Gold - Gold (1969 us, amazing west coast psychedelic rock)

In 1971 Gold was one of the hottest bands in San Francisco without an LP. Bill Graham was booking them to open for 10 years After, Big Brother & the Holding Company, Hot Tuna and more. Eventually he called their management into his office and let them know that he needed bands that had an LP out with airplay. In 2002, Gold's Album "Mission Rock" recorded in '71 was released. After 32 years, finally the LP Graham had wanted to hear!

Gold, a real San Francisco band had Mission District origins in 1967. To gain attention, the band often did benefit gigs for good causes, something they learned from watching the career of Country Joe & The Fish. They played twice for prisoners at the San Francisco County Jail, and also at San Quentin State Prison. In 1971 they played at an anti-Vietnam War Moratorium rally at Golden Gate State Park which drew over 150,000, sharing the bill with Big Brother & The Holding Company. Also, in 1970 they played at a notorious Hells Angels party along with Big Brother, Full Tilt Boogie and Janice Joplin. Not only were they receiving good support from Bill Graham, but also received favorable reviews from the San Francisco Chronicle & Examiner.

The only thing holding them back during those days was not having an LP, but they did manage to get some airplay right along with Santana and The Grateful Dead from an audio cassette they had sent in to local FM radio stations.

Country Joe McDonald took a great interest in the Band and worked with them on a number of projects. he even helped them release a 45...the classic "Summertime" b/w "No Parking". The single went pretty much unnoticed, however they did receive some airplay on top 40 stations in California and Utah.

Guitarist Ed Scott founded what was to become Gold in 1967. Known at the time as The Lost Cause, featuring Larry Walton on lead guitar, they went through several names including Golden Gate, and then finally Gold (as in Acapulco Gold). As the years progressed, new members came and went. The band finally broke up in September, 1973 due to frustration over lack of finding a good label and the usual ego tripping issues that cause most bands to fall... For a garage band they actually went very far and played on some big stages with some mighty huge acts...
MyFirst-Band

Tracks
1. No Parking - 2:35
2. High On Love - 4:03
3. Righteous Road - 2:49
4. Summer Dresses - 2:26
5. Conquistadore - 5:16
6. Heavy - 2:48
7. Elizabeth - 4:33
8. I Saw You - 2:38
9. PSB - 5:47
10.Filet Of Soul - 5:40

Gold
*Ronald Coco -Vocals
*Ed Scott - Guitar
*Joe Bajza - Guitar
*Louis Gorseau - Drums
*Joe Mancada - Bass
*Dennis Cabral - Percussion
*Percy Nicholson - Congas

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J.J. Light - Heya (1969 us, magnificent psychedelic native rock, Sir Douglas side man)

Jim Stallings was a singer, songwriter, and guitarist who had been knocking around the Los Angeles music scene for a few years when he met Bob Markley, a wealthy hipster and producer who had worked with the West Coast Pop Art Experimental Band. Markley took Stallings under his wing, scored him a record deal, and christened him with a new stage name, J.J. Light, which was imagined to better fit his Native American heritage.

J.J. Light scored an international hit single with 1969's "Heya," and the album of the same title sold respectably in Europe, Scandinavia, and South America, but for some reason the LP was never released in the United States, and a follow-up recorded later the same year was never released at all; Stallings became a member of Doug Sahm's Sir Douglas Quintet, joining in time to play bass on the classic Together After Five album.

This release from the U.K.-based Sunbeam Records features the Heya! LP in full along with 11 songs recorded for Light's unreleased second album, only one of which ("Kent State Massacre") has previously surfaced. Heya! is an engaging exercise in psychedelia lite; Stallings' songs are strong and to the point while boasting radio-ready melodies alongside lyrics that often deal with Native American issues, and his vocals are gutsy and passionate without sounding ragged, recalling Johnny Rivers with an extra portion of soul.

Stallings also had some fine help in the studio, including keyboard man Larry Knechtel, drummers Earl Palmer and Jim Gordon, and guitarists Gary Rowles and Ron Morgan (the former worked with Arthur Lee's 1969-1970 edition of Love, and the latter played in the West Coast Pop Art Experimental Band), and the music isn't afraid to cut deep while leaning toward the sunny side.

The unreleased material was rescued from old acetates and the sound quality is flawed, but the songs and performances are as good if not better than what Stallings brought to his first album, and it's hard to imagine why work this good was forced to collect dust in the vaults for so long. Heya! certainly deserves a higher profile in Stallings' homeland, and until some American label picks this up for a stateside issue, Sunbeam's release gives his songs the hearing they clearly deserve, while Tim Forster's liner notes tell the story behind this music and J.J. Light's short-lived career.
by Mark Deming

Tracks
1. Na Ru Ka - 3:01
2. Silently Sleeping - 2:58
3. Follow Me Girl - 3:02
4. It's Wednesday - 2:31
5. Until It Snows - 3:01
6. The Electric Land Band - 1:25
7. Hello, Hello, Hello - 2:31
8. Heya - 3:10
9. While the World Turns to Stone - 2:18
10.Henry Glover - 2:11
11.Hey Yo Hanna Wa - 2:14
12.Indian Disneyland - 2:23
13.Gallup, New Mexico - 1:56
14.On the Road Now - 3:05
15.Low Rider Rule - 2:37
16.Running Bear (Richardson) - 2:31
17.Rose Marie - 1:47
18.A Thousand Years Old - 2:47
19.Love Is Not a Game (Goldstein) - 2:16
20.Power to the People - 3:03
21.Kent State Massacre - 2:08
22.Christine - 1:59
23.Don't We All Get Lonely Sometimes? (Knight) - 3:25
24.Have You Seen My Baby? (Newman) - 2:32
25.Stuck in Prison - 1:58
26.Heya - 2:36
All Songs written by Jim Stallings except where noted.

Musicians
*Jim Stallings - Vocals, Bass, Guitar
*Gary Rowles - Guitar
*Ron Morgan - Guitar
*Larry Knechtel - Piano, Organ
*Joe Osborne - Bass
*Jim Gordon - Drums
*Earl Palmer - Drums

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Various Artists - The Electric Coffee House (60's us, garage psych folk gems, Psychic Circle release)

Up until the Beatles struck, America led the way in pop music. Suddenly the tables had turned and 'The British Invasion bands' took control. American kids invigorated by this no-nonsense, self-written approach, formed bands in every town.

This is what gave rise to the garage band phenomenon. Snotty youths modelling themselves on The Stones, The Beatles, The Kinks et al produced the primitive anthems now so beloved by collectors across the globe. Yet, there was another thread that came from a distinctly different angle. This was the 'folk rock' movement, heralded by The Byrds and The Beau Brummels.

Basically it was born from the collision of the American coffee house scene withjiritish pop. The Byrds had been the first to successfully combine traditional folk with the (angle of The Searchers twelve string sound, and before long there was a plethora of similarly minded musos swapping their acoustics for Rickenbackers and growing Brian Jones hairdos.

This compilation comprises 20 tracks by bands who were taking this path into the mid sixties haze. Some of it is pop, some of it is bluesy, some of it is primitive, but all of it has that underlying folk feel. Before long Dylan would plug into the mains and Jefferson Airplane would transform their folk roots into fully-fledged psychedelia.

But for now, we hope you'll enjoy this journey through an intriguing and often overlooked field of '60s music. I guess if it needs a label it's 'garage folk', but let's forget about compartmentalisation, and just tune in to a time when it all seemed new and exciting down at 'The Electric Coffee House'.
by Nick Saloman

Artists - Tracks
1. Tiffany System - Wayward One - 1:57
2. The Energy Package - See That I Come Home - 2:19
3. Tommy Jay - Springtime's Coming - 2:17
4. Finders Keepers - Raggedy Ann - 3:03
5. Rick Jarrard - High Coin - 3:03
6. Clefs Of Lavender Hill - First Tell Me Why - 2:18
7. The Guilloteens - I Don't Believe - 2:36
8. The Sound Of The Seventh Son - I'll Be on My Way - 2:47
9. Jeremiah - Goin' Lovin' with You - 1:52
10.The Iguanas - This Is What I Was Made For - 2:19
11.Vinnie Basile - Gypsy Girl - 1:59
12.The Yankee Dollar - Reflections of a Shattered Mind - 2:39
13.Starbuck - Let Your Hair Hang Long - 2:46
14.The Hi-Five - You'll Never Know What's in My Heart - 2:21
15.The Chessmen - Running Wild - 2:03
16.Peck's Bad Boys - Silver Dawn - 2:17
17.The Stream Of Consciousness - Till You're Through - 2:15
18.Keith Murphy An The Daze - Slightly Reminiscent of Her - 2:17
19.The Scandal - There's Reasons Why - 2:25
20.The Gants - I Wonder - 2:13

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John Kay and the Sparrow - John Kay and the Sparrow (1968 canada, strong psychedelic rock with blues and folk traces)

Steppenwolf leader/founder John Kay is perhaps the most overlooked early contributor to the musical style that would become heavy metal and hard rock. Kay was the first rocker to use the phrase heavy metal in a song, in one of metal's first great anthems: Steppenwolf's 1968 classic "Born to Be Wild." Born Joachim Fritz Krauledat on April 12, 1944, in the section of Germany that was once known as East Prussia, it was the American rock & roll that he heard on U.S. Armed Forces radio after his family moved to East Germany that fueled his interest in music.

After relocating to Toronto, Canada, in 1958, Kay became even more transfixed by rock & roll -- leading to Kay picking up the guitar, writing songs, and playing in local bands. In the '60s, Kay founded the Sparrow, a rock outfit who played both Canada and the U.S., but received little attention. The group had fallen apart by 1967, but with a new, harder-edged style of rock beginning to conquer the charts and airwaves (Cream, Jimi Hendrix, and the Yardbirds), Kay decided to pursue this direction with his next band, Steppenwolf (titled after Hermann Hesse's novel of the same name).

After moving to Los Angeles, the fledgling band was signed to Dunhill and recorded their self-titled debut, issued in 1968. The album became a sizeable hit, as "Born to Be Wild" was unleashed on an unsuspecting record-buying public, becoming one of rock's most instantly identifiable and enduring hits of all time. After the track was used in the 1969 cult classic movie Easy Rider, it subsequently appeared in countless other movies and TV commercials over the years and was covered by numerous other bands (Blue Oyster Cult, Slade, Crowded House, and the Cult).
by Greg Prato

Before Steppenwolf hit with "Born to Be Wild," there was a blues band out of Canada called the Sparrow. Not only is the future growl of John Kay subdued on this record, so are the bellowing sounds that became organist Goldy McJohn's trademark. The John Kay composition "King Pin" has an almost jazz piano playing against the harp. With drummer Jerry Edmonton, McJohn, and Kay, this is three-fifths Steppenwolf, and it comes off as Steppenwolf lite.

Guitarist Dennis Edmonton, the drummer's brother, composes or co-writes five of the songs, where John Kay wrote four. Dennis Edmonton's "Chasin' Shadows" is psychedelic pop, very British sounding, and gives indications of the trippy style he would develop. When he left the band he became Mars Bonfire and penned "Born to Be Wild,," released on his own CBS album Faster Than the Speed of Life. "Green Bottle Lover," written by both Edmonton brothers, is even more psychedelic and rocking.

The liner notes are terrible, giving little information about this historic disc, leaving it to the music. Where John Kay's "Twisted" starts off the festivities with the boogie-woogie blues that seems indicative of the Sparrow, the final track, "Isn't It Strange" by St. Nicholas and Dennis Edmonton, goes full throttle with the psychedelia. A very interesting collection of sounds exhibiting two musical sides, only hinting at what they would develop when they hooked up with producer Gabriel Mekler to eventually crank out about a half a dozen Top 40 hits on Dunhill.
by Joe Viglione

Tracks
1 Twisted (J. Kay) - 2:14
2 Goin' To California (J.  Kay) - 2:24
3 Baby, Please Don't Go (Williams) - 3:12
4 Down Goes Your Love Life (D. Edmonton, N. St. Nicholas) - 2:00
5 Bright Lights, Big City (J. Reed) - 3:07
6 Can't Make Love By Yourself (D. Edmonton) - 2:24
7 Good Morning Little School Girl (S.B. Williamson) - 3:53
8 King Pin (R. Jones, M. Mann) - 2:57
9 Square Headed People (J.  Kay) - 2:29
10 Chasin' Shadows (D.Edmonton) - 3:19
11 Green Bottle Lover (D.Edmonton, J. Edmonton) - 2:38
12 Isn't It Strange (D. Edmonton, N. St. Nicholas) - 2:28
13 Tomorrow's Ship (D.Edmonton) - 3:08
14 Twisted (J.  Kay) - 2:59
15 Goin' To California (J.  Kay) - 2:25
16 Hoochie Coochie Man (W. Dixon) - 4:34
17 The Pusher (H. Axton) 5:18
18 Goin' Upstairs (J.L. Hooker) - 5:46
19 Tighten Up Your Wig (J.  Kay) - 3:10
20 Too Late (N. St. Nicholas) - 2:33

John Kay and the Sparrow
*John Kay – Rhythm Guitar, Lead Vocals
*Dennis Edmonton (Mars Bonfire) – Lead Guitar, Vocals
*Nick St. Nicholas – Bass, Vocals
*Goldy McJohn – Keyboards, Vocals
*Jerry Edmonton – Drums, Lead Vocals

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The Challenger's - The Challenger's (1969 puerto rico, splendid psychedelic rock, Gear Fab release)

Puerto Rico in 1969 was a lot like the rest of the continental United States in the 60's: young people were feverishly playing the songs of the day and, occasionally, some of them even wrote their own music. Some even had the good fortune to get access to a studio where they actually made a record. The Challengers were one of these bands.

Their music was fresh, hard, and distinctively influenced by the Vanilla Fudge, The Young Rascals, and Santana. We only wish we knew more about this mystery band. While we were unable to locate any of the members, the original gate fold LP comes with some information on this band.

Recorded in Puerto Rico in 1969, this band had six members: Rafael Marquez "Rafi" on Lead guitar and Melodica, Luis Velez "Wiso" on vocals and bass, Alex Rodriguez on vocals, second lead, Rhythm guitar, and conga, Reno Habiff Moreno on vocals and percussion, Jose Guzman "Tato" on organ and piano, and Jose Luis Kerkado on drums.
by Roger Maglio

Tracks
1. Emily (Reno Habiff) - 2:54
2. Martha Does (Alex Rodriguez) - 3:31
3. You Can't Mess With Joe (Reno Habiff, Luis Velez) - 2:29
4. Blowin' In The Wind (Bob Dylan) - 5:25
5. Letting You Know (Alex Rodriguez, Reno Habiff) - 3:50
6. It's For You (Lennon, McCartney) - 3:50
7. GotToTellYou (Reno Habiff, Alex Rodriquez) - 3:10
8. Needles And Pins (Nitzsche, Bond). 3:03
9. Little Big Man (Alex Rodriquez) - 7:31

The Challenger's
*Rafael Marquez "Rafi" - Lead Guitar, Melodica
*Luis Velez "Wiso" -  Vocals, Bass
*Alex Rodriguez - Vocals, Second Lead, Rhythm Guitar, Conga
*Reno Habiff Moreno - Vocals, Percussion
*Jose Guzman "Tato" - Organ, Piano
*Jose Luis Kerkado - Drums

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Mary Butterworth - Mary Butterworth (1969 us, marvellous west coast psych rock, 2010 rerelease)

In the Spring of 1968, the Mary Butterworth band was formed. They enjoyed playing a variety of engagements around the Southern California area and in 1969, they recorded their one and only album entitled Mary Butterworth. This original, vinyl album was pre-sold to fans and friends only - it was never available to the general public.

Shortly thereafter, the group split up and never performed together again. Years passed and rumors spread that Mary Butterworth had made it big. Of course, that was not the case. What did happen was that one of those original vinyl albums made it into the hands of "bootleggers" in another country. They thought enough of the music to reissue the album, and they began a sales campaign of their own. It didn't stop there. The Butterworth album has been bootlegged at least three other times in two different countries.

This bootlegging has created a Mary Butterworth following and pushed the price of the original vinyl album to over $300.00 per used record. The Psychedelic Rock Music of the '60's is still regarded, even today as some of the greatest live music ever created - and Mary Butterworth will now be a lasting part of that history. This has prompted the re-release of this album, which is mastered from the original studio recording onto Compact Disc.

This CD contains photos of the group, as well as the signature of the original lead singer and bass player Michael Ayling.

Tracks
1. Phase II - 6:10
2. Optional Blues - 4:03
3. It's A Hard Road - 5:51
4. Make You Want Me - 2:40
5. Feeling I Get - 3:58
6. Week In Eight Days - 8:50

Mary Butterworth
*Michael Hunt - Drums, Vocals
*Michael Eachus - Hammond
*Michael Ayling - Bass, Vocals, Flute
*Jim Giordano - Guitar

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Paul Revere And The Raiders - Mojo Work Out (1963-65 us, garage 'n' roll, Sundazed double disc edition)

In 1964, at the peak of British Invasion fervor, Columbia Records turned to the Pacific Northwest for some red, white & blue musical ammunition to fire at the invaders and found it in the form of a group of frock-coated, tri-corner capped rowdy, if not revolutionary, R&B rebels, Paul Revere & The Raiders. Fresh from the musical pressure cooker of the Northwest circuit of teen dance clubs, American Legion halls, roller rinks and gymnasiums, the Raiders were raw and rockin', ready to take on all comers with a ton of talent and a healthy dose of enthusiasm to fill in any gaps in the talent department. While the Dick Clark pop machine would eventually round off their rough edges during their tenure as the house band on the afternoon TV series Where The Action Is, the Raiders of '64 were a pounding pile of party.

Mojo Workout! is the recorded equivalent of an all night kegger. Combining the Raiders' debut album, Here They Come!, with a collection of outtakes, singles, and unreleased live recordings, this is the Raiders I knew as a young Seattle teenager, and the Raiders the country might have missed if they didn't pay enough attention soon enough. These pre-"Kicks" kids didn't have any messages to offer, or any pretensions at all. It's pure rockin' R&B, and it's terrific from start to finish. These two discs are all the party rock you'll ever need.

Excellent notes, full release and session notes and vintage photography complete the package nicely, but it's really all about the music, and the music is all about fun. Read if you will, but listen you must!
by Shaun Dale

Tracks
Disc 1
1. What'd I Say - (previously unreleased) - 5:05
2. Louie, Louie - 3:41
3. Night Train - (previously unreleased) - 4:47
4. Peter Gunn - (previously unreleased) - 4:15
5. Money (That's What I Want) - 3:42
6. Louie, Go Home - (previously unreleased) - 2:50
7. Crisco Party / Walking The Dog - 6:22
8. Fever - (previously unreleased) - 4:05
9. Whole Lotta Nothin' - (previously unreleased) - 3:32
10.Twist and Shout - (previously unreleased) - 3:50
11.You Can't Sit Down - 3:51
12.Don't Be Cruel - (previously unreleased) - 3:37
13.Do You Love Me - 3:36
14.Don't You Just Know It - 3:37
15.Oh Poo Pah Doo - 3:09
16.Over You - (previously unreleased) - 2:14
17.Big Boy Pete - 2:56

Disc 2
1. Louie, Louie - 2:44
2. Night Train - 2:56
3. Have Love Will Travel - 2:32
4. Louie, Go Home - 2:45
5. Mojo Workout - 2:24
6. Over You - 2:15
7. Swim - 1:56
8. Irrestible You - 3:41
9. Comin' Home Baby - 5:01
10.Maybelline - 2:48
11.I'll Be There - 4:09
12.Big Boy Pete - 2:20
13.You Were Wrong - 2:25
14.High Heel Sneakers - 2:50
15.My Wife Can't Cook - 2:29
16.Blue Fox - 2:32
17.Searchin' - 2:36
18.Whole Lotta Shakin' - 3:05
19.Sweets For My Sweet - 2:30
20.Sometimes - 2:44
21.Gone - 1:51
22.These Are Bad Times (For Me and My Baby) - 2:56
23.Fever - 2:54
24.Time Is on My Side - 2:40
25.A Kiss to Remember You By - 2:18
26.Have Love Will Travel - (alternate take) - 2:53
27.Louie Go Home - (alternate take) - 3:23

Paul Revere and the Raiders
*Paul Revere - Organ
*Mark Lindsay - Lead Vocals
*Drake Levin - Lead Guitar
*Phil "Fang" Volk - Bass Guitar
*Mike "Smitty" Smith"  - Drums

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The John Schroeder Orchestra - The Dolly Catcher (1967 uk, groovy orchestrated lounge psychedelic pop, Radioactive release)

Arranged by John Cameron, The Dolly Catcher, (the title refering to pulling "dolly birds", or girls) is widely recognised as an "easy" classic and Schroeder manages to merge fuzz guitar and organ with sweeping strings and brass producing an album that is always interesting, and at times, genuinely ground breaking.

We get some great covers versions (Lucy In The Sky With Diamonds, San Francisco, Up, Up and Away) along with some storming original tunes.John Schroeder ("the British answer to Burt Bacharach") is probably best known for his production work, becoming assistant to Columbia Records label chief Norrie Paramor in 1958 and producing the Eurovision runner-up in the same year, Pearl Carr and Teddy Johnson's Sing Little Birdie.

During his time at Columbia Schroeder discovered the 14 year-old Helen Shapiro, writing her first hit, Please Don't Treat Me Like A Child and sharing an Ivor Novello award with co-writer Mike Hawker for another Shapiro hit, Walkin' Back To Happiness.

After a short stint with Columbia, Schroeder spent 2 productive years at Oriole, at the time the UK's only truly independent label, before departing for Pye, where he enjoyed immediate success with the Rockin' Berries, the Ivy League and Sounds Orchestral, an instrumental orchestra that enjoyed commercial success with the song, Cast Your Fate To The Wind. During his Pye years, Schroeder wrote for and produced artists such as Status Quo, Geno Washington and renewed his association with Helen Shapiro.”

Tracks
1. The Dolly Catcher - 1:56
2. San Francisco (Flowers In Your Hair) - 3:20
3. Explosive Corrosive Joseph - 2:39
4. To Wendy With Love - 2:41
5. Epistle To Dippy - 2:28
6. She'd Rather Be With Me - 2:09
7. Softly Softly Catchee Dolly - 2:31
8. Lucy In The Sky With Diamonds - 3:11
9. I Was Made To Love Her - 3:08
10.Up, Up And Away - 2:07
11.But She Ran The Other Way - 2:50
12.Things I Should Have Said - 2:13

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Savoy Brown - Raw Sienna / Looking In (1969-70 uk, great hard blues rock, 2005 BGO remaster)

The "Raw Sienna" a high-water mark by the band, finds them softening their rougher edges and stretching out into jazz territory, yet still retaining a blues foundation. There's not a bad cut here, with enough variety (bottleneck slide, acoustic guitar, horns, and strings) to warrant frequent late-night listenings. "A Hard Way to Go," "Needle and Spoon," and "Stay While the Night Is Young" are especially strong, as are two instrumental numbers.

Unfortunately, leader Kim Simmonds lost his greatest asset when vocalist Chris Youlden quit for an ill-fated solo career after this recording. Youlden had one of the most distinctive voices in British blues, and Savoy would never fully recover from his exit.
by Peter Kurtz

Savoy Brown's blues-rock sound takes on a much more defined feel on 1970's Looking In and is one of this band's best efforts. Kim Simmonds is utterly bewildering on guitar, while Lonesome Dave Peverett does a fine job taking over lead singing duties from Chris Youlden who left halfway through the year. But it's the captivating arrangements and alluring ease of the music that makes this a superb listen.

The pleading strain transformed through Simmonds' guitar on "Money Can't Save Your Soul" is mud-thick with raw blues, and the comfort of "Sunday Night" is extremely smooth and laid back. "Take It Easy" sounds like it could have been a B.B. King tune as it's doused with relaxed guitar fingering. The entire album is saturated with a simple, British blues sound but the pace and the marbled strands of bubbly instrumental perkiness fill it with life.

Even the Yardbirds-flavored "Leaving Again" is appealing with its naive hooks, capped off with a heart-stopping guitar solo. This album along with Street Corner Talking best exemplify Savoy Brown's tranquilizing style.
by Mike DeGagne

Tracks
Raw Sienna 1969
1. A Hard Way To Go (Chris Youlden) - 2:21
2. That Same Feelin' (Kim Simmonds) - 3:40
3. Master Hare (Kim Simmonds) - 4:52
4. Needle And Spoon (Chris Youlden) - 3:20
5. A Little More Wine (Chris Youlden) - 4:55
6. I'm Crying (Chris Youlden) - 4:19
7. Stay While The Night Is Young (Chris Youlden) - 3:10
8. Is That So (Kim Simmonds) - 7:43
9. When I Was A Young Boy (Chris Youlden) - 3:05
Looking In 1970
10.Gypsy (Kim Simmonds) - 1:00
11.Poor Girl (Tony Stevens) - 4:08
12.Money Can't Save Your Soul (Dave Peverett, Kim Simmonds) - 5:32
13.Sunday Night (Kim Simmonds) - 5:24
14.Looking In (Dave Peverett, Kim Simmonds) - 5:19
15.Take It Easy (Dave Peverett, Kim Simmonds) - 5:44
16.Sitting An' Thinking (Kim Simmonds) - 2:53
17.Leavin' Again (Dave Peverett, Kim Simmonds) - 8:30
18.Romanoff (Kim Simmonds) - 1:04

Savoy Brown
1969 Raw Sienna
*Chris Youlden - Vocals
*Kim Simmonds - Guitars
*Bob Hall - Piano
*Roger Earl - Drums
*Tony Stevens - Bass
*"Lonesome" Dave Peverett - Guitars
1970 Looking In
*Kim Simmonds - Guitar, Piano
*Lonesome Dave Peverett - Vocals, Guitar
*Roger Earl - Drums
*Tony Stevens - Bass
Guest Musician
*Owen Finnegan - Congas

1967-68  Savoy Brown - Shake Down / Getting To The Point 

1974  Savoy Brown - Boogie Brothers

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T. Rex - Great Hits The A Sides (1972-77 uk, fabulous glam rock)

"If there is going to be any revolution in pop, it must come from the young people and if you ignore them, you are cutting yourself off from the life-supply of the rock music force."
(Marc Bolan, November 1970)

By the end of 1970, it was clear that the apparent revolutionary power of the rock underground was going nowhere. Its stars, increasingly enslaved by the chemical favours that came their way, had begun to die off; their riches and fame set them apart from the movement they were meant to represent; and their fashions and music had been assimilated into the wider culture.

They'd become another brick in the wall they once wished to tear down. Marc Bolan, although very much a part of the British underground, never fully bought into the politics of the counter-culture. As the driving force of Tyrannosaurus Rex, a duo which played — cross-legged on Indian rugs — at UFO, Middle Earth and as many outdoor festivals as they could possibly manage, Bolan massaged the underground's escapist wing. He looked like an elfin rag-doll, spoke in a precious whisper, wrote reams of fanciful poetry and sang like a quavering priest from an alien land.

And, unlike many of his contemporaries, he rarely ventured far from the simple songwriting that had inspired him as a youth: three chords were usually enough. Much has been made of Bolan's transition from underground folkie to teen idol, but through his eyes, it was all part of the mosaic of fantasy. In fact, he was fond of saying that his post-1,970 pop career was far more honest than the days when he spun Tolkienesque tales to the hippie hordes, and perhaps he was right.

After 1970, Marc Bolan no longer fed the addled heads of wayward undergraduates; instead, he activated an entire generation of teenagers, setting the controls for as far as they could think. Like the Beatles fans a decade earlier, they screamed, but they also dreamed. Through his image, he encouraged a symbolic refusal of ordinariness, just as his own heroes Elvis Presley and Jimi Hendrix had done.

 He once said, "I don't lead an everyday life, but that's nothing to do with being a rock star. I've always been like that." A generation of pop fans took him at his word, and began to create their own personae. It was particularly gratifying, then, to later discover that dozens of gaily-attired punk musicians were inducted into a pop way of life by his example.

The songs on this CD document every single released by T. Rex between January 1972 and August 1977, a period which began with a string of surefire chart-toppers, and ended with his death in a car crash on 16th September 1977. By that time, his successes were hard-earned, but his knack for conjuring irresistible three minute epics out of a clutch of simple chord shapes and a few choice phrases never left him.

Tracks
1. Telegram Sam - 3:44
2. Metal Gum - 2:.26
3. Children Of The Revolution - 2:27
4. Solid Gold Easy Action - 2:20
5. 20th Century Boy - 3:38
6. The Groover - 3:21
7. Truck On (Tyke) - 3:06
8 Teenage Dream - 4:56
9. Light 0f Love - 3:14
10.Zip Gun Boogie - 3:18
11.New York City - 3:55
12.Dreamy Lady - 2:52
13.London Boys - 2:19
14.I Love To Boogie - 2:14
15.Laser Love - 3:35
16.To Know You Is To Love You (To Know Him Is To Love Him) (Phil Spector) - 2:43
17.The Soul 01 My Suit - 2:37
18.Dandy In The Underworld - 3:49
19.Celebrate Summer - 2:36
All Songs Written By Marc Bolan, except wher noted.

Musicians
*Marc Bolan -  Guitar, Lead Vocals
*Mickey Finn -  Percussion (1969 - 1974)
*Steve Currie -  Bass (1970 - 1976)
*Bill Legend -  Drums (1971 - 1973)
*Gloria Jones -  Keyboards, Vocals (1973 - 1976)
*Jack Green -  Guitar (1973 - 1973)
*Dino Dines -  Keyboards (1973 - 1977)
*Davy Lutton -  Drums (1973 - 1976)
*Miller Anderson -  Guitar (1976 - 1977)
*Herbie Flowers -  Bass (1976 - 1977)
*Tony Newman -  Drums (1976 - 1977)

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Blodwyn Pig - Pigthology (2004 uk, fine blues rock)

Blodwyn Pig the British rock band formed by Mick Abrahams (vocals, guitars, formerly of "Jethro Tull") Jack Lancaster (saxes, flutes, violin and wind controllers) Andy Pyle (bass), and Ron Berg (drums), have released an anthology featuring re-recorded and re-mastered recordings of the band's most beloved and successful songs "Dear Jill" "See My Way" "Drive Me" and previously unreleased materials.

Blodwyn Pig in its first form was a legend in rock history hitting the top of the LP charts in Britain and elsewhere around the world. The members received new inspiration when Cameron Crow used the recording of "Dear Jill" in his movie "Almost Famous". The original BLODWYN PIG consisted of Mick Abrahams, vocals, guitars. Jack Lancaster, sax, flutes, violin and wind controllers. Andy Pyle, bass and Ron Berg drums and was later joined by "Jethro Tull's" Clive Bunker on drums.

Many bands credit Blodwyn Pig with being a huge influence at the start of their careers. One member of Aerosmith was recently quoted in Rolling Stone as saying "there wouldn't have been an Aerosmith if there hadn't been a Blodwyn Pig" and there are many fan sites across the Internet which still attest to the band's popularity.

The band played alongside Led Zeppelin, The Who, Procul Harem, BB King, Miles Davis, Janis Joplin, Pink Floyd and Joe Cocker at the Isle of Wight rock festivals, the Reading rock festival. The "Pig" completed two successful American tours playing venues like Fillmores, numerous universities and the LA Forum. Some of the recordings on Blodwyn Pig's," Pigthology" are from this period as well as later recorded songs from their first two albums.

Pigthology was produced, compiled and mastered by Jack Lancaster and Mick Abrahams.
CDBaby

Tracks
1. See My Way - 4:28
 2. Baby Girl - 3:50
 3. Dear Jill - 6:27
 4. Monkinit - 4:40
 5. Drive Me - 2:42
 6. The Change Song - 3:31
 7. Cosmogification - 5:06
 8. Same Old Story - 2:35
 9. Hound Dog - 2:18
 10.Sly Bones - 2:10
 11.It's Only Love - 3:32
 12.Stormy Monday - 6:46

Blodwyn Pig
*Mick Abrahams - Vocals, Guitars
*Jack Lancaster - Saxes, Flutes, Violin, Wind Synths,
*Andy Pyle - Bass
*Ron Burg - Drums

Other Mick Abrahams Blodwyn Pig selected works.
1969  Ahead Rings Out (remastered and expanded edition) 
1970  Blodwyn Pig - Getting To This
1971  Mick Abrahams

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Savoy Brown - Shake Down / Getting To The Point (1967-68 uk, classic blues rock, 2005 bouble disc BGO remaster)

The Savoy Brown Blues Band's first Decca long player was recorded in just thirty hours spanning three consecutive days. Shake Down was a gritty collection of blues standards with just one original, Stone's "Doormouse Rides the Rails." Among the tracks were B.B. King's "Rock Me Baby," John Lee Hooker's "It's All My Fault," three Willie Dixon songs and "Black Night" by Fenton Robinson. The standout track was the group-arranged "Shake 'Em on Down," a raucous workout extending to just over six minutes. Shake Down was released in the U.K. in September 1967, but for reasons unknown, the LP didn't appear at all in the U.S.

The Savoy Brown Blues Band continued to gig extensively while Shake Down was in production, doing a punishing 24 gigs in just 21 days as backing band for John Lee Hooker. They also got a summer-long residency in Charlottenlund, north of Copenhagen, Denmark. At around the time of Shake Down's release, in an odd coincidence the band experienced a true drug-related "shake down" in Barnstaple, a town in Devon, England, during a short tour of the West Country. This incident led Harry to actually fire his brother Kim from the band after the dates in Denmark. Other changes ensued as Chappell and Portius left and were replaced by Bob Brunning on bass and Chris Youlden on vocals. Brunning had previously been Fleetwood Mac's bassist for a few weeks in August 1967.

Youlden had been in various outfits, including a band that had alternately called itself the Down Home Blues Band and Shakey Vick's Big City Blues Band, and another called the Cross Ties Blues Band.

Next, Manning quit and was replaced on drums by Hughie Flint, formerly of John Mayall's Bluesbreakers and Alexis Korner's band, Free at Last band. Finally, Stone departed and Kim asked O'Leary to rejoin the band. O'Leary agreed at first, then changed his mind due to "unreasonable conditions." Stone was instead replaced by "Lonesome" Dave Peverett.

Producer Mike Vernon arranged for sessions for the group's next album, Getting to the Point, which took place in March 1968. Alongside Kim, Youlden emerged as co-leader of the group, and jointly or separately the pair composed most of the material. While the U.K. version of the album had cover-art depicting Kim wearing round glasses with the image of a black man in each lens, the U.S. cover art depicted more innocuous and politically correct images of a maze breaking up a collage of artwork. Kim explained what the original cover design was trying to depict to Melody Maker: "Our cover tried to show that although we are white we see things the same ways as a Negro but for some reasons it was changed."

With just two cover songs and seven originals, the album was to have been the Savoy Brown Blue's Band's transition from being a blues covers outfit to a band that had asserted its own identity. Unfortunately, the songs were not as strong as the pieces on the previous album, with the exception of the moody "Mr. Downchild" and the Willie Dixon-penned "You Need Love."

Getting to the Point was released in both the U.S. and the U.K. in July 1968 to positive reviews. Disc Weekly wrote approvingly that the album "showcases their fine instrumental ability (particularly guitarist Kim Simmonds) and clean, tight sound. An exciting LP-it's difficult to sit still while it's on, and that's what the blues is all about, after all." Rolling Stone observed, "Savoy Brown does not come on with complex technical artistry and does not attempt to overplay its music. Its strength lies in its group rapport and dynamics. Vocalist Chris Youlden is one of the better blues singers to emerge from England. His voice has the resonance and inflection so necessary to establish the power and emotion which is the blues."
Savoy Brown-com

Tracks
Shake Down 1967
1. I Ain't Superstitious (Willie Dixon) - 3:33
2. Let Me Love You Baby (Willie Dixon) - 3:05
3. Black Night (Jessie Mae Robinson) - 4:54
4. High Rise (Beverly Bridge, Sonny Thompson, Freddie King) - 2:48
5. Rock Me Baby (B.B. King, Joe Josea) - 3:01
6. I Smell Trouble (Deadric Malone) - 4:36
7. Oh, Pretty Woman (Albert King) - 2:33
8. Little Girl (Willie Dixon) - 1:42
9. The Doormouse Rides the Rails (Albert Stone) - 3:37
10. It's My Own Fault (John Lee Hooker) - 5:01
11. Shake 'Em on Down (Traditional) - 6:07

Getting To The Point 1968
1. Flood in Houston (Kim Simmonds, Chris Youlden) - 3:54
2. Stay With Me Baby (Dave Peverett, Kim Simmonds, Chris Youlden) - 2:40
3. Honey Bee (Muddy Waters) - 6:32
4. The Incredible Gnome Meets Jaxman (Kim Simmonds) - 3:31
5. Give Me a Penny (Traditional) - 4:21
6. Mr. Downchild (Kim Simmonds, Chris Youlden) - 5:30
7. Getting to the Point (Kim Simmonds) - 3:59
8. Big City Lights (Bob Hall, Chris Youlden) - 3:19
9. You Need Love (Willie Dixon) - 7:39

Savoy Brown
1967 Shake Down
*Brice Portius - Vocals
*Kim Simmonds - Lead And Rhythm Guitar
*Martin Stone - Lead And Rhythm Guitar
*Ray Chappell - Bass
*Leo Mannings - Drums, Percussion
*Bob Hall - Piano

1968 Getting To The Point
*Chris Youlden - Vocal
*Bob Hall - Piano
*Kim Simmonds - Lead Guitar
*Dave Peverett - Rhythm Guitar
*Rivers Jobe - Bass Guitar
*Roger Earl - Drums

1974  Savoy Brown  - Boogie Brothers

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Paul Butterfield - North South (1981 us, funky blues rock, japan edition)

Butterfield the blues harp master would keep busy with session work through the end of the 1970s, and toured with the Band's Levon Helm and his RCO All Stars.  Paul Butterfield remained signed to Bearsville Records, and made his proper solo debut in 1976, releasing  "Put It In Your Ear" in Los Angeles with renowned sessioneers like Chuck Rainey, Timothy Drummond, James Jameson, Fred Carter, Jr., Ben Keith, Eric Gale and Bernard Purdie, as well as Levon Helm and Garth Hudson of The Band.

“North South” (referring to 1966’s “East West”) was recorded in 1981 at Hi Records’ Royal Recording Studios in Memphis, and was produced by the legendary Willie Mitchell. It features Hi’s rhythm and brass sections playing throughout.  In a sense it's not a bad album, but it’s far out from the older recordings, not even to his most recent, but judging the situation and the period production with the overuse of synthesizers and stuff like that I think it sounds pleasant.

In 1986 he released his last album, "The Legendary Paul Butterfield Rides Again". Butterfield died in May 1987 at the age of 45, suffering a heart attack that was probably brought on by years of drug and alcohol abuse.

Tracks

1.I Get Excited (Bradley, Fisher) - 3:34

2.Get Some Fun in Your Life (Turner) - 4:00

3.Footprints on the Windshield Upside Down (Carlisle, McClinton) - 3:20

4.Catch a Train (Bradley, Fisher) - 2:56

5.Bread and Butterfield (Toles) - 4:28

6.Living in Memphis (Turner) - 4:07

7.Slow Down (Cobb) - 4:38

8.I Let It Go (To My Head) (Fuller, Toles) - 2:54

9.Baby Blue (Greenfield, Sedaka) - 5:07

Musicians

*Paul Butterfield - Harmonica, Vocals

*Steve Cobb - Bass, Percussion

*Eddie Fisher - Drums

*Jack Hale - Trombone

*James Hooker - Piano

*Wayne Jackson - Trumpet

*Andrew Love - Tenor Sax

*Willie Mitchell - Horn Arrangements, Percussion, String Arrangements

*Erma Shaw - Vocals

*Michael Toles - Guitar, Horn Arrangements, Piano, String Arrangements, Synthesizer, Vocals

*Julius Bradley - Vocals

Paul Butterfield's back pages

1964 -1969 Paul Butterfield's Blues Band (Their first 5 albums by request)

1966-68  Strawberry Jam

1970  Live 

1971  Sometimes I Just Feel Like Smilin' 

1973  Paul Butterfield's Better Days

1973  It All Comes Back (Japan Edition)

1976  Put It In Your Ear

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The Outlaw Blues Band - Breaking In (1969 us, tasteful blues rock with jazzy soul feel)

The Outlaw Blues Band And The People brought the band a certain amount of acclaim, and they would score high-profile gigs playing with artists as diverse as Canned Heat, the Paul Butterfield Blues Band, Spirit, Taj Mahal, the Jefferson Airplane, and others. The truth is, however, that the album didn't sell especially well. The long delay between its recording and release (over a year) had found the band evolving towards an even more eclectic sound, while rifts caused by poor management would change the band's musical chemistry as members left and new ones didn't quite fit in the same way.

Remarkably, ABC/Bluesway Records requested a second record from the OBB, the label insisting on a much more blues-oriented set of material. Recorded over a mere two days, by the time of its release a year later in 1969, Breaking In was supported by a band that included only Aleman and Whiteman from the original line-up. Still, since the band had cut its teeth on the blues, the performances on Breaking In are fresh, original, and masterful while still bringing the trademark OBB eclecticism to the material. New OBB bassist Lawrence "Slim" Dickens does a fine job of singing the Big Joe Turner soul-blues number "Plastic Man," his smoldering vocals laying smoothly atop a loping groove created by his walking bass line, Aleman's rhythmic beats, and Diaz's razor-sharp leads.

A cover of the T-Bone Walker classic "Stormy Monday Blues" is equally spot-on, Dickens' soulful vocals complimented by Whiteman's jazzy vibes and mournful sax, Aleman's shuffling drumbeats, and Diaz's elegant fretwork. Dickens' original "My Baby's Left And Gone" is a straight-arrow blues tune and fine showcase for both Rubenhold's crying harp as well as Diaz's fluid guitar lines. The Latin-tinged "Mamo Pano Shhhh" is closer in spirit to the material on the band's first disc, the song a jazzy instrumental with Aleman's timbales and Colford's Congas riding high in the mix alongside Whiteman's dancing vibraharp tones.

"You're The Only One" is a lofty R&B-styled ballad with a shuffling rhythm and slight, Latin-tinged percussion and vibes. It is easily the weakest track recorded by OBB, devoid of any real passion in Dickens' wan vocals, and only partially redeemed by the song's strong instrumental voice. On the other hand, "Deep Gully" stands as one of the band's masterworks, an instrumental jam that features one of Dickens' strongest bass performances, a mesmerizing underlying rhythm, Aleman's swaying percussive approach to the vibraharp, and Diaz's alternating sweet-and-spicy lead-and-rhythm-guitar. The song evinces a deep funky groove that seemingly rolls on forever, making it the perfect candidate for later sampling by the hip-hop legions.

The band's lively and unique blend of blues, rock, jazz, and soul music was a decade or more ahead of its time, while its multi-racial make-up and deep well of influences place it on par with contemporaries like the Paul Butterfield Blues Band, Santana, Electric Flag, and the Allman Brothers Band. Sadly, these albums have been lost for decades, but are ripe for re-discovery by adventuresome blues and jazz fans.
by Keith A. Gordon

Tracks
1. Plastic Man (Len Chandler) - 5:17
2. Stormy Monday Blues (T Bone Walker) - 6:41
3. My Baby's Left And Gone - 4:22
4. Day Said (Victor Aleman, Joe Whiteman, Phillip John Diaz, Leon Rubenhold) - 3:20
5. Mamo Pano Shhhh (Victor Aleman, Joe Whiteman, Phillip John Diaz, Leon Rubenhold) - 6:13
6. You're the Only One - 2:10
7. Deep Gully - 5:47
All songs by Lawrence Dickens except where noted.

Outlaw Blues Band
*Lawrence Dickens - Bass, Organ, Vocals
*Joe Whiteman - Flute, Percussion, Soprano, Tenor Sax
*Phillip John Diaz - Lead, Rhythm Guitar, Lead Vocals
*Leon Rubenhold - Harmonica, Timbales, Vocals
*Victor Aleman - Drums, Percussion, Vocals

The Outlaw Blues band 1968 (Debut album)

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Various Artists - Wednesday Morning Dew Realistic Patterns, Vol. 2 (60's us, pleasing psychedelic trip out )

Psychic Circle's second collection of rare "Orchestrated Psychedelia from the USA" manages to be more satisfying than the first; like Realistic Patterns, Wednesday Morning Dew has precious little to do with genuine psychedelic rock, but as a collection of pop tunes which revel in the lysergic influences of the late '60s, it's fun and engaging stuff. Jeff Monn, who as a member of the Third Bardo sang one of the great garage-psych tunes of all time ("Five Years Ahead of My Time"), shows off a more ambitious side on the more polished but similarly intense "She Is There for Me." New York City rockers the Majik Ship are represented by one of the stellar moments from their self-titled album, the moody and tastefully arranged "Sunday Morning Dew."

Secret Agents of the Vice Squad not only had a great name, they managed to twist "Hang on Sloopy" into an homage to the Left Banke, with the likeably odd "I Saw Sloopy." The Shambles' "World War II in Cincinnati" boasts what must be one of the most cryptic drug references of the era, but the Baroque pop arrangement is unmistakably pleasurable; "Follow Us" by Summerhill is an even more impressive and ambitious Baroque pop rarity, and a real stunner.

Silk from Cleveland deliver a solid bit of horn-infused blue-eyed soul on "Not a Whole Lot I Can Do," which features future heartland rock cult hero Michael Stanley on guitar. And though the contributions from the Second Time and the Peppermint Rainbow aren't especially obscure, they're fine tunes that sound great in this context. Fans of heavy psych will find this too diluted for their taste, but if you have an ear for pleasantly off-kilter '60s pop, Wednesday Morning Dew will make you feel very good indeed.
by Mark Deming

Artists - Tracks
1. Bloomsbury People - Have You Seen Them Cry - 3:32
2. Erik - Child of the Sea - 2:22
3. Majic Ship - Wednesday Morning Dew - 2:55
4. Fallen Angels - Room at the Top - 2:41
5. Shambles - World War II in Cincinatti - 2:52
6. Wayne Stewart - If You Could Be Him Instead - 2:16
7. Summerhill - Follow Us - 3:47
8. Stony Brook People - There's Tomorrow - 2:43
9. The Bag - Nickels & Dimes - 2:31
10.Secret Agents of the Vice Squad - I Saw Sloopy - 1:58
11.Peter Courtney - Dr. David's Private Papers - 2:23
12.Green Lyte Sunday - If You Want to Be Free - 2:41
13.Hearts And Flowers - Tin Angel - 4:23
14.Five By Five - Too Much Tomorrow - 2:35
15.Jeff Monn - She Is There for Me - 2:02
16.The Second Time - Listen to the Music - 2:48
17.Nova Local - If You Only Had the Time - 2:19
18.Silk - Not a Whole Lot I Can Do - 3:06
19.Hook - There's Magic in the Air - 2:19
20.Peppermint Rainbow - Pink Lemonade - 2:08

More from the Artists
Erik Heller - Look Where I Am 1968 
Majic Ship 1970

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The Mystic Astrologic Crystal Band - Flowers Never Cry (1967-68 us, marvellous psychedelic rock)

Normally when someone is asked to write something about a recording group, they  find little or no difficulty in doing so. However,  this is not the case with The Mystic  Astrologic, Crystal Band!!! I say this as  the group truly is a paradox and yet everything  the name implies! Still, the group also  is Steve Hoffman due to the fact that it was  wholly conceived in his own mind originally,  (in fact one of his compositions contained  herein, "Geometry Alley" makes reference  to just such a band) and then brought to fruition  after many months of auditioning, rehearsing  and recording!!

Steve Hoffman, (the only band member I will dwell on for this, their first album)  was discovered by his Manager and Producer,  Clancy B. Grass III, in a little known  teen-age club in West Covina round 1966. At that time he simply walked up to Mr. Grass and said. "I write great songs and you have got to listen to them!  It only took one song to prove that here was  a potential "giant" as far as the recording  industry was concerned, and from that point  on the two of them have worked together to  create this album!!

It has been a long time in  the making, and yet when you listen to the  variety of songs and instruments...the approach  given to each composition individually,  etc.; you will see that it has without a  doubt been time well spent!!!  During the course of recording this album,  many people associated with the entertainment  industry, including disk-jockeys, record  company executives, motion picture producers  and so on have heard one or more of  the selections in various stages of completion  and the consensus of opinion has been that  this group has all the qualifications necessary  to become the largest, most successful  group ever to come from the U.S.A.

In fact, it  has been suggested that The Mystic  Astrologic, Crystal Band could be the "heir apparent"  to the throne currently held by The  Beatles!!! A very big statement, but listen  to Steve’s songs, hear what he has to say  and how the band says it. pay attention to  the musicianship of the group and then you  too will be saying "Why couldn't they?"...  with no reply as there is no reason why they  couldn't!!! I have been associated with the  recording industry for some time now and  having had several Top 10 hits in this country  I feel I can say to you that contained  herein are the greatest sounds ever to be put  together by an American group for more  than five or six years!!!
by Albeth Paris 

Tracks
1. Factory Endeavor - 2:30
2. Early Dawn - 2:05
3. Antagonizing Friend - 2:27
4. Barnyard Philosophy - 2:06
5. Flowers Never Cry - 2:18
6. Geometry Alley - 2:29
7. October Sunshine - 2:00
8. La Vent - 3:04
9. Publicly Inclined (To Blow Her Mind) - 2:42
10.Yesterday's Girl - 2:40
11.The M.A.C.B. Theme - 2:17
12.Sunbeams and Rainbows - 2:55
13.I Think I'll Just Lie Here and Die - 2:22
14.Gaberdene Square - 3:32
15.Ah Ha Ha Ha - 2:33
16.Krystalize - 2:35
17.Today - 1:58
18.Yellow Room - 2:45
19.Authors - 3:20
20.It's Strange - 2:40
21.Only Time - 2:46
22.Oatmeal Quicksand - 1:01
All songs by Steve Hoffman

The Mystic Astrologic Crystal Band
*Steve Hoffman - Vocals, Sitar, Bass, Keyboards
*John Leighton - Vocals, Bass, Guitar
*John Moreland - Lead Guitar
*Bob Phillips - Drums, Percussion
*Ron Roman - Vocals, Percussion

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The Moon - Without Earth And The Moon (1968-69 us, outstanding orchestrated psychedelia)

The music recorded was an effort to contribute an augmented level of warm, meaningful, and enjoyable listening fare for all of the creatures that hear. The beginnings were mainly generated by the songs being written by Matthew Moore. Matthew's brother, 'Daniel Moore', was an independent record producer in Los Angeles and had produced several singles with Matthew as the artist.

Daniel had arranged a meeting with  'Mike Curb' at Sidewalk Productions, in an effort to find a recording contract, and Mike was very helpful in providing the producer, and engineer, and drummer, and keyboardist: (Larry Brown), and in encouraging Matthew to seek out musicians that would form a group to record his compositions. Larry Brown introduced "Drew" Bennett to the proposed gathering, and Matthew had been running into David Marks around town, so he approached David with the idea of recording a few trial tracks. Within a few weeks the project was under way.

The Studio was to be, "Continental Studio", in Hollywood, and the four young adventurers set up camp and locked the doors. These young men were still not yet 21 years of age. The tremendous technical and organizational task had began. All were single, all were very accomplished musicians, all were ridiculously fearless as to the huge undertaking they had embarked upon. It was agreed upon from the beginning that the fewest possible distractions and interruptions during the recording process must be the rule.

The doors were locked and only food deliveries and an occasional visit from Mike Curb was allowed during the basic track recording phase. Sleeping, eating and playing music....that was all. The quest for perfection was the standard, many re-takes, many 'start all overs', and many heated discussions concerning choices of parts to be played or parts, not to be played. Matthew: " I remember waking up ..having slept on the floor near the piano. A dim light was on in the booth, so I tried to walk to the door out of the studio.

 I kept stepping on boxes and kicking over cans and bottles but I made my way to the light panel to bring up the light in the room. I couldn't believe the amount of clutter and trash we had accumulated. We had to take a day off to allow the janitors to come in and clean. I still can recall the 'Warnings' we invoked,  to "be careful and not move any wires or mikes or touch any set up instruments". We had to go out into the world for a day and entertain ourselves. Dave and I went to a $.50 triple feature western movie downtown and watched the winos sleep. A few days later we resumed our quest.

No one knows for sure, how many hours or days or weeks or months it took to finish the first album, (Without Earth)  but we do remember the final moment when we all looked at each other and nodded in agreement that it was finished. The second Album (The Moon), was actually time logged by Larry Brown. He said It took 470 hours, from start to finish. The first one took much more time.

The Moon-albums

Tracks
1. Mothers and Fathers - 2:06
2. Pleasure - 3:19
3. I Should Be Dreaming - 2:33
4. Brother Lou's Love Colony (Dalton, Montgomery) - 3:57
5. Got to Be on My Way - 2:00
6. Someday Girl - 2:42
7. Papers - 0:59
8. Faces - 2:06
9. Never Mind - 1:51
10.Give Me More - 2:48
11.She's on My Mind (Dalton, Montgomery) - 2:21
12.Walking Around - 1:56
13.Pirate - 2:55
14.Lebanon (Moore, Moris) - 1:45
15.Transporting Machine - 1:40
16.Mary Jane (Klimes, Whitcraft) - 2:16
17.Softly - 3:01
18.Not to Know - 2:42
19.The Good Side - 2:59
20.Life Is a Season - 2:22
21.John Automation - 2:17
22.Come Out Tonight - 2:47
23.Mr. Duffy (Brown, Moore) - 2:56
24.Pirate (Mono 45 Mix) - 2:38
25.Not to Know (Mono 45 Mix) - 2:41
26.Face in the Crowd - 2:05
27.White Silk Glove (Clifford) - 2:15
28.Come On - 2:58
All compositions by Matthew Moore unless else stated.

Musicians
*Matthew Moore - Piano, Vocals, Guitars
*David Marks - Guitars, Background Vocals
*Larry Brown - Drums
*Dave Jackson  - Bass
*Joe Foster - Synthesizer
*Nick Robbins - Synthesizer
*Bob Klimes - String Arrangements
*Dave Roberts - Horn Arrangements

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Outlaw Blues Band - The Outlaw Blues Band (1968 us, unique blend of blues, rock, jazz, and soul, 2000 digipak release)

Chances are that you've never heard of the Outlaw Blues Band, although you may have run across the band's music a time or two. An obscure outfit with great appeal to crate-diggers and certain adventuresome club DJs, the Outlaw Blues Band's two lone 1960s-era albums have taken on a certain underground cachet since their release, and OBB songs have been sampled in tracks by such hip-hop artisans as De La Soul and Cyprus Hill, among others, and have shown up in various movie soundtracks.

Formed in Los Angeles in the early 1960s by drummer Victor Aleman, bassist Joe Francis Gonzalez, and guitarist Phillip John Diaz, the Outlaw Blues Band was as equally influenced by blues and R&B artists like Muddy Waters, Sam Cooke, and Johnny "Guitar" Watson as they were by British Invasion acts like the Rolling Stones and the Beatles. After building a strong reputation on the basis of their dynamic live shows, the Outlaw Blues Band was signed to ABC/Bluesway Records by legendary producer Bob Thiele, releasing The Outlaw Blues Band And The People album in 1968, and Breaking In a year later.

The Outlaw Blues Band kicks off its debut disc with a particularly funky take on the old John D. Loudermilk greasy-blues treasure "Tobacco Road." While the rhythm section cranks out a deep groove, a blaring horn riff pushes the song forward. Guitarist Diaz's solos are vibrant, rich in tone, and loud enough to joust with Joe Whiteman's tenor sax. Diaz's scattershot vocals, the band's backing harmonies, and the song's circular soundtrack blend together, making for a hypnotic listening experience.

The band sinks deep into the blues with its original "Tried To Be A Good Boy," the song a musical dichotomy that sets Whiteman's jazzy sax and flute notes against Diaz's emotional vocals and wiry leads, the band's unique arrangement taking the song into an entirely different direction.The up-tempo "How Bad Love Can Be" is a rollicking soul-blues rave-up with Diaz's raucous vocals matched by his scrappy rhythm guitar, Whiteman's icy blasts of sax, and a fluid rhythm section that brings a slippery feel to every beat. Again, Diaz's leads are dynamic, jumping right out of your speakers and demanding your attention, the energy crackling like ball lightning around your ears. Drummer Aleman smacks the cans with a fierce percussive attitude.

The blistering emotion of "Lost In The Blues" is bolstered by Diaz's tortured vocals and scorching guitarplay, while Whiteman's use of a vibraharp is interesting for the textures it brings to the otherwise period-perfect blues-rock jam. The album's highlight is "Death Dog Of Doom," a chaotic eight-minute instrumental showcase that masterfully blends blues, rock, jazz, funk, and soul with a heavy Latin influence that reminds of Santana but with a wilder edge.

While Gonzalez's throbbing bass and Aleman's subtle drumming builds a rhythmic foundation, Diaz stirs in swirling layers of psychedelic-blues guitar, Whiteman throws in scraps of flute and vibes, and several band members bang out various percussive rhythms behind Jimmy Colford's dominant Congas. The song is a welcome reminder of the kind of musical experimentation that a band could get away with during the swinging 1960s, a free-spirited jam that blows away preconceptions and breaks down barriers, opening the door for future musical ideas.

The Outlaw Blues Band comes back to earth with a smoldering cover of B.B. King's classic "Sweet Sixteen." Diaz sounds more like a traditional blues vocalist here, all silky and smoky while Leon Rubenhold's harmonica playing finally has a chance to rise and shine. Often lost in the mix of other songs, Rubenhold's harp style evokes that of Little Walter, and provides a fine counterpoint to Diaz's imaginative fretboard runs.

Larry Gentile's organ provides a bit of warmth to the performance, and Aleman's nuanced drumming reminds of the great Sam Lay. The album closes out with the cacophonic "Two 'Tranes Running," a free-form instrumental jam inspired by John Coltrane and Miles Davis, and a little too improv for my tastes, tho' jazzheads might dig it.

The band's lively and unique blend of blues, rock, jazz, and soul music was a decade or more ahead of its time, while its multi-racial make-up and deep well of influences place it on par with contemporaries like the Paul Butterfield Blues Band, Santana, Electric Flag, and the Allman Brothers Band. Sadly, these albums have been lost for decades, but are ripe for re-discovery by adventuresome blues and jazz fans.
by Keith A. Gordon

Tracks
1. Tobacco Road (John Loudermilk) - 5:03
2. Tried to Be a Good Boy (But I'm Worse Than a Nazi) - 6:19
3. How Bad Love Can Be - 4:02
4. I've Got to Have Peace on MyMind - 3:34
5. Lost in the Blues - 3:06
6. Death Dog of Doom - 8:10
7. Sweet Sixteen (Joe Josea, B.B. King) - 4:31
8. Two 'Tranes Running - 2:14
All songs by Victor Aleman, Joe Francis Gonzalez, Leon Rubenhold except where indicated.

Outlaw Blues Band
*Joe Francis Gonzalez - Bass, Vocals
*Joe Whiteman - Flute, Percussion, Soprano, Tenor Sax
*Phillip John Diaz - Lead, Rhythm Guitar, Lead Vocals
*Leon Rubenhold - Harmonica, Timbales, Vocals
*Victor Aleman - Drums, Percussion, Vocals

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