Tommy Flanders the singer of The Blues Project departed the group after their first LP, "Live At The Cafe Au-Go-Go". In 1969 he released this, his own Solo Debut LP, The Moonstone, featuring: J. Bruce Langhorne (Guitarist with Bob Dylan; Joan Baez, etc); Dennis McCarthy, Michael Botts (Drummer with Hoyt Axton, Karla Bonoff, etc); Dick Rosmini (Guitarist with Hoyt Axton; Doug Dillard; etc); and Jerry Scheff (Bass with Hoyt Axton; Marc Benno; The Association).
The faded, melancholy vibe herein is somewhat unsettling, as the ghost of a fairly straight acoustic pop album is dimly apparent, and Tommy's voice still sounds occasionally as positive as it did on his earlier "Violets Of Dawn”.
Tracks
1. Since You've Been Gone - 2:37
2. Blue Water Blue - 3:05
3. Morning Misty Eyes (G. Meckler, T. Flanders) - 2:59
4. A Detective Story - 3:52
5. Purple And Blue - 3:40
6. The Moonstone - 4:38
7. By The Mailbox We Stood - 3:16
8. Angel Of Mercy - 3:42
9. Boston Girls - 3:08
10.Sleepin' - 3:50
11.She's My Love - 4:44
All compositions by Tommy Flanders unless as else stated
A pioneering group from the nation of Zambia, Witch (the name was an acronym, standing for We Intend To Cause Havoc) were one of the defining acts of Zamrock, a fusion of Western rock and rhythm & blues with traditional African sounds; they were among Zambia's most popular and influential bands in the 1970s as a wave of psychedelic and hard rock gained an audience in Africa.
A landlocked nation in the South of Africa, Zambia was formerly Northern Rhodesia until gaining its independence in 1964, and as Zambia established its own national identity, local musicians began embracing the progressive influences of artists such as the Beatles, the Rolling Stones, and Jimi Hendrix, as well as the forward-thinking soul and funk sounds of James Brown.
By the mid-'70s, Zambia was falling into political chaos as the nation's once profitable mining industry ran dry, and many Zamrock bands reflected this with a darker, more psychedelic-influenced sound that suggested a familiarity with the likes of Deep Purple and Grand Funk Railroad.
Witch included vocalist Emanyeo "Jagari" Chanda, guitarists Chris Mbewe and John Muma, bassist Gedeon Mulenga, and drummer Boidi Sinkala, who were veterans of Zambian cover bands of the late '60s; Chanda (whose nickname "Jagari" came from his fascination with Mick Jagger, one of his strongest influences) had worked with the Red Balloons and the Boyfriends (the latter group would evolve into another key Zamrock outfit, Peace), while most of the other members were members of Kingston Market. In 1971, Chanda sang with Kingston Market at a school function, and he was soon invited to join the group; they soon changed their name to the Mighty Witch, and then simply Witch, using the acronym they'd coined as explanation. Fueled by marijuana and Western rock and soul, the group's debut album, Introduction, was released in 1972, and was among the first commercially released LPs issued in Zambia.
Witch's third album, 1975's Lazy Bones!!, is generally regarded as their finest work; while they were hampered by the primitive recording technology available in Africa, they developed a large following in Zambia and were playing stadium-sized shows throughout the continent.
After Witch toured as an opening act for Osibisa, the U.K.-based Afro-rock band, they began including more local influences on their final two albums, Lukombo Vibes and Including Janet (Single), but in 1977 the group began to splinter when Chanda left the band to return to school and become a teacher, and the rise of disco and loss of venues for live music did the rest.
Chanda also became a born-again Christian, which he cites as one of the reason he avoided the fate that befell his bandmates; as the AIDS epidemic swept through Africa, the Zambian musical community was hit especially hard, and like most key Zamrock musicians of the 1970s, Mbewe, Muma, Mulenga, and Sinkala all succumbed to the disease.
In the 21st century, crate diggers interested in idiosyncratic rock sounds from around the world rediscovered Witch, and the German reissue label Shadoks brought out new CD editions of Introduction and Lazy Bones!! In 2012 the American label Now Again Records released a comprehensive Witch box set that featured their five studio albums plus a bonus collection of single tracks and unreleased material.
by Mark Deming
Witch's five albums and rare 7" tracks presented as a 4CD box set, restored and remastered from the original tapes. Contains a twenty-four page booklet with never before seen photos and ephemera; extensive liner notes and annotation; an interview with bandleader 'Jagari' Chanda. By the mid 1970s, the Southern African nation known as the Republic of Zambia had fallen on hard times: self-imposed, single party rule; a decline in prices for the country's largest natural resource, copper; conflict in other countries on Zambia's borders.
This is the environment in which the Zamrock scene that flourished throughout that decade emerged... fuzz guitars were commonplace, driving rhythms as influenced by James Brown's funk as Jimi Hendrix's rock predominated, musical themes were often bleak and bands largely sang in the country's constitutional language, English. Although Witch is the best known Zamrock ensemble and although they succeeded in releasing five albums in Zamrock's golden years -- they never made an impact on the global scale in, say, the way afro-beat maestro Fela Kuti did. Travel to and within Zambia is expensive, and the markers for the Zamrock scene are now few.
Only a small number of the original Zamrock godfathers survived the AIDS epidemic that decimated this country. Witch's musical arc is contained to a five year span: The band's first two, self-produced albums, released in unison with the birth of the commercial Zambian recording industry, are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown; their third albun, Lazy Bones!! is the band's masterpiece, a dark, brooding psychedelic opus that makes equal use of wah-wah and fuzz guitars, that relies as heavily on the stomping feel of hard rock as it does the syncopation of funk; the band's last two albums, recorded after the band toured with Osibisa, make use of traditional Zambian rhythms and folk melodies and are the most 'afro-rock'of Witch's oeuvre."
Tracks
Disc 1 Introduction and In The Past
1. Introduction - 3:45
2. Home Town - 4:21
3. You Better Now - 3:29
4. Feeling High - 3:37
5. Like A Chicken - 3:10
6. See Your Mama - 4:34
7. That’s What I Want - 3:01
8. Try Me - 4:23
9. No Time - 4:33
10. Living In the Past - 5:44
11. Young Lady - 3:51
12. Chance - 3:10
13. It’s Alright - 3:29
14. I’ve Been Away - 2:39
15. I Like The Way I Am - 4:52
16. The Only Way - 3:58
17. Smiling Face - 3:45
18. She Is Mine - 3:31
19. Mashed Potato - 4:05
Disc 2 Lazy Bones!! and Bonus Tracks
1. Black Tears - 4:54
2. Motherless Child -3:57
3. Tooth Factory - 4:34
4. Strange Dream - 3:17
5. Look Out - 4:04
6. Havoc - 4:28
7. October Night - 4:39
8. Off My Boots - 2:55
9. Lazy Bones - 4:02
10. Little Clown - 3:29
11. Talking Universe - 5:18
12. Evil Woman - 6:00
13. Sweet Sixteen - 3:06
14. Toloka - 4:06
15. 81st Crowd Confusion - 3:48
16. Up The Sky - 3:41
Disc 3 Lukombo Vibes and Bonus Tracks
1. Thou Shalt Not Cry - 4:50
2. Bleeding Thunder - 5:15
3. Devil’s Flight - 4:32
4. Blood Donor - 4:44
5. Nasauka - 4:13
6. Evening Of My Life - 5:23
7. Kangalaitoito - 3:42
8. See Saw - 5:25
9. Chifundo - 5:10
10.Fool’s Ride - 3:26
Disc 4 Including Janet (Hit Single)
1. Janet - 4:48
2. As Days Go By - 3:17
3. Ntedelakumbi - 4:05
4. In Flight - 3:27
5. Nazingwa - 4:23
6. Silver Lady - 3:56
7. Anyinamwana - 4:08
8. Mama Feel Good - 5:19
9. The Way I Feel - 5:10
'Underrated, partly outstanding ballsy 1970s rock album in the Texas style, which means good production, strong vocals, and solid playing all around. Some of it is rootsy blues-rock which wins out on pure class and power, but the highlights are undoubtedly two psych-flavored epics that could easily slide onto the Garrett Lund or D.R. Hooker LPs: the nocturnal, moodily jazz-tinged Mythical Dream and the even better Joy, whose combination of soaring vocals and superbly controlled feedback licks will have any fan of 70s private press sounds flip out...
The music is given additional appeal by realistic lyrics about relationships and fatherhood, planned and unplanned, that retain a male perspective without degenerating into macho cliches. I bet these guys were local heroes among kids cruising around Corpus, and in another time and place they would have hit the big time. Despite reservations, impressive and a must hear for 1970s rock fans, while undoubtedly too much 'classic rock' for '60s guys. A marvy cosmic yet primitive sleeve adds bonus points'.
The Acid Archives
Tracks
1. Cruising - 3:51
2. Joy - 6:20
3. Marriage - 3:38
4. Creation A Child - 6:54
5. Just A Man - 3:17
6. We Can Make It, Luv - 2:30
7. Not Mine - 3:31
8. Where Is She? - 3:36
9. Mythical Dream - 4:55
All songs by W. Grate, J. Castillo, F. Lianes, R. Deleon and G. Pena Jr.
Corpus
*William Grate - Lead Guitar, Background Vocals
*James Castillo (Beaver) - Bass
*Frudy Lianes - Drums
*Richard Deleon (De-De) - Rhythm Guitar, Lead Vocals
*Gilbert Pena Jr. - Lyrics
Imagine a time: Without cable TV, when more in-home screens were black-andwhite than color. When FM radio stations were exceptions, not rules. When interstates and other four-lane highways were in their infancy. We're talking more than 40 years ago, when much of the world seemed far more distant than now for those of us growing up on the north end of the Appalachian coal fields. It was a time when local musicians with dreams of rock 'n' roll success weren't sure music's stars could ever shine on someone from these parts.
Elderberry Jak changed that with the release of "Long Overdue," on Nashville-based Silver Fox Records, which was owned by singer Kenny Rogers' brother Leland. Now, anyone with a computer can put their music in front of millions of potential listeners without ever leaving home. They just record the songs and upload them to Web sites like MP3.com. Randy Worsham, a singer/songwriter I played bass for in Spingfield, Mo., a few years ago, has done that. So has Joe Cerisano, Elderberry Jak's lead vocalist, with his more recent work.
When "Long Overdue" first made its way onto vinyl, however, home computers as powerful as the Commodore 64, the 64 standing for 64 kilobytes of random access memory, were still on the drawing board. Most of us send email photos today that are larger than 64K! Back then, the hotspots in the still-young rock universe seemed as far away from north central West Virginia as the stars in Orion's belt. Things were happening in L.A., London and New York. Geez; Pittsburgh was a two-hour trip back then! Many of us who practiced in garages to play weekends in tiny little clubs around there took heart and hope in Elderberry Jak's success. Heck, I played covers of several "Long Overdue" cuts; "Changes," "Forest on the Mountain," Wishing Well," and "Vance's Blues."
"Little Joe," the late Dave Coombs, Joe Hartman and Tom Nicholas were several years older. I started playing locally, keyboards back then, after their debut album was recorded and released, and they'd gone on the road to support it. Dozens of Volkswagens now sit in the parking lot of what was, back then, The White House - along U.S. 119, north of Morgantown, almost to the Pennsylvania state line. To this second, I can recall the butterflies I got as a teenager the night. I first played there as a member of a Fayette County, Pa., band called Brimstone. Like the guys in Jak, my bandmates were several years my senior. A couple of them had jammed with Cerisano and Coombs when they were still part of J.B. and the Bonnevilles, pre-Elderberry Jak. All night long during that first White House gig, I willed us to be as good as Jak; but not with the goal of getting a record deal. At that point, none of us had even started working on original material.
Rather, my wish simply was that we use the stage, and those four 45-minute sets, as well as Elderberry Jak did because they showed all of us that it could be done. Even coal-patch musicians from this part of the world had a shot at realizing our goals if we let the music do the talking and respected it... worked at it... as much as some of those who'd crossed that stage before us. The White House was the only nightspot I ever played that Jak had ruled around here before recording "Long Overdue." As a result, the nights spent on its stage are among my fondest musical memories. Meeting Joe Cerisano also is among them. He continues to sing songs on the soundtrack of my musical dreams.
Inspiration provided through the years by "Long Overdue" helped me achieve much of what I had hoped to in music. Some goals remain, so I keep listening to Jak to remind me that it's never too late. Some might argue; but from here, it seems Jak was ahead of its time. Listen to Hartman's pounding double-bass footwork on "Vance's Blues"and "Changes," for example. Jon Bonham, of Led Zeppelin, was playing that way back then. But most of the others - Alex Van Halen, Tommy Aldridge (Black Oak Arkansas, PatTravers and Whitesnake), Denny Carmassi (Montrose and Heart) were at least a few years away from the spotlight.
Nicholas' guitar work rivals the kind of thick, chunky and powerful hard rock riffs that helped Joe Walsh become a star with The James Gang, which he parlayed into a successful solo career and a long stint as arguably the most brash member of The Eagles. Coombs' bass made every song work. He kept the rhythm with Hartman while using every inch of his guitar's fingerboard to find just the right notes for every measure of every Jak original. Measure Cerisano's talent by the full body of his professional work. First with Jak, later with Silver Condor and as an alwaysworking studio musician, and more recently on solo releases and tours with the Trans Siberia Orchestra, "Little Joe" remains big on the ability to lend just the right touch to every lyric he sings.
What we have here is proof that these four men, together, made and played their music from the heart and soul. That this wonderful album has made its way to CD is a blessing beyond belief.
by Tim Lilley
Tracks
1. Going Back Home - 3:17
2. Forrest On The Mountain (Mike Snyder) - 2:51
3. Vance's Blues - 3:47
4. Inspired (Mike Snyder) - 3:29
5. Restless Feeling - 3:40
6. Wish Me Well (Brooker, Reid) - 3:25
7. Mr. Sun - 3:43
8. My Lady - 3:45
9. Changes - 4:51
10.You're The One (Mike Snyder) - 4:01
All songs by Elderberry Jak except where noted
This set is the final word on the '70s solo recordings of singer/songwriter John Sebastian. Compiled over three discs are all five of his LPs for the Reprise label: John B. Sebastian, Cheapo-Cheapo Productions Presents Real Live John Sebastian, The Four of Us, Tarzana Kid, and Welcome Back. Additionally, there is an extra half-hour of live material, most of which is issued here for the first time.
As he had done with the Lovin' Spoonful, Sebastian's emotive and thought-provoking lyrics prove to be his strongest suit. "How Have You Been," "I Had a Dream," and "Rainbows All Over Your Blues" best reflect the continuation of the introspective musical and lyrical themes that he had first explored on tracks such as "Younger Generation" and "Darlin' Be Home Soon." However, the album was far from being acoustic and weepy. "Red-Eye Express," "What She Thinks About," and "Baby, Don't Ya Get Crazy" are up-tempo rockers featuring the likes of Dallas Taylor (drums), Harvey Brooks (bass), and Stephen Stills (guitar).
Sebastian's second long-player -- Cheapo-Cheapo Productions Presents Real Live John Sebastian -- was issued to counteract the potential damage of a completely unauthorized live package released by MGM Records. The results are wholly fulfilling and feature a simple duo of Sebastian (guitar/vocals) and Paul Harris (piano). In addition to playing favorites such as "Nashville Cats," "Did You Ever Have to Make up Your Mind," and "Lovin' You," he also cooked up some vintage jug band blues on "Mobile Line" and a crowd-rousing loose aggregate of oldies including "In the Still of the Night" and "Blue Suede Shoes."
The Four of Us returns Sebastian back to his folk/blues roots on "Well, Well, Well" and "Black Snake Blues." The extended title track is a picturesque travelogue of places and events between two couples approaching middle age. Although the album did not do well at the cash register when it was issued, it has retained an irresistible harmony and sense of charm. Tarzana Kid suffered much the same fate as its predecessor. This is doubly unfortunate, as it likewise features some of Sebastian's best studio sides, including his serene cover of Jimmy Cliff's "Sitting in Limbo," Lowell George's "Dixie Chicken," and again a return to his roots with "Sportin' Life."
Tarzana Kid is an all-star affair with the likes of David Grisman (mandolin), Ry Cooder (guitar), and David Lindley (guitar), and teamed Sebastian back up with his former producer from the Lovin' Spoonful, Erik Jacobsen. As he points out in his riveting liner notes essay, the only reason that the Welcome Back album was issued was in support of the title track, which had become a chart-topping hit as well as the theme song to the television situation comedy of the same name. That point aside, there are a few outstanding pieces, including reworked versions of "Didn't Want to Have to Do It" and "Warm Baby."
A real treat awaits listeners at the end of disc three, with no less than two vintage live sets. The first includes Sebastian's entire five-song performance from the Woodstock Music and Art Fair. The second is from Winterland Arena in San Francisco during the fall of 1969. For true fans, these recordings represent a grail of sorts. Faithful Virtue: The Reprise Recordings also includes a 48-page liner notes booklet with previously unissued photos and memorabilia. Additionally, there is a separate six-panel foldout poster that also contains all the lyrics from the five long-players. The North American release is limited to an edition of 3,000 and is available via the Rhino HandMade Internet audio salon.
by Lindsay Planer
Tracks
Disc 1
1. Red Eye-Express - 2:57
2. She's a Lady - 1:45
3. What She Thinks About - 3:04
4. Magical Connection - 2:49
5. You're a Big Boy Now - 2:49
6. Rainbows All Over Your Blues - 2:27
7. How Have You Been - 4:12
8. Baby, Don't Ya Get Crazy - 3:00
9. The Room Nobody Lives In - 3:13
10.Fa-Fana-Fa - 2:48
11.I Had a Dream - 2:48
12.Mobile Line (Gonna Carry Me Away from the Bull Frog Blues) (Peter Stampfel) - 2:31
13.Lovin' You - 2:46
14.Fishin' Blues - 3:42
15.Younger Girl - 3:00
16.Did You Ever Have to Make Up Your Mind - 3:03
17.Rooty-Toot - 2:52
18.In the Still of the Night (Fred Parris) - 2:43
19.Teen Angel (Jean Surrey) - 0:42
20.Blue Suede Shoes (Carl Perkins) - 1:49
21.Ballad of a Teenage Queen (Jack Clement) - 0:49
22.Nashville Cats - 2:56
23.Waiting for a Train (Jimmie Rodgers) - 2:49
24.My Gal (Steve Boone, Erik Jacobsen) - 3:16
25.Younger Generation - 3:31
26.Darling Be Home Soon - 4:12
27.Blues for Dad and JB's Happy Harmonica - 3:41
28.Amy's Theme - 1:49
All songs by John B. Sebastian excpet as else stated.
Disc 2
1. Goodnight Irene (Lead Belly, John A. Lomax) - 4:50
2. Well, Well, Well (Traditional) - 2:20
3. Black Snake Blues (Clifton Chenier) - 2:29
4. I Don't Want Nobody Else - 3:17
5. Apple Hill - 3:09
6. Black Satin Kid - 2:39
7. We'll See - 2:05
8. Sweet Muse - 3:56
9. The Four of Us - 15:58
10.Give Us a Break - 3:41
11.Music for People Who Don't Speak English - 3:53
12.Sitting in Limbo (Gully Bright, Jimmy Cliff) - 3:27
13.Friends Again - 2:29
14.Dixie Chicken (Lowell George, Martin Kibbee) - 3:49
15.Stories We Could Tell - 3:14
16.Face of Appalachia (Lowell George) - 4:21
17.Wildwood Flower (A.P. Carter) - 1:42
18.Wild About My Lovin' (Traditional) - 3:05
19.Singing the Blues (Melvin Endsley) - 2:22
20.Sportin' Life (Steve Boone,,Zal Yanovsky) - 3:09
21.Harpoon (Ricky Sebastain) - 2:21
All songs by John B. Sebastian excpet where indicated
Disc 3
1. Hideaway - 2:55
2. She's Funny - 3:34
3. You Go Your Way and I'll Go Mine - 2:57
4. Didn't Wanna Have to Do It - 3:22
5. One Step Forward, Two Steps Back - 4:36
6. Welcome Back song review - 2:50
7. I Needed Her Most When I Told Her to Go - 2:56
8. A Song a Day in Nashville - 4:00
9. Warm Baby - 2:34
10.Let This Be Our Time to Get Along - 3:12
11.How Have You Been - 7:19
12.Rainbows All Over Your Blues - 3:09
13.I Had a Dream - 3:23
14.Darling Be Home Soon - 5:50
15.Younger Generation - 3:35
16.Sitting on Top of the World (Lonnie Chatmon, Walter Vinson) - 3:39
17.Magical Connection - 4:11
18.You're a Big Boy Now - 4:17
19.I Found a Dream (Lonnie Johnson) - 2:50
20.Daydream - 3:32
21.Younger Girl - 1:58
All songs by John B. Sebastian excpet where noted
Dayton, Ohio’s Sonny Flaharty had been recording since the late 50s. In 1965 he helped a local band called the Rich Kids produce a demo. He ran into them again calling themselves the Mark V “direct from Toronto, Canada”! They asked Sonny to join the band but according to Sonny, “the only problem we had was with my past. I was very well known in Dayton. The band didn’t want to be associated with ‘Old Time Rock and Roll’”!
They changed their names and tried to pass themselves off as English or at least Canadian. They didn’t fool anyone for long, but there was nothing ‘old time’ about their music. Shad O’Shea of Cincinnati’s Counterpart Records asked them to record Sonny’s original, “Hey Conductor”.
There was a nine-month delay between the recording and the release of “Hey Conductor”. In the meantime Mike Losecamp (aka Haywood Lovelace), who played the distinctive organ on the record left to join the Cyrkle.
Once released Hey Conductor was a sizeable hit, selling in the thousands and immediately picked up by Phillips for national distribution. The good times didn’t last long, as its lyrics hinting at drug experiences got it banned on radio before it could break nationally. The song’s frantic pace, strange fuzz guitar and syncopated organ make it an often-heard record at dj nights even today.
by Chas Kit
"Hey Conductor" provided both a sizeable hit and new lease of life for one-time rockabilly Sonny Flaharty. Fuelled by a paper 'n' comb sounding fuzztone 12-string and a piping Farfisa organ (which candidly borrows the main riff from Ray Charles' "I Don't Need No Doctor") the discs crisp production and Flaharty's youthful voice make for a powerful, but polished, effort. Superb! The rest of this collection features a selection of songs that appear to be from the sessions the band recorded for RCA in 1967, supposedly for an album.
These range from the frantic "Whole Lotta Shakin'," which is a wild, punkish take on the Lewis standard "Make a Woman" (a fine example of the fragmented riffed garage sound strongly inspired by the Raiders' "Just Like Me"), and the far softer "La La Song" and "When I Close My Eyes," which sound very similar to Merrell Fankhauser's psychedelic folk-rock efforts from the same time and the Strawberry Alarm Clock. Also included is the frat-instro "Coconut Stomp Part 1 & 2" by the earlier Young Americans. Pebbles and Nuggets fans will be enthralled by these rare sides.
by Jon "Mojo" Mills
Tracks
1. Whole Lotta Shakin' (Sonny Flaherty, Ray Bushbaum) - 1:59
2. Coconut Stomp Pt. 1 - 2:05
3. Coconut Stomp Pt. 2 - 1:38
4. Make A Woman - 1:53
5. The Mark V - 2:32
6. Do It - 2:46
7. Hey Conductor - 2:32
8. For All Of Us - 3:10
9. Harmonica Man - 2:24
10.La La Song - 2:03
11.When I Close My Eyes (Jim Wyatt) - 2:26
12.Can't Buy My Soul - 2:29
All songs by Sonny Flaharty except where noted
Sonny Flaharty And The Mark V
*Sonny Flaharty - Vocals, Guitar
*Jason Hollingsworth “Jason Starbuck” - Guitar
*Jim Wyatt “Farnsworth Wyatt” - Bass
*Mike Losecamp “Mike Lovelace” – Piano, Vox Organ
*N.D. Smart - Drums
*Susan Darby - Lead Vocal
Actor Rex Holman is perhaps better-known to Star Trek and Monkees fans than music enthusiasts, but connoisseurs of acid folk have long treasured this, his sole album, which originally appeared in 1970 (when he was almost 42 years old). A hypnotic blend of melodic, contemplative songs (set to acoustic guitar, sitar and tabla) and philosophical lyrics sung in a quavering voice that has been compared to Tim Buckley’s, it’s nothing short of an overlooked gem, and is sure to appeal to fans of artists such as Damon, Pat Kilroy and Mark Fry.
Rex was a small time tv character actor who appeared on Star Trek, the Monkees, the Man from U.N.C.L.E., Gunsmoke, Charlie's Angels, etc. His weeningly smooth baritone & downer lyrics also caused local record connoisseur Rob T. to appropriately christen him 'Gordon Darkfoot'.
Released in 1970 (when Holman was already 42), "Here In the Land of Victory" featured all original material, though the mix of Indian-flavored instrumentation and Holman's hyper serious lyrics sounded like something that was recorded circa 1967. Holman's vibrato-drenched vocals (which were an acquired taste) and his over-the-top lyrics certainly weren't for everyone. Imagine Richard Harris reincarnated as Donovan and you'll have a feel for tracks like 'Listen To the Footsteps', the sitar and flute propelled 'Sit and Flatter Me' and 'Come On Down'. Ironically if you could get over those characteristics, then the album rewarded you with quite a bit of memorable material.
Holman's uber earnestness was somehow charming and most of the lyrics were no worse than your standard college English paper (okay, 'The Chosen One' was far worse). Certainly a reflection of my personal tastes, but Holman was at his best when backed by a full rock ensemble. As such personal highlights included 'Pink Lemonade', 'Today Is Almost Here', and the bluesy 'Red Is the Apple'. The disturbing artwork including a back cover photo of Homan sitting blissed out next to a passed out drunk certainly didn't help sales. (The inner sleeve picture showing Holman in his best psycho-killer stare is even more disturbing.)
Tracks
1. Here In The Land Of Victory - 3:19
2. Pink Lemonade - 2:12
3. Rowin’ (Rex Holman, Terry Fulman) - 2:20
4. Today Is Almost Here - 3:49
5. Listen To The Footsteps - 2:32
6. Red Is The Apple - 4:16
7. Sit And Flatter Me - 3:30
8. Copper Kettles - 2:22
9. Come On Down - 2:28
10.Debbie - 2:27
11.The Chosen One - 2:53
12.I Can’t Read My Name - 2:26
All songs by Rex Holman except where noted.
This double CD combines Elvin Bishop's first three albums (variously credited to the Elvin Bishop Group and the Elvin Bishop Band) on to two discs. Containing 1969's Elvin Bishop Group, 1970s Feel It!, and 1972's Rock My Soul, it has virtually everything he recorded for Fillmore and Epic in the late 1960s and early 1970s, serving as an overview of his entire early career as a bandleader.
Also included are three bonus tracks: one, "Stealin' Watermelons," from a non-LP single, and two other live performances from the various-artists compilation album Last Days of the Fillmore. Although they have their merits, these are erratic albums in which Bishop didn't stick solely to the electric blues-rock he'd made his name with in the Paul Butterfield Blues Band. Instead, these also dig into soul and R'n'B, as well as what can only be called (on some of his vocal numbers) comedy. He relinquished most of the lead vocal duties to Jo Baker starting with the second album, and this saw an improvement in the sound and material.
by Richie Unterberger
Tracks
Disc 1
1. The Things That I Used To Do (E. Jones) - 4:02
2. Tulsa Shuffle (E. Bishop) - 5:21
3. Sweet Potato (E. Bishop) - 5:42
4. How Much More (J. B. Lenoir) - 3:03
5. Dad Gum Ya Hide, Boy (G. Bromley Jr.) - 2:55
6. Honey Bee (E. Bishop) - 3:28
7. Prisoner Of Love (P. Mayfield) - 5:22
8. Don't Fight It (Feel It) (W. Pickett, S. Cropper) - 3:11
9. I Just Can't Go On (J. Baker) - 3:38
10.So Good (E. Bishop, S. Miller) - 7:38
11.Crazy 'Bout You Baby (W Williamson) - 3:15
12.So Fine (J. Otis) - 2:40
13.Party Till The Cows Come Home (E. Bishop, S. Miller) - 3:22
14.Hogbottom (E. Bishop, S. Miller) - 6:47
15.Be With Me (E. Bishop, S. Miller) - 4:08
16.As The Years Go Passing By (D. Malone) - 4:05
Tracks 1 To 7 From "Elvin Bishop Group" 1969
Tracks 8 To 16 From "Feel It!" 1970
Disc 2
1. Rock My Soul (E. Bishop) - 2:46
2. Holler And Shout (E. Bishop) - 2:38
3. Let It Shine (E. Bishop) - 3:18
4. Don't Mind If I Do (E. Bishop) - 2:00
5. Rock Bottom (E. Bishop, J. Baker) - 2:58
6. Last Mile (Instrumental) (E. Bishop) - 2:50
7. Have A Good Time (E. Bishop) - 2:47
8. Wings Of A Bird (E. Bishop) - 3:36
9. Old Man Trouble (E. Bishop) - 3:47
10.Out Behind The Barn (E. Bishop) - 2:51
11.Stomp (Instrumental) (E. Bishop) - 3:12
12.Stealin' Watermelons (E. Bishop) - 2:56
13.So Fine (Live) (J. Otis) - 3:58
14.Party Till The Cows Come Home (Live) (E. Bishop, S. Miller) - 3:07
Musicians The Elvin Bishop Group On Tracks 1 To 7 (The Elvin Bishop Group)
*Elvin Bishop - Guitar, Vocals
*Stephen Miller - Organ
*John Chambers - Drums
*Art Stavro - Bass
*Applejack - Harp
*Alberto Gianquinto - Piano
The Elvin Bishop Group On Tracks 8 To 16 (Feel It!)
*Elvin Bishop - Guitar, Vocals
*Stephen Miller - Vocals, Piano, Organ
*John Chambers - Drums
*Jo Baker - Vocals, Percussion
*Kip Maercklein - Bass
*The Pointer Sisters (Patricia, June And Anita) - Vocals
*Chepito Areas And Mike Carabello - Timbales, Congason
*Perry Welsh - Vocals
The Elvin Bishop Band On CD 2. Tracks 1 To 11
*Elvin Bishop - Lead Guitar, Rhythm Guitar, Slide Guitar, Lead Vocals
*Jo Baker - Lead Vocals
*Stephen Miller - Organ Piano
*Kip Maercklein - Bass
*Bill Meeker - Drums
*John Chambers - Drums On Track 11 Only
*Dennis Marcellino, Mel Ellison - Tenor Sax
*Ron Stallings - Vocal And Tenor Sax On Track 2
*Milt Holland - Percussion
*Delaney Bramlett - Rhythm, Slide Guitar
*Perry Welsh - Harmonica
*Bobby Bruce - Fiddle Solo
*Jim Gordon - Clarinet
*Delaney And Bonnie (Courtesy Of Columbia Records) - Backing Vocals
*Jo Baker, Clydie King, Vanetta Fields, Gloria Jones - Backing Vocals
*Perry Welsh & Shirley Matthews - Backing Vocals
Strings Arranged And Conducted By Jim Gordon
An obscure late 60s band out of Richmond, VA that evolved from an R'n'B ensemble called the Soothsayers. In 1967 the Bosom Blues Band entered a local studio and recorded several demos and finally an album's worth of material, including the outstanding blues rocker 'Hippie Queen'.
The song was inspired by the true story about a girl named Joan from Richmond, VA who traveled to England in an attempt to meet The Beatles. She ended up sneaking onto the grounds of John Lennon's estate and knocked on the door of his house, which was answered by Lennon himself who invited her in. She ended up getting pictures taken of herself with the Fab Four, including one of George Harrison kissing her on the cheek. This made her a local legend and "hippie queen" throughout the Richmond area.
The following year the band auditioned for Vanguard Records, but the deal came to naught. And by 1969 the Bosom Blues band were no more, with their sole LP unheard until Arcania International included their song Hippie Queen on Aliens, Psychos and Wild Things, Vol. 3. Now the entire ouvre of this remarkable group is available once again -- in the format it was meant to be heard in, glorious vinyl.
Tracks
1. Leavin' Trunk (John Estes) - 4:45
2. Milk Cow's Calf Blues (R. Johnson) - 3:25
3. Messin' With The Kid (Mel London) - 3:03
4. Divin' Duck (John Estes) - 2:48
5. You Don't Love Me Baby (Sam Maghett) - 3:25
6. Hippie Queen (Larry McCullogh) - 4:09
7. Knock On Wood (E. Floyd, S. Cropper) - 3:53
8. Walk Tall (Josef Zawinul, Esther Marrow, James Rein) - 8:48
Bosom Blues Band
*Larry McCullough - Vocals, Lead Guitar
*Allen Gay - Rhythm Guitar
*Harold Grigg - Bass
*Lynn Abbott - Drums
The life and music of guitar legend Tommy Bolin seemed to have crashed and burned all too quickly. Prior to his drug related death in 1976, Bolin was starting to formulate solo album number three, after semi-successful stints in both The James Gang and D. Purple that saw his stock as a guitar hero in waiting rise before quickly getting snuffed out after years of heroin addiction.
Since Bolin's death there has been a wealth of live and studio recordings to come out on the market that further prove the talents of this guitar genius. Whirlwind is the latest, a 2CD set from the folks at the Tommy Bolin Archives along with Cleopatra Records/Purple Pyramid, which contains not only some songs that were meant for that third solo record, but also rare material from Bolin's jazz-fusion band Energy as well as alternate & instrumental versions of other songs from his earlier solo albums. For fans, this is a set not to be missed.
The scorching "Cucumber Jam" from 1975 kicks things off, a sizzling number with Bolin's searing licks and solos, followed by the hard rocking "Heartlight", a tune recorded with the Energy line-up of Bolin, vocalist Jeff Cook, drummer Bobby Berge, bassist Stan Sheldon, and keyboard player Tom Stephenson. This band formed out of the ashes of Zephyr, and after you hear this tune, you'll wonder why this group didn't stick together and become huge. An excellent song, with catchy melodies and superb instrumentation, hard rock but with a jazz-fusion feel. "Hoka-Hay" is also from those same sessions, a scorching instrumental with fiery guitar & keyboard interplay that will easily appeal to all Return to Forever, Mahavishnu Orchestra, and Tony Williams Lifetime fans.
Tommy alone with his acoustic guitar is featured on "Don't Worry 'Bout Cash", and "San Francisco River" is a sizzling instrumental from 1975 that also features Berge & Sheldon, but it's Bolin's heavy riffs and amazing lead technique that steals the show. Another Energy tune that could have easily been a hit is "Rock-A-Bye", a Bob Seger styled rocker with great vocals from Cook and Stephenson's honky tonk piano lines.
"Dungeon" is an instrumental track that was planned for the third solo record, and it's another stellar hard rock/fusion piece with killer lead guitar work that shows just how savage Bolin could get when he wanted to. From a 1973 session comes "Alexis", a moody blues/pop rocker that was recorded just after the Billy Cobham Spectrum album and immediately prior to the guitarist joining the James Gang. In fact, most will remember that this tune actually made it to the James Gang Bang album, but it's here in its infancy, a tad more atmospheric but no less as powerful, complete with the hard rocking finale and Bolin's effects laden guitar work. "Gotta Dance" is a little tight jam that was being worked on for the third solo album in early 1976; there are some good ideas here on this funky rocker but you can tell it's mostly unfinished. "Spanish Lover" is another 1973 recording that also eventually made it to a James Gang album, the 1974 release Miami. CD 1 ends with the blistering "Sooner or Later", a melodic hard rocker that was being worked on just prior to his death, and finished up posthumously with Max Carl & Mike Finnegan trading off on lead vocals. Bolin's phased out, soul searching lead guitar work on this track is just sensational.
Over on CD2 you get an early instrumental version of "Red Skies", another tune that eventually wound up on Miami over a year later. Tommy's skills as a lead guitarist are in full force on this heavy yet atmospheric rocker, and "Way It's Always Been" is an early 1972 recording featuring Bolin on acoustic guitar & vocals doing a sort of Bob Dylan styled folk tune. Another song that eventually made it to Miami is "Sleepwalker", here once again in instrumental demo format.
The monstrous 26-minute "Marching Bag" is performed by Bolin with other members of Energy, and this tune eventually morphed into "Marching Powder" for the Teaser solo album. To say it's a fusion lovers dream is a complete understatement, so look for all sorts of incredible jams and sizzling guitar work here on this epic. Another Teaser track, "Wild Dogs", shows up here in lovely acoustic format, and the blistering funk rocker "From Another Time" from 1973 was also recorded just prior to him joining the James Gang, and sees Max Carl delivering some powerful vocals alongside Bolin's snappy licks & riffs and groove laden rhythms courtesy of Berge and Sheldon. A real workout of a tune, and not all that different from the music Bolin would help create in his short time with Deep Purple a few years later.
The whole set comes housed in a nice looking digipack, with a booklet containing full track information, photos, and an essay from Cook who talks about the sessions and the legend that is Tommy Bolin. My only gripe is that there are plenty of mistakes on the track information, such as songs where there are vocals and no vocal listed, songs where you hear keyboards and no keyboard player listed, and some typos, but otherwise this is a must have set for any serious Tommy Bolin fan. The sound quality on most of these tracks are pretty decent, a few sounding close to a good bootleg, but the musicianship throughout is stellar as you would expect. Simply a mandatory purchase for any Bolin aficionado.
10.Spanish Lover (Instrumental Version) (T. Bolin, J. Cook) - 3:42
11.Sooner or Later (T. Bolin, J. Cook, G. Hampton) - 4:19
Disc 2
1. Red Skies (Instrumental Version) - 3:26
2. Way It s Always Been - 3:12
3. Sleepwalker (Instrumental Version) - 4:30
4. Leave Other People Alone - 1:57
5. Marching Bag (Original Version) - 26:22
6. Wild Dogs (Acoustic Version) - 4:46
7. From Another Time (T. Bolin, J. Tesar) - 3:26
All songs by Tommy Bolin except where noted
Band
*Tommy Bolin - Guitar, Vocals
*Bobby Berge - Drums
*Stan Sheldon - Bass
*Tom Stephenson - Keyboards
*Mike Finnigan - Vocals, Organ
*Max Carl - Vocals
Some years ago, Sean Bonniwell, the charismatic leader of the Music Machine, penned an evocative memoir of his life and music days, "Beyond The Garage". The book's title was no doubt in deference to the Machine's posthumous definition in rock histories as a 'garage band', a classification the singer/songwriter admits took him some time to comprehend. But the truth is, the Music Machine were nothing of the sort. They could only be considered a garage band because they happened to rehearse in one, and that garage was, equally, a sonic foundry, psychoanalyst's couch, philosopher's salon and boot camp.
The Machine certainly articulated the frustration central to the restless spirit of mid-1960s grass roots Rock 'n' Roll, both musically and lyrically, but their expression of it came as much from the mind as the heart. The truth is, the Music Machine defy categorisation, because they simply did not sound like anyone else, before or since. Similarly, the fleeting chart status of Talk Talk', the group's ode to lack of selfesteem, has relegated the Music Machine in the minds of the myopic to that of one-hit wonders; for those who understand, however, the record was the brilliant opening salvo in a catalogue that has yet to be surpassed.
More than anything, the sheer quality of the group's songs, arrangements and performances, speaks for itself. Each member was necessary to making the whole thing work, and together they shared a purpose and a drive that made the group unbeatable, and should have made them superstars. 'Ahead of their time' is a cliche but with hindsight their individuality is clearer than ever. The Machine's time was one of tremendous upheaval in pop music, particularly on the west coast. When flower power was raging the Music Machine was the weed killer.
The saga of the Machine has been told before, not least by Sean Bonniwell in his autobiography, but it is hoped that what follows present a fresh perspective on the incandescent fourteen month lifespan of the initial Music Machine. That is the purpose of "The Ultimate Turn On": to celebrate the original, definitive line-up of this once-in-a-lifetime combo. Ninety per cent of what they decanted to tape is present and, in its monophonic state, correct - mono being the best way to appreciate the Machine, and preferably at a loud volume.
Disc One, comprising their entire Original Sound output, is the essential Music Machine. The rehearsals, demos and alternate mixes on Disc Two are offered as an illuminating adjunct, an insight into the workings of this incredible band. They also approximate how a second album for Original Sound might have shaped up, had they stayed together. These offcuts are gems that any other combo of that era would gladly trade their fuzzbox for.
Finally, the footage of a black-clad Machine on the rarely-glimpsed "Boss City" TV show, pounding through Talk Talk', gives the neophytes amongst us an inkling uf what all the fuss was - and is - about. To be sure, Bonniwell and producer Brian Ross went on to create further fine records, such as 'Dark White'. 'Me, Myself & I' and 'You'll Love Me Again', under the Bonniwell Music Machine imprimatur, but in many ways these were still variations on the theme wrought in iron by the first line-up.
The experience of being a cog in the Machine left some a spent force; for others, it provided a platform to go on to bigger things. But to a man, the original line-up is completely aware of the serendipitous chemistry they had together. They were the ultimate.
by Alec Palao
Tracks
Disc One
1. Talk Talk - 2:00
2. Trouble - 2:14
3. Cherry Cherry (Neil Diamond) - 3:17
4. Taxman (George Harrison) - 2:38
5. Some Other Drum - 2:34
6. Masculine Intuition - 2:11
7. The People In Me - 2:53
8. CC Rider (Ma Rainey) - 2:33
9. Wrong - 2:18
10.96 Tears (Rudy Martinez) - 2:19
11.Come On In - 2:58
12.Hey Joe (Billy Roberts) - 4:18
13.Double Yellow Line - 2:34
14.Absolotely Positively - 2:28
15.The Eagle Never Hunts The Fly - 2:50
16.I've Loved - 2:48
17.Talk Talk - 1:58
18.Trouble - 2:14
19.Cherry Cherry (Neil Diamond) - 3:13
20.Taxman (George Harrison) - 2:36
21.Some Other Drum - 2:34
22.Masculine Intuition - 2:08
23.The People In Me - 3:00
24.CC Rider (Ma Rainey) - 2:33
25.Wrong - 2:18
26.96 Tears (Rudy Martinez) - 2:20
27.Come On In - 2:56
28.Hey Joe (Billy Roberts) - 4:18
All Songs written by Sean Bomniwell except where noted.
Tracks 1-16 Mono, 17-28 Stereo
Disc Two
1 The People In Me (Rehearsal) - 3:09
2 Trouble (Rehearsal) - 2:30
3. Masculine Intuition (Rehearsal) - 2:39
4. The Eagle Never Hunts The Fly (Demo) - 4:19
5. Sufferin Succotash (Demo) - 2:40
6. Worry (Demo) - 2:10
7. No Girl Gonna Cry (Demo) - 2:05
8. Smoke & Water (Demo) - 3:30
9. I've Loved You (Alternate Version) - 2:34
10.Discrepancy (Alternate Version) - 2:01
11.Bottom Of The Soul (Alternate Version) - 2:04
12.The Trap (Alternate Version) - 2:28
13.Absolutely Positively (Alternate Version) - 2:09
14.Somethin' Hurtin' Un Me (Alternate Version) - 2:55
15.Affirmative No (Alternate Version) - 2:32
16.Talk Me Down (Original Mix) - 1:51
17 Astrologically (Original Mix) - 2:24
18.Worry (Original Mix) - 2:15
19.No Girl Gonna Cry (Original Mix) - 2:25
20.Smoke & Water (Original Mix) - 3:17
All Songs written by Sean Bomniwell.
The Music Machine
*Sean Bonniwell - Vocals, Guitars
*Ron Edgar - Drums
*Mark Landon - Guitar
*Keith Olsen - Bass
*Doug Rhodes - Organ
