The Ramrods were formed in 1961 when 13 year old Tom Carter and a few other musicians perfected enough songs to perform at local dances. Tom's dad, Jack, was instrumental in helping the band book jobs and he also provided the transportation. Their first record, "Flyin1 Saucer Twist", was released in 1961 on the Northway Sound label. The next few years would see three more 45s on Jack Carter's Carram label (CAR for "Carter, RAM for "Ramrods") and quite a few personnel changes.
The band would continue to gain popularity both locally and regionally and by the spring of 1964, the band featured Tom Carter on guitar, Bob Hey on bass, Dave Clelland on drums, Patsy Stevens on vocals (replacing Cathy Kahler), and Johnny Boggs, the main songwriter, on keyboards. In 1965, the band graduated from high school and hit the road playing the then popular teen night club circuit and college bars throughout Michigan. That same year, the band released "I Remember", and "You Know I Love You", their first and only 45 on the local Fenton label.
While getting airplay for the record was difficult for a local band, everyone that heard the record, including radio people and other musicians, were quite impressed with "I Remember". The record was in ae time, unlike anything else on the radio. John and Patsy shared lead vocals and Tom added a simple but very melodic 12-string guitar solo. Behind Tom's solos were orchestra chimes suggested by engineer Dave Kalmbach.The other recordings featured here soon followed, but by early 1966 John, Dave, Patsy, and Bob had left The Ramrods to form a new band called The Soundsations. They added Tom Cordle on bass and Bob switched to guitar. Tom Carter continued on with The Ramrods, although no other recordings were ever produced.
The Soundsations had settled into what would become a 7- month gig at the Colony Room in Kalamazoo when Bob got his draft notice. He left the band and enlisted in the Marines. After auditioning a dozen people the band settled on Dexter Bell, an Alabama boy then living in Kalamazoo. It was this incarnation that recorded the "SHOUT" album. The Soundsations were above all, a party bandOa live band. They were approached by two guys from a local recording company about doing an album of cover tunes to sell off the bandstand. A case of beer and an assortment of wives, girlfriends, and bar patrons were brought into the studio to sing background and sing some of the tunes in a live party atmosphere. A thousand copies were pressed and sold from the bandstand.
The band did no more recording but continued making good money in the clubs until a knock down drag out between Johnny and Tom Cordle ended the band one cold night in Green Bay. Today, Johnny Boggs still plays full time and has recorded several country CDs. Patsy Stevens still performs part time with John. Bob Hey survived a tour of Vietnam, married his high school sweetheart, and now lives in Goshen, Indiana.
In a sad and ironic twist of fate, Bob's replacement, Dexter Bell, was also drafted but never made it back from Vietnam. Dave Clelland played drums for a living until the mid 90's. He still plays part time today. Tom Carter established several NHRA Drag Racing records and now owns a successful model car mail order business called "Hobby Heaven" in Grand Rapids. The whereabouts of Tom Cordle are not known.
by Dave Clelland and Tom Carter
Tracks
1. Double Shot (Smith, Vetter) - 2:14
2. Unchained Melody (Zarel, North) - 3:50,
3. Johnny B. Goode (Berry) - 2:12,
4. What Now My Love (Butler, Davis, Leavill) - 3:25,
5. When A Man Loves A Woman (Lewis, Wright) - 3:07,
6. Midnight Hour (Cropper, Pickett) - 2:35
7. Moody Love (J. Boggs) - 5:32,
8. I Can't Help Myself (Dozier, Holland, Holland) - 2:47
9. Just You (S. Bono) - 3:45
10.Shout (Isley, lsley, lsley) - 5:10
11.Talk, Talk, Talk (J. Boggs) - 2:40
12.It's Gotta Be Love (J. Boggs) - 2:20
13.These Are The Things That You Do To Me (J. Boggs) - 2:18
14.It's Gotta Be Love (Alternate Version) (J. Boggs) - 2:48
15.I Remember (J. Boggs) - 2:27
16.You Know I Love You (J. Boggs)2:49
17.Here They Come (J. Boggs) - 2:19
18.Love's A Game (J D. Miller) - 2:07
19.El Cumbanchero (M.R. Hernandez) - 1:59
20.Runaround Boy (T. Carter, L Nowicki) - 2:07
21.Cotton Candy (T. Carter, L. Nowicki) - 2:28
22.Teen Love (T Carter, R. Selby) - 2:16
23.Frankie And Johnny (Traditional) - 1:30
24.Flyin' Saucer Twist (T Carter) - 2:29
25.Twistin' Boogie (T. Carter) - 2:15
Musicians
*Tom Carter – Vocals Guitar
*Dexter Bell - Lead Guitar
*Johnny Boggs - Keyboards
*Dave Clelland - Drums
*Tom Cordle - Bass
*Bob Hey - Lead Guitar
*Patsy Stevens - Vocals
The Creation was Kenny Pickett, Robert Garner, Jack Jones and Eddie Phillips. Their origins go back to 1963, as Jimmy Virgo & The Blue Jacks who included Jack Jones in their first line up. When singer Jimmy Virgo left, a Kenny Lee took over and they became Kenny Lee & The Mark Four. Kenny Lee became Kenny Pickett and they recruited Eddie Phillips and dropped the prefix to be known simply as, The Mark Four.
The band signed to Mercury Records in 1964 and released two singles featuring four different cover versions. Rock around the clock b/w Slow down and Try it baby b/w Crazy country hop. They signed to Decca and released their first self-penned single. Hurt me if you will and I'm leaving, the first songs to be written by the Pickett/Phillips partnership.
There then came a couple of line up changes as original members of Jimmy Virgo & the Blue Jacks fell by the wayside and the band released their final single in February 1996. Work all day (sleep all night) b/w Going down fast was released on Fontana and were two more originals which began to hint at their future direction.
The Mark Four soon located to London and found a manager, Tony Stratton-Smith who suggested the three piece add bassist Bob Garner to complete the line up. A producer was found in the form of Shel Talmy who had worked with the Who and Kinks in the past and was impressed with what he saw and signed them to his own Planet label. Within a week of signing they were recording a single under a new name, The Creation which Phillips had found in a book of Russian poetry.
The debut single Making Time c/w Try And Stop Me was released in June 1966 and over 30 years later in1997 it pisses on any current release from our Britpop brigade for sheer authenticity. The production, the sharp sound and more importantly the soul was immense. In less than three gripping minutes, The Creation were taking bold steps with the pop format to create their own distinctive near psychedelic sound. Fusing 60's beat and pop harmonies that were the tastes of the times they added a distinctive, nasty electric noise that must have sent shockwaves through most people used to the more refined bands of that era. During the song Phillips plays guitar with a violin bow producing a wall of sound that must have blown away all the shoddy sixties bands desperately copying the Beatles early clean cut days. Only The Who were creating such venomous pop at this time.
The group appeared on the cult 60's TV music show Ready Steady Go and Making Time made it to Number 49 in the charts. The next single went a bit further and took the band to Number 36 in the charts. Painter Man c/w Biff Bang Pow were two altogether poppier songs but equally as enticing as the previous single. Again you would find it hard to find a band around today who can capture such attitude and put it into a simple pop song. This was the band in their prime. You can imagine an ocean of Mod heads bobbing up and down in packed, sweaty late night club feeding off the band's cool sound and celebratory feel.
Pete Townshend of The Who was so impressed with the innovate guitar style of Eddie Phillips he asked him to join the Who as a second guitarist but he turned it down like any cocksure, young upstart with dreams of his own would. Like a true Punk, The Creation would be the band that would slay the rest outta sight. But sadly, it wasn't to be. With success just around the corner, their label Planet folded. Talma was retained as producer and the band eventually signed to Polydor. But not before unrest started to creep into the band. Jack Jones was replaced by a friend of Bob Garner but he was soon left and the band re-instated Jack Jones.
The band were also upset at having so much attention so early on without quite gaining the success it promised. The management was blamed and Bob Garner was now trying to establish himself as the leader of the band. The icing on the cake came when Phillips arrived at a practice to find a new bass player had been drafted in with Bob Garner on vocals. Pickett walked out and the great songwriting partnership was broken.
New bassist Kim Gardner was formerly in the Birds (not the American band!) and the new look Creation released If I Stay Too Long b/w Nightmares. But the single wasn't a success and the bands fortune lie more on the continent, especially in Germany. In their homeland, the would disappear into obscurity as quickly as they broke onto the scene.
Their debut album 'We are Paintermen' was only released in Germany, Holland and Scandinavia. The bands next release in the UK was a single Life Is Just Beginning c/w Through My Eyes. Their label used their success in Germany to promote the record but mysteriously the band never broke through. Perhaps they were ahead of their time. Polydor issues another powerful single, How Does It Feel To Feel (covered in recent times by Ride on their Carnival Of Light album) which had already been released seven months previously in Germany, It flopped and the band went through more line up changes, which included recruiting Ronnie Wood before releasing a final single for Polydor, Midway Down c/w The Girls Are Naked.
They were eventually dropped from Polydor without ever releasing a debut long player in their own country. Further releases followed on the continent before the band split up in June 1968.
Tracks
1. How Does It Feel to Feel? (Garner, Pilllips) - 3:09
2.Life Is Just Beginning (Garner, Pilllips) - 3:00
3.Through My Eyes (Garner, Pilllips) - 3:08
4.Ostrich Man (Unknown) - 2:29
5.I Am the Walker (Pickett, Pilllips) - 2:48
6.Tom Tom (Garner, Pilllips) - 2:57
7.Girls Are Naked (Pickett, Garner, Jones) - 2:00
8.Painter Man (Pickett, Pilllips) - 2:52
9.Try and Stop Me (Pickett, Pilllips) - 2:28
10.Biff Bang Pow (Pickett, Pilllips) - 2:26
11.Making Time (Pickett, Pilllips) - 2:57
12.Cool Jerk (Storball) - 2:21
13.For All That I Am (P. Kahan, S. Friedland) - 3:06
14.Nightmares (Pickett, Pilllips) - 3:13
15.Midway Down (Eandrling, Shapiro) - 2:47
16.Can I Join Your Band (Garner, Pilllips) - 3:05
17.Uncle Bert (Garwood, Pickjohn) - 2:25
18.Like A Rolling Stone (Dylan) - 2:59
19.If I Stay Too Long (Garner, Pilllips) - 3:23
20.Hey Joe (Roberts) - 4:09
The Creation
*Kenny Pickett - Vocals
*Eddie Phillips - Guitar
*Bob Garner - Bass
*Jack Jones - Drums
I remember the sunny afternoon I sat in a high school marketing class trying to think of a project to do. One year earlier I had learned to play guitar and write songs and I thought why not make an album for my project At that time in the world an independent album was unheard of but to me it seemed like a challenge.
I was not trying to become a rock star, I just wanted to share my music and have fun doing it. At sixteen anything seemed possible. Gathering a few of my friends, we began to conspire. The emotional title song was taken from my experience of being the youngest of four and eventually became the name of the album.
I had no band but I knew a lot of musicians so I asked them to come along. I organized everything and I do mean everything. Which was a lot of work but it was a great excuse to miss classes. Each piece became a mini project of it's own. The album art, the studio which was in downtown Toronto, the printer and the presser who had never had a private client before. All were arranged and fleshed out by kids with a common vision.
Without my friends helping me none of it would have been possible so that is why the credit on the cover says "Jeff Moore and Friends". After things got going I realized I probably did not have enough music to fill an album so I decided to ask around to see if anyone wanted to do some of their own music on the album. AJ, from my marketing class played guitar in a small band that had a lead singer songwriter named Christina Becker.
Her tunes were great and she fit right in even though she went to a different school we worked it all out. She almost got a record contract from what she did on the album! We had no money so we presold some albums to get enough to print the covers, pay for the studio and press the record. I think the total budget was about a thousand dollars. Everybody worked on the album for free and that was great. A lot of love was contributed by all and for that I will always be thankful. After choosing the players and arranging the music then the job of producing the music fell back to me.
In the studio I used a lot of time producing Christina's stuff which I made sure sounded great but since we were running out of time I left my vocals until late that night. However we did it all in two days and now I realize that was an awesome thing. To this day I still play those tunes and enjoy them! This album changed my life in a lot of ways. I learned how to collaborate and negotiate. I learned that people are looking for things to do and if you can share a vision with them they most likely will help. I learned that the bonds of creating things together last a lifetime and the outcome outweighs the work.
After the album I pursued my musical career in bars for the next five years. When I became a Christian at age twenty one I started playing in churches and still do so. Even now the highlight of any week is when I get the chance to sing and play and to somehow make a difference in people's lives. The greatest high was the fact that my songs were being listened to by people who liked them.
The funniest moment was when we were taking the album covers to the record pressers and ran out of gas so we had to push Donna's Delta 88. The worse moment was not having enough studio time but somehow the raw and real nature of the songs came out. I was sixteen and drowning in angst. Doing this album was a real turning point and a coming of age for me. Thanks for your interest and encouragement
by Jeff Moore
Tracks
1, Flying So High (Christina Becker) - 2:56
2. Is It You (Jeff Moore) - 3:04
3. For You (Jeff Moore) - 2:29
4. Sandy's Song (Jeff Moore) - 4:46
5. Blind Man (Christina Becker) - 4:50
6. Both Sides (Jeff Moore) - 3:38
7. Call Me When It's Over (Jeff Moore) - 6:08
8. Inspiration (Dave Berard) - 0:21
Night Shift is a great Rock And Roll album. Combining Southern Rock, Blues Rock, & Boogie Rock, and playing them with a Hard Rock crunch, Foghat came up with a great signature sound. NIGHT SHIFT features some excellent songs; "Drivin' Wheel" is a great uptempo rocker, "Don't Run Me Down" shows a nice tempo change from a midtempo verse to a fast and frantic chorus, and is another great song. "Burnin' The Midnight Oil" is a great straight-ahead Hard-Edged Rock And Roll song, while "Night Shift" is a fantastic Hard Boogie song with a great sense of groove.
"Hot Shot Love" is a good Rock song with some nice dynamics, and their cover of "Take Me To The River" is actually a bit reminiscent of their version of "I Just Wanna Make Love To You." The album closes out with a solid Blues Rock song in "I'll Be Standing By." There's not even one bad song on the album. If you don't own any Foghat relaese, this is a good one to start with, along with Fool For The City.
by Erik Rupp
Tracks
1. Drivin' Wheel (Price, Peverett) - 5:13
2. Don't Run Me Down (Hatfield) - 6:32
3. Burnin' the Midnight Oil (Peverett) - 5:38
4. Night Shift (Price, Peverett) - 5:32
5. Hot Shot Love (Peverett) - 4:00
6. Take Me to the River (Al Green, Mabon Hodfes) - 4:40 / 3:22
7. I'll Be Standing By (Price, Peverett) - 5:53
8. New Place to Call Home (Bonus track) (Dan Hartman) - 2:58
At the time of writing this sleeve note - July 15th, 2008, to be absolutely precise - rock and roll is well into its sixth decade, and like most of us, I guess, it's a bit torn and frayed around the edges, but still slugging away. Of course, like the history of anything, rock and roll is not just about the trailblazers and the mavericks - it's as much about those who made telling contributions without necessarily scaling the vertiginous heights of commercial success, or courting notoriety or controversy.
Those musicians and performers who have just got on with it, occasionally percolating up to a broader level of success and visibility, without necessarily troubling the 'best seller' listings with any great consistency. Anyone with a half-decent record collection will own numerous albums by bands and soloists who never quite made the grade, but who have bequeathed a legacy of music that makes one's day to day existence that little bit more worthwhile. This preamble is a somewhat roundabout way of getting to the subject of this excellent reissue - one Al Kooper.
The history books tell us (they tell us so well) that Al Kooper provided the distinctive Hammond organ flourishes that helped characterise the 'wild mercury' sound of the epochal Bob Dylan opus, Like A Rolling Stone. Further exploration also reveals that it was Kooper who set the late sixties / early seventies behemoth that was Blood, Sweat And Tears in train. That's pretty good for starters, (and forgive me if I'm telling you something that you already know) but it was Kooper who was instrumental in shaping the early recorded works of the Southern Rock institution that is Lynyrd Skynyrd, the debut album by Phoenix, Arizona shock-rockers The Tubes, and even lent his considerable keyboard skills to such classics as The Rolling Stones You Can't Always Get What You Want, Rael by The Who (It's on their wonderful Who Sell Out album, and was the basis of the track The Underture on Tommy), and Long Hot Summer Night by Jimi Hendrix (it's on Electric Ladyland).
There's more to Kooper than this, though, as if that were not enough. Born in Brooklyn, New York, in 1944, Al Kooper's musical career can be traced right back to the original rock and roll era of the late 1950s. In 1958, he was a member of The Royal Teens, who had a top five US hit single with the novelty Short Shorts, followed up a year later with the US top thirty hit, Believe Me. (Some readers of this note with similarly fly-paper like memories as your author may recall that the UK's very own Freddie & The Dreamers once performed a version of Short Shorts on something like Sunday Night At The London Palladium, a long-running UK variety show).
In the biography on his own website, Kooper recalls of his tenure with The Royal Teens thus: "I was hanging around the fringes of the music business...playing sessions on guitar. People would hire me because their only alternative was to hire these Jazz players to play this teenage music. These guys were smoking cigars, emulating what kids would play. So, they would hire me to get that 'dumb, kid sound'. I assume that's why I was hired, because I really couldn't play anywhere near as well as those other guys." Although Kooper makes a modest appraisal of his guitar playing talents here, he clearly had a certain musical something that was in great demand; he went on to play scores of sessions for 'dumb, kid' records, and started to build a considerable playing reputation - these days, it'd be called 'networking'.
He offered this observation of that particular era: "It was a very educational time of my life. I learned how to read and write music for the studio. I made friends with the players. They were all very nice to me - with some exceptions. I didn't claim to be up on their musicianship, but it was a great university. The difference between the first time and the fifth time I was on a session was immense. The first time they should have thrown me out, but I was lucky!" In addition to honing his musical chops, Kooper also served time learning about the engineering of studio recordings - a somewhat subtle, even esoteric art that is largely under-appreciated, even this long into the rock and roll game.
At the same time, Kooper also joined up with the songwriting team of Bob Brass and Irwin Levine - the union yielded one massive smash hit in the shape of This Diamond Ring, for Gary Lewis & The Playboys (Lewis was the son of US actor / comic Jerry Lewis). During this period, Kooper befriended the record producer Tom Wilson, who invited Kooper to a Bob Dylan session. By the end of that afternoon, Kooper had ensured his place in rock and roll history by making his stellar organ contribution to Like A Rolling Stone, without ever having played organ before.
Thus began a working relationship with Dylan that has endured throughout the years, Kooper producing Dylan's New Morning album, and many offers of session work: "I'd get tons of calls - some of them, I didn't even want to do, but I didn't want to say no. So, I'd just charge them triple scale, thinking that would deter them - it didn't." Also on the session was the great Mike Bloomfield on guitar, and he and Kooper started a friendship that continued from that point until Bloomfield's premature death in 1981. Out of this relationship came the million selling Super Session album (along with Stephen Stills), and the in-concert album The Live Adventures of Mike Bloomfield & Al Kooper.
By this time, Kooper had been a member of The Blues Project, formed and left Blood Sweat And Tears, and had taken up an A&R role with the CBS label (One of his signings to the label was the classic Brit 60's pop band The Zombies, who recorded their classic Odessey And Oracle album for the label). Throughout all this activity, however, Kooper still managed to sustain an active solo career. Of course, back in those days, major labels still held true to the notion that an artist or band should be allowed to develop their career, and, if sales were positive enough, they could make several albums without necessarily feel the trapdoor opening beneath their feet. Kooper's solo albums, whilst never really troubling the rarefied upper echelons of the sales ledgers, nonetheless were almost all absorbing, musically varied, artistically satisfying and entertaining affairs.
Here's where I contradict myself, however, because the album you should be playing now - Act Like Nothing's Wrong, was originally released in 1976, and was his sixth solo album proper, and his one and only album for the United Artists label. There again, things were starting to change in the music business; although it'd be some years before Punk and the New Wave made it's presence known in the US, the American music business was starting to look flabby and middle-aged.
The era was dominated by mega-platinum selling acts like The Eagles and Fleetwood Mac - hi-gloss, slick packages that didn't leave much room for the spiky, uneven and very-muchhis- own-man types like Kooper. He starts off proceedings with both a musical look back, and an artistic look forward, by reprising the aforementioned Gary Lewis & the Playboys hit, This Diamond Ring. However, Kooper reworks the song with a fine feel for that great mid-70s US Funk sound. He sounds like he's having fun; he takes on Southern Soul / Pop chestnuts like Dan Penn and Spooner Oldham's Out Of Left Field and William Bell's I Forgot To Be Your Love like a feisty middleweight, and it works.
He ropes in pals like the ubiquitous Tower of Power horns, guitarists Little Beaver and Reggie Young to weigh in here and there, and the results are confident and assured. There's even some horn arrangement assistance from Hollywood's Dominic Frontiere, he of the theme from Rat Patrol, The Outer Limits and The Invaders (altogether now: "A Quinn Martin Production"!), and Act Like Nothing's Wrong is sounding like a cool, confident and worthwhile addition to the Kooper canon and your record collection. So what if Hollywood Vampire overstays it's welcome a tad? It's quality gear, all in all. As the saying goes, you can't keep a good man down. Kooper has recently published an update to his hugely entertaining memoir, entitled Backstage Passes and Backstabbing Bastards, has nearly lost his eyesight, but remains a brilliant one-off, whose presence on the earth makes us all feel a bit better about being human. Long may he run.
by Alan Robinson, July 2008
Tracks
1. Is We on the Downbeat - 0:36
2. This Diamond Ring - 4:13
3. She don't ever Lose Her Groove - 3:47
4. I Forgot to be Your Lover - 2:58
5. Missing You - 3:58
6. Out of Left Field - 5:10
7. (Please not)One More Time - 3:33
8. In My own Sweet Way - 2:42
9. Turn my Head Towards Home - 4:35
10.A Visit to the Rainbow Bar and Grill - 0:40
11.Hollywood Vampire - 6:03
All songs by Al Kooper
Along with Bruce Cockburn’s debut, Another Perfect Day was one of True North’s first releases in 1971. Prior to this disc, Luke Gibson fronted Luke and the Apostles, a legendary garage blues group who released an excellent punker in 1967 titled “Been Burnt.” From here, Gibson went on to play in Kensington Market, a psych pop group who released two intriguing albums in the late 60′s (Aardvark is a great psych pop effort).
Disagreements and drug abuse killed off the Kensington Market. From here, Gibson revived the Apostles once more in 1970, releasing another good hard rock 45 titled “You Make Me High.” It was a popular record for the time but not enough to change the struggling group’s fortunes, so Gibson decided to embark on a solo career.
Listeners must’ve been shocked when they heard Another Perfect Day. The LP isn’t the psych, garage, or hardrock that colored Gibson’s past records. The vocals are informed by hardrock and country-rock rather than folk or honky tonk. This gives the music a sparse but ballsy quality – it’s what makes Another Perfect Day so unique. Some tracks like “See You Again” and “All Day Rain” have electric guitars but for the most part this record is quiet acoustic music. “Full Moon Rider” one of the album’s key tracks, is a riveting piece of music that features fiddle, superb vocals and a hard rocking ambience.
Other highlights are “Lobo”, a beautiful heartfelt country tune, the world weary title track and the trippy acoustic harpsichord laced gem “Angel.” Great vocal performances, accomplished musicianship, a good backwoods vibe and strong songwriting make this one of the best discs I’ve heard in quite some time. Long thought of as one of the best singer songwriter albums to come out of Canada, Another Perfect Day is the real deal – authentic stuff.
by Jason Nardelli
Tracks
1. Virginia - 3:25
2. Hotel - 3:20
3. Windy Mountain - 3:10
4. Did You Ever - 1:26
5. Flow - 2:33
6. All Day Rain - 2:37
7. Full Moon Rider - 3:12
8. Lobo - 5:21
9. Another Perfect Day - 3:47
10.Angel - 3:12
11.See You Again - 2:55
All songs by Luke Gibson
Kensington Market (named after a street market in the city’s west side) was formed initially to promote the song writing talents of English-born Keith McKie (b. 20 November 1947, St Albans).
McKie’s musical abilities first came to prominence after his family had emigrated to Sault Ste. Marie in northwest Ontario in 1953 when he began singing in local church choirs. Learning the guitar in his teens, he formed his first band, the Shades, with fellow guitarist Bobby Yukich.
When the Shades broke up, McKie and Yukich next pieced together the Vendettas with three members of rival group, Ronnie Lee and the Five Sharps - sax player John Derbyshire, drummer Bob Yeomans and bass player Alfred Johns, who soon made way for Alex Darou (b. 6 January 1943, Sault Ste. Marie), a former student at the Oscar Peterson School in Toronto.
Several years older than the others, Darou had recently come off the road with a jazz trio helmed by Geordie MacDonald, later drummer with Neil Young’s short-lived group Four To Go. Darou’s intellect and musical abilities had a profound influence on the rest of the band and Keith McKie in particular. “Alex taught us a lot about feels and jazz and kinda got us really aware of time,” says McKie about his future Kensington Market band mate.
In the summer of 1965, the Vendettas accepted an invitation to audition for singer Ronnie Hawkins, who’d been passed the group’s tapes by Mary Jane Punch, a female fan studying in Toronto. The promise of a deal with the singer’s Hawk Records never materialised but the band did get to play some dates on the local bar circuit. By this point, John Derbyshire had made way for Toronto University music graduate, Scott Cushnie. An accomplished pianist, Cushnie ended up playing with Aerosmith’s road band during the 1970s. Towards the end of the year, Bob Yeomans also moved on to join the A-Men, and was replaced by a 15-year-old drummer from Thunder Bay named Ted Sherrill.
Returning to Toronto the following spring, the band gigged regularly at Boris’ Red Gas Room and during June 1966 recorded two McKie-Yukich songs - ‘Hurt’ c/w ‘You Don’t Care Now’ for a prospective single. For some reason, however, the single never materialised, prompting Alex Darou’s departure for New York to work with David Clayton-Thomas. The group never really recovered from losing its inspirational bass player, and although Wayne Cardinal from Satan and the D-Men came to the rescue, McKie’s thoughts turned towards forging a new musical path, one where he could promote his increasingly introspective and anecdotal songs.
Such an opportunity arose in the spring of 1967 when aspiring rock manager Bernie Finkelstein approached McKie and offered to build a group around him. Finkelstein was on the look out to launch a new, progressive band after selling his interests in the Paupers to Bob Dylan’s manager Albert Grossman. In fact, it had been Paupers’ guitarist and lead singer, Adam Mitchell, who’d first told him about Keith McKie and encouraged him to check out the talented singer/songwriter.
“At one point I was living with Steve Gervais, who was later a successful actor, in a station wagon and he wanted to be my manager,” says McKie. “But it seemed like Bernie was the better deal. In retrospect, and in spite of the fact that Bernie was really good, I probably should have stayed with the guy I was with at the time because it would have been more fun in the long run and more organic. Bernie had a lot of experience and that was probably a smart move to make if you were being a business person.”
First on the list for the new band was Gene Martynec (b. 28 March 1947, Coburg, Germany), a brilliant guitarist with a Polish/Ukrainian background, who’d recently quit local folk/rock band, Bobby Kris & the Imperials after two singles for Columbia Records.
by Nick Warburton
Tracks
1. I Would Be The One (Keith McKie) - 2:37
2. Speaking Of Dreams (Luke Gibson) - 2:26
3. Colour Her Sunshine (Keith McKie) - 3:00
4. Phoebe (Gene Martynec) - 3:38
5. Aunt Violet's Knee (Keith McKie) - 4:21
6. Coming Home Soon (Keith McKie) - 2:45
7. Presenting Myself Lightly (Gene Martynec) - 2:15
8. Looking Glass (Keith McKie) - 3:21
9. Beatrice (Gene Martynec) - 2:20
10.Girl Is Young (Keith McKie) - 3:08
A gentle, soulful singer who owed as much to blues and jazz as folk, Tim Hardin produced an impressive body of work in the late '60s without ever approaching either mass success or the artistic heights of the best singer/songwriters.
When future Lovin' Spoonful producer Erik Jacobsen arranged for Hardin's first recordings in the mid-'60s, Hardin was no more than an above-average white blues singer, in the mold of many fellow folkys working the East Coast circuit. By the time of his 1966 debut, however, he was writing confessional folk-rock songs of considerable grace and emotion. The first album's impact was slightly diluted by incompatible string overdubs (against Hardin's wishes), but by the time of his second and best LP, he'd achieved a satisfactory balance between acoustic guitar-based arrangements and subtle string accompaniment.
It was the lot of Hardin's work to achieve greater recognition through covers from other singers, such as Rod Stewart (who did "Reason to Believe"), Nico (who covered "Eulogy to Lenny Bruce" on her first album), Scott Walker (who sang "Lady Came From Baltimore"), Fred Neil ("Green Rocky Road" has been credited to both him and Hardin), and especially Bobby Darin, who took "If I Were a Carpenter" into the Top Ten in 1966.
Beleaguered by a heroin habit since early in his career, Hardin's drug problems became grave in the late '60s; his commercial prospects grew dimmer, and his albums more erratic, although he did manage to appear at Woodstock.
In 1973 he released a totaly different album, one of his rarest and most interesting recordings. For such an accomplished songwriter to record an album of all covers always makes for a compelling project. Hardin doesn’t disappoint on this 1973 album. The covers are esoteric and show his various influences from Randy Newman to Jesse Winchester with nods along the way to Willie Dixon and Badfinger. It looks strange on paper, but he makes it work.
His end was not a pretty one: due to accumulated drug and health problems, as well as a scarcity of new material, he didn't complete any albums after 1973, dying of a drug overdose in 1980.
by Richie Unterberger
Tracks
1. You Can't Judge a Book by the Cover (Willie Dixon) - 4:12
2. Midnight Caller (Pete Ham) -3:09
3. Yankee Lady (Jesse Winchester) - 4:27
4. Lonesome Valley (Traditional) - 4:29
5. Sweet Lady (Ralph Dino, John Sembello) - 3:47
6. Do the Do (Willie Dixon) - 4:20
7. Perfection (Pete Ham) - 3:03
8. Till We Meet Again (Neil Sheppard) - 3:13
9. I'll Be Home (Randy Newman) - 5:43
10.Nobody Knows You When You're Down and Out (Jimmy Cox) - 6:38
Sweetwater closed out their three-album trilogy for Warner-Reprise in 1972 with Melon It had been a brief but eventful run by a uniquely talented band with an even more unique sound, one which blended rock with Latin, classical, gospel, soul, jazz, blues and other elements into a mildly psychedelic brew which tastes even better with age. They also can be considered as a seminal "jam band" when they performed in a concert setting. As an interesting postscript to their career, the band were the subject of cable channel VH-1's first original made-far IV. movie, Sweetwater: A True Rock Story.
The band was one of the hardest working of the era, constantly in demand for live performance as well as television. Their star was on the rise and events were unfolding quite rapidly. "We were able to cross lines and span many genre chasms because we were nonthreatening in appearance," says bassist/vocalist/songwriter/ co-producer Fred Herrera today. "Advertisers were just starting to align themselves with youth culture, and we were not a hippie band that was hostile looking in their straight judgment. What was once a social youth force, was becoming an economic force. We were invited to perform at some colleges that were holding music teaching seminars, because we were not a 'standard' rock group, we were a rock band that they were able to stomach, playing classical instruments and arrangements.
Aside from having a girl in the band, we were also mufti-racial, well-mannered, and had all been to college." Keyboardist/vocalist/songwriter Alex Del Zoppo also comments that the band were able to appear on television bills that were, to say the least, unusually "establishment." "We got gigs across the board, sometimes via mainstream promoters. We were able to play the Hollywood Palace television show, hosted by Bing Crosby, the first show of the seasondefinitely middle America there. So, it went from that to playing with Frank Zappa down at The Cheetah in Venice, and then the next day we would be in Tucson with The Cowsills. and the following day opening for Eric Burdon and The Animals or at The Forum with The Doors, equally at home in each place."
In the midst of this, the band received a crippling blow in late 1969 when lead singer Nancy Nevins was critically injured in an automobile accident in Los Angeles. Alex Del Zoppo recalls the terrifying event "We had been doing a lot of television then, and one night the band had all gathered at my parents' house, which was in the back of my father's television repair business-a slightly different situation than depicted in the VH1 movie-to view one of our appearances. This was Christmas, 1969. We had just done Woodstock, and we were getting a lot of media attention. I remember that we were all there, waiting for Nancy to arrive, and then that call came in...
The few times the band tried to include Nancy after her accident, their standard stadium volume level overpowered her recovering voice. "After a while, we were compelled to audition female singers to fill in for Nancy, particularly on the road," says Alex, "but couldn't find the right one. I guess it was sort of like what American Idol is today; just 98% crap, and a lot of girls with very strange styles. We certainly got a lot of response, because we advertised it as who we were- 'Nationally known band with major label contract, etc. etc.,' but Nancy was amazing-it turned out that no one could replace her. She could really interpret, and be a different singer for our diverse songs. She was a natural, and you could see the intuitive creativity flow out of her. So we went on without her or a replacement and kept our fingers crossed."
The band's farewell album was co-produced by Wiley Brooks (also known as "The Cosmic Man") and Fred Herrera. "By this time," comments Herrera, "we weren't touring with Nancy, and we also were starting to realize that her voice wasn't getting any stronger. Our situation not only wasn't getting back to where it was. it also wasn't getting any better. As well, many of us in the band were making different contacts within the entertainment field, and seeing if there wasn't anything else out there for us." To be sure, Del Zoppo had done sessions as a keyboard player for Gene Clark {his infamous, unreleased 1967 solo album for Columbia), as well as The Beach Boys among others.
"Also." adds Fred, "by the time we got to the third album, there was some friction between various members of the band. Very often it was segmented, where we would each come into the studio at different times." "In the middle of all of this," Alex interjects. "Alan Malarowitz decided to quit the band. He was going off to get married, and decided that he didn't have time for it anymore. In the process of auditioning drummers, we had gone through all of these macho types, who would pound out every one of their hot licks. At the end there was this skinny kid with shades, who just smoked the place, and that turned out to be (future Beach Boy and Rutles member) Ricky Fataar. He listened, and was perfect!" Albert ( August In the studio The resulting album does have a somewhat fragmented feel, not unlike The Beatles' White Album.
Members "played" on other members' tracks, giving it a less than spontaneous feel and flavor than their ensemble performances. There are moments, however, where everything fell into place and sparkled, such as "Join The Band." Del Zoppo's all-out party piece, which was a statement to the audience as well as the musicians. The buoyant spirits of the track belie the dissent within the band and management. "We just felt as if we weren't going anywhere." says Del Zoppo with finality. After Sweetwater. the band members scattered.
Del Zoppo continued a career in music, recording and touring with acts such as The Beach Boys, Chi Coltrane, Eric Burdon and Johnny Tillotson. He continues to write and perform in his native Los Angeles area. Fred Herrera also has worked extensively, scoring music for films and television and freelance record production. In recent years he has served as orchestra contractor for Yanni and Michael Crawford, as well as becoming an excellent mariachi performer in films. TV and recording. In the intervening years, three band icons have passed away: Albert Moore, whose vocal and excitingly animated live performances were legendary,- August Burns, whose influence grew exponentially on the band, and articulate drummer Alan Malarowitz. Oddly, the band reformed in the late 1990s, and enjoyed several seasons of shows which saw the revamped band in excellent form, despite the missing original members.
And although Nancy Nevins' voice is slightly faluesier then before, she's still a riveting performer and singer, adding a world-wise tone and authenticity to their classic material such as "Motherless Child" and some excellent new songs. One of the new songs, Del Zoppo's "Home Again." found a place as the closing track for 1999's excellent Rhino/Handmade collection. Cycles It was a fitting and comforting note to a truly unique story of a band who made some of the most adventurous music during a period where anything was possible, and often probable Sweetwater is a band that could have only happened in the 1960s, and fortunately for all of us, did.
by Matthew Greenwald and Harvey Kubermk
Tracks
1. Get It When You Can (Alex Del Zoppo) - 3:40
2. Don't Forget (Nansi Nevins) - 3:00
3. It Ain't Easy (Albert Moore) - 3:08
4. I'm Happy Today (Alex Del Zoppo) - 4:16
5. Rejoice The Smile Of Man (Fred Herrera) - 4:54
6. Take It From The Splice, Boys (Fred Herrera) - 8:42
7. Naturally (Alex Del Zoppo) - 3:36
8. Don't Give A Hoot (Albert Moore) - 2:18
9. Faith (August Burns) - 0:34
10.Join The Band (Alex Del Zoppo) - 4:32
"You Must Be a Witch" by the Lollipop Shoppe was one of the most ferocious garage punk singles of the 1960s, a savage blast of paranoia and electric guitar that became a sought-after collectable among garage fanatics and one of the high points of the Nuggets box set. The tune was powerful enough that one had to wonder how a group so fierce would come up with a name as silly as the Lollipop Shoppe, and the truth is they didn't: they were known as the Weeds until their manager scored them a deal with Uni Records, who found their original moniker too outré (the marijuana reference didn't help) and saddled them something a bit more "mod."
The Lollipop Shoppe cut just one album, 1967's Just Colour, and "You Must Be a Witch" is easily the most hard-edged cut on the record, but if the Lollipop Shoppe don't hit quite as hard on the other 11 tunes, the material is strong enough to impress any fan of vintage garage or psychedelia. Fred Cole's vocals boast an emotional urgency and force that set him far apart from most of his contemporaries, and the band's blend of garage rock thunder, folk-rock melodies, and psychedelic introspection puts this in the same league as Love and the 13th Floor Elevators.
Within a year of releasing Just Colour, the Lollipop Shoppe were history, and years later Cole went on to front one of the finest bands in the garage punk underground, Dead Moon; this album offers a powerful early confirmation of his talents, and if Cole's music got leaner and more muscular with time, he'd already learned how to play rock & roll that was as urgent and heartfelt as anything you're likely to encounter.
by Mark Deming
Tracks
1. You Must Be A Witch (F. Cole) - 2:44
2. Underground Railroad (F. Cole, R Buzzell) - 7:43
3. Baby Don't Go (B. Atkins, F. Cole) - 2:38
4. Who'll Read The Will (B. Atkins, F. Cole) - 2:28
5. It's Only A Reflection (E. Bowen) - 3:07
6. Don't Look Back (F. Cole) - 2:29
7. Don't Close The Door On Me (F. Cole, R Buzzell) - 4:25
8. It Ain't How Long (E. Bowen, F. Cole) - 2:42
9. It's Makin' It (E. Bowen, F. Cole) - 2:29
10.I'm Gonna Be There (B. Atkins, F. Cole) - 2:41
11.You Don't Give Me No More (B. Atkins, F. Cole) - 2:14
12.Sin (F. Cole) - 2:25
13.Someone I Know (Bonus Track) (Unknown) - 4:03
14.Through My Window (Bonus Track) (Unknown) - 2:39
Progressive rock is a marvelous genre. It is a musical style that celebrates experimentation, often incorporating elements of instrumental complexity that descents directly from the improvisational nature of Jazz music. Another familiar aspect of the genre that has become synonymous with Progressive rock is the idea of a conceptual theme within the lyrical content and musical orchestration, adding an element of storytelling to the listening experience. 666 by Aphrodite's Child, is the epitome of everything we love about Progressive rock. It is not only an epic adaption of Biblical passages from the book of Revelation, but a musical journey that transcends past traditional rock music and explores a vast variety of genres.
666 is a musical expansion, going far beyond the typical Psychedelic and Progressive rock music of the earlier albums by Aphrodite's Child. The album itself is a personal voyage where the musicians discover their full potential, experimenting with different classes of instruments and musical styles to simply see just how far they can take this album. "The Four Horsemen" is certainly the most accessible song from the album. It opens with a delicate ambience, soothing and gentle in nature, providing an elegant setting for a soft narration delivered by Demis Roussos. But from this ethereal atmosphere, as a powerful drum delivery erupts out of silence, we descend into a traditional rock sound. The instrumental sections in 666 are performed quite dexterously, especially the guitar arrangements. "The Battle Of The Locusts" and "Do It" are a prime example of the impressive musicianship in the album, displaying an evident influence from Jazz as they exhibit eruptions of elevated solos in an almost free-form environment.
As I said before, this album is an exploratory odyssey, a descension into abstract musical dimensions. Of course, 666 tends to favor a psychedelic atmosphere within the majority of its compositions, but we do see Aphrodite's Child leaving their comfort zone and enthusiastically voyaging into the previously unknown. There are various examples of songs incorporating a vast variety of influences ranging from, Musique concrète, Jazz, and even eastern influences with orchestrations that contain Raga aesthetics. "All The Seats were Occupied" coalesces all of the different genres that Aphrodite's Child explores in this album into one long musical voyage. "All The Seats were Occupied" is the penultimate track and it is a reflection of everything we have experienced in 666, opening with a gentle melodic texture and then transcending into lengthy instrumental passages that range from hypnotic psychedelic ambiences to an intense release of instrumental aggression. 666 is a true classic that has became recognized as one of the most important efforts in early Progressive rock. This is an album that must be heard by all fans of Progressive and Psychedelic music alike.
by Hernan M. Campbell
This "concept album" is in fact the soundtrack of a vast theatrical show-concert, and for this purpose I wrote the (unpublished) book, and lyrics. Unfortunately, the show was never produced.
It is not Demis who wanted to avoid a more progressive (than "Rain and Tears") sound, on the contrary, he was very enthusiastic for a turning of the band's music. It was Vangelis who prefered to minimize the participation of Demis, just to bring-out better his composer's talent, with no interference of the "Demis the star"'s weight.
Some of the "lyrics" (such as the "announcements" as I call them) are indeed from the "Apocalypse" (how could it be different), but there are always some slight inversions or alterations of the meaning, so to support the p.o.v. of the work. Finally, my (and our) intention was to create a "rock-extravaganza" for the 60s, and I believe, that we succeded on the sound level.
by Costas Ferris
Tracks
Disc 1
1. The System - 0:23
2. Babylon - 2:47
3. Loud, Loud, Loud - 2:42
4. The Four Horsemen - 5:53
5. The Lamb - 4:34
6. The Seventh Seal - 1:30
7. Aegian Sea - 5:22
8. Seven Bowls - 1:28
9. The Wakening Beast - 1:11
10.Lament - 2:45
11.The Marching Beast - 2:00
12.The Battle Of The Locusts - 0:56
13.Do It - 1:44
14.Tribulation - 0:32
15.The Beast - 2:26
16.Ofis - 0:14
Disc 2
1. Seven Trumpets - 0:35
2. Altamont - 4:33
3. The Wedding of the Lamb - 3:38
4. The Capture of the Beast - 2:17
5. ? - 5:15
6. Hic et Nunc - 2:55
7. All the Seats Were Occupied - 19:21
8. Break - 2:59
All Compositions by Vangelis, lyrics by Costas Ferris.
Ellison formed in Montreal in late 1967. Vincent Marandola and his childhood friend Richard Arcand, formed a trio named "Jimmy Peace". In 1969, they replaced the original drummer with Robert Cager and added Christian Tremblay as a second guitar, and thus "Ellison" was officially formed.
The band started playing quite frequently in and around Montreal, and actually played a few other gigs in Quebec. They were managed by Jean-Claude Brosseau. They recorded their one and only UP in 1971. which was produced by Alexandra Dumas and Yves Hamel and originally released on Trans-World Records.
There exists very little information with regards as to how well or poorly the record sold. In addition, the actual number of LPs pressed still remains a mystery. Ellison broke up in 1973 and I have lost contact with all the members over the years. Richard Arcand passed away in 1997 and I now reside in Sainte-Dorothee, Quebec.
by Vincent Marandola, Montreal. Canada, January 2000
Tracks
1. Unchanged World (V Marandola, R. Arcand) - 3 36:
2. Seal A Beam Bow (V. Marandola) - 4:26
3. Satanic (V. Marandola, R. Arcand) - 2:02
4. Winter Slutch (V. Marandola) - 4:06
5. Strawberry Pain (V Marandola, R. Arcand) - 5:23
6. Untruth Story (V. Marandola) - 3:17
7. Freedom (V. Marandola) - 3:36
Ellison
*Vincent Marandola - Vocals and Guitar
*Robert Cager - Drums
*Richard Arcand - Bass Guitar
*Christian Tremblay - Electric, Acoustic Guitar With
*Marie-Claire, Richard Seguin - Vocals
Levee Camp Moan's self-tilled LP, released in 1969 on the County Recording Service label (SVVS 132), is without a shadow of doubt one of the UK s rarest and most prestigious private pressings to emerge out of Britain's thriving underground blues scene of the late 60's.
In fact this extraordinary platter, albeit housed in a rather drab looking custom-built, heavy-duty cardboard sleeve complete with a pasted on snap of the group, is now so scarce that only those prepared lo part with four-figure sums are ever likely to stand a chance of securing a copy.
Interest in this recording has been long standing. In 1993 Audio Archives reissued the album on CD tor the first time, including, into the bargain, two live tracks that were taken from another Levee Camp Moan related album called 'Peacock Farm'. (Which is another story, but one we will turn to shortly).
Taking their name from the old blues number. Le Camp Moan were formed in the late 60's when the five members, manager and assorted roadies took up the residence in a country farmhouse on the Bracknell Delta. The name of this sprawling farmstead was Peacock Farm.
It was here that Levee Camp Moan were able to leave their equipment permanently set up and. Being relatively isolated, the band could rehearse as often, and as loudly, as they liked without fear of disturbing anyone. In this rural setting, the teenage blues-rocker-, sel about honing their gritty renditions of blues standards that encompassed influences from the urban blues of Otis Rush. Buddy Guy & Junior Wells together with Muddy Waters and Skip James.
The more or less contemporary white blues of the time. Canned Heat. Savoy Brown and Paul Buttcrfield etc. also provided a great source of inspiration. From their Berkshire roots the band quickly built up a following on the British Blues Circuit, frequenting the likes of the Marquee. Crawdaddy, Klooks Kleek. Eel Pie Island and Rikki Tik clubs.
On the college circuit they toured extensively with Chickenshack. Canned Heat and Muddy Waters with performances being of sufficient appeal and merit so as lo attract record company interest. Sadly all ensuing proposed deals never got off the ground resulting in the band having to rely on themselves alone if they wanted to make a record. And so it was in early "69 that ihey entered Virgin Sound in Windsor to lay down eight tracks, recorded on a four track machine, for Ilieir debut album.
At the time of its creation the term private pressing would have had little or no relevance in music circles and would have offered little insight into the nature of the project. As already outlined, the LP, as perceived by today's standards, was every bit the archetypal private pressing. Unrefined and. moreover, free from record company interference, the band were able to retain thrillingly raw edge making sure that Levee Camp Moan remained a primitive yet vital effort full aggression and spirit.
Very few copies of 'Peacock Farm' appear to have survived and oven less with the cartoon insert that was meant to be stapled into the middle of the gatefold sleeve One has to remember that, in the main, both LPs were available only to local audiences which greatly contributed to their scarcity. Collectors should also be aware that 'Peacock Farm' is not a second LP by Levee Camp Moan as incorrectly stated in various rare record books and articles, but a 'various artists' LP featuring Levee Camp Moan, amongst others.
This record was aptly labelled 'Live Recordings made at Peacock Farm Concerts' and was issued by Bracknell's County Recording Services COUN LP 158/9). More importantly, the missing disc did actually make it to the acetate stage although how many were cut it’s anybody's guess probably just a handful.
Amazingly Levee Camp Moan kept performing, albeit intermittently, until 1975 long after singer Frank Woodward had left leavin Sal Bristow to front the outfit.
Despite other material having been recorded, the whereabouts of which is unknown, what we are left today are 2 desperately rare LPs that nobody has a realistic chance of obtaining and, now. this updated CD of our second release from close to a decade ago.
Interestingly some of the members of LCM have in the music scene to this day. Leader Ian Campbell carried on performing with, amongst others. Nashville Teens, Arthur Brown's band and Mungo Jerry and released several albums in the 80's with his own outfit, the Ian Campbell Blues band.
Drunmmer Malcolm Ashmore continued to pick up the sticks for various pub Blues bands whilst bassist David Stubbs played with a host of others including gigs in Eric Clapton's band and lengthy world tours with Uli John Roth (ex Scorpions). Frank Woodward sadly died in 1987 and Sal Bristow retired from the music business upon the band's demise.
by Pete Sarfas, Spring 2002
Tracks
1. Walking By Myself - 2:54
2. Flood In Houston - 4:44
3. Damp - 3:47
4. Mr Backlash - 4:02
5. Sweet Little Angel - 6:15
6. Linin' Track - 1:18
7. Disgusted Of North Acton - 4:09
8. Just Can't Keep From Crying - 3:54
9. De Boogie - 10:50
10.Whiskey Tumble - 6:50
11.John Thomas Blues Band – Weary Baby - 5:08
12.Thomas Houlihan – Trouble, Had It All My Days - 4:15
13.Frank Gillibrand – Carpicho Arabe - 3:38
14.St. James Infirmary – Sunshine Help Me - 5:32
Tracks 9-14 taken from 'Peacock Farm' Free Concerts
