Flaharty And The Mark V ‎- Hey Conductor (1965-67 us, awesome fuzzy garage psych)

Dayton, Ohio’s Sonny Flaharty had been recording since the late 50s. In 1965 he helped a local band called the Rich Kids produce a demo. He ran into them again calling themselves the Mark V “direct from Toronto, Canada”! They asked Sonny to join the band but according to Sonny, “the only problem we had was with my past. I was very well known in Dayton. The band didn’t want to be associated with ‘Old Time Rock and Roll’”!

They changed their names and tried to pass themselves off as English or at least Canadian. They didn’t fool anyone for long, but there was nothing ‘old time’ about their music. Shad O’Shea of Cincinnati’s Counterpart Records asked them to record Sonny’s original, “Hey Conductor”.

There was a nine-month delay between the recording and the release of “Hey Conductor”. In the meantime Mike Losecamp (aka Haywood Lovelace), who played the distinctive organ on the record left to join the Cyrkle.

Once released Hey Conductor was a sizeable hit, selling in the thousands and immediately picked up by Phillips for national distribution. The good times didn’t last long, as its lyrics hinting at drug experiences got it banned on radio before it could break nationally. The song’s frantic pace, strange fuzz guitar and syncopated organ make it an often-heard record at dj nights even today.

by Chas Kit

"Hey Conductor" provided both a sizeable hit and new lease of life for one-time rockabilly Sonny Flaharty. Fuelled by a paper 'n' comb sounding fuzztone 12-string and a piping Farfisa organ (which candidly borrows the main riff from Ray Charles' "I Don't Need No Doctor") the discs crisp production and Flaharty's youthful voice make for a powerful, but polished, effort. Superb! The rest of this collection features a selection of songs that appear to be from the sessions the band recorded for RCA in 1967, supposedly for an album. 

These range from the frantic "Whole Lotta Shakin'," which is a wild, punkish take on the Lewis standard "Make a Woman" (a fine example of the fragmented riffed garage sound strongly inspired by the Raiders' "Just Like Me"), and the far softer "La La Song" and "When I Close My Eyes," which sound very similar to Merrell Fankhauser's psychedelic folk-rock efforts from the same time and the Strawberry Alarm Clock. Also included is the frat-instro "Coconut Stomp Part 1 & 2" by the earlier Young Americans. Pebbles and Nuggets fans will be enthralled by these rare sides. 

by Jon "Mojo" Mills

Tracks
1. Whole Lotta Shakin' (Sonny Flaherty, Ray Bushbaum) - 1:59
2. Coconut Stomp Pt. 1 - 2:05
3. Coconut Stomp Pt. 2 - 1:38
4. Make A Woman - 1:53
5. The Mark V - 2:32
6. Do It - 2:46
7. Hey Conductor - 2:32
8. For All Of Us - 3:10
9. Harmonica Man - 2:24
10.La La Song - 2:03
11.When I Close My Eyes (Jim Wyatt) - 2:26
12.Can't Buy My Soul - 2:29
All songs by Sonny Flaharty except where noted

Sonny Flaharty And The Mark V
*Sonny Flaharty - Vocals, Guitar
*Jason Hollingsworth “Jason Starbuck” - Guitar
*Jim Wyatt “Farnsworth Wyatt” - Bass
*Mike Losecamp “Mike Lovelace” – Piano, Vox Organ
*N.D. Smart - Drums
*Susan Darby - Lead Vocal

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Rex Holman – Here In The Land Of Victory (1970 us, tremendous folk psych)

Actor Rex Holman is perhaps better-known to Star Trek and Monkees fans than music enthusiasts, but connoisseurs of acid folk have long treasured this, his sole album, which originally appeared in 1970 (when he was almost 42 years old). A hypnotic blend of melodic, contemplative songs (set to acoustic guitar, sitar and tabla) and philosophical lyrics sung in a quavering voice that has been compared to Tim Buckley’s, it’s nothing short of an overlooked gem, and is sure to appeal to fans of artists such as Damon, Pat Kilroy and Mark Fry. 

Rex was a small time tv character actor who appeared on Star Trek, the Monkees, the Man from U.N.C.L.E., Gunsmoke, Charlie's Angels, etc. His weeningly smooth baritone & downer lyrics also caused local record connoisseur Rob T. to appropriately christen him 'Gordon Darkfoot'. 

Released in 1970 (when Holman was already 42), "Here In the Land of Victory" featured all original material, though the mix of  Indian-flavored instrumentation and Holman's hyper serious lyrics sounded like something that was recorded circa 1967.  Holman's vibrato-drenched vocals (which were an acquired taste) and his over-the-top lyrics certainly weren't for everyone.  Imagine Richard Harris reincarnated as Donovan and you'll have a feel for tracks like 'Listen To the Footsteps', the sitar and flute propelled 'Sit and Flatter Me' and 'Come On Down'.  Ironically if you could get over those characteristics, then the album rewarded you with quite a bit of memorable material.  

Holman's uber earnestness was somehow charming and most of the lyrics were no worse than your standard college English paper (okay, 'The Chosen One' was far worse).  Certainly a reflection of my personal tastes, but Holman was at his best when backed by a full rock ensemble.  As such personal highlights included 'Pink Lemonade', 'Today Is Almost Here', and the bluesy 'Red Is the Apple'.   The disturbing artwork including a back cover photo of Homan sitting blissed out next to a passed out drunk certainly didn't help sales.  (The inner sleeve picture showing Holman in his best psycho-killer stare is even more disturbing.)

Bad-cat

Tracks
1. Here In The Land Of Victory  - 3:19
2. Pink Lemonade  - 2:12
3. Rowin’   (Rex Holman, Terry Fulman) - 2:20
4. Today Is Almost Here - 3:49
5. Listen To The Footsteps - 2:32
6. Red Is The Apple - 4:16
7. Sit And Flatter Me - 3:30
8. Copper Kettles - 2:22
9. Come On Down - 2:28
10.Debbie - 2:27
11.The Chosen One - 2:53
12.I Can’t Read My Name - 2:26
All songs by Rex Holman except where noted.

*Rex Homan (aka Rexford Holman) - Vocals

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Elvin Bishop - Party Till The Cows Come Home (1969-70/72 us, magnificent blues rock with funky soul shades, 2004 double disc edition)

This double CD combines Elvin Bishop's first three albums (variously credited to the Elvin Bishop Group and the Elvin Bishop Band) on to two discs. Containing 1969's Elvin Bishop Group, 1970s Feel It!, and 1972's Rock My Soul, it has virtually everything he recorded for Fillmore and Epic in the late 1960s and early 1970s, serving as an overview of his entire early career as a bandleader. 

Also included are three bonus tracks: one, "Stealin' Watermelons," from a non-LP single, and two other live performances from the various-artists compilation album Last Days of the Fillmore. Although they have their merits, these are erratic albums in which Bishop didn't stick solely to the electric blues-rock he'd made his name with in the Paul Butterfield Blues Band. Instead, these also dig into soul and R'n'B, as well as what can only be called (on some of his vocal numbers) comedy. He relinquished most of the lead vocal duties to Jo Baker starting with the second album, and this saw an improvement in the sound and material. 

by Richie Unterberger

Tracks

Disc 1

1. The Things That I Used To Do (E. Jones) - 4:02

2. Tulsa Shuffle (E. Bishop) - 5:21  

3. Sweet Potato (E. Bishop) - 5:42  

4. How Much More (J. B. Lenoir) - 3:03  

5. Dad Gum Ya Hide, Boy (G. Bromley Jr.) - 2:55  

6. Honey Bee (E. Bishop) - 3:28  

7. Prisoner Of Love (P. Mayfield) - 5:22 

8. Don't Fight It (Feel It) (W. Pickett, S. Cropper) - 3:11 

9. I Just Can't Go On (J. Baker) - 3:38 

10.So Good (E. Bishop, S. Miller) - 7:38 

11.Crazy 'Bout You Baby (W Williamson) - 3:15 

12.So Fine (J. Otis) - 2:40 

13.Party Till The Cows Come Home (E. Bishop, S. Miller) - 3:22 

14.Hogbottom (E. Bishop, S. Miller) - 6:47 

15.Be With Me (E. Bishop, S. Miller) - 4:08 

16.As The Years Go Passing By (D. Malone) - 4:05 

Tracks 1 To 7 From "Elvin Bishop Group" 1969

Tracks 8 To 16 From "Feel It!"  1970

Disc 2
1. Rock My Soul (E. Bishop) - 2:46
2. Holler And Shout (E. Bishop) - 2:38
3. Let It Shine (E. Bishop) - 3:18
4. Don't Mind If I Do (E. Bishop) - 2:00
5. Rock Bottom (E. Bishop, J. Baker) - 2:58
6. Last Mile (Instrumental) (E. Bishop) - 2:50
7. Have A Good Time (E. Bishop) - 2:47
8. Wings Of A Bird (E. Bishop) - 3:36
9. Old Man Trouble (E. Bishop) - 3:47
10.Out Behind The Barn (E. Bishop) - 2:51
11.Stomp (Instrumental) (E. Bishop) - 3:12
12.Stealin' Watermelons  (E. Bishop) - 2:56
13.So Fine (Live) (J. Otis) - 3:58
14.Party Till The Cows Come Home (Live) (E. Bishop, S. Miller) - 3:07

Musicians
The Elvin Bishop Group On Tracks 1 To 7 (The Elvin Bishop Group)
*Elvin Bishop - Guitar, Vocals
*Stephen Miller - Organ
*John Chambers - Drums
*Art Stavro - Bass
*Applejack - Harp
*Alberto Gianquinto - Piano

The Elvin Bishop Group On Tracks 8 To 16 (Feel It!)
*Elvin Bishop - Guitar, Vocals
*Stephen Miller - Vocals, Piano, Organ
*John Chambers - Drums
*Jo Baker - Vocals, Percussion
*Kip Maercklein - Bass
*The Pointer Sisters (Patricia, June And Anita) - Vocals
*Chepito Areas And Mike Carabello - Timbales, Congason
*Perry Welsh - Vocals

The Elvin Bishop Band On CD 2. Tracks 1 To 11
*Elvin Bishop - Lead Guitar, Rhythm Guitar, Slide Guitar, Lead Vocals
*Jo Baker - Lead Vocals
*Stephen Miller - Organ Piano
*Kip Maercklein - Bass
*Bill Meeker - Drums
*John Chambers - Drums On Track 11 Only
*Dennis Marcellino, Mel Ellison - Tenor Sax
*Ron Stallings - Vocal And Tenor Sax On Track 2
*Milt Holland - Percussion
*Delaney Bramlett - Rhythm, Slide Guitar
*Perry Welsh - Harmonica
*Bobby Bruce - Fiddle Solo
*Jim Gordon - Clarinet
*Delaney And Bonnie (Courtesy Of Columbia Records) -  Backing Vocals
*Jo Baker, Clydie King, Vanetta Fields, Gloria Jones -  Backing Vocals
*Perry Welsh & Shirley Matthews -  Backing Vocals
Strings Arranged And Conducted By Jim Gordon

1977  Live! Raisin' Hell (2012 remaster edition)
Related Acts
1966-68  The Paul Butterfield Blues Band - Strawberry Jam
1968 Linn County - Proud Flesh Soothseer
1969 Linn County - Fever Shot 
1970  Linn County - 'Till The Break Of Dawn

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Bosom Blues Band - The Overgone Sounds of the Bosom Blues Band (1968 us, fantastic blues rock psych, 2008 Arcania Vinyl issue)

An obscure late 60s band out of Richmond, VA that evolved from an R'n'B ensemble called the Soothsayers. In 1967 the Bosom Blues Band entered a local studio and recorded several demos and finally an album's worth of material,  including the outstanding blues rocker 'Hippie Queen'. 

The song was inspired by the true story about a girl named Joan from Richmond, VA who traveled to England in an attempt to meet The Beatles. She ended up sneaking onto the grounds of John Lennon's estate and knocked on the door of his house, which was answered by Lennon himself who invited her in. She ended up getting pictures taken of herself with the Fab Four, including one of George Harrison kissing her on the cheek. This made her a local legend and "hippie queen" throughout the Richmond area.

The following year the band auditioned for Vanguard Records, but the deal came to naught. And by 1969 the Bosom Blues band were no more, with their sole LP unheard until Arcania International included their song Hippie Queen on Aliens, Psychos and Wild Things, Vol. 3. Now the entire ouvre of this remarkable group is available once again -- in the format it was meant to be heard in, glorious vinyl.

Tracks
1. Leavin' Trunk (John Estes) - 4:45
2. Milk Cow's Calf Blues (R. Johnson) - 3:25
3. Messin' With The Kid (Mel London) - 3:03
4. Divin' Duck (John Estes) - 2:48
5. You Don't Love Me Baby (Sam Maghett) - 3:25
6. Hippie Queen (Larry McCullogh) - 4:09
7. Knock On Wood (E. Floyd, S. Cropper) - 3:53
8. Walk Tall (Josef Zawinul, Esther Marrow, James Rein) -  8:48

Bosom Blues Band
*Larry McCullough - Vocals, Lead Guitar
*Allen Gay - Rhythm Guitar
*Harold Grigg - Bass
*Lynn Abbott - Drums

*Ed - Sax

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Tommy Bolin - Whirlwind (1972-75 us, superb hard fusion rock, 2013 two disc set)

The life and music of guitar legend Tommy Bolin seemed to have crashed and burned all too quickly. Prior to his drug related death in 1976, Bolin was starting to formulate solo album number three, after semi-successful stints in both The James Gang and D. Purple that saw his stock as a guitar hero in waiting rise before quickly getting snuffed out after years of heroin addiction. 

Since Bolin's death there has been a wealth of live and studio recordings to come out on the market that further prove the talents of this guitar genius. Whirlwind is the latest, a 2CD set from the folks at the Tommy Bolin Archives along with Cleopatra Records/Purple Pyramid, which contains not only some songs that were meant for that third solo record, but also rare material from Bolin's jazz-fusion band Energy as well as alternate & instrumental versions of other songs from his earlier solo albums. For fans, this is a set not to be missed.

The scorching "Cucumber Jam" from 1975 kicks things off, a sizzling number with Bolin's searing licks and solos, followed by the hard rocking "Heartlight", a tune recorded with the Energy line-up of Bolin, vocalist Jeff Cook, drummer Bobby Berge, bassist Stan Sheldon, and keyboard player Tom Stephenson. This band formed out of the ashes of Zephyr, and after you hear this tune, you'll wonder why this group didn't stick together and become huge. An excellent song, with catchy melodies and superb instrumentation, hard rock but with a jazz-fusion feel. "Hoka-Hay" is also from those same sessions, a scorching instrumental with fiery guitar & keyboard interplay that will easily appeal to all Return to Forever, Mahavishnu Orchestra, and Tony Williams Lifetime fans. 

Tommy alone with his acoustic guitar is featured on "Don't Worry 'Bout Cash", and "San Francisco River" is a sizzling instrumental from 1975 that also features Berge & Sheldon, but it's Bolin's heavy riffs and amazing lead technique that steals the show. Another Energy tune that could have easily been a hit is "Rock-A-Bye", a Bob Seger styled rocker with great vocals from Cook and Stephenson's honky tonk piano lines.

"Dungeon" is an instrumental track that was planned for the third solo record, and it's another stellar hard rock/fusion piece with killer lead guitar work that shows just how savage Bolin could get when he wanted to. From a 1973 session comes "Alexis", a moody blues/pop rocker that was recorded just after the Billy Cobham Spectrum album and immediately prior to the guitarist joining the James Gang. In fact, most will remember that this tune actually made it to the James Gang Bang album, but it's here in its infancy, a tad more atmospheric but no less as powerful, complete with the hard rocking finale and Bolin's effects laden guitar work. "Gotta Dance" is a little tight jam that was being worked on for the third solo album in early 1976; there are some good ideas here on this funky rocker but you can tell it's mostly unfinished. "Spanish Lover" is another 1973 recording that also eventually made it to a James Gang album, the 1974 release Miami. CD 1 ends with the blistering "Sooner or Later", a melodic hard rocker that was being worked on just prior to his death, and finished up posthumously with Max Carl & Mike Finnegan trading off on lead vocals. Bolin's phased out, soul searching lead guitar work on this track is just sensational.

Over on CD2 you get an early instrumental version of "Red Skies", another tune that eventually wound up on Miami over a year later. Tommy's skills as a lead guitarist are in full force on this heavy yet atmospheric rocker, and "Way It's Always Been" is an early 1972 recording featuring Bolin on acoustic guitar & vocals doing a sort of Bob Dylan styled folk tune. Another song that eventually made it to Miami is "Sleepwalker", here once again in instrumental demo format. 

The monstrous 26-minute "Marching Bag" is performed by Bolin with other members of Energy, and this tune eventually morphed into "Marching Powder" for the Teaser solo album. To say it's a fusion lovers dream is a complete understatement, so look for all sorts of incredible jams and sizzling guitar work here on this epic. Another Teaser track, "Wild Dogs", shows up here in lovely acoustic format, and the blistering funk rocker "From Another Time" from 1973 was also recorded just prior to him joining the James Gang, and sees Max Carl delivering some powerful vocals alongside Bolin's snappy licks & riffs and groove laden rhythms courtesy of Berge and Sheldon. A real workout of a tune, and not all that different from the music Bolin would help create in his short time with Deep Purple a few years later.

The whole set comes housed in a nice looking digipack, with a booklet containing full track information, photos, and an essay from Cook who talks about the sessions and the legend that is Tommy Bolin. My only gripe is that there are plenty of mistakes on the track information, such as songs where there are vocals and no vocal listed, songs where you hear keyboards and no keyboard player listed, and some typos, but otherwise this is a must have set for any serious Tommy Bolin fan. The sound quality on most of these tracks are pretty decent, a few sounding close to a good bootleg, but the musicianship throughout is stellar as you would expect. Simply a mandatory purchase for any Bolin aficionado. 

by Pete Pardo

Tracks

Disc 1

1. Cucumber Jam - 5:27

2. Heartlight (T. Bolin, J. Tesar) - 4:24 

3. Hoka-Hay! - 6:59

4. Don’t Worry ’Bout Cash (Acoustic Version) - 3:20

5. San Francisco River - 2:45

6. Rock-A-Bye - 3:31

7. Dungeon - 7:31

8. Alexis (T. Bolin, J. Cook) - 5:02

9. Gotta Dance (Take 2) - 4:49

10.Spanish Lover (Instrumental Version) (T. Bolin, J. Cook) - 3:42

11.Sooner or Later (T. Bolin, J. Cook, G. Hampton) - 4:19

Disc 2
1. Red Skies (Instrumental Version) - 3:26
2. Way It s Always Been - 3:12
3. Sleepwalker (Instrumental Version) - 4:30
4. Leave Other People Alone - 1:57
5. Marching Bag (Original Version) - 26:22
6. Wild Dogs (Acoustic Version) - 4:46
7. From Another Time (T. Bolin, J. Tesar) - 3:26
All songs by Tommy Bolin except where noted

Band
*Tommy Bolin - Guitar, Vocals
*Bobby Berge - Drums
*Stan Sheldon - Bass
*Tom Stephenson - Keyboards
*Mike Finnigan - Vocals, Organ
*Max Carl - Vocals

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