The Grass Roots - Move Along / Alotta Mileage (1972-73 us, sightly soulful brass rock)

The final three Top 40 hits for the Grass Roots materialize on Move Along, a consistent album under the aegis of original co-producer Steve Barri with the band's future producers Dennis Lambert and Brian Potter writing two of the new hits. Slick arrangements and big production eliminate the charm of the earlier recordings, where P.F. Sloan and Steve Barri gave the group a nice mixture of the frosting poured atop once folky Simon & Garfunkel tracks by Clive Davis and the Top 40 shine Mickey Most gave to Herman's Hermits. That Sloan and Barri worked on Peter Noone's Hold On movie soundtrack, including their composition "A Must to Avoid" and an earlier version of "Where Were You When I Needed You," is a little proof of how they steered the original Grassroots. Peter Noone hit in January of 1966 with his Sloan/Barri material, the Grassroots in July of that year. 

by Joe Viglione

Given that they were perceived as being long past their prime, the appropriately titled Alotta Mileage (the group's seventh album) is a truly astonishing album to have come from the Grass Roots in 1973,  the first side of Alotta Mileage is a fine, smooth, delightfully hook-laden and beautifully produced body of soulful pop music. The vocalizing by Rob Grill and the playing by -- well, who knows, as the group was always relying on session musicians -- are first-rate, and the songs are catchy and executed spot-on, with a wide variety of sounds from solo acoustic guitar to horn-accompanied choruses in all the right spots. 

In one respect, it's no surprise that the group could still deliver like this on record, what with veteran members Grill and Warren Entner sharing the production chores alongside co-founder/original co-producer Steve Barri. Between them, they wrote the book on the group's post-1967 sound. Sad to say, side two is a bit less successful, as the material isn't as strong; most of what's there is predictable, by-the-numbers pop-soul, and the one minor chart single off the album, "Love Is What You Make It," sounds too much like a warmed-over Partridge Family leftover. But the fact that two-thirds of this record is as good as it is will be a pleasant treat to anyone who tracks it down. 

The other amazing element of this release is the wretched cover art -- Dunhill either had the worst art department in the business or someone there felt it was appropriate to go through the motions of doing his or her job: in place of anything indicating that this is a soul-based rock album by a band with more than a dozen hit singles to its credit, there is an image of footwear on the cover. 

by Bruce Eder

Tracks
1. The Runway (B. Potter, G. Lambert) - 2:51
2. Monday Love (D. Provisor) - 3:23
3. Anyway The Wind Blows (B. Potter, G. Lambert) - 2:53
4. Runnin' Just To Get Her Home Again (D. Provisor, W. Entner) - 3:25
5. Two Divided By Love (B. Potter, M. Kupps) - 2:35
6. Someone To Close (D. Provisor) - 3:17
7. Face The Music (D. Walsh, H. Price) - 3:08
8. Move Along (D. Provisor) - 3:19
9. One Word (A. Roberts, C. Welch) - 2:32
10.Only One (D. Provisor) - 4:57
11.Glory Bound (D. Walsh, H. Price, D. Provisor, S. Barri) - 2:33
12.Where There's Smoke There's Fire (D. Walsh, H. Price) - 2:57
13.Pick Up Your Feet (E. Villareal, W. Watkins) - 2:56
14.You've Got To Bend With The Breeze (D. Walsh, H. Price, R. Grill, W. Entner) - 2:45
15.Just A Little Tear (D. Walsh, H. Price, R. Grill, W. Entner) - 3:15
16.Ain't No Way To Go Home (B. Mann, C. Weil) - 2:55
17.Claudia (V. Weber, W. Entner) - 3:27
18.Love Is What You Make It (D. Walsh, H. Price) - 2:52
19.Look But Don't Touch (W. Entner) - 3:08
20.Ballad Of Billy Joe (C. Rich) - 5:03
21.We Almost Made It together (D. Provisor, W. Entner) - 3:40
22.Little Bit Of Love (A. Fraser, P. Kossoff, P. Rodgers, S. Kirk) - 2:45
23.Medley-I'd Wait a Million Years/Midnight Confessions/Let's Live For Today/Temptation Eyes (M. Bottler, G. Zekley / L. Josie / M. Julien, I. Mogol, D. Shapiro / D. Walsh, H. Price) - 4:16

The Grass Roots
*Rob Grill - Vocals, Bass
*Warren Entner - Guitar, Vocals
*Virgil Weber - Keyboards
*Reed Kailing - Guitar
*Joel Larson - Drums

1969  The Grass Roots - Leaving It All Behind  (2010 edition)

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Leonda - Woman In The Sun (1969 canada, marvelous folk psych with jazz blues tinges, 2007 issue)

Though it was released on a major label (Columbia's Epic subsidiary) in the late '60s, Leonda's sole album, Woman in the Sun, is extremely rare, and little known even among fans of singer/songwriters of the era. Because Leonda is Native American, and sometimes uses prominent vibrato in her vocal phrasing, she might generate comparisons to the most well-known Native American singer/songwriter of that era, Buffy Sainte-Marie. Actually, however, she's almost as similar to Annisette of Savage Rose or (more distantly) Melanie, or perhaps some of the gutsier woman singers from late-'60s West Coast rock bands. 

While Leonda has an appealing, somewhat raspy voice, her folk-bluesy material (with backup help from members of the Canadian rock band the Paupers) is less impressive. The songs are fairly meandering and not all that tuneful, if good-natured with a vaguely hippie uplifting vibe. Things are better when she moves away from a blues base to a folkier one, as she does with the orchestrated "When I Lived in My Grandmother's House" and the acoustic "Zono My Bird."

by Richie Unterberger

Tracks
1. Mist In The Sky - 3:39
2. Somebody´S Gonna Ask Me Who I Was (Leonda, Mike Baish) - 4:59
3. When I Lived In My Grandmothers House (Michael Peter Smith) - 4:34
4. Blue Diamond In Platinim Setting - 3:26
5. Mother In Love - 3:48
6. Come Take A Waltz Through My Heart - 3:38
7. Peace And Pipes - 6:46
8. Zono My Bird - 3:39
9. Head Country (Tothe Lost City OF Zoozoo) - 3:39
10.Make It All Right - 4:06
All songs by Leonda unles as else stated

Personnel
*Leonda - Vocals
*Brad Campbell - Bass
*Teddy Irwin - Guitar
*Sammy Lawhorn - Guitar
*Adam Mitchell - Organ
*Kermit Moore - Cello
*John Ord - Organ, Piano
*Skip Prokop - Drums

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Cockney Rebel - Cavaliers, An Anthology (1973-74 uk, two masterpieces and other gems, 2012 four disc set remaster)

The British band Cockney Rebel, founded by singer-songwriter Steve Harley, entered the rock scene in 1973 after signing with EMI. Their debut The Human Menagerie contained the single Sebastian with its classical keyboard arrangements. This single definitely generated interest in the band and it was a big international success. It paved the way for their second album The Psychomodo (1974), which was a great success either charting the top-ten in the UK along with the hit singles Judy Teen and Mr Soft. Recently these two albums were re-released in a 4CD anthology set. Beside these two albums this set includes all the singles and flip sides, recently discovered early alternative versions, mixes of tracks from both albums and various BBC concerts and sessions, including two tracks from The Old Grey Whistle Test. All these tracks were previously unreleased on CD.

On Cavaliers (An Anthology 1973-1974) Steve Harley & Cockney Rebel cover a range of musical genres from pop to progressive rock and even classical music. The first disc contains the entire debut album plus two singles and their flip sides. The Human Menagerie was recorded in June and July 1973 in the Air Studios in London and produced byNeil Harrison. All songs were written by Steve Harley. It was released by EMI Records in November 1973, but failed to chart in the UK and the USA. The line-up consisted of Steve Harley (vocals), Stuart Elliott (drums, percussion), Paul Jeffreys (bass), Milton Reame-James (keyboards) and Jean-Paul Crocker (electric violin, mandolin, acoustic guitar). Engineer was the well-known Geoff Emerickwho had worked with The Beatles, while Andrew Powell (The Alan Parsons Project, amongst others) did all the string arrangements.

The album features no electric guitars. Although the band originally had several guitar players, Harley felt that the Cockney Rebel sound didn't need an electric guitar. They settled on the combination of Crocker's electric violin and the Fender Rhodes piano of keyboardist Reame-James sharing the lead. Their first single Sebastian was an immediate success in Europe, although it failed to score in the UK singles charts. The band attracted a growing following in London with their debut album on which Sebastian undoubtedly is the ultimate highlight. This song is mostly performed on the acoustic piano, but has a lot of bombastic passages thanks to the use of a classical orchestra and a choir.

Two other musical highlights on The Human Menagerie are the short piece Chameleon, which is a kind of intro to Death Trip. The classical arrangements elevate this piece to a high level. It beautifully moves towards an excellent climax where the choirs sound absolutely stunning! The bonus tracks are a DJ edit of Sebastian and Rock And Roll Parade, the flip side of this single, which is a happy pop tune like many other songs on their debut. The next single that was recorded as Cockney Rebel has been added as well. The non-album track Judy Teen and its flip side Spaced Out end the first disc. This is a rather good single with fine playing on the violin. Judy Teen became their first hit in the UK; the flip side is a rather pop-like song.

The second disc contains the entire second album The Psychomodo complemented with two singles. This time the album was produced by Steve Harley and Alan Parsons, who produced the famous album Dark Side Of The Moon by Pink Floyd. He also worked with The Beatles. It was released by EMI Records on the 2nd of June 1974. The album failed to chart in the USA, but charted at number eight in the UK. The line-up was similar to their debut and once more Andrew Powell did all the string arrangements. You could say that The Human Menagerie was a journey into the decadence of mankind, while The Psychomodo is like a trip to the circus. 

On the latter album different musical elements of the circus can be heard throughout. Maybe this album has even more to offer than the band's debut. In my opinion the highlights are Ritz, Cavaliers and Tumbling Down. These pieces contain more prog rock influences compared to the other compositions. They also used more keyboards beside the usual piano parts. Especially Tumbling Down sounds very good thanks to the fine string arrangements. This disc contains rather strong bonus material as well like Such A Dream, the flip side of Mr Soft. Big Big Deal was the first solo single by Steve Harley released in 1974. It never appeared on an album. In 1975 Cockney Rebel scored a big hit in the UK with Make Me Smile (Come Up And See Me). The song preceded the formation of a new line-up, because after a successful UK tour all musicians, with the exception of Stuart Elliott, quit.

The third disc features several early versions, stereo mixes and alternate mixes of songs that later appeared on the first two albums. It's nice to listen to different versions of a number of tracks, especially the more well-known numbers like Sebastian, Mr Soft and Judy Teen. This time no orchestral arrangements can be heard. These versions sound purer as if they were recorded in a rehearsal room. The final and fourth disc is actually the most interesting one, because it contains the live versions of the rather sterile songs. If you listen to Cockney Rebel during performances for a BBC concert, The Old Grey Whistle Test and a John Peel session you just feel the energy. The songs are more lively thanks to a strong playing band. Even the two songs with the classical arrangements sound perfect. You hardly miss the string sections on Sebastian and Death Trip.

After the first split, Cockney Rebel was in fact a Steve Harley solo project. In 1974, The Best Years Of Our Lives was released again produced by Alan Parsons. This album included the aforementioned track Make Me Smile (Come Up And See Me) which became a number one single in February 1975. It was the band's biggest hit that sold over one million copies globally. More albums followed, but they never got the success of this one. In 2010, Steve Harley & Cockney Rebel began to tour again in England, Ireland and Northern Ireland following the release of Stranger Comes To Town, a new studio album.

Cavaliers (An Anthology 1973-1974) is a fine 4CD compilation comprising the early days of Cockney Rebel. I think this set will be enjoyed by many lovers of progressive rock music since songs as Sebastian and Death Trip are real beauties.

by Henri Strik (edited by Peter Willemsen)

Sadly Steve Harley passed away today, 17th March 2024, at the age of  73...

Tracks

Disc 1

The Human Menagerie

1. Hideaway - 3:48

2. What Ruthy Said - 2:19

3. Loretta's Tale - 4:10

4. Crazy Raver - 3:44

5. Sebastian - 6:59

6. Mirror Freak - 5:11

7. My Only Vice - 2:49

8. Muriel the Actor - 4:09

9. Chameleon - 0:51

10.Death Trip - 9:51

11.Sebastian (DJ Edit) - 3:52

12.Rock And Roll Parade - 2:55

13.Judy Teen - 3:43

14.Spaced Out - 2:59

Disc 2

The Psychomodo

1. Sweet Dreams - 2:08

2. Psychomodo - 4:04

3. Mr Soft - 3:17

4. Singular Band - 3:02

5. Ritz - 7:14

6. Cavaliers - 8:35 

7. Bed In The Corner - 3:34

8. Sling It! - 2:44

9. Tumbling Down - 5:58

10. Such A Dream - 5:08

11. Big Big Deal - 4:30

Disc 3

Special Versions

1. Sebastian - 8:20

2. Hideaway - 4:03

3. Chameleon - 0:42

4. Death Trip - 8:52

5. Loretta's Tale - 4:48

6. Crazy Raver - 4:01

7. Mirror Freak - 5:40

8. My Only Vice - 2:54

9. Rock And Roll Parade - 3:30

10.Judy Teen - 4:10

11.Crazy Raver - 3:48

12.Rock And Roll Parade - 3:30

13.Mr Soft - 3:23

14.Big Big Deal - 5:34 

Disc 4
Concerts And Sessions
1. Hideaway - 5:03
2. Crazy Raver - 3:51
3. Loretta's Tale - 4:40
4. Sebastian - 7:38
5. Death Trip - 11:24
6. Hideaway - 4:16
7. My Only Vice - 2:48
8. Bed In the Corner/Sling It! - 6:07
9. Mr Soft - 3:15
10.Sweet Dreams/Psychomodo - 5:44
All compositions by Steve Harley

Cockney Rebel
*Steve Harley - Vocals, Acoustic Guitar
*Stuart Elliott - Drums, Percussion
*Paul Jeffreys - Bass
*Milton Reame-James - Keyboards
*Jean-Paul Crocker - Electric Violin, Mandolin, Guitars

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Cream - Live Cream II (1972 uk, classic heavy blues psych rock, 2010 japan SHM remaster)

An oft-overlooked curio, Live Cream, Vol. 2 appeared at a very odd time, with very little warning, almost two years after its predecessor -- and at virtually the same time as the related (though not overlapping) History of Eric Clapton. And both showed up, not coincidentally, at a point when Clapton, unbeknownst to most of the public, was sidelined with a crippling heroin addiction -- this album helped keep him in the public eye, as a singer as well as a guitarist. 

On its face, Live Cream, Vol. 2 is a more ambitious album that its predecessor, offering more songs and including concert versions of two of the group's AM radio hits (as opposed to the album tracks that comprised the repertory on Live Cream, Vol. 1). And it is just about essential listening for anyone who wants to understand what Cream was about, which was live performance. Utilizing -- for the time -- state of the art mobile recording equipment, it was a significant achievement at the time in capturing the genuine sound of a high-wattage power trio on-stage, playing away at full volume; and the overall sonic excellence here must surely be credited to engineers Tom Dowd and Bill Halverson. 

The feeling that you are in the front row is very much in evidence, and this is largely due to their ability to capture the band's live fury with clarity and intimacy, down to every nuance of Ginger Baker's playing. As for the performances, this record does capture the band at their peak, though perhaps not at the very best moments of that peak -- the group made their reputation as a live act with epic, lengthy jams that verged on jazz, but the repertory represented here (as opposed to that on Live Cream, Vol. 1) is more focused on their pop/rock efforts, such as "White Room," "Sunshine of Your Love," "Tales of Brave Ulysses," etc., which don't lend themselves as easily (or at all) to opening out in extended jams, in the manner of, say, "N.S.U." or "Sweet Wine," or the legendary "Spoonful"; additionally, numbers such as "Sunshine of Your Love" and, in particular, "White Room," require more vocal dexterity than Clapton and bassist/singer Jack Bruce could muster in this kind of concert setting -- their singing, especially on "White Room" comes close to breaking down ("Sunshine of Your Love" fares better), whereas their playing holds together, almost better than perfect at times.

"Deserted Cities of the Heart" -- which opens the album -- comes off exceptionally well as a concert piece, the bass and guitar actually combining to overcome the absences of swooping cellos, acoustic guitars, and other accompanying instruments from the studio rendition. And there is one priceless example of Cream in a full-tilt jam, on the 13-plus-minute closing cut, "Steppin' Out" -- the band's sheer energy overcomes what minor deficiencies there are in the overall sound quality. And coupled with the compact, four- to five-minute versions of "Deserted Cities of the Heart" and "Tales of Brave Ulysses," among others, the album is a vital, intense, and enjoyable listen that is ultimately rewarding. The original LP had its sonic limitations,  but this remastered version offers the best sound ever heard for this album. 

by Bruce Eder

Tracks
1. Deserted Cities Of The Heart (Jack Bruce, Pete Brown) - 4:32
2. White Room (Jack Bruce, Pete Brown) - 5:38
3. Politician (Jack Bruce, Pete Brown) - 5:06
4. Tales Of Brave Ulysses (Eric Clapton, Martin Sharp) - 4:45
5. Sunshine Of Your Love (Eric Clapton, Jack Bruce, Pete Brown) - 7:20
6. Steppin' Out (James Bracken) - 13:38 (Mistitled As Hideaway)
Track 5 recorded 9 March 1968 at the Winterland, San Francisco
Tracks 4, 6 recorded 10 March 1968 at the Winterland, San Francisco
Tracks 1 - 3 recorded 4 October 1968 at the Oakland Coliseum Arena, Oakland

Cream
*Eric Clapton - Vocals, Guitar
*Jack Bruce - Vocals, Bass, Harmonica
*Ginger Baker - Drums

1966  Cream - Fresh Cream (SHM remaster)
1967  Cream - Disraeli Gears (SHM remaster)
1969  Cream - Goodbye (2010 SHM remaster)
1967-68 Cream - Live Cream (2010 SHM remaster)
1969  Jack Bruce - Songs For A Tailor
1971  Jack Bruce - Harmony Row

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Fairfield Ski - Fairfield Ski (1973 uk, fabulous melodic orchestrated soft rock with glam and prog tinges, 2013 remaster)

Birmingham’s Fairfield Ski are one of the greatest lost UK psych/prog bands ever. With a line- up which included ex- Terry Reid’s band Bill Bonham (cousin of Led Zepp John Bonham) on keyboards, their only recorded legacy is one of the rarest artifacts from the first UK psych- prog era: only 3 copies are known to exist of the Fairfield Ski acetate album, recorded in 1973 at top London studios such as Trident, Abbey Road and Apple. A perfectly played and professionally produced record which ranges from full- blown psychedelia to glam, hard- rock, progressive- pop and dreamy psych. Echoes of Forever Amber, Five Day Rain, Octopus, Deep Purple, Procol Harum, “Abbey Road” era Beatles and Appletree Theatre can be heard on the grooves of this lost classic.

Gu/sen

Tracks
1. Silver Tavern - 4:04
2. Circus - 3:12
3. Would You Mind / The Warrior - 11:19
4. Man From Galillee - 3:26
5. Something On Your Mind - 3:13
6. Meet Me At The Station - 3:16
7. Suddenly I'm Sure - 5:17
8. Si Te Dois Partis - 3:56
9. Time Is Fast Approaching / Goodnight - 4:49
All songs by Fairfield Ski

Fairfield Ski
*Matt Bridger - Bass, Vocals
*Dave Hynds - Drums, Vocals
*Nigel Wright - Vocals
*Bill Bonham - Keyboards, Vocals

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Lutha - Stop! The Music Is Over (1972-73 new zealand, amazing classic groovy rock, 2006 remaster)

This is a compilation of Lutha's two albums, fleshed out with three live tracks. Lutha was formed in Dunedin in 1970 and signed to HMV in 1972 producing their albums 'Lutha' and 'Earth' that year. They were initially insistent on remaining Dunedin-based, even after attracting considerable national interest, but eventually moved to Christchurch before they amicably broke up in 1974. The band line-up consisted of: Graham Wardrop (guitar/lead vocals), Garry McAlpine (lead vocals/percussion), Peter Edmonds (drums/vocals), Peter Fraser (bass guitar/vocals) and Kevin Foster (keyboards). 

Their sound could overall be described as melodic progressive rock, like early Genesis or Yes, but with lush vocal harmonies throughout. There is a great variety of music, between Wardrop's 'McCartney-esque' numbers (soft and melodic, in the vein of The Beatles) and McAlpine's rockier style (possibly a precursor to stars such as Jimmy Barnes). McAlpine's vocals are truly remarkable - he could have fronted any of the

hugely popular heavy rock acts of the '70s with his unique talent. 

The original members of Lutha have recently announced that they will reform for a concert in Dunedin during the inaugural Dunedin Heritage Festival in March. 'Stop!' was remastered at Stebbing Recording Centre by Simon Lynch and is highly recommended. 

by Peter Dent

Tracks
1. Then I Saw A Face (Graham Wardrop) - 3:30
2. Sun Song (Anaximander Rambling) (G. McAlpine, G. Spittle) - 3:52
3. I Really Only Want To Be With You (Graham Wardrop) - 2:31
4. Andrianna (Graham Wardrop) - 2:12
5. Mountain Side (Graham Wardrop) - 4:30
6. Stop! The Music Is Over (Garry McAlpine, Gordon Spittle) - 2:53
7. Why Is Gone (Garry McAlpine, Gordon Spittle) - 4:51
8. My Turn To Cry (Graham Wardrop) - 3:20
9. So Many Years (Graham Wardrop) - 1:24
10.I Am But All Alone (Garry McAlpine, Gordon Spittle) - 4:09
11.Earth (Graham Wardrop) - 4:26
12.Here And Now (Garry McAlpine, Gordon Spittle) - 4:34
13.Empty Rooms (Graham Wardrop) - 2:18
14.Dandylions (Garry McAlpine, Gordon Spittle) - 3:00
15.What Do You Do (Graham Wardrop) - 2:59
16.Waterfall (Pure Land) (Graham Wardrop) - 2:52
17.Places (Garry McAlpine, Gordon Spittle) - 5:39
18.The Old Tree (Garry McAlpine, Gordon Spittle) - 2:19
19.My Babe (Bill Medley, Bobby Hatfield) - 2:52
20.Policeman (Garry McAlpine, Gordon Spittle) - 2:30
21.Questions (Graham Wardrop) - 1:56
22.Student Demonstration Time (Live 1972) (J. Leiber, M. Stoller) - 3:38
23.Andrianna (Live 1972) (Graham Wardrop) - 2:29
24.Stop! The Music Is Over (Live 1972) (G. McAlpine, G. Spittle) - 2:48

Lutha
*Graham Wardrop - Lead Guitar, Vocals
*Garry McAlpine - Percussion, Vocals
*Peter Edmonds - Drums
*Peter Fraser - Bass Guitar, Vocals
*Kevin Foster - Keyboards

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Dr Feelgood - Stupidity (1976 uk, live rock 'n' roll dynamite, 2014 japan SHM expanded edition)

The best live record ever: and it reached No1! Just a few years into the 1970s, rock had become self-indulgent, and pompous, and singles were increasingly cheesy. But on the pub-rock live circuit Dr Feelgood were building a reputation for their sweaty, speedy, choppy, Canvey Island-bred rhythm and blues. The ace in their hole was their mop-topped, black-clad, bug-eyed guitarist, Wilko Johnson, who careered around the stage like a madman with a machine gun, chopping out funky riffs in a totally unique style. This 1975 live set (released in 1976) was fresh, unrelentingly exciting and inescapably danceable. 

In/det 

Comprised of recordings taken from 1975 tours, the live Stupidity finally captures the relentless, hard-driving energy of Dr. Feelgood at their peak. All the music on Stupidity is presented raw and without overdubs, making it clear that the dynamic friction between guitarist Wilko Johnson and vocalist Lee Brilleaux could propel the band toward greatness. While many of the versions here don't differ in form from the original studio versions, these unvarnished performances are considerably more exciting, revealing the Johnson originals "She Does It Right" and "All Through the City" as minor rock & roll classics. 

by Stephen Thomas Erlewine

Tracks
1. Talking About You - 1:59
2. Twenty Yards Behind - 2:06
3. Stupidity (Solomon Burke) - 2:20
4. All Through The City - 2:54
5. I'm A Man (Ellis McDaniels) - 5:10
6. Walking The Dog (Rufus Thomas) - 2:58
7. She Does It Right - 3:05
8. Going Back Home (Wilko Johnson, Mick Green) - 3:47
9. I Don't Mind - 2:13
10.Back In The Night - 3:09
11.I'm A Hog For You Baby (Jerry Leiber, Mike Stoller) - 3:17
12.Checking Up On My Baby (Sonny Boy Williamson) - 3:17
13.Roxette - 3:04
14.Keep It Out Of Sight - 2:59
15.Riot In Cell Block No. 9 (Jerry Leiber, Mike Stoller) - 3:48
16.Johnny B. Goode (Chuck Berry) - 4:02
17.All Through The City (Stereo Version) - 3:04
18.Roxette - 2:23
19.Boom Boom (Johnny Lee Hooker) - 2:44
20.Rock Me Baby (B.B. King, Lil' Son Jackson) - 4:57
21.All Through The City (Stereo Version) - 3:13
22.Oyeh ! (Stereo Version) (Michael Robert "Mick" Green) - 2:31
23.I'm A Hog For You Baby (Stereo Version) (Jerry Leiber, Mike Stoller) - 3:05
24.Stupidity (Stereo Version) (Solomon Burke) - 2:08
All songs by Wilko Johnson except whete noted
Tracks 1-7 Live at Sheffield City Hall, 23rd May 1975
Tracks 8-15 Live at Southend Kursaal, 8th November 1975
Track 16 Live at Friar's Aylesbury, May 17th 1975
Tracks 18-20 Live at Cardiff Top Rank, June 19th 1974

Dr Feelgood
*Lee Brilleaux - Vocals, Guitar, Harmonica, Slide Guitar
*Wilko Johnson - Guitar, Backing Vocals
*John B. Sparks - Bass Guitar
*The Big Figure - Drums, Backing Vocals

1974  Down By The Jetty (2014 Japan SHM edition)

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Dr. Feelgood - Down By The Jetty (1974 uk, superb pub rock tough boogie 'n' roll, 2014 Japan SHM edition)

The  reissue of this album is a must-own release, even for those who already have one of the Dr. Feelgood anthologies currently available, neither of which has more like the 24 tracks here. The 1974 album, a magnificent first album, recorded in pure mono, has been transferred to CD in exemplary form, a clean, sharp, crunchy, close sound that recalls the sonic textures of the Rolling Stones' first album, even as they cross swords with the Stones' arch-rivals of the era, the Animals, with a superb version of "Boom Boom." 

Released amid the burgeoning radio presence of acts like Thin Lizzy, Blue Öyster Cult, and Kansas, and the growing self-conscious profundity of Bruce Springsteen, Down by the Jetty was as refreshingly lean as anything the headline-grabbing '70s punks would later loose on the world, and as stripped down as the most basic roots rock. Lee Brilleaux's singing could go up against Eric Burdon's or Cyril Davies, and even take on elements of a thick rasp vaguely reminiscent of Howlin' Wolf (listen closely to "Roxette") and guitarist Wilko Johnson could play Jimmy Reed, Chuck Berry, or Bo Diddley licks with equally imposing (and seemingly effortless) virtuosity. 

This record was one of the great '70s rock 'n' roll albums, right up there with the Groovies' Shake Some Action and anything CCR left listeners, and ran circles around the Rolling Stones' post-Exile on Main Street output. The final cut, a killer live medley of "Bonie Maronie"/"Tequila" with guests Brinsley Schwarz and Bob Andrews blowing saxes, was a taste of what they did on stage with astonishing regularity, and could have sent the Ramones back to the drawing board if the Queens-based quartet had heard it. 

by Bruce Eder

Tracks
1. She Does It Right - 3:26
2. Boom Boom (Hooker) - 2:45
3. The More I Give - 3:27
4. Roxette - 2:58
5. One Weekend - 2:19
6. That Ain't The Way To Behave - 4:01
7. I Don't Mind - 2:39
8. Twenty Yards Behind - 1:13
9. Keep It Out Of Sight - 3:02
10.All Through The City - 3:09
11.Cheque Book (Jupp) - 4:08
12.Oyeh! (Green) - 2:32
13.Bonie Moronie / Tequila (Williams) / (Flores) - 4:52
14.(Get Your Kicks On) Route 66 (Bobby Troup) - 3:24
15.I'm A Hog For You Baby (Leiber, Stoller) - 3:08
16.Stupidity (Burke) - 2:07
17.She Said Alright - 3:40
18.Oyeh! (Earlier Version) - 2:34
19.Tore Down (Live) (Sonny Thompson) - 3:13
20.Don't You Just Know It (Live) (Huey Piano Smith, Johnny Vincent) - 3:17
21.My Babe (Live) (Willie Dixon) - 2:43
22.The More I Give (Live) - 3:05
23.It's My Own Fault Darlin'  (Live)  (B.B. King, Jules Taub) - 5:33
24.Bonie Moronie / Tequila (Live) (Williams) / (Flores) - 4:53
All songs  by Wilko Johnson; except where indicated.

Dr. Feelgood
*Wilko Johnson - Guitar, Piano, Vocals
*Lee Brilleaux - Vocals, Guitar, Harmonica
*John B. Sparks - Bass Guitar
*The Big Figure - Drums
With
*Bob Andrews - Saxophone
*Brinsley Schwarz - Saxophone

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Beau Brummels - Autumn Of Their Years (1964-66 us, amazing folk beat psych)

"The Beatles opened the door and the Beau Brummels sailed through it and for a while really rode the crest. That they have turned out, in the light of history, to be better than they seemed at the time, shows how advanced they were and how the taste buds have altered."

As self-appointed "grand-old-man" of the 1960s San Francisco rock scene, Rolling Stone founder Ralph Gleason might be forgiven for the slightly patronising tone of such patter. But his words reflect some of the snobbery inherent in the then-developing Bay Area rock community; a scene that was to disavow the Beau Brummels membership in its upper echelons, when by rights they should have been at the very top.

The Brummels' breakthrough in early 1965 established them as the first major rock group to emerge from the area, and they blazed the trail that many were later to follow. Under the helm of guitarist Ron Elliott, perhaps the pre-eminent songwriter of his generation, the group distilled rock, folk and country influences into a captivating and instantly recognisable style, that earned them two widely-admired national hits in 'Laugh Laugh' and 'Just A Little'. Elliott's accomplished guitar work, drummer John Petersen's trademark rimshot fills, even bassist Ron Meagher's nasal harmonies, all added up to a remarkably ditinctive sound. And the expressive vocals of Sal Valentino, rightly lauded as some of the best in rock, were the ace in the Brummels' pack.

The band’s history is well-known, but worth reprising briefly. Elliott and Valentino (real name Sal Spampinato) first sang together in school in the late 50s. Whilst Elliott studied musical composition at San Francisco State College,Valentino sang locally in North Beach, and even had a solo release ('I Wanna Twist') on the Falco label in 1962. With the Spring 1964 addition of Meagher, Petersen and Irish transplant Declan Mulligan, the Beau Brummels were formed. The combo's name cleverly hinted at their British-tinged material, but right from the start the group began performing Elliott's strong, quirky originals. According to the guitarist, "one of the reasons, for getting the band together, was so that I could hear some of my songs played."

After catching the combo at the Morocco Room in San Mateo on the San Francisco peninsula, popular local deejays Tom Donahue and Bob Mitchell signed the Brummels to their Autumn label. Autumn got the outfit out of sleazy North Beach bars and into the top ten with the brilliant, Sly Stone-produced 'Laugh, Laugh'. The classic follow-up 'Just A Little' went top five, and the group were thrown into an ensuing whirlwind of touring and TV and film work. Mulligan left just prior to the release of the group's second album in late 1965, and when Autumn folded due to finance problems in April the following year, the bands contract was sold off: "We got off the road and found we belonged to Warner Brothers."

The immediate success of the Brummels had taken its toll on Ron Elliott, a diagnosed diabetic; "I'd never been comfortable on stage anyway, but the road devastated me health-wise. Sometimes the only memory I have from a tour is waking up in hospital after an insulin reaction." Although Elliott's place was taken by Don Irving for touring purposes in late 1965, by the end of the following year the Beau Brummels had effectively become a recording-only act. Valentino and Elliott remained the constants, and the resulting albums "Triangle" and "Bradley’s Barn", while commercially unsuccessful, are widely acknowledged as masterpieces of late 1960s pop. Fittingly, both records expound upon styles and influences that were present in the group from the very beginning.

Although the Beau Brummels taped a fair amount of material for Autumn, there are remarkably few finished masters that were not released while the group was with the label. Most are demos, although the group themselves considered many tracks that were released at the time - ie on their two Autumn albums - as unfinished. But, as the recently released "San Fran Sessions" box set attests, most of the unreleased material is as good as anything that was officially issued. Some may have been slated as singles, such as the infectious 'Fine With Me', which was mixed down as a tentative release in September 1965. 

The band did eventually re-record the tune, in a slightly different arrangement, for a Warner Brothers single the following year. 'Woman', one of the group's best rockers, appears on the "Sessions" compilation with Dec Mulligan's original vocal, as per the Brummels appearance in teen flick Village Of The Giants. When the song eventually surfaced (on the album "Volume Two"), Dec's vocal had been replaced by an acoustic 12-string, as the guitarist was no longer with the combo (and would soon be in litigation with its remaining members). The group also taped a similar instrumental arrangement of their other tune featured in the movie, 'When It Comes To Your Love'

Despite having a quite remarkable lead vocalist in Valentino, the Beau Brummels democratically allowed each member to sing at least a couple of songs during the Autumn period. Drummer John Petersen takes the lead on 'That's All That Matters', which dates from December 1964. The raucous vocal and Kinks-like structure make it considerably different to anything else the group attempted.

by Alec Palao

Tracks
1. She Sends Me - 2:04
2. Tomorrow Is Another Day - 2:45
3. She Loves Me (Mulligan) - 3:08
4. Woman (Durand, Elliott) - 2:41
5. Dream On (Durand, Elliott) - 2:23
6. Cry Some - 2:36
7. I Grow Old (Durand, Elliott) - 1:57
8. No Lonelier Man - 1:43
9. This Is Love - 2:12
10.She's My Girl (Mulligan) - 2:27
11.I'll Tell You - 2:45
12.Let Me In - 2:18
13.Love Is Just a Game - 2:32
14.Till the Day - 1:56
15.I Will Go - 2:38
16.Stay With Me Awhile (Valentino) - 3:25
17.I'm Alone Again - 1:28
18.Down on Me - 2:31
19.Can't Be So - 2:16
20.Fine with Me (Durand, Elliott) - 2:27
21.Coming Home - 2:11
22.That's All That Matters - 2:39
23.Laugh, Laugh - 3:22
24.Still in Love with You Baby - 2:27
25.Just a Little (Durand, Elliott) - 2:29
26.When It Comes to Your Love - 2:05
All songs by Ron Elliot except where stated.

Beau Brummels
*Ron Elliott - Guitar
*Ron Meagher - Bass
*John Petersen - Drums
*Sal Valentino - Vocals

1965  Introducing The Beau Brummels (Sundazed edition)
1966  Beau Brummels' 66 (Japan edition)
1975  Beau Brummels
Related Act
1970  Ron Elliott - The Candlestickmaker

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The Charles Ford Band - The Charles Ford Band (1972 us, excellent classic blues with young Robben Ford)

When I recorded blues harmonica ace Charlie Musselwhite early in 1971  he had a tight little band which included two brothers, Pat and Robben Ford. Pat impressed me as a solid drummer and Robben was obviously a very gifted lead guitar player, doing many of the vocals, and then switching to saxophone for some haunting duets with Charlie's harmonica. They made great music together. 

When the brothers eventually left Charlie, they formed The Charles Ford Band, (named in honor of their father), and became quite popular in the Bay Area by introducing interesting modern changes into their otherwise fairly traditional urban blues repertoire. Their dynamic stage presence, original tunes, and fascinating interpretations of modern jazz classics, led several record companies to make attractive offers. However, as time went on the young band members sought different directions for their respective talents. When the Charles Ford Band finally broke up in late 1971 they wanted to preserve their music on record.

The Ford brothers weren't born into a blues environment - far from it! Their father was a country musician who had led a band in Wyoming called Rocky Ford and the Tennesseeans. Pat (2/19/1949) and Robben (12/16/1951) were born in Woodlake, Calif. and Mark (10/21/1953) came along after the family had moved to Ukiah, Ca., where all three brothers grew up. Ukiah is about 120 miles north of San Francisco and the musical offerings of the local radio stations were limited to Top 40 pop music along with some Country & Western.

There was none of the musical variety typically available to people in or near major cities who might hear, via the radio, Blues, Gospel, Jazz, Country & Western, Mexican, Classical, Jewish, Scandinavian, and many other types of ethnic music along with pop material. The Ford brothers didn't find music that really grabbed them until Robben, by chance, happened to hear a record by The Paul Butterfield Blues Band around 1965 at the local record shop. This led the brothers to records by B. B. King, John Lee Hooker, James Cotton and other blues greats and soon all their energy was devoted to playing this new-found music.

Prior to discovering the Blues, Pat and Robben had often joined their musically active parents in family jam sessions. By 1968 Pat and Robben had formed their first full-fledged blues band, a trio called The Ford Blues Band. Meanwhile Mark was working on his harmonica and soon joined the trio. The band became quite popular around Ukiah and worked steadily until Robben finished high school. Pat and Robben then went to San Jose and in 1970 formed the Charles Ford Band with harp player Gary Smith and Stan Poplin on bass. It was this band which Charlie Musselwhite encountered when he persuaded Pat and Robben to join him.

Since these recordings were made Robben has become something of a guitar legend and a much sought after sideman in blues, rock and jazz circles. For a time he toured with Miles Davis and Warner Brothers released his blues-oriented solo album Talk to Your Daughter in the late 1980s. For several years during the 1980s Mark Ford fronted his own popular Bay Area blues group, The Mark Ford Band. Patrick Ford recently formed his own record label Blue Rocket and continues to perform with the Ford Blues Band.

by Chris Strachwitz,  1972, 1991

I hink what made the The Charles Ford Band unique was that we were four young white boys, (I was the oldest at 21 and Mark was the youngest at only 16), from a small town in Northern California, who just didn't know any better. 

We came at this newly found blues music with an unbridled zeal and enthusiasm that was not affected by the usual restraints of what a blues band "should" be or should sound like.

The Charles Ford Band actually existed for less than a year and about four months after the band had broken up, Chris Strachwitz set up the sessions. I was back on the road with Charlie Musselwhite, Robben and Stan were working together, and Mark had dropped out of the scene. However, we all agreed that it would be a good idea to record something of the band.

With no rehearsal, and with both time and budgetary constraints, we went into a funky 8-track studio in San Francisco and cut the tracks in two quick sessions. Most were recorded in one take, "live," with no touchups. The Promise was recorded at In Your Ear in Palo Alto, Ca. on a home two-track machine and reveals a bit of the energy and enthusiasm that was the Charles Ford Band.

by Patrick Ford,  1991

Tracks
1. Blue And Lonesome (Walter Jacobs) - 8:23
2. Gibson Creek Shuffle (Robben Ford) - 3:43
3. My Time After Awhile (Geddins, Badger) - 3:40
4. Rest My Mind On Jesus (Robben Ford) - 1:30
5. Reconsider Baby (Lowell Fulson) - 5:23
6. Black Night (Jesse Mae Robinson) - 8:29
7. Wild Woman (Albert King) - 4:08
8. I Know What You're Putting Down (Jordan, Allen) - 4:03
9. Live The Life I Love - 5:53
10.Tell Him I Was Flyin' - 3:27
11.The Promise (John Coltrane) - 9:31

The Charles Ford Band
*Robben Ford - Guitar, Vocals, Piano
*Mark Ford - Harmonica
*Patrick Ford - Drums
*Stanley Poplin - Bass
*Michael Osborn - Rhythm Guitar (Track #3 Only)

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Huckle - Upon A Once Time (1974 canada, remarkable folk rock, 2012 korean remaster)

The singer-songwriter known as Huckle (ne Kelly Cavanagh) was raised in Montreal and Toronto, but by 1973 the self-described freak ("...we didn't call ourselves hippies then - we were freaks") had shifted west to B.C.'s Gabriola Island, helping to organize two western tours by Perth County Conspiracy and performing as the warm-up act for some of the shows. The 19-year-old Huckle took to B.C. granola culture immediately. "I arrived in Nanaimo on bathtub weekend. They were pretty excited about my hair. We lived at the stump farm on Gabriola, a little log cabin way out in the woods - no electricity, running water, or car."

In the spring of 1974 on the first of the Perth County tours, a live recording was made of eleven Huckle originals with Gary McKeehan engineering. After the soundcheck for a gig at Vancouver's Pender Auditorium in March, Huckle recorded nine songs live with a backing band (which included three Perth County members). Those tracks, as well as a couple more taped the following night at Gabriola Hall, would become the insanely obscure roots/folk debut Upon a Once Time.

The record's home-spun quality is evident even in the primitive hand-written paste-on cover ("I did it with Tommy (Agostino) and Kjell, the photographer"). And with only 500 copies pressed up and hawked at shows for three bucks a pop, Upon a Once Time was destined to become a bit of a holy grail for Canadian folkies. Several tours and a second equally obscure LP followed, 1976's Wild Blue Yonder, as well as a spot on the national CBC radio show Touch the Earth with Sylvia Tyson and Bill Garrett. Huckle finally settled on nearby Salt Spring Island, where he lives as "a lapsed hippie", performing sporadically as KC Kelly over in Victoria, B.C. 

by Robert Williston

Tracks
1. April - 2:11
2. Flowers - 3:09
3. Get Down - 4:12
4. Beyonder (The Hymn) - 4:25
5. Sunshine Shuffle - 3:32
6. Hello Sunshine - 2:27
7. Good Morning - 2:54
8. Lady Goldberry - 2:31
9. Gabriola Day - 5:24
10.The Minstrel Song - 3:26
11.Ocean - 3:43
All songs written by Huckle

Personnel
*Huckle - Vocals, Guitar, Mandolin
*Richard Keelan - Guitar
*Michael Butler - Bass
*George Koumantaros - Congas
*Paul Gellman - Vocals, Fiddle, Guitar
*Wende Sinclair - Vocals, Bamboo Flute

1976  Huckle - Wild Blue Yonder (2012 Korean remaster)

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Morgen - Morgen (1969 us, superb heavy fuzz psych, 2013 remaster and expanded)

Morgen was a hard rock/psych band that hailed from Long Island, NY.  They were fronted by guitarist/vocalist/wild man Steve Morgen but also included drummer Bob Maiman and guitarists Barry Stock and Rennie Genossa.  In 1969, record label Probe (ABC) released the group’s sole offering.

The album’s best known track is the classic “Welcome To The Void.”  40+ years later this cut’s over the top acid guitar work and pounding drums still shred the best of speakers.  Certainly a unique mixture of acid garage and hard rock, “Welcome To The Void” is essential listening.  There are other great cuts to be found on Morgen, like the stealth rocker “Purple” and the freaky fuzz corker ”Of Dreams.”  “Eternity In Between,” probably influenced by the Who, is another excellent track that begins with ringing guitars and crashing drums.  This 5 minute song is nearly ruined by a two and a half minute drum solo.

Steve Morgen’s sexually charged lyrics and over the top vocals will irritate some listeners but that’s really a minor complaint as most of Morgen is full of great fuzz guitar solos and solid songs.  No beads or flowers for these guys, Morgen is straight up brooding hard rock psych.  A mini gem of a record that will reward patient listeners.
by Jason Nardelli

Tracks
1. Welcome To The Void - 4:46
2. Of Dreams - 5:37
3. Begging Your Pardon (Miss Joan) - 4:47
4. Eternity In Between - 5:06
5. Purple - 4:11
6. She’s The Nitetime - 3:29
7. Love - 10:53
8. Of Dreams (45 Version) - 3:24
9. She’s The Nitetime (45 Version) - 3:27
10.Street Walker - 3:39
11.Lady - 4:06
12.Too Many Americas - 5:47
13.Don’t You Tell Me - 5:52
14.Maryjane - 2:59
15.Alpha Omega - 5:01
All songs by Steve Morgen

Morgen
*Steve Morgen - Vocals, Guitar
*Rennie Genossa - Bass
*Bob Maiman - Drums
*Barry Stock - Rhythm Guitar 

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Headband - The Headband Collection (1971-75 new zealand, outstanding blues 'n' rock, jazz, roots 'n' roll)

In the early sixties, singer Tommy Adderley enjoyed a  couple of minor hits and became a popular television performer. He then spent two years in Australia, returning home a seasoned cabaret performer. With a genuine love of the blues, he had always dreamed of forming a group similar to John Mayall and the Bluesbreakers, and in 1971, it all came to fruition when Headband debuted at Hatchett's nightclub in Auckland. 

The lineup was Alan Quinnell and Ronnie Craig on guitars, Jack Stradwick on bass (later replaced by Billy Kristian) Dick Hopp on electric violin and flute and ofcourse Adderley on vocals and harmonica.

Tommy initially didn't want a drummer but during rehearsals, it became obvious that the group wouldn't work without one so Jimmy Hill was added to the lineup. Mid year they became the resident band at the new Granny's club, and later in the year recorded an album for EMI. The album and three singles from it, The Ballad Of Jacques Le Mere, Love Is Bigger Than The Whole Wide World and Good Morning Mr. Rock and Roll were all successful, but unfortunately, apart from a universities tour as part of the Rock Circus, in 1972, Headband rarely performed outside of Auckland and disbanded in 1973.

They reformed briefly in 1975 for a tour organized by the Student Arts Council and recorded a new album, Rock Garden. A selection of tracks from both their albums are featured on this release.

CD Liner-notes

Tracks
1. (a) Mood One (Hopp) - 7:11
    (b) Time To Kill (Robertson)
2. Lisa, Listen To Me (Clayton Thomas) - 2:41
3. Dip Tank (Hopp) - 3:10
4. The Ballad Of Jacques La Mere (Edwards) - 3:44
5. Headband Grooving (Kristian) - 4:12
6. Good Morning Mr. Rock and Roll (T. and P Adderley) - 2:47
7. Love Is Bigger Than The Whole Wide World (Hill) - 4:00
8. (a) Mood Two (Hopp) - 15:14
    (b) The Laws Must Change (Mayall)
9. Hey Little School Girl (Adderley, Hill) - 4:02
10.Ungrateful Madonna (Hill) - 5:01
11.Good Time Feeling (Hill) - 3:34
12.Blueberry Pie (Edwards) - 4:52
13.I Get High (On Music) (Adderley, Hill, Nix) - 4:05
14.Raving Richard (Hill) - 4:10
Tracks 1 to 8 are from  “Happen Out”
Tracks 9 to 14 are from “Rock Garden”

The Headband
*Tommy Adderley - Harmonica,  Vocals
*Alan Quinnell - Guitar
*Ronnie Craig - Guitar
*Jack Stradwick - Bass
*Dick Hopp - Electric Violin, Flute
*Jimmy Hill - Drums
*Billy Kristian - Bass
*Neil Edwards - Bass
*Len Whittle - Keyboards

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Left End - Spoiled Rotten (1974 us, hard glam rock)

The rain continued to fall on a September Friday evening in downtown Youngstown, Ohio. The thick air made the last chords of the last song ring on beyond their normal cry. It was over. The young rock group Cherry Paup had finished their last gig. Guitarist Tom Figinsky, keyboardist Fred Dolovy, bassist Rod Buckio and drummer Pat Palombo had come to the end of their four years together. They were billed as The New Teen Sensations from 1964 through 1969…from high school freshmen to now graduating high school seniors. Now, it was a time of passage…from boys to men, from the dreams of rock & roll to the challenges of the real world… from high school heroes to regular faces in the crowd.

It was during a break at the Apartment Nightclub on Youngstown’s south side in the summer of 1972 that an articulate, brash, boastful and at times vulgar gentleman walked into the group’s dressing room.  He announced himself as Steve Friedman and confidently told the group he wanted to manage them.  At first, the guys took Mr. Friedman as just another hawker that was not to be taken seriously.  But Friedman’s obvious knowledge of the music business and his arrogance were appealing to the group.  After a couple of meetings, LEFT END had a management/production contract with Steven Friedman.

The group recorded more demos and Steve began meeting with record company executives in New York City.  By October of 1972, Friedman landed the group a recording contract with Polydor Records.  The contract gave the group a lucrative recording budget that included a minimum of two singles and one album a year for five years.  LEFT END could choose any studio at which to record.  The group unanimously selected Cleveland Recording in Cleveland, Ohio.  Why?  Because that is where Grand Funk recorded its early albums with the great engineer Ken Hamann.  The group finished its winter engagements while writing and testing new material for an album.  Polydor released “Bad Talkin Lady” on its label and the single began to sell nationally.

In the late spring of 1973 LEFT END began recording their first album.  The group continued to perform during this period.  The group recorded on Monday through Thursday.   One night with a few guests on hand, someone noted the total chaos and mess at the large hotel dining table that had been created by sliding several tables together.  There were beer bottles and mixed drink glasses lying on their side surrounded by stacks of china and half-eaten desserts.  The guest said, “Boy, you guys are really spoiled rotten.”  That was it…the perfect name for LEFT END’s first album…Spoiled Rotten.  To fit the image, Dennis changed his name to Dennis T. Menass.

The Spoiled Rotten LP was released by Polydor Records in the late fall of 1973.  It went to #1 on “Album Pix” charts in the tri-state area of Ohio, Pennsylvania and West Virginia over night.

The album picked up momentum and began to sell throughout the Midwest.  LEFT END’S live performances also picked up dramatically and they began playing concert venues to “standing room only” crowds.  Steve Friedman strongly supported the group’s spoiled rotten image by equipping the group with dead frogs to throw into the crowd, ping pong ball firing canons and suckers with wrappers that boldly read “YOU SUCK!”  Below in smaller print it read LEFT END.  The group did a mock slow ballad called, “Your Mine” or “The Pimple Song” in which a large weather balloon filled with water, whipped cream, and mustard was wheeled onstage in a small red wagon.  At the end of the song Dennis T. Menass would burst the balloon and those against the front of the stage got the worst of the exploding pimple.

Battles on stage with giant gorillas and “staged” attacking fans that Dennis T. would subdue with beer bottles, whips and clubs became a standard.  The press labeled them “Big Time Wrestling Meets Heavy Rock.”  The group wore lavish “glam rock” costumes of bright silver, gold, black and red.  When in New York City, the group would head to Greenwich Village and SoHo to find the most outlandish boots, belts, and leather outfits.  Dennis T. would change outfits several times during a concert set.  Certain songs commanded a special look.  Of course, the group continued closing their shows with flash pots and pyrotechnics.  LEFT END was known for their introduction tapes that were played prior to the group appearing on stage.  These were comical thematic collections of live and taped recordings compiled by Thomas John and Jerry Starr of what was then WSRD FM Radio (The Wizard).  These intros became very popular with LEFT END fans.  The Cleveland press dubbed them, “The Monster That Ate Cleveland.”

Soon after the Spoiled Rotten album was released, Polydor released the single “Loser” from the album.  The group began performing in large concert venues with the likes of the Eagles, the J. Geils Band, Brownsville Station, the New York Dolls, Trapeze, George Clinton and the Funkadelic Parliament, and dozens of others.  LEFT END appeared in Rolling Stone, Cash Box, Billboard, Cavalier and other national magazines.  They were frequently featured in local periodicals in the tri-state area.

Polydor held a big reception for LEFT END after the group performed in concert at Cobo Arena in Detroit.   The concert was a great success.  LEFT END finished the set with the usual flash pots on stage and added a full blown fireworks display.  The crowd went crazy and literally attacked the group.  Later, at the reception for the group, Polydor executives, still buzzing from the concert, began to lay out plans for the group.  LEFT END had captured the Midwest and there was great interest from east and west coast cities.  Their plan was to take the group to Europe where it was felt that they would be an instant success and then bring them back here as “The Monster That Ate Europe.”

Group members were floating on clouds anticipating their rise to greater stardom…until communication with Polydor Records suddenly came to a halt.

Leftend-band

Tracks
1. Loser (Figinsky, Menass) - 3:38
2. Bad Talkin' Lady (Guerrieri, Menass, Palombo) - 2:28
3. Spoiled Rotten (Figinsky, Menass, Palombo) - 4:15
4. Take It In Stride (Figinsky, Guerrieri, Menass, Palombo) - 5:04
5. Sweet Lovin' (Figinsky, Guerrieri, Menass, Palombo) - 2:59
6. Every Little Thing (Lennon, McCartney) - 3:06
7. Mary-Jo (Figinsky, Menass) - 3:59
8. Takin' Time (Figinsky, Menass, Puhalla) - 3:24
9. Whiskey And Rye (Figinsky, Guerrieri, Menass, Palombo) - 3:55
10.It's Over (Left End) - 4:08

Left End
*Dennis T. Menass - Vocals
*Patsy Palombo - Drums, Percussion
*Tom Figinsky - Lead Guitar
*Jim Puhalla - Rhythm Guitar
*Roy Guerrieri - Bass

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The Leaves - All The Good That's Happening (1966-67 us, splendid folk psych garage beat, 2011 remaster)

From south to east and west to west, then back again. So the cyclone went in the early sixties. It carried blues and rhythm to New York, spun across the sea, casting rare vinyl nuggets on the shore of Liverpool and, in a mop-topped whirly gig ripped back across the ocean and through the heart of LA.

By the time it reached the pacific edge there was blues, rhythm, folk, pop and star-spangled freedom strewn in its wake. The universe-bound youth seized the tidal yo-yo, sought residencies at the Go-Go and forged some of the mind-melting foundations of American psychedelia. For The Byrds, The Doors and Love this was their time, a time they made timeless. But, in the wake of any cyclone there is debris and, Sunset stripped, The Leaves withered and fell, just a year after tasting the chart-tipped rays of success.

The band started as a rhythm and blues party band but hit the big time in April 1966 with a fuzz-wigged version of Hey Joe. Hip and tripped on this high, with a Whiskey residency and faithful hearts in the city of angels, they recorded All The Good That’s Happening. It A-bombed as fingers hovered and, when founding member Jim Pons left to get happy together with The Turtles, the band died.

However, All The Good That’s Happening is, in part, a fantastic testament to all the musical good that was happening from 1965 to 1967. Opening track Twilight Sanctuary reflects the close-knit harmonies and country-folk-tinged airs that gave wing to The Byrds. While One In The Middle is a R‘n’B standards work out…and great fun.

 This isn’t a testament, however, to why The Leaves fell. Third track in, On The Plane, has the haunting progressions and chilling lyrical tones that powered Love’s Forever Changes. Like Arthur Lee and his charges, it’s documented that The Leaves dabbled with nature’s resin. The influence of which can be felt with giddy-slept ears on side two of All The Good That’s Happening.

With None Shoes chops and jangles with litho-cut intent, while Codine is musically as clear at the rising sun but wrapped in the midnight claws of self-abuse and lament. The album closes with Lemmon Princess and its sinister opening command, “Play.” Wonderfully confused, ambiguous and sonically fried, the track is close to the Mad Hatter’s tea party edge of British psychedelia . It hints at what may have been had the LA waves not been carrying the portents of political unrest by the time The Leaves released their sophomore album.

by Stephen Coole

Tracks
1. Twilight Sanctuary (Bob Arlin, W. James Pons) - 2:37
2. One In The Middle (Paul Jones) - 2:33
3. On The Plane (Bob Arlin, W. James Pons) - 2:35
4. Officer Shane (Robert K. Arlin, John Beck) - 2:52
5. Let's Get Together (Jimmy Reed) - 2:51
6. Introduction To A Cartoon Show (Robert K. Arlin, John Beck) - 0:37
7. With None Shoes (Robert K. Arlin, John Beck) - 2:21
8. To Try For The Sun (Donovan) - 3:00
9. Codine (Buffy St. Marie) - 3:56
10.Flashback (The Rhythm Thing) (Arlin, Pons, Beck, Ray) - 4:16
11.The Quieting Of Oliver Tweak (The Stone Freak) (Michael Whalen) - 2:23
12.Lemmon Princess (W. James Pons, Robert M. Harris) - 2:05
13.Twilight Sanctuary (Mono) (Bob Arlin, W. James Pons) - 2:30
14.Lemmon Princess (Mono) (W. James Pons, Robert M. Harris) - 2:11

The Leaves
*Robert (Peppermint) Arlin - Lead Guitar, Vocals
*Tom Ambrose Ray - Tambourine, Drums
*Jim Pons - Vocals, Bass
*John Beck - Vocals, Rhythm Guitar, Sitar, Tambourine

1965-66  The Leaves...Are Happening! Best Of

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