Is there an obscure British single of the 1960s or early '70s that hasn't popped up on some rarities collection in the past decade? If so, tell the folks at Past & Present about it, and at the rate they're going it will be digitized and out on a silver disc within a year. The label's archivists have been putting out collections of archival 45s at a dizzying rate in recent years, and this fourth volume in the Piccadilly Sunshine: British Pop Psych and Other Flavours series suggests they haven't gotten to the bottom of the well just yet.
The 20 songs on this disc are significantly more "pop" than "psych," with nearly all dominated by polished arrangements and studio-savvy production rather than wailing guitars and a reach into the center of the mind, though the feeling and themes certainly make these sides products of the late '60s. "Conventional Fella" by Jago Simms is a gentle satire of white-collar complacency in the manner of "Matthew & Son" or "A Well Respected Man," while Joyces Angels ' "Flowers for My Friends" concerns some bohemian foliage enthusiast and "Musical Man" by Paul Raven is written from the perspective of a similarly addled muso. (Paul Raven would gain greater fame as Gary Glitter, making him the best-known/most-infamous figure on this collection, though Billy Bremner of Rockpile also pops up, playing guitar on the Jago Simms session.).
Keith Field's "The Day That War Broke Out" and David Morgan's "Dawning" are self-consciously arty but beautifully crafted, "House of Lords" by the Monopoly and "Meditation" by Chris McClure are lovely examples of U.K. baroque pop, the Now's "The Hands on My Clock Stand Still" anticipates the progressive rock sounds that would appear a few years on, and "Visions" by Gervase asks the question, what would British pop have been in the 1960s without the harpsichord? While these tracks were mastered from old vinyl singles, the audio quality is good as such things go, and the liner notes offer as many details as are known about these artists (which is quite a bit in the case of the Laurels and Lace).
Fans of British pop looking for a clean and well-mannered psychedelic experience should find this collection to be just their cup of tea.
by Mark Deming
Artists - Track
1. Barry Ryan - I’ll Be On My Way Dear - 3:17
2. Lace - People People - 3:00
3. The Laurels - Rainmaker - 2:34
4. David Morgan - True-To-Life - 2:22
5. Gaslight - And So To Sleep - 2:57
6. Keith Field - Stop! Thief - 2:12
7. Jago Simms - Conventional Fella - 3:08
8. Gervase - Visions - 2:40
9. Paul Raven - Musical Man - 2:50
10.Keith Field - The Day That War Broke Out - 3:05
11.The Monopoly - House Of Lords - 2:17
12.Chris McClure - Meditation - 2:20
13.Joyces Angels - Flowers For My Friends - 2:59
14.Factotums - Mr And Mrs Regards - 2:59
15.West Coast Delegation - Mister Personality Man - 2:38
16.David Morgan - Dawning - 2:20
17.Brian Connell - Mr. Travel Company - 2:43
18.Deuce Coup - Angela - 2:26
19.Now - The Hands On My Clock Stand Still - 3:23
20.Bob Clarke - Haunted - 3:24
Rock Island formed in 1969 in Philadelphia and had a few different line-ups before the final members that recorded this album, which consisted of Cobb Bussinger (keyboards, vocals), Mike Kennedy (guitar, vocals), Frank Schallis (drums, vocals), B.J. Taylor (lead vocals), and Tony Curcio (bass). Three of the members-Cobb, Mike, and Frank -were previously in a band together named The Many Few.
Rock Island played throughout Philly at many of the Belmont Plateau and Pennypack "Be-lns," held outside in city parks, and coffee houses like Hecket's Circle and built a very good local following. The Group recorded a 4-song demo and went to New York to shop it. They called every record company in the city and made as many appointments as possible. One producer that really liked the demo was Jeff Hest, with Project 3 Records, which was a fairly new label founded by Enoch Light. Enoch liked the band very much and signed Rock Island to a one-LP contract. Jeff Hest was assigned as producer for the band and made many trips to Philadelphia for the purpose of choosing material for the upcoming album.
Once the songs were chosen, the band started recording at A&R Studios in New York City and made multiple trips to New York to record a few songs each trip. The single Hard and Never Easy was released at the same time as the album and was successful in the mid-west and some areas of Europe. The band made their New York debut at Ungano's, opening for Rod Stewart and the Small Faces and played many times at the Electric Circus in New York. The band took on three managers who arranged for the group to rehearse in the soon-to-be-opened Playboy Club on Broad Street in Center City Philadelphia.
A few nights each week the band would allow passers-by to come in and watch their set, which provided a lot of great feedback while putting together their live show. The band also acquired a limousine, which proved to be a lot of fun travelling to gigs and back and forth to New York. In May of 1970, when the band was at their peak musically and rehearsed to perfection, the Kent State University massacre took place, where four students were killed and nine wounded after being fired upon by the Ohio National Guard. This event caused many universities and colleges to cancel their summer concerts, hence cancelling many of Rock Island's concerts and leaving the band ready and willing to perform but with no available venues to play. Over the next few months the band, having no clear plans, started having internal problems and eventually one of the members left, then another.
After replacing the missing members, the music was never the same, and the band lost impetus and direction. At this time, Project 3 offered Cobb Bussinger and Frank Schallis a contract to record another LP with the condition that they were the sole writers. Bussinger/Schallis, having been a writing team for 10 years, accepted the deal and hired former Rock Island guitarist Mike Kennedy and added Ric Criniti as bassist. The new band was named RAIN and recorded one album with Project 3 Records in 1972. Frank Schallis passed in 2000, Mike Kennedy in 2006.
by Cobb Bussinger, El Paso, Texas, February, 2010
Tracks
1. Blue, Blue Lady (Mike Kennedy) - 2:59
2. Runnin' Through My Mind (Jeff Hest) - 5:09
3. When I Was A Boy (Cobb Bussinger, Frank Schallis) - 3:10
4. I Keep On Tryln1 (Mike Kennedy, B.J. Taylor) - 2:13
5. Hard And Never Easy (Mike Kennedy) - 3:05
6. She Has Left Me (Cobb Bussinger, Frank Schallis) - 3:12
7. Won't You Stay Another Day (Mike Kennedy, Frank Schallis) - 2:21
8. I Remember (Mike Kennedy, B.J. Taylor) - 2:20
9. Babe, I'm Gonna Leave You (Mike Kennedy, R. Devlin, B.J. Taylor) - 2:22
10.Blues (Cobb Bussinger, Mike Kennedy, B.J. Taylor) - 8:13
11.Blues Reprise #1 (Mike Kennedy) - 0:40
12.Blues Reprise #2 (Mike Kennedy) - 0:28
Rock Island
*Cobb Bussinger - Keyboards, Vocals
*Mike Kennedy - Guitar, Vocals
*Frank Schallis - Drums, Vocals
*B.J. Taylor - Lead Vocals
*Tony Curcio - Bass
Don Shinn is a much neglected figure in the early development of UK prog...This is a high-end gaming and frankly is frightening the fact that half a year ago I had no idea about the existence of this artist!... time it to change
On the earlier 1966 Polydor single version of 'A-Minor Explosion', Shinn can be heard employing an overdriven organ sound, jazzy chord voicings, spooky 'freakout' atmospherics, and, most notably, crashing his reverb springs in precisely the same way that Keith Emerson, Jon Lord, and countless others would eventually do years later. This 1969 remake is not as wildly manic as the 1966 original but more cerebral, and foreshadows the overall playing style and organ tone that would be echoed by Dave Stewart on the first Egg album released the following year in 1970.
Citing Shinn's influence, Keith Emerson recalls: "Don Shinn was a weird looking guy, really strange. He had a schoolboy's cap on, round spectacles... I just happened to be in the Marquee when he was playing... The audience were all in hysterics.... And I said, 'Who is this guy?' He'd been drinking whisky out of a teaspoon and all kinds of ridiculous things. He'd play an arrangement of the Grieg Concerto, the Brandenburg and all. So my ears perked up....Playing it really well, and he got a fantastic sound from the L-100. But halfway through it he sort of shook the L-100, and the back of it dropped off. Then he got out a screw driver and started making adjustments while he was playing. Everyone was roaring their heads off laughing. So I looked and said 'Hang on a minute! That guy has got something'. I guess seeing Don Shinn made me realize that I'd like to compile an act from what he did. He and Hendrix were controlling influences over the way I developed the stage act side of things".
Coincidentally, Shinn had been playing in a trio with future Uriah Heep bassist Paul Newton and drummer Brian Davison who would eventually work alongside Keith Emerson in The Nice. Paul Newton recalls: "In the 60's I was playing with a guy from The Nice, Brian Davison, and another guy, a keyboard player, who was a real genius. It was a trio, and most of it was really jazzy. This keyboard player was a guy called Don Shinn who went on to play with Dada, which was the forerunner of Vinegar Joe....He used to teach me bass lines on his organ pedals...really technical jazz stuff."
Before his groundbreaking journey into pre-progressive rock territory, Shinn played with a number of mid '60s British beat outfits including The Meddy Evils, The Echoes (backing Dusty Springfield), and The Soul Agents featuring Rod Stewart. After releasing 'Temples With Prophets' in 1969, Shinn showed up on the one and only release by Dada (1970), which also featured vocalist Elkie Brooks and former Jody Grind guitarist Ivan Zagni. Following Dada, Shinn worked with Keith Relf's Renaissance, playing electric piano on the track 'Past Orbits of Dust' from the 1971 album 'Illusion'.
Absolute revelation, premiere on CD ,his debut album (released in March 1969 by the British Columbia EMI entitled 'Temples With Prophets' and in France in the psychedelic cover as 'Don Shinn Takes A Trip') organist Don Shinn and his team recorded a completely instrumental masterpiece the piano and Hammond organ brilliant thin Progressive is developing, it is enclosed in brilliant sound a psychedelic classic rock and jazz-rock color psychedelic guitar trenchant strongly, based on a stable, solid, trouble is playing with a sense of the band by the drum which a slightly more mature version of the Nice and early Brian Auger's Trinity with more than a hint of Edward Grieg i .. Arzachel!
This is the absolutely mandatory for all fans of psych-prog-jazz-rock (or whatever it was called ...) with the authorities Hammond. Perfect sound quality. Additionally CD Record Label Flawed Gems contains
A-Minor Explosion [3:09] 1966 single version released as Don Shinn & The Soul Agents)fantastic,and also answer ,which one the band recorded the first progressive single.
by Adamus67
Tracks
1. Pits Of Darkness - 17:59
2. Temples With Prophets - 5:45
3. A Minor Explosion - 4:07
4. Jolly Dance - 3:35
5. Hearts Of Gladness - 10:18
6. A-Minor Explosion (Bonus) - 3:09
All songs written by Don Shinn
Musicians
*Don Shinn - Organ, Piano
*Paul Hodgson - Electric Guitar
*Peter Wolf - Drums
*Eric Ford - Bass
Back in the height of London’s swingin’ 60s, Piccadilly Square was definitely the place to be and be seen: a cleaner, hipper alternative to the equally burgeoning Haight-Ashbury scene of the American hippie movement. The third volume of this great archival series from Bevis Frond frontman Nick Saloman gathers together 20 tracks of Technicolor psychedelia from such underground acts of the day as Howard Walker and the Bombthrowers, the Spectrum, Dead Sea Fruit, Mighty Joe Young, Jiminy Crikitt, Episode Six, and Dukes Noblemen to name a few.
Covering the years 1967-1970, Piccadilly Sunshine Part Three is a collection of choice British obscurities well worth seeking out if you are a fan of the paisley pop psych that emerged from the Beatles smoking pot for the first time.
by Ron Hart
Artists - Tracks
1. Howard Walker Feat. The Bombthrowers - Love Will Find A Way - 4:05
2. Paul Slade - Remember Daphne - 2:56
3. Alan David - Oh What A Naughty Man - 2:56
4. The Spectrum - London Bridge Is Falling Down - 3:06
5. Dave Justin - Lincoln Green - 3:44
6. Pythagoras Theorem - Free Like Me - 2:17
7. Dead Sea Fruit - Kensington High Street - 2:02
8. Studio Six - I Can’t Sleep - 1:54
9. Mighty Joe Young - By My Side - 2:16
10. Tim Andrews And Paul Korda - Waiter, Get Me A Drink - 2:46
11. Jiminy Crikitt - Isabella - 2:49
12. Cupids Inspiration - Look At Me - 2:18
13. J. A. Freedman - Dance With The Man In The Teapot - 2:31
14. Episode Six - Lucky Sunday - 3:41
15. Jerry St. Clair - Mrs. Jensen Sits Alone - 6:17
16. Dukes Noblemen - Thank You For Your Loving - 2:59
17.The Spectrum - Portobello Road - 2:19
18.John Bryant - She’s In Need Of Love - 3:21
19.Ottilie Patterson - Spring Song - 2:29
20.Howard Walker Feat. The Bombthrowers - Eat Me - 1:54
Around about the time that Shuggie Otis was finishing recording work for what would become his DIY soul funk magnum opus, Inspiration Information, he was also hard at work producing and appearing on a number of sessions for father Johnny Otis’ Blue Spectrum series.
Otis Sr launched the series with six titles in 1974 and followed these up with a further seven in 1977, from household R'n'B names including Charles Brown, Big Joe Turner, Eddie ‘Cleanhead’ Vinson and, inevitably, Johnny Otis himself. The 15 tracks here are drawn from the entire Blues Spectrum catalogue, with each designed to “spotlight the contribution of Shuggie as featured artist, rock steady guitarist, bass guitar pattern weaver and ‘sound stylist’”.
With all tracks laid down at Hawk Sound Studios in LA, Otis flavours his various collaborations with a roll-call of R'n'B greats who made their name long before the funk era dawned, with generous servings of his trademark downhome funkiness. It’s an inventive cross-generational approach that pays handsome dividends, most notably on Johnny Otis’ Country Girl and The Signifying Monkey, Roy Milton’s I’ve Got A Big Fat Mama and Charles Brown’s Black Night 'n' Trouble.
by Grahame Bent
Tracks
1. Doin' It (R. Berry, J. Otis) - 3:16
2. Country Girl (J.Otis, D.Evans) - 2:35
3. The Signifying Monkey (J.Otis, D.Evans) - 3:04
4. I've Got A Big Fat Mama (R. Milton) - 2:58
5. Sugar (J.Otis) - 3:07
6. Trackin' Machine (R.Berry, J.Otis) - 2:41
7. I Wanna Make You Happy (R.Berry) - 3:13
8. Black Night (Robinson) - 3:07
9. Louie Louie (R.Berry) - 2:16
10. Willie And The Hand Jive (J.Otis) - 2:44
11. Big Legged Woman (J.Otis, S.Otis, C.Brown) - 2:53
12. Trouble (C. Brown) - 2:41
13. Ooh Baby I Love You (R.Berry) - 3:48
14. Round About Midnight (R.Berry) - 4:03
15. Boom-Chick-A-Boogie (J.Liggins, J.Otis) - 3:44
Well, who is Shuggie Otis? No doubt the thought's crossed your mind if you've gotten this far. It crossed mine when I picked up a Kent LP earlier this year called 'Cold Shot' featuring the Johnny Otis Show. Johnny, as you should know, is one of the pioneers of R'n'B music, bandleader, disc jockey, musician, singer, writer, arranger and now proud father. Shuggie is Johnny's son.
This is Shuggie's second album (the first being 'Cold Shot'), but whereas 'Cold Shot' was a biting, traditional blues album, Shuggie gets a chance to play in many directions here: old-time slide music, straight blues, gospel music, R'n'B and pop.
John Hammond, Sr., a proud father himself, first turned me on to Shuggie. One listen was enough. I wanted to record him. Unfortunately, he was already signed, but fortunately to Epic Records, headed by my friend, blues aficionado Larry Cohn. It was an easy task to "borrow" Shuggie for this record.
Shuggie flew in to New York from LA (where he lives) on September 15,1969. We met at my house that night and sat around listening to records and getting to know each other. I played a lot of records that night, but two stuck out. One of them was an out of print Swan Silvertones gospel album and the other was an old Little Buster single.
Shuggie loved the Silvertones, and we eventually listened to all their albums later on. Because of this, we decided to do a gospel-oriented cut on the album, hence 'Bury My Body'. I also asked Hilda Hams and Albertine Robinson to get some of their friends and come down to the studio. They can be heard on 'Bury My Body'and the old Little Buster tune I mentioned before, 'Lookin' for a Home'.
'Double or Nothing' is of course a Booker T. tune. 'One Room Country Shack' is an old Mercy Dee Walton tune popularized by Mose Allison and popmusicizBd by Shuggie and me. 'Snuggle's Shuffle' and '12:15 Slow Goonbash Blues' are two post-midnight one take jams. 'Shuggie's Old Time Slide Boogie" is an attempt at re-creating the bottleneck-piano duets available only on old 78's.
The album is subdivided into "The Songs' and "The Blues". "The Songs' are tour quickly arranged pieces while The Blues" are three unprepared jams. The supporting musicians are important to the success of this album. Stu Woods, formerly of Ars Nova, turns in a fine job on bass.
Wells Kelly, whom I never heard before the first session (everyone recommended him), was a pleasant surprise on drums. Listen to him push holy (no pun intended) hell out of us in 'Bury My Body". Mark Klingman is featured playing piano on half the album. Mark has played with Ian & Sylvia, Eric Clapton and many others.
I believe that Shuggie is the Star of this album. In this respect, it is a debut album for him. Oh, one more thing, Shuggie is fifteen years old.
Peace, Al Kooper, 1969
Tracks
1. Bury My Body (Al Kooper) - 9:00
2. Double Or Nothing (S. Cropper, B.T. Jones, D. Dunn, A. Jackson Jr.) - 2:29
3. One Room Country Shack (M.D. Walton) - 3:37
4. Lookin' For A Home (E. Forehand) - 5:52
5. 12.15 Slow Goonbash Blues (Al Kooper, Shuggie Otis) - 9:29
6. Shuggie's Old Time Dee-Di-Lee-Di-Leet-Deet Slide Boogie (Al Kooper, Shuggie Otis) - 4:05
7. Shuggie's Shuffle (Al Kooper, Shuggie Otis) - 6:27
"British pop-psych" can be defined in so many different ways that one approaches judging the value of a compilation described as such with some trepidation. It's fair to say, however, that the 20 rarities here are not all that similar to what some listeners might think of as British pop-psych, whether they're thinking of giants like the Sgt. Pepper's-era Beatles, respected cult bands like Tomorrow, or even more pop-inclined exponents of the genre like the early Bee Gees.
This is truly more pop at its core than psychedelic, and that might also be said of the early Bee Gees -- but, alas, the quality (and even the strangeness factor) is not on par with vintage Bee Gees. These items are more like late-'60s-era U.K. pop with some mild psychedelic dressing in the arrangements (often of the orchestral variety) and lyrics. Only this era could have generated a song titled "The Fantastic Story of the Steam-Driven Banana," to take the most egregious example represented on this anthology (on a 1968 single by Legay).
That angle isn't necessarily a drawback, except that the material here is usually fairly mediocre, to be blunt, and below the standard even of the usual rarity CD comps on this theme, let alone the hits and cult classics of the genre. The lack of too-catchy tunes or overly clever lyrics can't compensate for the more imaginative and sometimes odd arrangements, but some of the more noteworthy tracks include Peppermint Circus' pleasing pop-soul-psych mixture on "Keeping My Head Above Water" (though this cut in particular seems not to have been transferred to CD at a consistent speed); the aforementioned "The Fantastic Story of the Steam-Driven Banana," which slightly recalls some of the wackier electric keyboard-driven pop-psychedelia of U.S. bands like the Mystery Trend; Alexander Bell's "Alexander Bell Believes," which is, even by this style's lofty standards, a quite fey and precious observational narrative based on a vintage historical character; and Bill Kenwright & the Runaways' fairly good cover of a little-known Motown song, "I Want to Go Back There Again" (originally done by Chris Clark).
Collectors looking for obscure connections to stars might want to hear the Cat Stevens-penned, sardonic "Never Play a B Side" (a 1968 single for Sasha Caro); Perfect People's Manfred Mann-written 1969 single "A House in the Country"; and Bubblegum's 1968 45 "Little Red Bucket" (written by Harry Vanda and George Young of the Easybeats), though none of these songs is up to the caliber of the more renowned work of the composers.
by Richie Unterberger
Artists - Tracks
1. K.G. Young - Spider - 2:52
2. Sasha Caro - Never Play A B Side - 2:48
3. Gentry - Sing Me A Sad Song - 2:44
4. Peppermint Circus - Keeping My Head Above Water - 2:38
5. Legay - The Fantastic Story Of The Stream-Driven Banana - 3:00
6. George Bean - The Candy Shop Is Closed - 2:32
7. Wishful Thinking - I Want You Girl - 2:39
8. Suspect - Belinda - 2:45
9. Perfect People - House In The Country - 1:58
10.Barbara Ruskin - Pawnbroker, Pawnbroker - 2:13
11.Chris McClure - Hazy People - 2:11
12.Bubblegum - Little Red Bucket - 3:11
13.Kool, The - Step Out Of Your Mind - 2:38
14.Alexander Bell - Alexander Bell Believes - 3:06
15.Roger Denison - She Wanders Through My Mind - 2:05
16.George Bean - Smile From Sequin - 2:23
17.Gervase - Pepper Grinder - 2:42
18.Bill Kenwright And The Runaways - I Want To Go Back There Again - 2:41
19.Mike Raynor And The Condors - Turn Your Head - 2:58
20.Zuider Zee - Provocative Child - 1:56
Talk today about Britain's psychedelic psyxties, and it's the light whimsy of Syd Barrett's Pink Floyd, the gentle introspection of the village green Kinks, Sgt. Pepper, and "My White Bicycle" which hog the headlines. People have forgotten there was an underbelly as well, a seething mass of discontent and rancor which would eventually produce the likes of Hawkwind, the Pink Fairies, and the Edgar Broughton Band. It was a damned sight more heartfelt, too, but the more some fete the lite-psych practitioners of the modern age, the further their reality will recede.
Fronted by journalist/author/wild child Mick Farren, the Deviants spawned that reality. Over the years, three ex-members would become Pink Fairies; for subsequent reunions, sundry ex-Fairies would become honorary Deviants. And though only Russell Hunter is present on Ptooff!, still you can hear the groundwork being laid. the Pink Fairies might well have been the most perfect British band of the early '70s, and the Deviants were their dysfunctional parents.
In truth, Ptooff! sounds nowhere near as frightening today as it was the first (or even 21st) time out; too many reissues, most of them now as scarce as the original independently released disc, have dulled its effect, and besides, the group's own subsequent albums make this one look like a puppy dog. But the deranged psilocybic rewrite of "Gloria" which opens the album, "I'm Coming Home," still sets a frightening scene, a world in which Top 40 pop itself is horribly skewed, and the sound of the Deviants grinding out their misshapen R&B classics is the last sound you will hear.
Move on to "Garbage," and though the Deviants' debt to both period Zappa and Fugs is unmistakable, still there's a purity to the paranoia. Ptoof! was conceived at a time when there genuinely was a generation gap, and hippies were a legitimate target for any right-wing bully boy with a policeman's hat and a truncheon. IT and Oz, the two underground magazines which did most to support the Deviants (Farren wrote for both), were both publicly busted during the band's lifespan, and that fear permeates this disc; fear, and vicious defiance. It would be two years, and two more albums, before the Deviants finally published their manifesto in all its lusty glory -- "we are the people who pervert your children" -- during their eponymous third album's "People Suite." But already, the intention was there.
by Dave Thompson
The first and only single that The Deviants cut in the sixties, this pairing was taken off their highly uneven, amusing and at times terrifying album, “Disposable.” And it acts as a succinct overview of that album: the A-side featuring lead vocalist Mick Farren bellowing, braying and screaming his lyrics of twisted drug revelations while an equally screaming and blistering fuzz guitar gets turned in by Sid Bishop. The guitar solo is by far one of his most unbridled: a churning, splintery mass of sharpened noise, and it’s every bit as good as his racket making on their debut album, “PTOOFF!.” Since that point, personnel had shifted as several roadies joined on vocals as well as a three-man rhythm section: Russell Hunter on drums with Sandy Sanderson and Mac McDonnell on bass -- sometimes simultaneously.
From the moment Hunter’s drums bursts in to drive the thing down all the way to the end as awesomely-bad-for-the-fuck-of-it harmonica wailing flies overhead, a head-creasing, sideways/backwards/every-which-way near constant guitar sprays with over-sustaining, over-fuzzed out ferocious power. It screams and screams along as Farren is straining at the leash of his sanity, which is soon fraying into the slightest of threads as his lyrics are, at best, discernable with ever other line. More by its reckless display of bottled anger uncorked than anything approaching musicianship, “You’ve Got To Hold On” is an explosive punk track and its undyingly recklessness and incorrigible extremities were (and still are) astonishingly ahead of their time.
“Let’s Loot The Supermarket” is a methedrine-ravaged, brain-damaged, Dylan-banged piano and acoustic guitar accompanied sing-a-long with an undeniable aura of cracked and chewed lips, greasy hair of a crowded studio fogged in with compressed B.O. It’s a total “revolution for the hell of it” anthem, and they’d be singing it over burning trash cans in Powis Square if the empire ever fell. But here in the studio, Farren can barely sing by the middle section, fumbling over the lyrics and distracted by the backing vocal entourage of roadies and musicians, who are hardly helping matters.
Everybody is completely ragged from their time spent speeding and waiting around during playback for 48 hours. They’re out of tune, out of time, out of their minds and couldn’t care less. You wouldn’t, either. Pretty soon, infectious laughter kicks in (and the ass of) the overall resigned feel of the piece, and soon the entire studio is laughing like Bedlam inmates. You’ll start laughing, yourself. A bittersweet harmonica blows into the coda over half-assed handclaps and more laughter. You can almost see them struggling to remain standing (According to legend, even engineer Andy Johns couldn’t control things in the studio, because he too was spiked with enough methedrine to kill an elephant.)
by The Seth Man, March 2001
Tracks Ptooff! 1967
1. Opening (S. Bishop, M. Farren, R. Hunter, C. Rees, S. Sparks) - 0:08
2. I'm Coming Home (Sid Bishop, Mick Farren, Russell Hunter) - 5:59
3. Child Of The Sky (Farren, C. Rees, Hammond) - 4:32
4. Charlie (Sid Bishop, Mick Farren) - 3:56
5. Nothing Man (M. Farren, Moore) - 4:21
6. Garbage (Sid Bishop, Mick Farren, Russell Hunter) - 5:36
7. Bun (Cord Rees) - 2:42
8. Deviation Street (Mick Farren) - 9:01 Disposable 1968
9. Somewhere to Go (Mick Farren, Duncan Sanderson) - 7:23
10.Sparrows and Wires (Sid Bishop, Stephen Sparkes) - 0:52
11.Jamie's Song (Mick Farren, Russ Hunter) - 3:34
12.You've Got to Hold On (Mick Farren, Russ Hunter, Sid Bishop) - 3:51
13.Fire in the City (Mick Farren, Duncan Sanderson) - 2:58
14.Let's Loot the Supermarket (Mick Farren) - 2:30
15.Pappa Oo Mao Mao (Al Frazier, C.White, S. Harris, T. Wilson Jr.) - 2:32
16.Slum Lord (Mick Farren, Sid Bishop) - 2:15
17.Blind Joe McTurk's Last Session (Mick Farren) - 1:19
18.Normality Jam (D. Hughes, D. Sanderson, M.J. McDonnell, R. Hunter) - 4:19
19.Guaranteed to Bleed (Duncan Sanderson, Tony Ferguson) - 3:46
20.Sidney B. Goode (Sid Bishop) - 0:51
21.Last Man (Mick Farren) -5:44
Deviants
*Mick Farren – Lead Vocals, Piano
*Sid Bishop – Guitar, Sitar
*Cord Rees – Bass, Spanish Guitar
*Russell Hunter – Drums, Vocals
*Duncan Sanderson, Stephen Sparkes, Ashworth - Vocals
Riverson were a short-lived folk, psych band from Montreal, Quebec. They fortunately left us with one hell of an album and three 45's in very limited quantities and all are highly sought after. The album cracks my top 100 Canadian albums of all time. Due to the high quality, amazing lineup of talent, and rarity, the value of this record has been steadily increasing over the past 20 years - now a NM copy will set you back about $400-$500 if you can find one. A sealed copy sold for $320 back in '03. That copy has likely doubled in value.
The gatefold album was released on Columbia ES 90136 in 1973 and was accompanied by "Clear Night b/w Winter Garden" on Columbia C4-3077; "Eleanor Rigby b/w Can't Live Without You" on Columbia C4-3093; and "Sittin' - Waitin' b/w Chances" on Columbia C4-4003; the latter featuring two non-album tracks. All album tracks were original tunes, except for the one Beatle cover.
The band members were Frankie Hart (Freedom North, Life) on piano, acoustic guitar, recorder, lead vocals on "Can't Live Without You"; Rayburn Blake (Mashmakhan) on Acoustic guitar, electric guitar, banjo, lead vocals on "Clear Night"; Brian Edwards (Mashmakhan) on bass, lead vocals on "Stoney Day" and "Between the Lines"; and Graham Lear (Santana, Paris Black, Truck, Paul Anka, REO Speedwagon) on drums. Raymond Blake was with the Quebec band Le Triangle and released a rare 45 picture sleeve in the mid 1960's entitled "2 Miroirs b/w Les Montagnes Russes" on Gamma AA-1042. Both Rayburne Blake and Brian Edwards played and released "Transition" on Polydor 2424 071 with Cliff Edwards (member of the Five Bells) in the same year as the Riverson album, 1973. Rayburn Blake then went on to record with the Lisa Hartt Band, releasing "Starwatcher" on Rising RRLP 104 in 1976.
The Riverson album was produced by John Williams. It was recorded at Manta Studios in Toronto, Ontario. The engineer was Lee de Carlo. Produced by Riverson and Lee de Carlo. Management was Terry Flood. The album design was by Bob Lemm Promotional Agency Inc. The cover was by Freeman Patterson / Inside - Junior Brunet.
Enjoy this critical piece of our Canadian musical history.
by Robert Williston
Tracks
1. Clear Night (Rayburn Blake) - 3:06
2. Winter Garden (Brian Edwards) - 3:19
3. Eleanor Rigby (John Lennon, Paul McCartney) - 4:14
4. I'll Be There (Brian Edwards) - 3:15
5. Empty Sky (Rayburn Blake, Brian Edwards, Franki Hart) - 4:31
6. Take Me (Rayburn Blake) - 2:55
7. Stoney Day (Brian Edwards) - 4:28
8. Between the Lines (Brian Edwards) - 4:10
9. Can't Live Without You (Franki Hart) - 3:07
10.Medallion Castle (Brian Edwards) - 4:27
11.Hermit Glen (Rayburn Blake) - 3:06
12.Sittin' Waitin' - 3:41
13.Chances - 2:21
The Piccadilly Suns series sets foot into the deep and wondrous valleys of British Pop music culture. Daring to bring forth the once overlooked and sadly neglected songs that were laid to waste in a saturated wonderland of suburban teenage pop. Join us as we tiptoe barefoot and trip through the late 19605 and early yos in Great Britain's vast and glorious, cultural dustbin. Stepping amongst the twenty flower-powered trippers presented here, together we shall lovingly restore them their former glory.
Let us begin...
by Nick Saloman
Artists - Tracks
1.Jason James – Miss Pilkington’s Maid - 2:34
2.Peppermint Circus – I Won’t Be There - 2:49
3.Roger Bloom’s Hammer – Polly Pan - 2:47
4.Alan David – Flower Power - 3:15
5.Studio Six – Falling Leaves - 3:02
6.The Magicians – Slow Motion - 3:01
7.Tin Tin – He Wants To Be A Star - 2:13
8.The Cups – Good As Gold - 2:49
9.Billy Boyle – Pisces Man - 2:40
10.Sounds Inc. – Dead As A Go-Go - 3:55
11.Svensk – Dream Machine - 2:48
12.Christopher – The Race - 2:24
13.Merlin Q – Love’s Beautiful - 2:43
14.Mighty Joe Young – Why Don’t You Follow Me - 2:17
15.The Nocturnes – Fairground Man - 2:27
16.Mixture – Never Trust In Tomorrow - 2:17
17.Mood Of Hamilton – Why Can’t There Be More Love - 3:34
18.Jon – Polly Sunday - 2:15
19.Tony Fabian – Girl Of The Night - 2:08
20.Tim Andrews – Sad Simon Lives Again - 2:40
Hailing from Boston in the late sixties, Phluph recorded their one and only album for the Verve record label before drifting off into obscurity. One wonders why such a talented group never achieved success in the music industry.
Perhaps Verve, being a predominatly jazz based label, did not know how to promote the band properly. Or perhaps it was because Phluph were part of the ill-fated "Bosstown Sound" scene which caused such a furore in the music industry at that time.
The “Bosstown Sound” was started as a publicity campaign by producer Alan Lorber, aiming to market the various Boston based psychedelic bands on MGM’s books (The Ultimate Spinach, Eden’s Children etc) as being part of one singular movement.
The idea was to rival the burgeoning San Francisco scene as well as the Mersey-Beat sound that was being imported from across the Atlantic. Unfortunately the rock critics and the underground took umbrage at what they deemed was a shallow corporate attempt at selling the counter-culture back to them as a package.
There was strong anti-establishment feeling at this time because of the Vietnam War, and this helped to fuel the fire against the Boston scene.
This coupled with the subsequent pressure from those on the West Coast who declaimed them as frauds, meant that many of the bands became black- listed, never getting the sales figures that they deserved.
Phluph never survived the backlash and disappeared, leaving behind their sole album cut for Verve in 1968. Since its rediscovery the album has garnered some disparaging reviews from some quarters, yet has been lauded by others.
In all honesty Phluph is not as ground breaking or experimental as other albums from that era but nevertheless it still stands as a great slice of psychedelic pop.
It is an album very much of its time, combining all the elements most people would expect from a late sixties piece; fuzz guitar, close harmonies, thinly veiled drug references in the lyrics and a heavy amount of organ grinding.
Sadly the sleeve notes don’t reveal which band member played which instrument, but working on the assumption that all organists from the sixties looked like Ray Manzarek, one can probably ear mark the chap with the enormous glasses and cunning haircut as being the man in charge of the keys.
And what a player the organist was. Just as Manzarek was the musical genius and driving force behind the Doors, so too the organist on this album steers the group to safety, manipulating the instrument in every way possible in order to draw from it all possible sounds.Whether it’s conjuring up mournful paranoia for “Girl in Tears” or propelling the group through the brilliant “Patterns” or the Beatles-esque “Ellyptical Machine”, the guy on the organ holds the day.
He even gets a freak out on the bizarre “Love Eyes”. This tune also boasts a haunting guitar solo which DJ Shadow sampled for his Private Press LP. Apart from those moments of genius the rest of track doesn’t hold up to much scrutiny.
“In Her Way” has got to be the pick of the bunch. Spaced out vocal harmonies and jangling guitar chords open the song before the band gets into a bass heavy groove.
The shimmering organ fades in and out under the bass line, before the track moves on to a great fuzzy guitar solo, with the guitarist making the instrument sound like a busted sitar. It’s a near perfect 3 minutes of psychedelic pop.
In the liner notes on the original LP there is a quote about the band from Cashbox Magazine: “We can’t see anything that could possibly hold back a group like this.When their reputation catches up with their ability, Phluph may very well be famous throughout the world”.
Unfortunately something did stand in their way and all the potential from such a talented bunch was never fully realised. In a different world maybe they would have been given a chance to become more than just a bargain bin relic
by Gerard Fannon
Tracks
1.Dr. Mind - 2:51
2.It Takes a Lot to Laugh, It Takes a Train to Cry - 2:41
3.In Her Way - 3:03
4.Another Day - 4:40
5.Girl in Tears - 3:10
6.Ellyptical Machine - 2:30
7.Lovely Lady - 5:50
8.Death of a Nation - 2:30
9.Love Eyes - 6:56
10.Patterns - 2:33
Phluph
* Lee Dudley - Vocals, Drums
* Ben Blake - Vocals, Guitar
* John Pell - Vocals, Bass
* Joel Maisano - Vocals, Organ
Norman Greenbaum was born November 20, 1942, in Malden, MA. He began his musical career while a student at Boston University, playing area coffeehouses before relocating to the West Coast during the mid-'60s and forming a kind of psychedelic jug band dubbed Dr. West's Medicine Show and Junk Band. After issuing the 1966 single "The Eggplant That Ate Chicago," which fell just shy of reaching the Top 50, the group disbanded, and Greenbaum subsequently formed a series of short-lived acts before finally returning to his solo career in 1968.
A year later he issued his debut LP, Spirit in the Sky, releasing several unsuccessful singles before reaching the Top Three with the smash title track, which sold some two million copies. It proved to be Greenbaum's only hit, however, as follow-ups like 1970's "Canned Ham" and the next year's "California Earthquake" tanked; after the release of 1972's Petaluma, he retreated from music to focus on his California dairy farm, but returned to show business during the mid-'80s in a managerial capacity, also promoting a number of concerts.
by Jason Ankeny
"Spirit in the Sky" was a classic one-shot hit: an unforgettable fuzz guitar riff, those eerie descending glissando psychedelic guitar effects, a soulful female backup chorus, and a rare gospel-rock song that explored a religious theme without sounding dogmatic or sappy. Greenbaum had more depth than the usual one-shot artist, but the fact is that he never came up with anything else remotely on the level of "Spirit in the Sky," as this 15-song anthology demonstrates.
He was a witty, droll songwriter with slightly absurd tunes that didn't quite descend into novelty, as on "Canned Ham" and "The Day the Well Went Dry." Selections from his early-'70s Reprise albums comprise most of half of this disc, and they're amiable, mildly humorous good-time rock that isn't even as penetrating as the rawer and goofier stuff he did before his solo career as the leader of Dr. West's Medicine Show & Junk Band. Four Dr. West songs are on this CD, including the minor 1966 hit "The Eggplant That Ate Chicago," as well as a previously unreleased 1977 recording, "The Day They Sold Beer in Church."
by Richie Unterberger
Tracks
1. Spirit in the Sky - 3:59
2. California Earthquake - 3:09
3. Lucille Got Stealed - 3:55
4. Canned Ham - 2:51
5. Tars of India - 2:58
6. Marcy - 3:11
7. Hook and Ladder - 2:44
8. Rhode Island Red - 2:47
9. Junior Cadillac - 3:33
10.Skyline - 3:12
11.Jubilee - 2:58
12.Milk Cow - 3:01
13.Back Home Again - 2:43
14.Titfield Thunder - 5:04
15.Damper - 2:58
16.I.J. Foxx - 4:18
17.Petaluma - 2:42
18.Country Lad - 2:22
19.The Day the Well Went Dry - 2:37
20.Jigsaw (Greenbaum, Kane) - 2:33
21.Weird - 2:26
22.Daddy I Know - 2:56
23.Gondoliers, Shakespeares, Overseers, Playboys and Bum - 2:20
24.The Day They Sold Beer in Church - 4:02 .
All song by Norman Greenbaum except where noted.
The Downliners Sect originally rode to fame in the early 60's as one of the top UK's pioneering rhythm ‘n’ blues outfits. Purveying their own band of blues mainstream, citing influences from Muddy Waters, to Chuck Berry and Bo Diddley. This is well documented in the history of rock music. The Downliner's Sect rode in on a later wave of stardom. This time riding in on their influencing of others, is a lesser known rock parentage fact. By the later 1960's the rhythm ‘n’ blues scene had given over to soul.
This modern black music inspired the UK's music scene to find it's own Stax ‘n’ Motown souls. Whilst the soul club and discotheque scene developed, more was going on elsewhere too. Psychedelia. Flower Power, avant garde jazz, - all this music each with it's own identity. Amongst this myriad musical world, rhythm ‘n’ blues perhaps seemed 'history'. After dallying with folk rock and commercial driven pop the 'Sect' called it a day. Lurking under all these musical world stages, new roots were developing, a vibrant rock, rhythm and blues scene giving birth to what todays music history books call 'Canvey Island R’n’B,', verging pub rock and pre punk.
The underground music press were well latched on to the scene, and by the time the major music mags were doing the rounds, interviewing bands, regularly the 'Downliners Sect' were being cited as a major influence and inspiration. Listening to The Feelgoods. The Kursal Flyers and Ace this new worlds stage beckoned these early practitioners to reform. Now were talking 1976. Don Craine with ex 'Black Cat Bones' Paul Tiller were established doing the rounds as 'Loose Ends' a duo on the folk blues acoustic scene. Keith Grant had spent time in 'Magnet' after his earlier 70's band 'Punchin'Judy' a Transatlantic signed group which included drummer Alan Brooks. Alan became the 'Sects' drummer in their 1989 line up and today still holds down their drum stool. Terry Gibson's rock ‘n’ roll revival band "The Hellraisers" were coming to a natural conclusion.
Terry's agent had picked up the buzz on the interest in the Downliners whilst Don to was pretty wised up with what was going on. He'd met Keith at a 'Loose Ends" gig, and by then Terry had made contact. Rounding up John Sutton their original drummer, the five met for rehearsals. Studios somewhere in Chelsea. Terry's agent soon had them, working The Hope ‘n’ Anchor, Dingwalls, The Nashville Rooms in Fulham and other familiar pub rock joints where their original aggressive approach to R’n’B had dwelled with their aspirant followers. John Sutton became their first casualty. He realized not long before reforming he decided to remain with Jazz. Paul Holm auditioned in 1977. He'd worked with the 'Syndicates' and 'Bluegology. Soon on the horizon a new single and album deal loomed. A UK single launched their new recording era. "Showbiz" and "Killing Me" hit the shops in November 1977 showing up in the underground charts.
Double publicity came their way in the underground press. The same year their original 1964 album just re-released also chartered. Before John left the band, they had laid a few selections of their songs together in demo form. Within their new album they included reworkings of these earlier demo songs. "Showbiz" originally released in 1979 it is now available with extra tracks on Indigo CD IGOCD 2084. With new drummer Paul Holm, the band toured Germany, but by the release of "Showbiz" Paul had left. Keith was touring in France before the Sect reformed, he'd met 'Killing Floor' drummer Rod De'Ath. Eventually Rod went on to join Rory Gallagher's band with Killing Floor's keyboard player Lou Martin. Terry knew Rod as well, he became the bands choice to join.
With 'Showbiz' available, the Sect toured Germany, promoting the album. Returning to the UK, they signed with Ronnie Scotts agency, touring the UK club and college circuit then into 1980 touring Norway. Over the tours the band built a tape collection of their concerts. Titled "Live in the 1980" the tour performances were eventually issued becoming their 'new' 2nd album. On returning to England, they recorded four tracks at Rod De'Ath’s own studios at Pebble Beach in Hastings. All were penned by the band. Don Craine recalls: "We spent a great time doing the four tracks, sensibly to get a record deal.
The record companies were interested in us, but interested in doing with us our old rhythm ‘n’ blues stuff from the sixties! We never did, we tried to get a deal like we did with "Showbiz" for new material! Two of the tracks were issued in the States on a special limited edition single". 'Sect appeal' relives the 1980's concert album of the band's hard driving R’n’B classics and shows why the record moguls in 1980's wanted more of this for their record buying clientele. The four studio tracks issued here together for their first time show why the band's decision was right in 'sticking to their- guns' for their own idea for a deal for their newly written compositions.
All the songs on 'Showbiz' had brought together all the groups writing talents. Most written by Keith, some co-written with Don. Keith collaborated with Terry on two here from the Pebble Beach sessions. Of their song writing, Terry today recalls: "Keith's a great song writer. I'll always say that. I think if somebody had put their time and money into our band in our early days we could have been as big as The Kinks or whatever. Keith over the years has written some good songs". The Downliners Sect influence on rock music continues. Today Terry (Gibson) Clemson leads his own TT's rock ‘n’ roll trio, whilst Keith, Don ‘n’ Paul's Downliners continue to excite the forever hungry R’n’B audiences around the world.
by Peter Moody
Tracks
1. You Ain't Done Me Right (Take 2) (Gibson, Grant) - 3.22
2. Blue Night (Tiller) - 4.19
3. Colour Coded Red (O'Donnell) - 2.22
4. Rhythm 'N' Booze (Unknown) - 2.57
5. Got My Mojo Working (Foster) - 2.52
6. Bloodhound (Bright) - 1.41
7. Sect Appeal (Collier) - 2.10
8. Baby What's On Your Mind (Reed) - 2.00
9. Love Potion No.9 (Leiber, Stoller) - 2.32
10. Loose End (Tiller) - 3.10
11. Back In The USA (Berry) - 2.53
12. Wee Wee Baby (Turner, Johnson) - 3.51
13. Sweet Little Sixteen (Berry)- 3.05
14. Hoochie Coochie Man (Dixon) - 4.03
15. Nursery Rhymes (McDaniel) - 4.54
16. Bright Lights Big City (Derward, Russell) - 2.25
17. Shake Your Money Maker (Williamson) - 3.23
18. Route 66 (Troup) - 2.45 Tracks 1-4 recorded at Rod De'Ath's Studios, Pebble Beach, Hastings: May 1980 Tracks 5-18 recorded live concerts in London and Norway; Spring 1980
One of England's first noteworthy rock group was the Shadows, and their polished instrumental style, with Hank Marvin's twanging Stratocaster leads way out in front, set a template that a great many U.K. bands would follow until the Beatles and the Rolling Stones upended everything in 1963.
Nick Saloman of the Bevis Frond delivers another enjoyable look back at the history of U.K. pop with Phantom Guitars: A Cool Collection of Twangin' Instrumentals from the UK 1961-1964, which collects 25 rare selections from the days when Duane Eddy, Jorgen Ingmann, and Lonnie Mack were still forces to be reckoned with on the pop charts. If you're looking for startling originality, there's little to be had here, but if you dig ringing single-note leads with plenty of string bending and whammy-bar action, this disc is 56 minutes of aural manna from heaven.
Dennis Newey's "Title Unknown" gets high marks for wit, familiar melodies get a workout on "Temptation" by Bobby Taylor and "Bizet as It Were" by the Players, "Circlorama" from the Champions salutes a little-remembered innovation in motion-picture technology, and the Violents and Group X both deserve to be cited for their remarkably cool names, even if their music didn't quite live up to the billing. As with the lion's share of releases from Saloman's Psychic Circle label, this set includes well-written liner notes that pass along what's known about the artists, and the mastering is good despite these rare recordings being sourced from vinyl discs.
The instrumental rock scene was a vitally important part of the rise of homegrown British rock, and if this deals in obscurities rather than hits, Phantom Guitars documents how pervasive this sound once was, and how many great pickers were making the rounds in the early '60s.
by Mark Deming
Artists - Tracks
1. The Falcons - Stampede - 2:23
2. The Krew Kats - Jack's Good - 2:28
3. The Phantoms - Phantom Guitar - 2:32
4. Bobby Taylor - Temptation - 2:20
5. The Hunters - The Storm - 2:10
6. Dennis Newey - Title Unknown - 2:29
7. The Executives - No Room For Squares - 2:21
8. The Nu-Notes- Fury - 1:58
9. The Cougars - Fly-By-Nite - 1:44
10.The Champions - Circlorama - 2:11
11.The Fentones - The Mexican - 2:30
12.The Gimmicks - Am I Worth It? - 2:42
13.Dunhill And Weiser - Red Leather Jacket - 2:19
14.The Packabeats - The Traitors - 2:34
15.The Planets - Jungle Street - 2:25
16.The Johnny Howard Group - Mind Reader - 2:13
17.Rhet Stoller - Big City - 1:58
18.The Players - Bizet As It May - 1:54
19.The Violents - Ghia - 2:03
20.Group X - Crossbeat - 2:24
21.The Barons - Cossack - 2:44
22.Bob Miller And The Millermen - Trouble Shooter - 2:00
23.The Vengers - Shakedown - 2:02
24.The Gladiators - Tovarich - 2:08
25.The Royal Showband (Waterford) - The One Nighters - 2:00
After a line-up switch in July 1967, the Elevators entered the recording studio with a brand new rhythm section and a batch of recently written songs. International Artists were prepared to spend a lot of money on the second LP which was intended to break the group nationally. Almost two months were spent arranging and recording the material in Houston's Andrus Studios, where one of the first 8-track recorders were utilized.
Released in November 1967, "Easter Everywhere" remains to this day an astonishing achievement. Most Elevators fans regard it their masterpiece, and Tommy Hall has referred to it as "our special purpose". The unique soundscape from the first LP has been broadened and elements of folk, Indian music and west coast acidrock have been added. The new rhythm section, featuring bass player Dan Galindo and drummer Danny Thomas, bring a loose, jazz-flavored groove to the tracks. The result is a rich, eclectic tapestry of psychedelia held together by Roky Erickson's intense vocals reciting Tommy Hall's lyrics. Some say the musical sounds remind them of listening to a Mexican tambora on many Cancun vacations.
The LP opens with "Slip Inside This House". Probably the most influential Elevators song alongside "You're Gonna Miss Me", it is an 8-minute journey through Eastern-influenced rock and visionary lyrics that remains unparallelled. The song became an instant favorite among fansand critics, and I A edited it for an improvised 45 release though it was in no sense top 40 material.
Chugging along on top of a raga-influenced guitar riff invented by Roky Erickson, the music is pushed through a series of metamorphoses by Thomas' recurring hi hat-kicks and Galindo's insistent bass lines. Halfway through the song Stacy Sutherland enters with a beautiful, lyric guitar solo. The song's complex, asymmetric structure (AABACDAABAABCDA) seems to be patterned on Bob Dylan's epic "It's Alright Ma (I'm Only Bleeding)", where long skillfully rhymed verses are interspersed with shorter refrain-like passages. The ending of each verse with a recurring phrase -- the song title -- is reckognizable from Dylan's "Gates Of Eden" and "Desolation Row", or indeed any number of songs from the folk tradition.
The structural influence aside, Tommy Hall's lyrics owe little to Dylan in terms of content and imagery. The whole attitude is different from Dylan's surreal street-poetry which mixes high and low in a tradition of Whitman-Williams-Ginsberg, throwing in a bit of amphetamine-driven namedropping and wordplay as well. Hall's poetry is solemn, visionary and controlled. Examing the Anglo-Saxon literary tradition, it is in fact hard to pin down Hall's sources of inspiration. One has to reach far back, beyond modernism and symbolism to the Romantics and Victorians. It is here, in the final incarnations of poetical Classicism.
Tracks
1. Slip Inside This House (T. Hall, R. Erickson) - 8:03
2. Slide Machine (Powell St. John) - 3:43
3. She Lives (In A Time Of Her Own) (T. Hall, R. Erickson) - 2:58
4. Nobody To Love (S. Sutherland) - 3:00
5. Baby Blue (B. Dylan) - 5:17
6. Earthquake (T. Hall, R. Erickson) - 4:51
7. Dust (T. Hall, R. Erickson) - 4:02
8. Levitation (T. Hall, S. Sutherland) - 2:41
9. I Had To Tell You (Clementine Hall, Roky Erickson) - 2:28
10.Postures (Leave Your Body Behind) (T. Hall, R. Erickson) - 6:30
11.Splash 1 (C. Hall, R. Erickson) - 4:21
12.Kingdom Of Heaven (Powell St. John) - 3:33
13.You're Gonna Miss Me (R. Erickson) - 3:42
14.Reverberation (Doubt) (T. Hall, S. Sutherland, R. Erickson) - 3:23 .
15.You Don't Know (Powell St. John) - 2:35
16.Fire Engine (T. Hall, R. Erickson) - 3:00
17.Monkey Island (Powell St. John) - 2:42
18.Roller Coaster (T. Hall, R. Erickson) - 5:41 .
19.Levitation (Instrumental) (T. Hall, S. Sutherland) - 4:11
20.I Don't Ever Want To Come Down (Unidentified) - 2:41 Tracks 11 to 14 recorded Live In Texas, 1967 Tracks 15 to 18 recorded Live In San Francisco, 1966
13th Floor Elevators
*Roky Erickson – Vocals, Rhythm Guitar, Harmonica
*Tommy Hall – Electric Jug
*Stacy Sutherland – Lead Guitar
*Dan Galindo – Bass
*Danny Thomas – Drums Additional Musicians
*John Ike Walton – Drums ("She Lives", and "Levitation")
*Ronnie Leatherman - Bass ("She Lives", and "Levitation")
*Clementine Hall - Backing Vocals ("I Had To Tell You")
