Paul Giovanni was from Atlantic City and got into music by way of theater productions in New York. He had made a one off psych single under the name Forever Children, and then met bass player Gregg Kreutz during a summer stock play gathering in rural Massachusetts. So their idea together was to apply the laid back Laurel Canyon ballad style to life in the big bad city. Kreutz says of Giovanni nowadays "He seemed to be always trying to push us towards concepts involving covens and suicides." So Giovanni met his perfect project a few years later when he did the score for the movie 'The Wicker Man'.
This record is far more accomplished than it ought to be and has some darned great arranging. Originally released in the summer of 1970, combining vocal harmonies with distorted guitars, Moog synthesizer, saxophone, melodica and more to impressive effect, and a guest spot by Cissy Houston. The band never toured and fell apart quickly.
Tracks
1. Cold Coffee (Gregg Kreutz) - 3:34
2. Carolyn (Paul Giovanni) - 4:06
3. The Duel (Gregg Kreutz, Ken Zeserson, Paul Giovanni) - 5:19
4. The Pill (Paul Giovanni) - 4:39
5. Ah! (Paul Giovanni) - 4:05
6. Joanna (Gregg Kreutz, Ken Zeserson) - 4:34
7. Jinx (Ken Zeserson, Paul Giovanni) -3:29
8. Supper (Gregg Kreutz, Ken Zeserson, Paul Giovanni) -3:54
9. Rooster (Ken Zeserson, Gregg Kreutz) - 3:13
10.Joe (Gregg Kreutz, Ken Zeserson, Paul Giovanni) - 4:46
The Side Show
*Paul Giovanni - Lead Vocals, Rhythm Guitar, Twelve String Guitar
*Ken Zeserson - Lead Guitar, Saxophone, Vocals
*Gregg Kreutz - Bass, Harmonica, Vocals
*Ken Bischel - Keyboards, Moog, Trumpet, Melodica, Vocals With
*Gordon Gottlieb - Drums
*Bill Lavornia - Drums
*Chuck Rainey - Bass
*Ted Hoyle - Cello
*John Sachs - Guitar
*Tony Studd - Trombone
*Cissy Houston - Vocals
*Arif Mardin - Finger Cymbals, Strings
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
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
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
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
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
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.
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
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)
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.
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.
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
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
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
The second LP has a more mature, more rock and charmingly transparent sound - sometimes very close to the progressive aesthetic (flute,organ).
Formed in Denver,Colorado,Beast featured the talents of drummer Larry Ferris,keyboardist Gerry Fike,woodwind player Mike Kearnes,bassist Kenny Passarelli. singer David Raines,trumpet player Dominick Todero and former Super Band guitarist Robert Yeazel.
Following the loss of horn player Todero and bassist Passarelli (replaced by Roger Byrant),in 1970's cleverly-titled "Beast" was released on the Evolution label. Continuing their partnership with producer Norman Petty the album was again recorded at Petty's Clovis, New Mexico studios. Musically the collection wasn't too different from the debut. Anyone familiar with Lighthouse or Sugarloaf styled horn rock will be pretty comfortable with most of the material.
Slightly more varied than the debut, the flute propelled "Communication" and "Don't You Think It's Time?" reflected a quasi-jazzy feel, while the harmony rich "Inlook" sounded like an Association-styled slice of pop and "Move Mountain (You Got It)" found the band taking a stab at conventional hard rock. The overall effect was professional,if a little short on originality and inspiration ... Packaged in one of the year's uglier covers (credit to Charles E. Murphy),the set vanished without a trace,followed in short order by the band.
by Adamus67
Tracks
1. Inlook (Robert Yeazel) - 4:22
2. Communication (Robert Yeazel, Ron Morgan, Jimmy Greenspoon) - 6:08
3. The Man Outside (Robert Bryant, Robert Yeazel) - 1:26
4. Migration (MIke Kearnes) - 1:58
5. Whistle (Robert Yeazel) - 0:56
6. I Am (Robert Yeazel, David Raines, Gerry Fike) - 2:11
7. Don't You Think It's Time? (Robert Yeazel, David Raines, Robert Bryant) - 3:32
8. Move Mountain (You Got It) (Robert Yeazel, David Raines, Robert Bryant) - 4:38
9. It's So Hard (Gerry Fike) - 3:17
10.Legal Machines (David Raines) - 2:52
Hot Knives was a band with an impressive pedigree and plenty of talent which unfortunately was in the right place at the wrong time -- playing enthusiastic and tuneful power pop and folk-rock with a faint psychedelic undertow, the group should have been right at home on the San Francisco music scene, but in the mid-'70s, they were too late for the Ballroom scene, stuck out like a sore thumb in the age of stadium rock, and were a poor fit for the harder sounds of new wave and punk that were lurking on the horizon.
Hot Knives was formed by the brother-and-sister team of Michael Houpt (lead vocals and guitar) and Debra Houpt (lead vocals), who began singing together as teenagers growing up in Pennsylvania, playing folk tunes in the style of Peter, Paul and Mary. By 1969, Michael had relocated to Northern California, and he began working with a political improvisational theater troupe in San Francisco; the Flamin' Groovies sometimes rehearsed at the company's performance space, and Michael struck up a friendship with bandmembers Tim Lynch (lead guitar) and Danny Mihm (drums). By 1972, Debra had moved to San Francisco, while Lynch and Mihm were looking for a new project after the Flamin' Groovies' original lineup fell apart.
With bassist Ed Wilson joining Michael, Debra, Tim, and Danny, Hot Knives was born, with the group taking their name from Michael's favored method of smoking hashish. Hot Knives gigged regularly in the Bay area and the group slowly built a following for their engaging melodies, Michael and Tim's guitar interplay and the soaring vocal harmonies of the Houpts. However, they were far enough from the mainstream that record companies weren't interested, and in 1976 Hot Knives took matters into their own hands, self-releasing a single, "Lovin' You" backed with "Around the World," which was produced by Cyril Jordan of the Groovies. Another 7" followed later the same year, "I Hear the Wind Blow" b/w a cover of Moby Grape's "Hey Grandma."
The singles earned some enthusiastic press (Greg Shaw in Bomp! called them "the best thing happening in San Francisco these days") but didn't lead to a record deal, and while the group had a wealthy and enthusiastic patron in Casper Weinberger, Jr. (whose father was Secretary of Defense under Ronald Reagan), it wasn't enough to keep the lineup intact after Tim Lynch left the band. While Hot Knives continued for a while with guitarist Bob Kinney, they quietly called it quits by the end of the decade. In 2011, the Australian label Grown Up Wrong released a Hot Knives collection that featured both sides of their two singles, along with ten unreleased tracks.
by Mark Deming
This is a gem. For the last 30 years it occupied lead singer Mike Houpt’s dusty cupboard, forgotten and neglected before being tracked down by Australia’s Grown Up Wrong! Records.
Fronted by Mike and Deborah Houpt, The Hot Knives’ self titled album will take you back to a more innocent time in ’76 with a blistering concoction of 60’s San Fransisco folk rock and muscular rock’n’roll topped with sweet, sweet harmonies between Mike and Deborah. Think Fleetwood Mac’s rockin’ alternative.
The album features 11 rockin’ originals, mostly from the mind of main man Mike Houpt, who had released two Hot Knives 7” singles, back in the day himself through his own K.O records label. The album also features three thumping covers, The Knickerbockers’ Beatles sound- alike "Lies", Moby Grape’s "Hey Grandma" and a big beat version of the frequently covered "Silver Threads and Golden Needles".
What really catches me about this album is the timing of its release with the 70’s music becoming a much more sought after sound (think Tame Impala and Stonefield), it will be interesting to see how the album is perceived in the public eye. It is a really upbeat, rockin’ album with some of the most blistering guitar solos I have heard to date.
The best reference to their sound I can give you is Fleetwood Mac, mostly because of the common era of both outfits. Also the distinct warm harmonies and gorgeous, flaming guitar. The difference between the both is that The Hot Knives is definitely more upbeat and rockin’ with more solos and more of a rock’n’roll influence.
Definitely worth a listen. Harmonies, harmonies, harmonies!
by Nick Leighton
Tracks
1. Around The World (Michael Houpt) - 2:50
2. Sooner Or Later (Michael Houpt) - 3:38
3. I Hear The Wind Blow (Michael Houpt) - 3:57
4. Take Me Back (Debby Houpt) - 2:50
5. Secrets About Me (Michael Houpt) - 5:02
6. Hey Grandma (Jerry A. Mlller.Jr., Donald J. Stevenson) - 2:49
7. You Can Get Anything You Want (Michael Houpt) - 3:23
8. Lies (Buddy Randell, Beau Charles) - 2:42
9. Lovin’ You (Michael Houpt) - 3:31
10.Silver Threads And Golden Needles (Jack Rhodes, Dick Reynolds) - 2:35
11.Winter's Come (Michael Houpt) - 2:39
12.So Fast (Ed Wilson) - 2:49
13.Fool For Love (Ed Wilson) - 2:43
14.Turning Into (Michael Houpt) - 3:25
Hot Knives
*Debra Houpt - Vocals
*Michael Houpt - Rhythm Guitar, Vocals
*Bobby Kinney - Lead Guitar, Vocals (Tracks 2, 4, 11, 12)
*Tim Lynch - Lead Guitar, Vocals
*Danny Mihm - Drums
*Ed Wilson - Bass, Vocals
