Country Joe And The Fish - The First Three E.P's (1965-71 us, classic west coast protest folk psychedelic rock)

This collection of songs represents the very first successful American attempt to use a record propaganda and promotion. In 1965 Joe McDonald was to have performed a a demontration to protest the draft in Oakland, California, to politicized his audience, he and his then (and sometimes current) associate Barry Melton and Ed Denson (Kicking Mule Records) decide to form a jug band to accompany them at this event. They asked along some musicians they knew through Chris Strachwitz (Arhoolie Records) to record two songs for this record, as he had recording equipment and a way to get the records pressed. 

They recorded two songs, "Superbird" and "I Feel Like I'm Fixing To Die Rag", a young songwriter from the Bay Area, Peter Krug recorded "Fire IN The City" and "Johnny's Gone Th The War" which were added as b-side.

This record was conceived  as a "talking" edition of Joe's magazine RAG BABY. They called themselves Country Joe And The Fish, a name which was arrived at as compromise to Country Mao and the Fish (as in the Mao saying regading the "fish that swims in the sea of the people") since they were in effect to conceived as agit-prop group. This "record" and the appereance in Oakland led to requests for them to appear as a band and their emphasis slowly shifted from an acoustic jug band to an electric "Rock" band playing a brand of what later came to be called :Psychedelic Music".

To promote themselves as an "Electric Band" and maybe make some money, they again formulated and recorded another EP. This was recorded at Sierra Sound Studios in Berkeley, California and formally astablished the existence of the RAG BABY Label. This EP numbered 1002 with its distinctive cover (by Berkeley artist Tom Weller) became one of the most identiflable of the many locally produced items from the San Francisco Bay Area, in the late 1960's. It was released in June of 1966, sold for $1.00. It certainly achieved notably as a collector's item, for established the band in New York long before they ever appeared ther and was available in record and "head shops" as far away as London. It contained three songs "Section 43", "Thing Called Love" and "Bass Strings".

In 1971, Country Joe again decided to mix commerce with politics and EP's. Then working with Jane Fonda and Donald Sutherland in a political musical revue they did shows for GI's to draw attention to the war in Vietnam. This FTA (Free The Army) Show was presented at "alternative" coffee houses (with names such as "Oleo Strut") that became centers for ant-war activism.

One of these in Mountain Home, Idaho was burned to the ground after their appereance there. Joe made another record that would contain material relevant to this period and songs that performed in the show. The third EP (RAG 1003) contains "Tricky Dicky", "Free Some Day" and "Kiss My Ass". They were recorded at Jack Leahy's Funky Features Recording Studiuo in San Francisco. The record was to have sold for $1.50 to raise money for the show and the VVAW (Vietnam Veterans Against The War), but some were burned, some were lost in transit and others dissappeard. It was probably more political than the first one as it went directly to the point, it received considerable airplay, however on what were then known as "progressive" FM radio stations.

Tracks
EP-1 10/1965
1. Who Am I? - 5:40
2. Dirty Claus Rag - 2:00
3. I Feel Like I'm Fixin' To Die Rag (Takes 1,4,5)* - 8:02
4. Superbird (J. McDonald, B. Melton, D. Cohen, B. Barthol, J.F. Gunning) - 3:33
5. Fire In The City (Peter Krug) - 4:43
6. Johnny's Gone To War (Peter Krug)  - 2:00
EP-2 06/1966
7. (Thing Called) Love - 2:33
8. Bass Strings - 3:57
9. Section 43 - 6:43
EP-3 05/1971 (Cover design by Jane Fonda)
10.Kiss My Ass - 3:00
11.Tricky Dicky - 3:54
12.Free Some Day - 5:29
All compositions by Country Joe McDonald except where indicated
*Take 5 listed as track #8
*Take 4 listed as track #14

Musicians
EP-1 10/1965
*Joe McDonald - Vocals, Acoustic Guitar, Harmonica
*Barry Melton - Vocals, Electric Guitar
*Carl Shrager - Washboard, Kazoo
*Bill Steele - Washtub Bass
*Mike Beardsleee - Vocal
EP-2 06/1966
*Joe McDonald - Vocals, Acoustic Guitar, Harmonica
*Barry Melton - Vocals, Electric Guitar
*David Cohen - Electric Guitar, Farfisa Organ
*Bruce Barthol - Bass, Harmonica
*John Francis Gunning - Drums
*Paul Armstrong - Tambourine, Maracas
EP-3 05/1971 (Free the Army Show)
*Joe McDonald - Vocals, Acoustic Guitar, Electric Guitar
*Anna Rizzo - Vocals
*John Rewind - Electric Guitar
*Richard Sussman - Piano
*Nacho Dewey - Harmonica
*Vic Smith - Bass
*Greg Dewey - Drums

Country Joe discography
1967  Electric Music For The Mind And Body
1967  I-Feel-Like-I'm-Fixin'-To-Die
1968  Together
1969  Live! Fillmore West
1969  Here We Are Again
1970  CJ Fish

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Hunter Muskett - Every Time You Move (1970 uk, sophisticated well arranged folk rock with warmly harmonic vocals, Lilith 2007 digi pack edition)

While at College Chris formed a folk band called "Hunter Muskett" with songwriter Terry Hiscock (writer of "Silver Coin" - voted as one of the best folk songs of 1973) and guitarist Doug Morter (later with Magna Carta, Richard Digance, Maddy Prior, Jerry Donahue etc.).

The trio gigged the folk clubs and released an album on the Decca label called "Every Time You Move" in 1970. Muskett then gained a bass player, Rog Trevitt, (later to gig with Doug Morter in the pub rock band Peco Orange and numerous country and western bands, most noticeably with pedal steel player Gordon Huntley of Matthew's Southern Comfort fame).

The now four piece, played George acoustics and electrics, toured at home and abroad for about four years and released a second album, produced by Keith Relf of the Yardbirds fame, simply titled "Hunter Muskett" on the newly formed "Bradleys" label.

Chris George

This debut from little-known, but highly regarded folk trio Hunter Muskett is an underground gem. Packed full of earthy, original songs, it masterly skirts the boundaries of baroque pop and folk-rock. The opening title track lays out their stall perfectly: layers of acoustic guitars, a delicate beat and some lush vocal harmonising. 

The songs are purposely poetic but it never sounds forced, even on the darker tracks, such as Midsummer Night’s Dream, where the melancholy just about hangs together without sounding passe. It’s a delicious balance.

by Jan Zarebski

Tracks
1. Every Time You Move (Hiscock) - 4:24
2. Hey Little Girl (George) - 5:01
3. Midsummer Night's Dream (Hiscock) - 4:06
4. Pres Gang (Hiscock, George) - 5:08
5. Storm On The Shore (Hiscock) - 4:06
6. Castle (Hiscock) - 3:39
7. I Have A House (Hiscock) - 4:14
8. Inside Mine (Hiscock) - 3:30
9. The Wait (Hiscock, George) - 2:37
10.Cardboard Man (George) - 2:18
11.Davy Lowston (Trad. Arr. Hiscock, George, Morter) - 5:09
12.Snow (Morter) - 2:05

Hunter Muskett
*Terry Hiscock - Vocals, Guitar
*Doug Morter - Vocals, Guitar
*Chris George - Vocals, Guitar
with
*Kim Margolis - Percussion
*John Punter - Drums

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Sir Douglas Quintet - Mendocino (1969/73 us, classic texas garage psych, Acadia bonus material reissue)

Listening to Doug Sahm can be like unfolding a musical road map; taking a journey from Norteno Texas dust, through Gulf Coast big band R&B and honky tonk country, on to San Francisco’s Haight-Ashbury psychedelic heyday in 1967. 

Doug Sahm had an amazing gift for embodying, just plain being, his musical roots. A child prodigy steel guitar player, he had achieved regional hit-record status by the time he was a teenager, scoring a national hit with “She’s About a Mover” not much later. 

Mendocino, with its title song a top 40 charting single in 1969, is the Sahm-led Sir Douglas Quintet’s finest hour, the exhilarating record of a musical heart, mind, and soul in perfect accord. Long out of print, this 1960s milepost is at last available on CD. 

The title song is teeny-bopper pop set to a bouncy Tex-Mex beat and shot through with a dose of soul. After that sweet start, the album finds one great groove after another, from twangy fiddle-driven road epics that move along like a slightly stoned Ray Price shuffle, to distorted blues guitar freak-outs, to wide-open white soul laments. But it’s all rooted in a tight musicality that is as far from self-absorbed as pop music can possibly be. Harvey Kegan and Louie Perez, on bass and drums respectively, are a rock-solid rhythm section; Frank Morin’s horns are at least as sweet and soulful as anything Jack Schroer came up with for Van Morrison in the 70s; and Augie Meyer’s trademark roller rink-accordion organ sound is precise and brilliant, adding a sort of dusty uplift to the proceedings. 

The real miracle here, though, is Sahm’s voice: a coarse growl, sweet and warm around the edges, it sounded perfect on blues, country, soul, or even Dylan-esque folk balladry. Sahm’s voice and delivery would have made him an icon even if he’d not been such a pioneer of crossroads and borderland American music. 

Mendocino was an early peak in a legendary career. One of the album’s themes is its slightly self-mocking look at what it means to be a country boy in a big, strange, confusing world. But the real message lies in the feeling of pure joy in making music that runs through every track. 

I bought my LP copy of Mendocino in 1972 for .99 cents from a cut-out bin at a Mammoth Mart in New Hampshire. The same day, for the same price, I scored a copy of another essential Texas document, Live at Cain’s Ballroom by Ernest Tubb and his Texas Troubadours. Both records got played a lot; they helped shape my listening –and playing – from that time on. 

In some ways, Texas and the Southwest were America’s greatest musical frontier. In Stetson hat, buckskin, or tie-dye, Doug Sahm always did that frontier proud.

by Kevin Macneil Brown

Tracks
1. Mendocino - 2:40
2. I Don't Want - 3:45
3. I Wanna Be Your Mama Again - 3:10
4. At The Crossroads - 4:30
5. If You Really Want Me To I'll Go (Delbert McClinton) - 2:35
6. And It Didn't Even Bring Me Down (D. Sahm, Frank Morin, Martin Fierro) - 2:30
7. Lawd I'm Just A Country Boy In This Great Big Freaky City - 2:45
8. She's About A Mover - 3:20
9. Texas Me (D. Sahm, F. Morin, M. Fierro, John Perez, Augie Meyer) - 2:35
10. Oh, Baby, It Just Don't Matter - 3:15
11. Sunday Sunny Mill Valley Groove Day - 3:26
12. Sir Doug's Recording Trip - 3:00
13. The Homecoming (T.T. Hall) - 3:20
14. Hello Amsterdam - 2:48
15. At The Crossroads (Alternative Mix) - 4:37
16. Texas Me (Alternative Mix) (D. Sahm, F. Morin, M. Fierro, J. Perez, A. Meyer) - 2:36
All songs by Doug Sahm except where noted.
Bonus tracks from 11-16

Sir Douglas Quintet
*Doug Sahm – Vocals, Guitar, Pedal Steel Guitar, Fiddle
*Frank Morin – Vocals, Horns
*Harvey Kagan – Bass Guitar
*Augie Meyers – Organ, Piano, Keyboards
*John Perez – Drums

To Jamie (Tacobueno) for his great support
Thanks my friend

For more Sir Douglas
1964-66  The Best Of ....Plus

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The Crow - Mosaic (1971 us, groovy hard boogie psych rock, 2011 Arf issue)

 Very few Minnesota rock 'n' roll bands, in the days before Prince and Grammy-winning producers Jimmy "Jam" Harris and Terry Lewis made the scene, managed to successfully steal even a slight serving of the nation's auditory attention. Among such acts were the Trashmen, the Gestures, the Castaways and Crow. Before their precarious perching on the charts, Crow was known as South 40: Dave Wagner (vocals), Dave "Kink" Middlemist (organ), Harry Nehls (drums) and the brothers Dick Wiegand (guitar) and Larry Wiegand (bass), a twin cities bar band known for playing hard edged R 'n' B. 

The formation of South 40 can be credited to the merging of two of Minneapolis' favorite mid-sixties rock bands: the Rave-Ons and Jokers Wild. The album, South 40 Live At Someplace Else! (Metrobeat MBS-1000) contained such rock standards as "Fire," "You Keep Me Hangin' On," "Get Out Of My Life Woman" and "99 ½" as well as several excellent originals such as "I Want Sunshine," "If No Love," "What's Happenin'?" and "Goin' Someplace Else." Even then the group exhibited a very original style, combining the best of soul music, R 'n' B, straight-ahead rock 'n' roll. South 40 never received a lot of local airplay, so to speak, but did garner a bit of recognition in the outlying areas like Fargo, North Dakota and Duluth Minnesota.

The band's big break came when it took first place in a "contest for rock bands" sponsored by the National Ballroom Operators Association in Des Moines, Iowa on September 29th, 1968. The prize - a recording session with Columbia Records. Three judges presided over N.B.O.A. contest that night, one was Timothy Kehr, former booking agent of the Rave-Ons. It came down to South 40 and the Fabulous Flippers, split even, until Kehr cast the deciding vote.

On January 31st, 1969, Crow entered the Columbia Recording Studio in Chicago for the first time, to begin what would be a bittersweet roller coaster ride that would last the next two-and-a-half years. Several changes had occurred in the four-month interim since winning the N.B.O.A. deal. Most notably was the name change. The guys, as one, decided to make it on a national level, South 40 just wasn't going to cut it. But why Crow? "Well, a crow is a kind of funky bird," recalled Kink Middlemist. "It's a scavenger, a nasty hard-hitting kind of bird and our music is kind of that way. Also, it's a short name, one that's easy to remember." Enough said.

Along with the name change came a personnel one too. Harry Nehls had received a good offer to join the local Minneapolis group T.C. Atlantic, so he left. After searching through the Minneapolis Musician's Union entourage, Michael Malazgar was settled on. Denny Craswell (of the Castaways) had been the group's first choice, but he had to finish up a few prior commitments with Blackwood Apology, of which he was a member. He would join the other four in about a month. Mike Malasgar was on the five-song session in Chicago, however. 

The five songs recorded during that cold January day were: "Time To Make A Turn," "Busy Day," "Gonna Leave A Mark," "White Eyes" and "Evil Woman." Columbia Records passed on Crow after hearing the demos. "Columbia had specked us the free time," said Larry, "but they never promised records would come of the deal. I'm sure they had visions of Dave being another Gary Puckett, who was big for them at the time. We were a little bit too funky for them though. I'm sure that's why they passed."

The Crow

Mosaic produced by Bob Monaco, exemplified by material such as "Sky Is Crying" and "Keeps Me Runnin'" the album offers up another set of straight-ahead mid-western hard rock. With the exception of Larry Wiengand's atypical jazzy "Easy Street" (quite an interesting change of pace), and the weird, soul-ish "I Need Love", it's not particularly subtle or sophisticated, but then that isn't what Crow fans were looking for.  Sure, the album may be somewhat limited in terms of scope, but Wagoner had a great set of pipes and the band were quite good at what they did.  

Elsewhere, a remake of the oldie '(Don't Try To Lay No Boogie Woogie On the) King of Rock and Roll' b/w 'Satisfied' (Amaret catalog number 45-125) and 'Yellow Dawg' b/w 'Watching Can Waste Up Time' (Amaret catalog number 45-129) were pulled as modestly successful singles.  Even though the band had begun to record material for a fourth album, by the end of 1971 the combination of growing unhappiness with their label and sheer exhaustion effectively spelled the end of the group.  

Wagner was the first to give notice, but faced with a significant financial debt, the remaining members decided to soldier on, quickly replacing him with former White Lightening drummer/singer Mick Stanhope.  The revamped band struggled on for roughly a year before finally calling it quits in 1972.

Bad-cat

Tracks
1. (Don't Try To Lay No Boogie Woogie On the) King of Rock and Roll (Jeff Thomas) - 2:32
2. Easy Street (Larry Wiegand) - 5:03
3. Yellow Dawg (Larry Wiegand) - 3:01
4. Sky Is Crying (James, Robinson, Lewis) - 5:57
5. I Need Love  (Larry Wiegand, Dick Wiedgand, Dave Middlemist) - 4:22
6. Keeps Me Runnin' (Larry Wiegand) - 3:00
7. Watching Can Waste Up Time (Larry Wiegand, Dick Wiedgand) - 3:58
8. Satisfied (Larry Wiedgand, Dave Middlemist) - 5:13
9. Watch That Cat (R. Wiegand, Dave Waggoner)  - 5:30
10.Let's Not Say Goodbye (Dave Middlemist, Dave Waggoner) - 5:10

Crow
*Dave Wagner - Vocals
*Dave Middlemist - Keyboards
*Dave Wiegand - Guitars
*Denny Craswell - Drums
*Larry Wiegand - Bass

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Everyone - Everyone (1971 uk, marvelous progressive folk rock, 2011 Flawed Gems extra tracks edition)

One of the least known and most underrated folk-progressive albums from Britain! Fronted by noted folk guitarist Andy Roberts (ex-Liverpool Scene) and organist Bob Sargeant (ex-Junco Partners) the band released his eponymous album in January 1971 on B'n'C label - home of Atomic Rooster, Steeleye Span, Ginhouse and Hannibal. 

This quite varied, nicely arranged and very often simply stunning album contained plenty of interesting folk (or even country rock) ideas mixed with classic, progressive sounds - with changing moods, atmospheric instrumental piano/organ/mellotron passages, fine guitar leads and very complex and slightly jazzy rhythm section. 

Tracks
1. Trouble At The Mill - 3:26
2. Sad - 7:02
3. Midnight Shift  - 2:05
4. Don't Get Me Wrong - 4:27
5. Sitting On A Rock - 3:04
6. Too Much A Loser - 5:56
7. Radio Lady - 3:17
8. This Way Up - 5:20
9. Trio - 4:56
10.Too Much A Loser - 6:04
Tracks 9-10 unreleased bonus tracks from the BBC sessions

Everyone
*Andy Roberts - Vocals, Acoustic, Electric Guitars, Slide Guitar, Violin
*Bob Sargeant - Vocals, Organ, Piano, Mellotron,
*Acoustic Guitar, Vibes, Harmonica
*Dave Richards - Vocals, Bass, Organ
*John Pearson - Drums, Percussion
Special Guest
*John Porter - Electric Guitar

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Them - Them In Reality (1971 us/uk, excellent garage psych, 2008 Fallout edition)

In 1971, following the departure of his bandmate Jerry Cole, bassist Alan Henderson joined forces with US guitarist Jim Parker and drummer John Stark to make this lost power trio classic - the last to be issued under the legendary ‘Them’ moniker. It opens with a searing medley of the Them classics ‘Gloria’ and ‘Baby Please Don’t Go’, boasting superb interplay and savage psychedelic guitar throughout. 

Elsewhere, Stark and Parker flex their songwriting muscles on a series of powerful compositions, and even an acid folk number. Like its equally overlooked predecessor, this lost classic is guaranteed to find favour with fans of top-end garage rock.

Tracks
1. Gloria (Van Morrison) - 6:05
2. Baby Please Don't Go (Joe Williams) - 4:50
3. Laugh (Paul Williams) - 3:00
4. Let My Song Through (Jim Parker, John Stark) - 2:37
5. California Man (Jim Parker, John Stark) - 2:12
6. Lessons of the Sea (Jim Parker, John Stark) - 3:46
7. Rayn (Jim Parker, John Stark) - 2:52
8.  Back In the Country (Jim Parker, John Stark) - 3:34
9. Can You Believe (Jim Parker, John Stark) - 2:46

Them
*Alan Henderson - Bass
*John Stark - Drums, Lead Vocals
*Jim Parker - Lead Guitar, Vocals

Themology
1965-66  The Wheels - Road Block
1967  Them - Now And Them
1967  Belfast Gypsies
1968-69  Them - Time Out Time In
1969-70  Truth - Of Them And Other Tales
1971  Them
1970-71  Rod Demick And Herbie Armstrong - Little Willie Ramble

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MU - The Band From The Lost Continent (1971-72/74 us, fascinating psychedelic rock with experimental blues 'n' folk mood, Sundazed double disc set)

Recognize those licks? Fans of Antenna Jimmy (Jeff Cotton’s) unmistakable slide guitar work will hear it off the bat. And this may be the record to clue the skills behind the Magic Band to those who ever thought Captain Beefheart’s troupe were overrated hacks. But Mu is really a Merrell Fankhauser project, the man behind a string of awesome albums including Fapardokly and HMS Bounty’s Things.

The band happened across a copy of James Churchward’s The Lost Continent of Mu, a book about the mythical “Hawaiian Atlantis.” This provided the band name and a set of ideals (the bands’ matching those of the lost civilization) for inspiration. The fascination grew to a point that the group moved to Maui to try and find the lost city themselves.

The sound of Mu is a wholly unique mix of psychedelic rock and rhythm and blues. The interlocking rhythms and primal pulse of the Captain’s music shows its influence, but Mu is a more radio-friendly affair, think the Magic Band Lite. The tunes are largely instrumental and mildly progressive suites, with just enough structure and restraint to entice more conventional listeners. Mu benefits from this, the rare even blend of experimental with consonant songcraft. Cotton turns in some excellent slide, but also bass clarinet, and contributes a good deal of the songwriting. The rhythms are undeniably good, the songs sound better and better, and the drum break on the 9 minute Eternal Thirst (the longest track by a while) nudges the album into the realm of the hypnotic.

After an unissued follow up record recorded in Maui (included on the Sundazed 2CD set). Jeff Cotton, along with Randy Wimmer, left Mu in 1975 to study the Christian Ministry. Merrell grew increasingly fascinated with the lost continent of Mu, recording more albums based on the Mu theme and continuing to play music in the Hawaiian islands. The record they created in 1971 is remarkably fresh, out-there, and absolutely one-of-a-kind. 

by Brendan (The Rising Storm)

Tracks

Disc One, California 1971-72

1. Ain't No Blues (J. Cotton) - 4:03

2. Ballad Of Brother Lew (M. Fankhauser) - 4:30

3. Blue Form (M. Fankhauser, J. Cotton) - 4:03

4. Interlude (J. Cotton) - 1:56

5. Nobody Wants To Shine (M. Fankhauser, J. Cotton) - 4:08

6. Eternal Thirst (M. Fankhauser, J. Cotton) - 9:34

7. Too Naked For Demetrius (J. Cotton) - 2:32

8. Mumbella Baye Tu La (M. Fankhauser, J. Cotton) - 3:19

9. The Clouds Went That Way (M. Fankhauser) - 3:16

10. One More Day (M. Fankhauser) - 2:29

11. You've Been Here Here Before (M. Fankhauser) - 2:55

12. On Our Way To Hana (M. Fankhauser) - 2:15

Disc Two, Hawaii 1974
1. The Land Of Mu (M. Fankhauser) - 2:03
2. Make A Joyful Noise (M. Fankhauser) - 2:42
3. Haleakala (J. Cotton) - 2:29
4. Blue Jay Blue (M. Fankhauser) - 3:19
5. Showering Rain (J. Cotton) - 3:33
6. I Saw Your Photograph (M. Fankhauser) - 3:40
7. It's Love That Sings The Song (M. Fankhauser) - 3:26
8. You And I (M. Fankhauser, J. Cotton) - 2:46
9. Calling From A Star (M. Fankhauser) - 2:06
10. Waiting For The Sun (J. Cotton) - 2:40
11. Children Of The Rainbow (M. Fankhauser) - 1:07
12. Who Will Write This Song (M. Fankhauser) - 3:21
13. Daybreak Sunshine (M. Fankhauser, J. Cotton) - 3:49
14. Drink From The Fountain (M. Fankhauser, J. Cotton) - 4:41
15. The Love We Bare (M. Fankhauser, J. Cotton) - 2:33
16. In Mu (M. Fankhauser) - 3:04
17. You're Not The Only One (J. Cotton) - 2:59
18. End Of An Era (M. Fankhauser) - 3:07
19. Earth News Interview - 3:45
20. The Awakening  (J. Cotton)- 2:59

MU
*Merrell Fankhauser - Vocals, Guitar
*Jeff Cotton - Vocals, Guitar, Saxophone
*Larry Willey - Bass, Vocals
*Randy Wimer - Percussion

Related Acts
1964-67  Fapardokly 
1968   HMS Bounty - Things

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Renia - First Offenders (1973 uk, exceptional classic rock with prog tinges, 2012 remaster)

Four days after making the acquaintance of five rather withdrawn young men, I went to see them perform at the Greyhound, Fulham Palace Road. Gone were their shy, bashful, diffident exteriors, and in their place were five extrovert performers playing their music as though nothing else in the world mattered. But perhaps nothing else did. I don't believe Renia are just another band - they're something a little bit special. The reason for this? 

They are one of the very few bands who play 1973 music which produces the kind of nostalgia and excitement we have come to associate with the mid-sixties R&B bands. For me the whole indispensable quality of Renia's album was summed up by a leading music journalist who turned to me, after hearing an advance copy and said: "this is one of the very few albums that I would actually go out and buy." I hope once you have heard it you will feel the same way.

by Laurence Marks May, 1973.

This quite rare and totally forgotten album was released in 1973 by Transatlantic Records - the label known mainly from Folk Progressive rock releases but it certainly wasn't a good place for the heavy music. 

The sole Renia LP should be described as a solid, energetic and rather straightforward hard rock album with strong vocals, fine melodies and some progressive influences (almost omnipresent Hammond organ and the mighty mellotron on amazing & truly beautiful 'Shelter' track) similar to Stray, Strider and early Nutz. Unfortunately, this badly promoted tide went completely unnoticed and the band broke up. 

In 1975  vocalist Kenny Stewart formed Dirty Tricks which released three fine hard rock records.

Tracks
1. You'd Best Believe It - 3:48
2. Friend Out On The Road - 4:42
3. Breakneck - 5:05
4. Shelter - 4:45
5. Cowboy's Dream - 3:45
6. Slow Down - 3:47
7. Drive Me Wild - 4:38
8. I Suppose It's For The Best - 3:23
9. Mighty Queen - 5:32

Renia
*Malcolm Sutherland - Bass, Mellotron, Vocals
*Dave Mathew - Drums, Percussion
*John Robinson - Guitars, Vocals
*Peter Sutherland - Keyboards, Vocals
*Kenny Stewart - Lead Vocals

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Arthur Lee Harper - Dream And Images / Love Is The Revolution (1968-69 us, dreamy psych folk rock with unreleased material)

In a move guaranteed to cause perpetual confusion among discographers and '60s collectors, singer/songwriter Arthur Lee Harper billed himself simply as Arthur (no last name) on his first album, 1968's Dreams and Images, and then as Arthur Lee Harper on his second and last, 1969's Love Is the Revolution.

It's the same guy who did both records, and he most assuredly has no connection with the famous Arthur Lee who led the group Love. Arthur, or Arthur Lee Harper, was as mild-mannered a folk-rock singer/songwriter as there was in the late '60s, singing sad songs that emanated fearful uncertainty, as well as slight airs of self-pity and disengagement.

His thin voice was so high it almost moved into a range associated with woman singers rather than male ones; if you're looking for a reference point from the period who's almost as obscure, there's Bert Sommer, who had a similarly nearly girlish voice. In some respects the records were much lower-volume, folkier variants of the orchestrated Baroque pop of the early Bee Gees, though of not nearly the same quality, with a reticence that made the late-'60s Bee Gees sound gutsy and forceful.

Dreams and Images got at least a little distribution, as it was on Lee Hazlewood's LHI label, but Love Is the Revolution got even less of a hearing, as it was privately pressed. The albums weren't very good, but they were combined on a single-CD reissue in 2002 on the Papa's Choice label. 

by Richie Unterberger

2002 reissue of the 2 albums released by Arthur Lee Harper: Dreams And Images from 1968 and Love Is The Revolution from 1969.

Hazelwood contributed liner notes to the first album, referring to Arthur's baroque, ultra-soft pop as "a tear looking for a thirsty eye"! Pretty cool, if in an extremely wilted-way. This CD includes his complete early recordings; in 2003 the RD label issued an LP-only collection of later recordings.

Tracks
Dreams And Images 1968 
1. Blue Museum - 2:30
2. Children Once Were You - 2:16
3. Sunshine Soldier - 2:22
4. A Friend Of Mine - 2:10
5. Open Up The Door - 1:50
6. Dreams And Images - 2:32
7. Pandora - 2:11
8. Wintertime - 2:47
9. Living Circa 1920 - 2:17
10.Valentine Gray - 2:50
Love Is The Revolution 1969 
11.New Day - 3:47
12.Light Up Your Man - 3:30
13.Flowers After Childhood - 3:43
14.Strange Song - 3:37
15.Hymn - 2:13
16.Annie Moore (Harper, Watson) - 3:00
17.I / Soldier / Time Love - 4:00
18.Songwriter Crusader (Harper, Bruno) - 2:19
19.Eleanor - 2:30
20.My Woman - 0:42
Previously Unreleased
21.1860 - 2:11
22.Coming Home - 1:44
23.Excursion 13 - 2:07
All Words and Music written by Arthur Lee Harper unless as else stated

*Arthur Lee Harper - Vocals, Guitar

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Sunday - Sunday (1971 uk, remarkable psych prog rock, 2011 remaster)

Although recorded in London, this album of very atmospheric and melodic progressive rock by what seems to be a Scottish crew was only released in Germany. The music is generally very thoughtful and in quite a few places bluesy. Still there is your usual share of guitar solos and organ riffs, at times provoking Beggars Opera at their least arty. The album is undoubtedly as good as most in this class and it is hard to understand why they couldn't secure a UK release. The cover depicts a miraculous painting by Lyonel Feininger, a sure sign of good taste.

 The opener, “Love Is Life”, is a rambunctious rocker with a relentless drum beat, great dynamic breaks and an underlying organ riff, kicking the doors open in style. “I Couldn’t Face You” is a ballad with an interesting bluesy melody and a piano-organ arrangement reminiscent of Procol Harum. Following the slow melancholy of “Blues Song”, there’s the odd “Man In A Boat”, a cod-psychedelic trip featuring once again Gary Brooker-like Hammond sound – slow-paced and majestic and set to an almost marching beat.

Mid-song it resolves into an energetic mid-paced rocker. “Ain’t It A Pity” captures and preserves for posterity the freewheeling spirit of the times perfectly – complete with free-flowing organ, piano and guitar parts and uninhibited, commanding and attention-grabbing vocals. “Tree Of Life” takes the pace down a notch but continues on in much the same style; and tells a story.

The most meandering track on this otherwise near-perfect album is “Sad Man Reaching Utopia” – clocking up at 10:51. Almost great, and a shame they didn’t go beyond this debut. The CD was “mastered” from a vinyl copy, as the original master tapes were most likely lost.
by Marcel Koopman and Alex Gitlin

Tracks
1. Love Is Life - 6:10
2. I Couldn't Face You - 8:03
3. Blues Song - 4:17
4. Man In A Boat - 4:52
5. Ain't It A Pity - 3:52
6. Tree Of Life - 3:55
7. Sad Man Reaching Utopia - 10:50
8. Fussin And Fighting - 6:51

All compositions by Davy Patterson, Jimmy Forest

Sunday
*John Barclay - Guitar, Vocals
*Jimmy Forest - Keyboards, Vocals
*Davy Patterson - Vocals, Bass
*Pete Gavin - Percussion

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Various Artists - Piccadilly Sunshine Part 10 (1966-69 uk, pop psych and lots of treasures, 2012 Particles release)

Volume 10 is the last piece from Piccadilly Sunshine puzzle, came out in October 2012 through Particles label and continues the high level as the previous releases. Including many great stuff from artists such as Peter Frampton's early incarnation The Herd, Kippington Lodge, Wayne Fontana, Shawn Phillips among the others. A 16page booklet with detailed informations completes the package.

Artists - Tracks
1. Warm Sensation - The Clown - 2:16
2. Disciple - Caucasoid Junkie - 3:38
3. Copperfield - Far Away Love - 2:13
4. Free Ferry - Mary What Have You Become - 2:45
5. Kippington Lodge - Tomorrow Today - 2:36
6. Almond Lettuce - Magic Circle - 2:41
7. The Sleepy - Is It Really The Same - 3:32
8. Slender Plenty  -  I've Lost A Friend And Found A Lover - 3:01
9. Wayne Fontana - Charlie Cass - 2:40
10.The Herd - Beauty Queen - 1:55
11.Glass Menagerie - Let's All Run To The Sun - 1:54
12.Happy Magazine - Beautiful Land - 2:06
13.Almond Lettuce - Twenty Weary Miles - 2:36
14.Vigrass - Flying -3:35
15.Kippington Lodge - Turn Out The Light - 3:01
16.The Sleepy - Rosie Can't Fly - 4:13
17.Shawn Phillips - Stargazer - 2:57
18.New York Public Library - Got To Get Away - 2:48
19.Barry Fantoni - Little Man In A Little Box - 3:02
20.Lomax Alliance - Try As You May - 2:28

The Piccadilly Sunshine flavours 
1968-70  Piccadilly Sunshine Part 1
1966-71  Piccadilly Sunshine Part 2
1967-70  Piccadilly Sunshine Part 3
1967-69  Piccadilly Sunshine Part 4
1966-69  Piccadilly Sunshine Part 5
1967-70  Piccadilly Sunshine Part 6
1966-70  Piccadilly Sunshine Part 7
1966-71  Piccadilly Sunshine Part 8
1964-71  Piccadilly Sunshine Part 9

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Various Artists - Piccadilly Sunshine Part 9 (1964-71 uk, pop psych and other treasures, 2012 Particles release)

Back again in the height of London’s swingin’ 60s, Piccadilly Square was definitely the place to be and be seen, so is this part 9 from the wonderful series, a deep dive to sunny psych with some heavy names like Graham Bond Organisation and Elmer Gantry's Velvet Opera. Our gleanings travel even back to 1964 to find Ian McCullogh's hidden gem "Down By The River".

Artists - Tracks
1. Mike Lennox - Images Of You  - 3:04
2. Mike Wallace - Daffodil  - 3:10
3. Spencer's Washboard Kings - Ordinary People - 3:14
4. Lee Harmers Popcorn - Love Is Coming  - 2:22
5. Weather - Running Forwards  - 2:21
6. Deuce Coup - A Clown In One Town - 3:03
7. Gary James - You're Cone  - 2:26
8. Villiers And Gold - This East  - 2:04
9. William E - Lazy Life - 2:22
10.Ian McCulloch - Down By The River  - 2:38
11.Mike Lennox - Words I Like - 2:47
12.Lee Harmers Popcorn - Hello Sunshine - 2:34
13.Montanas - Hey Diddle Diddle - 2:27
14.Cartoone - Ice Cream Dream - 2:48
15.Elmer Gantry's Velvet Opera - Dreamy - 2:32
16.David McNeil - Don't Let Your Chance Go By - 2:35
17.Caloogie - Bleecker Street - 2:46
18.Graham Bond Organisation - You've Gotta Have Love Babe - 2:31
19.Nocturnes - A New Man - 2:47
20.Smokey Circles - Love Me While You Can - 2:00

The Piccadilly Sunshine flavours 
1968-70  Piccadilly Sunshine Part 1
1966-71  Piccadilly Sunshine Part 2
1967-70  Piccadilly Sunshine Part 3
1967-69  Piccadilly Sunshine Part 4
1966-69  Piccadilly Sunshine Part 5
1967-70  Piccadilly Sunshine Part 6
1966-70  Piccadilly Sunshine Part 7
1966-71  Piccadilly Sunshine Part 8

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Various Artists - Piccadilly Sunshine Part 8 (1966-71 uk, pop psych and more flavours, 2012 Particles release)

The Piccadilly Sunshine part 8 sets foot into the deep and wondrous valleys of British pop music culture from 1966 to 1971. Daring to bring forth the once-overlooked and sadly-neglected songs that were laid to waste in a saturated wonderland of suburban teenage pop. A tip-toe barefoot trip lightly through the late 1960s and early '70s in Great Britain's vast and glorious cultural dustbin. 

Includes a 16-page color booklet with comprehensive liner notes and rare color photographs. Digitally remastered. Stepping amongst the 20 flower-powered trippers presented here, together we shall lovingly restore them to their former glory.

Artists - Tracks
1 Cardboard Orchestra - Zebed Zak - 2:41
2 Cats Eyes - Circus - 2:30
3 The Nerve - Piece By Piece - 2:48
4 The Unit - Would You Belive What I Say - 2:14
5 Rifkin - We're Not Those People Anymore - 2:00
6 Mud - The Latter Days - 2:17
7 Peter Sully And The Orchard - Evil Woman - 2:43
8 The Factotums - Driftwood - 2:47
9 Granny's Intentions - Hilda The Bilda - 2:05
10 House Of Lords - Ain't Gonna Wait No More - 2:42
11 Confucius - The Message - 2:34
12 Cats Eyes - The Loser - 3:05
13 Juice - Not Enough Words - 2:41
14 Paul Layton - Sing Sadman Sing - 2:49
15 Mud - Up The Airy Mountain - 2:32
16 Persimon's Peculiar Shades - Coplington - 2:34
17 Merseys - Love Will Continue - 3:06
18 Situation - Situation-Now - 3:01
19 The Truth - Fly Away Bird - 2:24
20 Persimmon's Peculiar Shades - Watchmaker - 2:17

The Piccadilly Sunshine flavours 
1968-70  Piccadilly Sunshine Part 1
1966-71  Piccadilly Sunshine Part 2
1967-70  Piccadilly Sunshine Part 3
1967-69  Piccadilly Sunshine Part 4
1966-69  Piccadilly Sunshine Part 5
1967-70  Piccadilly Sunshine Part 6
1966-70  Piccadilly Sunshine Part 7

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Orient Express - Orient Express (1969 iran / belgium / france, sensational oriental folk psych)

Guy Duris was born on the Left Bank, raised in heady French sunshine, and matured in the halls of European culture. A modern minstrel, he wandered and sang his songs, and began a romance with the ancient Arabic guitar, the oud. Journeying eastward, his music turned to the East. In Iran, he met Farshid Golesorkhi, the scion of a respected Persian family. Farshid, decorated by the Shah of Iran for his drumming, felt that Eastern rhythms could be applied to Western music. He found an eager co-experimenter in Guy.

Together they travelled - Guy with his guitar and oud, Farshid with his dumbeck drums. Working their way Westward, they returned to Paris, where they met Bruno Giet, a Belgian pilot and guitarist. Radio Luxembourg's progressive pop sound had shaped Bruno's musical ideas, and he moved Guy and Farshid into rock. 

Soon the three members of The Orient Express undertook another voyage - to the United States. In New York's East Village they solidified their music into the many-faceted sound you hear on this album. The marriage between Eastern and Western musical forms could easily become a self-conscious hybrid, but The Orient Express has smoothly and honestly achieved the merger individually and as a group. 

Instead of mixing cliches of each form, they have deeply explored each music, and exposed the profound similarities between their cultures... at once creating a highly original music and a timeless one.

Like the train whose name they bear, The Orient Express travels easily from West to East and back again, maintaining their individuality and integrity all the way.

Tracks
1. Fruit of the Desert (Duris) - 2:54
2. Dance for Me (Duris) - 2:47
3. Layla (Duris, Golesorkhi) - 3:41
4. Birds Of India (Duris, Giet) - 3:49
5. Train To Bombay (Duris, Giet) - 2:50
6. Caravan Of Silk (Golesorkhi) - 2:45
7. Azaar (Golesorkhi) - 4:30
8. For A Moment (Giet) - 2:06
9. Impulse (Forty-Two Drums) (Golesorkhi) - 4:48
10. A Little Star (Duris, Giet) - 2:25
11.Cobra Fever (Golesorkhi, Giet) - 2:29

The Orient Express
* Guy Duris - Electric Oud, Electric Sitar, Vocals
* Bruni Giet - Electric Minitar, Vocals
* Farshid Golesorkhi - Electric Melodica, Dumbek, Tympany, Vocals

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Magic Carpet - Magic Carpet (1971 uk, brilliant oriental psych folk rock)

The legendary UK band, Magic Carpet, was formed in 1971 by Alisha Sufit (singer-songwriter and acoustic guitarist), Clem Alford (sitar, esraj), Jim Moyes (guitar), and Keshav Sathe (Indian tabla / percussion). Magic Carpet created a unique and unusual sound in a true meld of musical styles and influences.

The sitar player, Clem Alford, was classically trained in the Indian tradition, as was tabla player, Keshav Sathe. Alisha Sufit, who first met Jim Moyes when they were both students at Chelsea School of Art in the sixties, writes original songs reflecting diverse influences - including traditional, contemporary and . The band recorded one eponymous album first released in 1972. The original vinyl version has since become a sought-after collectable, now reissued on CD by Magic Carpet Records label. Visit the MySpace page or their web site for more information.

Quote: 'Based around the classically trained sitar virtuoso Clem Alford and the breathtaking ethereal vocalist Alisha Sufit, Magic Carpet delivered perhaps one of the finest Indian-influenced psychedelic folk albums of the 1970's. Unfortunately this supremely talented collective split before the album was released. Alisha Sufit's astonishing vocal talents are included in nine of the twelve tracks, the remaining three being instrumental. Alisha Sufit and Jim Moyes play guitar, with the brilliant Keshav Sathe on tabla percussion. This album has been described as 'a psych folk gem - a unique and extraordinary fusion of east and west, Magic Carpet being one of the very first bands to truly combine Indian and western instrumentation'.

For the listener who craves the deep, warm, dark green and forest brown, fog-drenched Indian influenced psychedelia that chartered its way out of San Francisco in the late sixties / early seventies, this reissue of the Magic Carpet's debut record will ring a true chord. True, the band hailed from the UKA  nowhere near the flower children of the Haight, but their brand of "Eastern Psych Folk" is close kin to After Bathing At Baxter's era Jefferson Airplane (a seriously underrated record) and calls to mind the Bay Area folk revival scene going on today. 

In a time of Devendra Banhart's elfin freakiness, Joanna Newsom's evil-angel resurrections, and the resurgence of interest in Vashti Bunyan, the Magic Carpet's 1972 lost classic could not sound fresher. Alisha Sufit is a resurrecting chanteuse whose dark voice is crystal clear and mesmerizing; Clem Alford's sitar playing is top notch and truly psychedelic. The songs come as old friends (our favorite: "Father Time") and hang in the air as mysteries, leading to the sweet 20+ minute instrumental raga not found on the original release. Top notch rainy day music, and for those so inclined, a perfect bong stuffer for the holidays. 

by David Katznelson

Tracks
1. The Magic Carpet (Alford, Moyes, Sathe) - 2:28
2. The Phoenix - 3:22
3. Black Cat - 4:05
4. Alans Christmas Card (Alford, Moyes, Sathe) - 3:21
5. Harvest Song - 3:41
6. Do You Hear The Words (Alford, Moyes, Sathe) - 3:00
7. Father Time (Sufit, Alford, Moyes, Sathe) - 4:22
8. La La (Alford, Moyes, Sathe) - 2:42
9. Peace Song - 3:49
10. Take Away kesh (Alford, Moyes, Sathe) - 2:35
11. High Street - 3:37
12. The Dream - 3:56
13. Raga (Traditional arranged by Clem Alford) - 20:27
Words and Music by Alisha Sufit except where noted

Magic Carpet
*Clem Alford - Sitar, Esraj, Tamboura
*Alisha Sufit - Vocals, Guitars
*Jim Moyes - Guitars
*Keshav Sathe - Indian Tabla, Percussion

identical artists
1970  Oriental Sunshine - Dedicated To The Bird We Love
1971  The Rainbow Band

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Mayfly - Mayfly (1973 holland, marvelous progressive folk rock, rare korean remaster)

It takes a Korean label to reissue one of the best Dutch albums ever! Mayfly was a progressive folkrock unit from the town of Bergen. In the period '72-'74 they released a couple of singles and this utterly tasteful (and now highly collectable) LP through Ariola Records. 

The album includes beautiful tracks, with equally fine arrangements (Left Banke- and Montage-fans, check out the exquisite cello and violin parts!), s.a. the superb single 'Topless Bertha' and the wonderful 'Symptons Of Summer', which is also featured on the compilation 'Dutch Rare Folk'. A fascinating reissue!

Tracks
1. From Now On - 4:46
2. Symptoms Of Summer - 3:50
3. Dawn Of An Old Man's Life - 3:12
4. The Smell Of It - 3:09
5. Lemoncake - 4:15
6. The Stable - 3:08
7. Intermezzo (Onno Verburg, Arie De Geus) - 1:07
8. Secondhand Dream - 3:36
9. Blue Sofa - 3:01
10.She Leaveth Me - 3:09
11.Topless Bertha - 3:32
All Music written by Gustaaf Verburg, all Lyrics by Ide Min except where noted.

Mayfly
*Maarten Min - Vocals
*Gustaaf Verburg - 6-String Acoustic, Electric Guitars, Electric 12-String, All Lead, Slide Guitar, Piano, Vocals
*Onno Verburg - 6-String Acoustic, Electric Guitars, Acoustic 12-String, Spanish Guitar
*Arie De Geus - Electric, Acoustic Violin, Electric Piano
*Rinus Groeneveld - Flute, Sax
*Huub Nijhuis - Cello, Bass Guitar
*Ide Min - Demo Recordings

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Them - Them (1970 us/uk, rude acid garage 'n' beat)

The complicated life of this legendary R 'n' B outfit was almost over when this, their penultimate album, appeared in 1970. Astonishingly, by then they were reduced to a duo consisting of original bassist Alan Henderson and US vocalist / percussionist Jerry Cole, with studio support said to have come from Ry Cooder and Jack Nitzsche. 

The music ranges from pounding psychedelia (‘I Keep Singing’) and snotty garage punk (‘Lonely Weekends’, a shameless rewrite of ‘Gloria’) to furious rock and roll (‘Jo Ann’) and even a country ballad (‘Take A Little Time’). As the original sleevenotes declared: “The THEM sound combines the typical British style with an air of mystery and an atmosphere of excitement… mythical, mystical, Oriental, African, electronic and computer rhythms included.”

Tracks
1. I Keep Singing (Jerry Cole) - 4:26
2. Lonely Weekends (Charlie Rich) - 2:32
3. Take a Little Time (Ron Joelson) - 2:13
4. You Got Me Good (Shawn Rudd) - 2:42
5. Jo Ann (Buddy Knox, Vance Smith) - 2:55
6. Memphis Lady (Jerry Cole) - 3:00
7. In The Midnight Hour (Wlison Pickett, Steve Cropper) - 2:39
8. Nobody Cares (Robert Duncan, Chad Garrett) - 2:47
9. I Am Waiting (Mick Jagger, Keith Richards) - 3:23
10. Just a Little (Ron Elliott) - 1:51

Them
Jerry Cole - Lead Vocals, Guitar, Drums
Alan Henderson – Bass

Themology
1965-66  The Wheels - Road Block
1967  Them - Now And Them
1967  Belfast Gypsies
1968-69  Them - Time Out Time In
1969-70  Truth - Of Them And Other Tales
1970-71  Rod Demick And Herbie Armstrong - Little Willie Ramble

Jerry Cole acts
1967  The Id - Inner Sounds Of The Id
1967-68  The Animated Egg

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Spreadeagle - The Piece Of Paper (1972 uk, remarkable multi blended progressive rock, 2012 Flawed Gems issue)

It may hard to believe, but this is the debut album of this little-known comb. Released by Charisma records In 1972 the only album of this still highly underrated, British progressive band should appeal to fans of classic, heavy and quite melodic rock based on catchy but intense guitars, ever-changing moods rhythms and complex vocal parts. 

Spreadeagle offered a varied, imaginative, cheerful and well-arranged songs (very often in elaborate forms) in the vein of early Camel. Whisbone Ash, Public for Roman, Home and with a hint of early Santana. It has been remastered from the original analogue sounds, gives a high quality sound.

Tracks
1. How Can We Be Lost - 2:57
2. Brothers In The Sunshine (Sam Llewellyn) - 7:10
3. Nightingale Lane - 2:37
4. Piece Of Paper - 6:31
5. Nightmare (Andy Blackford) - 2:53
6. Eagles - 7:20
7. Scipio - 4:26
8. Talking To A Sailor - 2:30
All compositions by Tim Phillips except where indicated

Spreadeagle
*Andy Blackford - Vocals, Guitars
*Tim Phillips - Vocals, Guitars, Banjo, Piano
*Sam Llewellyn - Vocals, Bass, Percussion
*Jim Copley - Drums
With
*Jon Field, Nick & Shel - Additional Percussion

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