P.F. Sloan - Precious Time / The Best Of (1965-66 us, impressive protest folk, vinyl edition)

A seminal figure in the evolution of West Coast pop, singer/songwriter P.F. Sloan composed and produced some of the most enduring records of the 1960s. While his solo efforts remain folk-rock cult classics, they were barely promoted by longtime label Dunhill, and his subsequent exit from the company was the start of a fall from grace that culminated in a three-decade absence from the studio. Born Philip Gary Schlein in New York City on September 18, 1945, he spent the lion's share of his adolescence in Los Angeles. While browsing the Sunset and Vine music store Wallich's Music City, the 12-year-old met Elvis Presley, who agreed to an impromptu introductory guitar lesson. Within a year Sloan signed to Aladdin Records, issuing his debut single, "All I Want Is Loving," to little notice. 

The Mart label effort "She's My Girl" met a similar fate, but in 1961 he resurfaced as a staff songwriter with Screen Gems, which teamed him with fellow composer Steve Barri under the supervision of producer Gary Usher. As the Fantastic Baggys, Sloan and Barri capitalized on the budding surf craze with "Tell 'Em I'm Surfin'." They also co-wrote the Round Robin hit "Kick That Little Foot, Sally Ann," and when Screen Gems exec Lou Adler broke ranks to found his own label, Dunhill, he brought Sloan and Barri with him to write and produce. Throughout the mid-'60s, the Sloan/Barri partnership proved a hitmaking force to rival the likes of Bacharach/David or Goffin/King. Smashes like Johnny Rivers' "Secret Agent Man," the Turtles' "You Baby," and the Grass Roots' "Where Were You When I Needed You" were instrumental in defining the sound of Southern California rock 'n' roll.

Sloan's most influential composition was the Bob Dylan-inspired "Eve of Destruction," a number one hit for Barry McGuire in the fall of 1965. The song, which drew fire from conservatives and liberals alike, nevertheless became one of the defining protest anthems of the growing counterculture movement, and its success spurred Sloan to renew his own recording career in full. His comeback effort, "Sins of a Family," a bleak, poignant tale of teen prostitution, spent less than two weeks on the pop charts in late 1965, and the LP Songs of Our Times suffered backlash from a folk-rock community that dismissed Sloan as little more than a studio hack jumping on the latest commercial trend. Moreover, Dunhill execs blanched at the thought of losing their most successful songwriter, and spent virtually nothing on promoting his solo career. 

A 1966 follow-up set, Twelve More Times, fared no better, and a frustrated Sloan demanded release from his contract. Dunhill finally agreed, but forced him to sign away all songwriting royalties past, present, and future. Sloan's talent and integrity inspired fellow pop tunesmith Jimmy Webb to write a glowing tribute, "P.F. Sloan," but he remained persona non grata on the pop charts. His 1968 Atco debut, Measure of Pleasure, tanked, and he relocated to New York City, moving in with his parents and plotting his next move. Sloan did not resurface until 1972, releasing the much-maligned Raised on Records on the tiny Mums label. In the decade to follow, he battled depression and catatonia, finally resurfacing in 1985 with a handful of New York club dates. Sloan nevertheless resisted overtures to cut a new LP until 2006, teaming with producer Jon Tiven and guests including Lucinda Williams and Frank Black to record the Hightone release Sailover. 

by Jason Ankeny

Tracks
1. This Precious Time (PF Sloan, Steve Barri) - 2:41
2. Eve of Destruction - 3:08
3. The Sins Of A Family - 3:01
4. Here's Where You Belong (PF Sloan, Steve Barri) - 3:02
5. This Is What I Was Made For (PF Sloan, Steve Barri) - 2:17
6. What Exactly's the Matter With Me - 2:27
7. I Get Out Of Breath - 3:13
8. From A Distance - 3:04
9. The Man Behind The Red Balloon - 2:15
10.What Am I Doin' Here With You (PF Sloan, Steve Barri) - 2:41
11.Take Me For What I'm Worth - 2:45
12.Lollipop Train (You Never Had It So Good) (PF Sloan, Steve Barri) - 3:08
13.When The Wind Changes - 4:23
14.Halloween Mary - 2:32
All songs by PF Sloan unless otherwise.

*PF Sloan - Vocals, Guitar

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The Bermuda Jam - The Bermuda Jam (1969 multinational, marvelous vivid psychedelia, 2015 issue)

If you go by the liner notes, this late-1960s quartet was a multi-national affair, the four members coming from Australia (James O'Connor), England (Paul Muggleton), Portugal (Glen Mello) and the States (Andy Newmark). In spite of the accents, one got the feeling this was little more than a goofball studio project, probably masterminded by Bob Crewe, whose DynoVoice label released their sole LP.

Produced by Andy Denno, 1969's "The Bermuda Jam" was one weird affair. Complete with sound effects and spoken word snippets, musically the set found the quartet all over the spectrum. "Hold Me" and "Who Put the Sun In Your Eyes (Who Put the Fly In Your Soup)" offered up harmony rich top-40 pop; "Up Down, Turn Around" found the band turning in a decent blue-eyed soul effort, while "Forever Young" had a C'n'W feel. Nothing here was terribly wrong, nor with the exception of the meltdown "Good Trip Lollipop" was there anything particularly right. 

Back to "Lollipop" - complete with meltdown keyboards, LSD drenched vocals (the hysterical laughter and nursery rhyme fragments were a sweet touch) and crunching guitar, it was easily the most psych-oriented effort and the standout track, it's too bad the rest of the LP wasn't as memorable. As you'd expect, the set vanished without a trace, followed in short order by the band. (Nice pajamas guys ...)

Tracks
1. Hold Me (Paul Muggleton) - 2:37
2. Forever (Paul Muggleton) - 2:56
3. Good Trip Lollipop (An Antihystathmn) (Paul Muggleton) - 4:48
4. Who Put the Sun In Your Eyes (Who Put the Fly In Your Soup) (Paul Muggleton) - 4:08
5. Forever Young (Andy Denno) - 3:53
6. Up Down, Turn Around (Andy Denno, B. Campo) - 2:22
7. I Want To Love You (Andy Denno, Glenn Mello) - 3:03
8. Easy To Say (But So Hard To Do) (Andy Denno) - 2:32
9. Medley - 10:24
.a.Down In the Valley (Andy Denno, Glenn Mello, Paul Muggleton, James O'Connor)
.b.Getting Ready for the Heartbreaks (L. Weiss, L. Edwards)
.c.Don't Fight It (Wilson Pickett, Steve Cropper)
.d.I Who Have Nothing (J. Bryant)

The Bermuda Jam
*Glenn Mello - Bass, Guitar
*Paul Muggleton - Guitar, Vocals, Keyboards
*Andy Newmark - Drums
*James O'Connor - Guitar

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Jellyroll - Jellyroll (1971 us, remarkable brass jazz blues rock, 2015 korean remaster)

Roger "Jellyroll" Troy, Musician, Singer, Bass Player, Songwriter, Producer, affectionately known as "Roll" to his peers, was a very well respected and talented musician, known by many fans, musicians and producers alike for his great vocals, writing and producing, and solid funky bass playing. Pull window down to see more below.

He was originally from Cincinnati, Ohio, later relocating to San Francisco, and played in numerous groups including "The Fendermen", "The Hollywood Argyles", his own group "Jellyroll" and record on Kapp records in or around 1969' entitled "jellyroll"-which included members Roger Troy (lead vocals bass), Tim Heding (keyboards, background vocals), Ed Setser (guitar), Stu Perry (drums, percussion), Lee Asch (alto-tenor-baritone saxophones), Dave Parkinson (tenor saxophone) and Bob Thorne (trumpet), also featured on the album is Cosme Joseph Deaguero on Conga.

Jellyroll joined The Electric Flag reunion band around 1973' and was on their subsequent record "The Band Kept Playing" and was a excellent record with Michael Bloomfield, Buddy Miles, Barry Goldberg, Nick Gravenites, and others, with producer great-Jerry Wexler, in 1974'...

He went on to play the next several years with "Michael Bloomfield and friends" groups, including "Try It Before You Buy It", "Life In The Fast Lane", "Between A Hard Place And The ground", "Count Talent and The Originals", "Live At The Old Waldorf", "Analine", "if You Love These Blues, Play Them Ad You Please", "Bloomfield-A Jellyroll had a solo record he did on RCA records in 1976, which featured such top-notch studio musicians such as James Gadson, Sonny Burke, Larry Goshorn, Ernie Watts, and others.

Roll worked into the late 70s and 80s with such artists as Maria Muldour, Mick Taylor, Lonnie Mack, Nick Gravenites, Jerry Garcia & Howard Whales("Hooteroll" tour), Mike Finnigan, Timmy Goshorn and Larry Goshorn of Pure Prairie League, Dave Widow and many others too numerous to mention...He had several songs covered by artists such as Tracy Nelson, Jose Feliciano, Carlene Carter, and others.

Roger, was 45 when he died of heart problems resulting from a heart surgery and later complications, he died in 1991. Roll, was a "card", and a practical joker, always pulling one on someone, for a good laugh...Bless his soul...When he was on top of his game he was one-bad to the bone-Musician, and would often make the hair on the back of my neck-stand up, when he would sing...roll was a powerful singer with great melody and articulation, with a sometimes Gospel-like feel, and a blues and rock and roll soul. .He was like a white Bobby Blue Bland.
by Dave Widow

Tracks
1. Restless Feeling (Roger Troy, Richard Podolor, Jellyroll) - 2:24
2. Seach For A Memory (Roger Troy, Richard Podolor, Jellyroll) - 2:56
3. Strange (D. Hoagland) - 2:29
4. Trying To Forget Someone Too (Roger Troy) - 4:09
5. Quick Trip (T. Hending) - 1:18
6. Help Me Over (Roger Troy, Richard Podolor, Jellyroll) - 3:00
7. Come On Baby (Roger Troy, Jellyroll) - 3:17
8. Follow Me (Roger Troy, Richard Podolor, Jellyroll) - 2:52
9. At The Beginning Of Tomorrow (Roger Troy) - 3:07
10.Hard Times (Roger Troy, Richard Podolor, Jellyroll) - 4:40
11.Standing On The Inside (Roger Troy, Ed Setser) - 3:31

The Jellyroll
*Roger Troy - Lead Vocals, Guitar
*Tim Heding - Keyboards, Vocals
*Ed Setser - Guitar
*Stu Perry - Drums, Percussion
*Les Asch - Alto, Tenor, Baritone Saxophones
*Dave Parkinson - Tenor Saxophone
*Bob Thorne - Trumpet
With
*Cosme Joseph Deaguero - Conga

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Dr Music - Sun Goes By (1972 canada, amazing art jazz spiritual blues rock)

In the 1970’s radio was playing great talent on the air as part of the CanCon requirements, and one such group was Toronto’s Dr. Music. An eclectic freeform jazzy R&B group, they fluctuated between 7 and 15 members. Dr. Music was truly the creation and dream of noted arranger/keyboardist Doug Riley.

Riley’s music experience had started years before, when he was recruited to get musicians for CTV’S ‘The Ray Stevens Show’ for season 1969-1970. That was the birth of Dr. Music. When the show was cancelled, Dr. Music decided to stay together, release recordings and tour to support their music.

The first release under the Dr. Music moniker was "I'd Like To Teach The World To Sing" on RCA Records, a split single with The Laurie Bower Singers for a Canadian version of the international Coca-Cola jingle.

This led to a partnership with British engineer/producer Terry Brown and the duo of Brown and Riley led to the their collaboration to form Toronto Sound Recording studio for jingle production. It also included working with then a new Canadian label, GRT Records. Having previously released his solo album 'Foxy Lady' (featuring vocalist Terry Black) on GRT, Riley was able to get the label's backing to release Dr. Music's self-titled debut LP featuring the first single, "Try A Little Harder", and its hit follow-up "Sun Goes By" (both written by Motherlode's Steve Kennedy) in 1972. Dr. Music disbanded at this point as Doug Riley was immersed in his new studio position, and the struggle to do both ventures well led to this decision.

Doug Riley died suddenly on August 28, 2007 of heart failure Doug Riley was at the Calgary airport on route to his home in Little Pond, P.E.I, at that time he was 62 years old.

by Sandy Graham

Tracks
1. Rollin' Home (Doug Riley) - 6:16
2. Sun Goes By (Steve Kennedy) - 3:50
3. One More Mountain To Climb (Neil Sedaka, Howard Greenfield) - 3:16
4. Find Me Some Wine (Wingfat) - 3:31
5. When You Believe (Steve Kennedy) - 4:53
6. Glory Glory (Brian Russell) - 4:20
7. Try A Little Harder (Doug Riley) - 2:48
8. Dreams (Brenda A. Gordon) - 3:53
9. Don't Wait Too Long (Doug Riley) - 4:16
10.Road To Love (Steve Kennedy) - 6:08

Personnel
*Don Thompson - Bass, Vibes, Percussion
*Doug Riley - Organ Bass, Keyboards
*Kenny Marco - Guitars
*Doug Mallory - Guitars
*Terry Bush - Guitars
*Michael Kennedy - Congas
*Dick Smith - Congas
*Terry Black - Harmonica
*Bruce Cassidy - Trumpet, Flugelhorn
*Barm Tollman - Trombone
*Steve Kennedy - Tenor Sax, Flute
*Gary Morgan - Baritone Sax, Alto Flute, Clarinet
*Terry Clark – Drums
*Mouse Johnson - Drums
*Rhonda Silver - Vocals
*Brenda Cordon - Vocals
*Laurel Ward - Vocals
*Terry Black - Vocals
*Steve Kennedy - Vocals
*Brian Russell  - Vocals
*Michael Kennedy- Vocals

1974  Dr. Music - Bedtime Story

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Ray Materick - Sidestreets (1972 canada, stunning sharp folk rock, 2009 korean remaster)

Ray Materick is a Canadian singer-songwriter, particularly popular in the 1970s, who continues to perform and create music.

Ray Materick is the son of an evangelical preacher, who had previously played saxophone, trumpet and clarinet in his own dance band, during the 1940s and 1950s. 

Originally from Brantford, Ontario, Ray Materick came from a musical household, where his father played in a dance band prior to becoming an ordained preacher in the early '60s. But although the trumpet was pushed on him as a child, he found his brother's love of Elvis, Buddy, and Chuck Berry, more appealing. As a teen he turned to the guitar (which he'd tried around age 8, but found it 'too difficult.') and became interested in the songwriters, like Gordon Lightfoot, Kris Kristofferson, and Bob Dylan.

His first group was while still a teen, in The Chevron Sextet, which only lasted doing high school dances until he moved to Toronto in 1970. Two years later, after gaining some experience on-stage on coffee house circuit, he signed a deal with Kanata Records (argued as one of Canada's first truly indie labels).

London picked up the distribution, and working with producer David Bird, he released his debut solo album, SIDESTREETS later that year. Roots-based folk with a fresh approach, it produced a pair of singles that both made the Canadian top 40 - "Season Of Plenty" b/w "Goodbye," and "Hard Life Alone." Hailed by the critics.

Ray Materick's first album was released on Kanata Records, the first indepdent label of Canada in 1972. Sidestreets received appraisal by many critics and regarded as a masterpiece. With his gritty, gravelly voiced and brilliant lyrics, it is truly deserved so. Includes 4 bonus tracks.

Tracks
1. Home From Parade - 4:48
2. Season Of Plenty - 4:02
3. One Thing I'll Never Ask Is Why - 5:06
4. Final Fire - 3:44
5. Goodbye - 3:12
6. Dear Christine - 2:38
7. Hard Life Alone - 3:58
8. Morning Song - 4:46
9. Cherylee Rose - 2:52
10.Sidestreets - 3:41
11.Sidestreets (Demo) - 3:44
12.Cherylee Rose (Demo) - 2:38
13.I Think I'll Try Tomorrow (Unreleased) - 2:36
14.It Ain't That Easy (Unreleased) - 3:14
Words and Music by Ray Materick

Musicians
*Ray Materick - Vocals
*Paul Mills - Guitar
*Michael Renzi - Bass
*Guido Basso - Trumpet, Flugelhorn
*Don Thompson - Piano
*Terry Clarke - Drums

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Howard Werth And The Moonbeams - King Brilliant (1975 uk, smart glam prog rock)

Howard Werth kick-started his music career with The Lloyd Alexander Blues Band in the sixties (and he doesn't remember it because he was there!), playing  a range of music covering the r'n'b / soul / Motown / psychedelia spectrum, and gigging round the circuit at that time, which included such West End all-night haunts as the Flamingo and the Whiskey A (Jo-Go (later to become The Wag Club), as well as thriving suburban venues such as the Blue Opera Clubs. These places all attracted the Motown mods, the art school blues and psychedelic crowds that dominated what was the burgeoning underground scene of that time.

The Lloyd Alexander Blues Band supported U.S. blues legends such as Jimmy Reed, and were the house band at the Uppercut Club in Fast London at a time when artists such as Otis Redding and Jimi Hendrix played there (Hendrix wrote Purple Haze in the dressing room).

Howard was searching for a new set of cultural references and musical triggers to draw from, which culminated in him forming Audience in 1 969. After a debut album for Polydor (reissued on CD by RPM Records). Audience recorded three more great albums for Charisma (now available through Virgin, along with a compilation). At the end of a very productive and hard working four years - w h i c h saw Audience play extensively around Britain, Europe and America (supporting Rod Stewart and The Faces in 1971) - the band were exhausted and in need of new impetus, and split up.

It was at this point that Howard began to work on his first solo album "King Brilliant". Gus Dudgeon produced and the core of the Elton John band provided the hacking, with the help of Bob Weston, fresh from his lime with Fleetwood Mac. The first two tracks to be laid down were ''Lucinda", a single that received a lot of airplay , and "Fading Star", which were recorded with members of Kokomo plus Davey Johnstone from Elton's band. Because of the limitations of vinyl , the track "Mechanical Dream", recorded during the sessions, had to be left off- and this hidden gem (which had never even been mixed) appears here for the very first time. A haunting, atmospheric piece, it sits perfectly with the rest of the material.

It was during the making of this album that Howard was approached by The Doors and asked to fill the space left by Jim Morrison. The Doors flew to England, and Howard spent some time rehearsing with them, but after some agonizing and deliberation, Ray Manzarek decided against The Doors reforming and the project floundered.

However Howard was later to reunite with Ray in Hollywood, where they worked together extensively on Howard's songs, some of which would later be re-worked to form the basis of the album "Six Of One", which was originally released on Howard's own METABop! label. 

Howard has stayed involved with music and following the reissue of these two classic solo albums, will be issuing a brand new recording on Luminous shortly. He is also planning to go back on the road playing selected gigs. He will also he contributing to an upcoming Doors tribute album at the request of Ray Manzarek....

Liner-Notes

Tracks
1. Cocktail Shake - 2:59
2. Got To Unwind - 4:50
3. The Embezzler - 4:28
4. A Human Note - 2:47
5. Ugly Water - 6:03
6. Midnight Flyer - 4:12
7. Fading Star - 3:03
8. Dear Joan - 3:12
9. Roulette - 3:28
10.The Aleph - 5:48
11.Lucinda - 3:07
12.Mechanical Dream - 4:21
All songs by Howard Werth

Personnel
*Howard Werth - Vocals, Guitar
*Bob Weston - Guitar
*Mike Moran - Piano
*Freddy Gaudy - Bass
*John Gustafson - Bass
*Roger Pope - Drums

Audience discography
1969 Audience (2002 remaster edition)
1971  House On The Hill (2015 Esoteric)
1972  Lunch (2015 Esoteric)

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The Rainbow Press - There's A War On / Sunday Funnies (1968-69 us, beautiful groovy psych, 2005 edition)

Marc Ellis and William H. Yergin were high school friends, In the fall of 1967, Ellis told him about a friend from Suffern, N.Y., on the Hudson River, who was looking for other band members. So, that summer, Yergin and five others jammed together. Halfway through the summer, they auditioned in New York City at the same theater used by Ed Sullivan.

The band subsequently logged its first contract in middle of the summer of 1968. The recording company, Mr. G, was a division of Audio Fidelity Records, Inc., which was the first company nationally to release a true stereo record, a revelation in the mono-heavy time.  Cashbox and Record World magazines, which featured industry news, named Rainbow Press picks of the week. The band’s record company wanted a second album, “Sunday Funnies,” which was recorded around Christmas 1968 and released in the spring of 1969.

“There's A War On” is excellent late '60s soft rock with more than just a touch of psychedelia about it. The ten well-crafted songs are all original, and are delivered smoothly by a tight 6-piece band dominated by Groff's superb vocals. The album's name and the eponymous track are as close as we get to political posturing, which is a great relief as the lack of prosletising let's the strength of the song writing and the band's performance shine through. There are loads of tight vocal harmonies, and plenty of fuzz guitar liberally dispensed throughout this polished and very enjoyable record."

The second LP "Sunday Funnies" was recorded during Christmas vacation at the 8 track studio A&R in NYC. It was released in the Spring of 1969, with the release of the single "Great White Whale". The Rainbow Press was truly a studio band, never going on the road to perform as the Rainbow Press. The group went its separate ways that summer. Yergin went to Case Western Reserve University and became a dentist. Marc and Larry are still in the music industry, Dave uses his musical abilities in his career.

the Maple Leaf

Tracks
There's A War On 1968
1. Step Aboard (Marc Ellis) - 3:10
2. A Simple Way (Marc Ellis) - 2:33
3. Cyclic Epic (The Song Of The Barnegat Mosquito) (Larry Milton) - 4:10
4. Better Way (Marc Ellis) - 2:38
5. The Girl That Cannot Love (Marc Ellis) - 4:49
6. There's A War On (Marc Ellis) - 4:20
7. Lightning Streak (Larry Milton) - 2:41
8. I've Found Someone (Larry Milton, Dave Troup, Joe Graff) - 3:14
9. Our Country's Still O.K. (Marc Ellis) - 3:51
10.No One Follows The Daytime (Larry Milton) - 3:38
Sunday Funnies 1969
11.Sightseeing (Marc Ellis) - 3:15
12.Great White Whale (Marc Ellis) - 2:35
13.The Lost Platoon (Ellis, Milton) - 4:30
14.I'll Cry Instead (John Lennon, Paul Mccartney) - 3:28
15.You Warmed Up My Life (Marc Ellis) - 3:45
16.As I Went Out One Morning (Bob Dylan) - 3:44
17.Have You Ever (Larry Milton) - 3:11
18.Sing Your Song (Larry Milton) - 3:22
19.Definitions (Larry Milton) - 3:59
20.Smitty's Rainfall (Larry Milton, Siegal) - 3:41

The Rainbow Press
*Dave Troup - Electric Bass
*Larry Milton - Electric Piano, 12 String Guitar
*Joe Groff – Tambourine,  Maracas
*Marc Ellis - Guitar
*Charlie Osborne - Organ
*Bill Yergin - Percussion

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Jesse Winchester - Jesse Winchester / Third Down 110 To Go (1970-72 us / canada, amazing folk country bluesy rock, 2012 remaster issue)

Jesse Winchester was one of the top singer-songwriters of his generation. This talented artist was born and raised in the American South, but relocated to Canada to avoid being drafted. His early inability to tour in the US may have permanently stunted his commercial success as a recording artist, since he never achieved sales commensurate with his artistic achievements.

After growing up in Memphis, Winchester received his draft notice in 1967 and moved to Montreal, Canada, rather than serve in the military. In 1969, he met Robbie Robertson of the Band, who helped launch his recording career. In the same way that James Taylor's history of mental instability and drug abuse served as a subtext for his early music, Winchester's exile lent real-life poignancy to songs like "Yankee Lady," which appeared on his debut album, Jesse Winchester (1970). He became a Canadian citizen in 1973. 

Jesse's debut  was released in a fold-out LP jacket that featured the same sepia-toned portrait (which looked like one of those austere Matthew Brady photos from the Civil War era) on each of its four sides. Winchester emphasized the dichotomy between his southern origins and his northern exile in songs like "Snow" (which Robertson co-wrote), "The Brand New Tennessee Waltz" ("I've a sadness too sad to be true"), and "Yankee Lady." Jesse Winchester was timely: it spoke to a disaffected American generation that sympathized with Winchester's pacifism. But it was also timeless: the songs revealed a powerful writing talent (recognized by the numerous artists who covered them), and Winchester's gentle vocals made a wonderful vehicle for delivering them. [Originally released by Ampex in 1970.

His two-and-a-half-years-in-the-making follow-up was in some ways even more impressive. Without the influence of Robbie Robertson, Winchester, who produced most of the album himself (three tracks were handled by Todd Rundgren), gave it a homemade feel, using small collections of acoustic instruments, an appropriate setting for a group of short, intimate songs that expressed a deliberately positive worldview set against an acknowledgement of desperate times. Winchester found hope in religion and domesticity, but the key to his stance was a kind of good-humored accommodation. "If the wheel is fixed," he sang, "I would still take a chance. If we're skating on thin ice, then we might as well dance." The album was littered with such examples of aphoristic folk wisdom, adding up to a portrait of a man, cut off from his very deep roots and yet determined to maintain his dignity with grace and even occasionally a goofy sense of humor. 

by William Ruhlmann

Tracks
Jesse Winchester 1970
1. Payday - 2:55
2. Biloxi - 3:21
3. Snow - 2:24
4. The Brand New Tennessee Waltz - 3:09
5. That's A Touch I Like - 2:50
6. Yankee Lady - 4:03
7. Quiet About It - 2:30
8. Skip Rope Song - 2:27
9. Rosie Shy - 3:06
10.Black Dog - 4:44
11.The Nudge - 3:34
Third Down 110 To Go 1972
12.Isn't That So? - 2:29
13.Dangerous Fun - 2:08
14.Full Moon - 2:06
15.North Star - 2:02
16.Do It - 1:31
17.Lullaby For The First Born - 2:57
18.Midnight Bus - 2:20
19.Glory To The Day - 3:50
20.The Easy Way - 1:33
21.Do La Lay - 1:57
22.God's Own Jukebox - 1:44
23.Silly Heart - 2:55
24.All of Your Stories - 2:38
All songs by Jesse Winchester except track #3 which is co-written with Robbie Robertson

Musicians
1970  Jesse Winchester 
*Jesse Winchester - Guitar, Keyboards, Piano, Vocals
*Guy Black - Drums
*Bob Boucher - Bass, Keyboards, Standup Electric Bass
*Al Cherney - Violin
*Levon Helm - Drums, Mandolin
*Dave Lewis - Drums
*Ken Pearson - Keyboards, Organ, Piano, Vibraphone
*David Rea - Guitar, Vibraphone, Vocals
*Robbie Robertson - Guitar

1972  Third Down, 110 to Go
*Jesse Winchester - Guitar, Keyboards, Piano, Vocals
*Charles Viber - Violin
*Doug Schmolze - Guitar
*N.D. Smart II - Drums
*Jimmy Oliver - Bass
*Gordie Fleming - Piano
*Ron Frankel - Drums
*Amos Garrett - Guitar, Vocals
*Sam Kelly - Bongos, Conductor, Congas
*Don Abrams - Percussion
*André Benichou - Guitar
*Bob Boucher - Bass
*Gene Cotton - Bass

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Swallow - Out Of The Nest (1972 us, awesome brass jazz blues funky rock, 2010 edition)

The first album from Swallow was produced by Jean Paul Salvatori, who put together the excellent Bootleg Him! double LP of Alexis Korner material this same year, 1972. Jeff "Skunk" Baxter of Ultimate Spinach, later with Steely Dan and the Doobie Brothers, appears on "Come Home Woman," an original from bassist Vern Miller Jr., who was part of the band who opened for the Beatles in 1966, the legendary Barry & the Remains. Miller's presence adds collectability to this debut. "Come Home Woman" would have been perfect for Alexis Korner, come to think of it, a bluesy lament which begins with Baxter's wonderful guitar work and picks up steam, letting George Leh open up and battle the horns -- the voice and instruments stir things up so fine. 

"Aches and Pains" is one of the four Vern Miller Jr./George Leh co-writes, and it is gospel-tinged blues which spills over onto "Common Man." There's real personality here, music perhaps a little too earthy for the Blood, Sweat & Tears crowd, but authentic to the max. Recorded and mixed where Aerosmith cut "Dream On" and where Jonathan Edwards of Orphan tracked "Sunshine," "Out of the Nest" is post-Bosstown serious singing and playing. When it is all instrumental, as on pianist/tenor saxman David Woodford's "Shuffle," Boston veteran Parker Wheeler gets a chance to give a counterpoint to J. Geils Band harp player Magic Dick. 

The harmonica on "Shuffle" admirably replaces George Leh's distinctive vocal. Leh's got that Nick Gravenites gravel growl on "Something Started Happening," a tune with charging dynamics, perhaps this band's strong suit. Miller's "Brown Eyed Baby Boy" is a plea for love with a solid hook that would work well for the Remains since that group started recording again in the new millennium. The Staple Singers' composition "Why Am I Treated So Bad," also covered by Cannonball Adderley and the Sweet Inspirations, adds another dimension to the mix, the organ of Bob Camacho getting to have its say. Mick Aranda's creative drumming is also worthy of note. Out of the Nest is an excellent document of early-'70s Boston roots rock/blues music with just a touch of jazz. This would make a nice two-fer with its follow-up, 1973's self-titled Swallow. 

by Joe Viglione

Tracks
1. Something Started Happening (V. MIller, G. Leh) - 3:35
2. Brown Eyed Baby Boy (V. Miller) - 4:44
3. Jason (V. Miller, G. Leh) - 2:43
4. Why Am I Treated So Bad (K. Staples) - 7:02
5. Confusion, Sadness, Trouble (V. Miller, G. Leh) - 4:48
6. Come Home Woman (V. Miller) - 5:05
7. Aches And Pains (V. Miller, G. Leh) - 4:08
8. Common Man (V. Miller, G. Leh) - 3:02
9. Shuffle (D.Woodford) - 3:22

Swallow
*George Leh - Lead Vocals
*Parker Wheeler - Vocals, Harp
*Vern Miller Jr - Bass, Guitar, Vocals
*David Woodford - Tenor Sax
*Phil Green - Guitar
*Mick Aranda - Drums
*Bob Camacho - Keyboards
*Jay Dewald - Trumpet
*Andy Harp - Trumpet
*Kerry Blount - Sax
*Gordan Kennedy - Trombone
*Jeff Baxter - Steel Guitar On "Come Home Woman"

1973  Swallow - Swallow (2010 issue)

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Wet Willie - Wet Willie (1971 us, superb southern rock, hard funky rhythm 'n' blues, 2015 japan SHM remaster)

Wet Willie began as a thrown together blues-rock band during the magical Summer of 1969 "way down in Alabama"...(Mobile, to be precise). The original nucleus of the group that eventually became known as Wet Willie was called Fox. The first "gig" was a booking in Panama City, Florida at a club called the Oddessy, a geodesic dome right on the beach. 

Jimmy Hall was out front, a triple threat on lead vocals, sax and harmonica; as one writer said, “Jimmy was who Mick Jagger wanted to be!” Ricky Hirsch played guitars and wrote or co-wrote much of the band’s material, with Jack Hall, Jimmy’s brother, on bass, Lewis Ross on drums and John Anthony on keyboards.

The band relocated to Macon, Georgia in 1970 where they were signed by Phil Walden’s Capricorn label, and got right to work on their self-titled first album. Upon its release later that year, Wet Willie began a relentless touring schedule, and soon became known as one of the hardest working bands of the Southern Rock era. As they put it, they “opened for everyone from A to Z: Allman Brothers to ZZ Top!”

Wet Willie's eponymous debut is a superb slice of Southern rock. The band occasionally is  getting into bluesy improvised sections, but their main talent is for laidback Southern grooves.

Tracks
1. Have A Good Time (Maurice Richard Hirsch) - 3:41
2. Dirty Leg (Jack Hall, John Anthony) - 3:41
3. Faded Love (Frank Friedman) - 4:31
4. Spinning Round (Frank Friedman) - 4:18
5. Low Rider (Maurice Richard Hirsch) - 3:01
6. Rock And Roll Band (Maurice Richard Hirsch) - 2:48
7. Pieces (Maurice Richard Hirsch) - 3:12
8. Shame, Shame, Shame (Jimmy Reed) - 3:22
9. Beggar Song (Frank Friedman) - 4:18
10.Fool On You (Frank Friedman) - 7:17

The Wet Willie 
*John Anthony - Organ, Piano, Vocals
*Jack Hall - Bass, Vocals
*Jimmy Hall - Harmonica, Percussion, Tenor Sax, Vocals
*Ricky Hirsch - Guitar, Vocals
*Lewis Ross - Drums, Percussion
With
*Donna Hall - Vocals

The Wet Willie Highway Ride
1972  Wet Willie - Wet Willie II
1973  Wet Willie - Drippin' Wet Live
1974  Wet Willie - Keep On Smilin
1975  Wet Willie - Dixie Rock
1976  Wet Willie - The Wetter The Better
1977  Wet Willie - Left Coast Live
1977/79  Wet Willie - Manorisms / Which One's Willie? (2013 Edition)

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Havenstreet - The End Of The Line / Perspectives (1974-77 uk, brilliant progressive folk rock, 2014 two disc set)

The genesis of Havenstreet goes back to 1969, when Phil Ridgway and Jeff Vinter played in The Gas, an experimental psychedelic band heavily influenced by Barrett-era Pink Floyd. The two friends started to write songs their own songs, ending up as a folk duo. With the offer to record some of their material at a friend's studio, they recruited more musical friends…so Havenstreet was born.

The influences had expanded now to bands and artists such as Peter Hammill, Strawbs, Traffic, Procol Harum, Stackridge, Keith Tippett, Bert Jansch…In the early-mid 70s they recorded a couple of albums which circulated as private cassettes among friends and relatives. In 1977, Havenstreet released "The End Of The Line", a self-released album in a private edition of 250 copies. It was collection of very English songs with evocative, literate lyrics and a stunning progressive folk-rock sound. It featured one of the earliest known tributes to Syd Barrett on the song "When the madcap meets the world".

This expanded double set reissue of Havenstreet's sought after album includes, the original "The End of the Line" album from 1977, a new album called "Perspectives" which presents the best tracks from the privately pressed cassettes The Autumn Wind (1974) and Transition (1976) plus rehearsal recordings for The End of the Line (1975/1976) and previously unreleased recordings for the group's projected fourth album (1979), which was never completed. These amazing tracks range from electric acid-folk to Barrett-esque psych-pop, pastoral folk and Caravan styled prog-rock.

Guerssen  

Combining the back-to-basics acoustic feel of the nu-folk generation with a swirly, psychedelic vibe, "The End of the Line" could actually be an album that was made in 2014. But this album was privately released in 1977. Now finally remastered and brought into the present, the retrospective feeling is amplified and should appeal greatly to fans of 70s folk and progressive music. This reissue is a must have even for the lucky few who own an original copy of the album as it comes with a bonus disc, "Perspectives", that compiles non-LP tracks from 1974-79. The quality of the extra material shines through.

by Michael Bjorn (Strange Days Magazine) 

Tracks

Disc 1 The End Of The Line

1. German Castles - 3:52

2. When The Madcap Meets The World (Francis Bassett) - 4:30

3. Old Ways And Schooldays - 2:51

4. Music In The Night - 2:45

5. Suspended Animation (Phil Ridgway) - 2:31

6. The H S B Song (Francis Bassett, Jeff Vinter) - 2:08

7. Yesterday Was Summer - 3:20

8. Rain - 3:14

9. The Castle - 3:15

10.Out Of The Fireglow - 4:14

11.The Keeper Of The Tower (Francis Bassett, Jeff Vinter, Phil Ridgway) - 3:16

12.The Photograph - 4:57

15.After Time (Francis Bassett) - 2:57

All compositions by Phil Ridgway, Jeff Vinter except where stated

Disc 2 Perspectites
1. Aftermath (Francis Bassett, Jeff Vinter, Phil Ridgway) - 5:00
2. Falling Leaves In Autumn - 4:19
3. Pat Old Engine - 2:21
4. Family Laughter - 2:38
5. Just An Illusion - 2:49
6. Kick - 4:46
7. Damascus - 4:14
8. Grasshopper - 2:44
9. Your Not Being There - 3:06
10.The Ballroom Of Despair (Francis Bassett, Jeff Vinter) - 4:59
11.Aftersong (Chris Summerfield, Jeff Vinter) - 2:35
12.Village Vespers - 4:27
All song by Phil Ridgway, Jeff Vinter except where noted

Personnel
*Richard Allan - Violin
*Francis Bassett - Piano, Clavinet, Organ
*Phil Ridgway - Acoustic Guitar, Vocals
*Andrew Russell - Flute
*Helen Russell - Vocals
*Robin Smith - Bass, Alto, Tenor Saxophone
*Jenny Tillyer - Rhythm Guitar
*Jeff Vinter - Vocals
*Pete Wills - Drums

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Leviathan - Leviathan (1974 us, sensational heavy prog rock with epic shades, 2012 bonus tracks edition)

As far as homegrown prog bands went (with a couple exceptions), 1970's America was the home of the brave but doomed. Leviathan was one act that actually managed to get one proper album release before disappearing, probably to secure to themselves and their posterity the blessings of not starving to death. Not as derivative of big-name British acts as most of their contemporaries, Leviathan's release (LP Mach Records AMA 12501) instead demonstrates how much more blurred the line between heavy metal and progressive rock had already become in the Colonies than in the Old Blighty.

The opening track "Arabesque" is rife with crunchy guitar riffs, stomping drums and bass, and bluesy vocal melodies delivered with hard rock's throaty harshness and occasional caught-meself-in-the-zipper yells. On the other hand, these are interspersed with a more delicate and harmonically complex sections with acoustic guitar, quick organ cadenzas and especially swirling Mellotron swells. The effect resembles some of Kansas' early works, though the writing is less adventurous and the playing less dynamic. The rest of the album pendulates between these two elements, searching for a right balance with variable success.

On "Seagull" the effect created by the mellifluous middle section full of liquid piano and Mellotron strings and woodwinds in what is otherwise just a slow-grinding, chugalong rock tune is a bit too cut and paste to avoid sounding contrived. Others mix ingredients with greater skill, either giving a straight-forward song a rich prog-style coating and melodic shine ("Always Need You") or using heavy guitar and rhythm section for impressive dynamic swells on an otherwise brooding, classical composition ("Endless Dream"). "Angel of Death" pretty much ditches the prog element, and sounds much smoother - and duller - as a result. The other extreme is the gentle, non-metallic ballad "Angela", which is saved from MOR mundanity by a small but nice harmonic modulation and a frothy use of acoustic guitar and lapping Mellotron strings. It all finally comes together on the closer "Quicksilver Clay", a quite stylish amalgamation of progressive melodic and instrumental richness, and the vigour of an underlying metal base.

It's too bad things don't click more often, because it results in an unbalanced, lopsided album. Admittedly, I am not a fan of the metal style, but when it works, the synthesis of old-style heavy guitar and Mellotron as displayed here is quite novel and charming - certainly enough to make this album worthwhile. Those into heavy prog in the old sense of the word, without thrash riffs, neo-classical shredding or double bass drum havoc, should definitely investigate this one. 

by Kai Karmanheimo 

Tracks
1. Arabesque - 6:15
2. Angela - 6:40
3. Endless Dream - 9:58
4. Seagull - 5:00
5. Angel of Death - 4:07
6. Always Need You - 3:22
7. Quicksilver Clay - 7:28
8. Why I Must Be Like You - 3:00
9. I'll Get Lost Out There - 3:42
All compositions by Leviathan

Leviathan
*Wain Bradley - Bass, Guitars, Vocals
*Peter Richardson - Organ, Vocals
*Don Swearingen - Piano
*Grady Trimble - Guitars
*John Sadler - Mellotron
*Shof Beavers - Drums

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Wet Willie - Manorisms / Which One's Willie? (1977/79 us, awesome soulful boogie funk rock, 2013 remaster)

Barely forty minutes long, Manorisms has some killer tracks such as the opening 'Rainman' composed by Mike Duke and the melodic 'Street Corner Serenade', which had some minor success as a single reaching Number 30 in the Billboard Hot 100, Fifteen positions higher than the album's second and final single, the aforementioned 'Make You Feel Love Again', Other wonderfully harmonic songs include 'Let It Shine', 'How 'Bout You' and 'One Track Mind'.

Though Manorisms did not yield any major radio hits and all but disappeared without a trace, peaking at a disappointing Number 118 in the US, it remains a forgotten gem and this CD reissue calls for a rediscovery of Wet Willie's majestic yet often sadly overlooked and underappreciated back catalogue.

The band followed Manorisms with their final studio opus, Which One's Willie? which was unleashed to the public in 1979. Recorded in January through to February of 79 at the Record Plant in NYC and LA, the album shows a distinct departure from their Southern rock roots with a more polished approach to soul as it contains some Wilson Pickett ('Stop And Take A Look (At What You've Been Doing)/Don't Let The Green Grass Fool You') and Eddie Floyd ('You Don't Know What You Mean To Me') covers as well as original songs composed by Mike Duke. 

The nine track album has some beautifully sung numbers such as the opening 'Ramona' and the dulcet The Hard Way'. Other songs of note include Tired Dreams' and 'Mr. Streamline', which both show the band's knack for creating efficient melodies.

Which One's Willie? peaked at Number 172 in the US and spawned two singles: 'Weekend' which hit Number 29 and 'Ramona' which failed to chart. Though the album was a commercial failure it has enough strong songs to warrant cult status amongst fans of Southern rock.

Wet Willie folded in 1980 after the release of Which One's Willie? though a new incarnation of the band was formed in the 1990s featuring John Anthony (keyboards), Ricky Hirsch (guitars), Jimmy Hall (vocals) and a revolving line-up of musicians, including the late Marshall Smith (he died in 2006 after suffering from heart problems), Mike Duke andTheophilus Lively.

There's no question that Wet Willie has made an impact on the American rock 'n' roll scene having been inducted into the Georgia Music Hall Of Fame in 1996 and the Alabama Music Hall Of Fame in 2001. Though they may not have achieved the mainstream success that some of their peers achieved, they have a small yet devoted fanbase.

by Neil Daniels, 2013

Tracks
Manorisms 1977
1. Rainman (M. Duke) - 3:21
2. Make You Feel Love Again (G. Jackson, T. Jones III) - 3:28
3. So Blue (M. Duke) - 3:17
4. We Got Lovin' (J. Hall, J. Hall, M. Duke) - 3:32
5. Don't Turn Me Away (M. Duke) - 4:49
6. Street Corner Serenade (M. Smith, M. Duke) - 4:54
7. One Track Mind (J. Hall, M. Duke) - 3:48
8. How 'Bout You (M. Duke) - 1:14
9. Doin' All The Right Things (The Wrong Way) (M. Duke) - 4:12
10.Let It Shine (J. Hall, J. Hall, M. Smith, M. Duke) - 4:20
Which One's Willie? 1979
11.Ramona (Joe Droukas, Peter Solomon) - 4:36
12.Stop And Take A Look (At What You've Been Doing)/Don't Let The Green Grass Fool You (Jerry Akines, Johnny Belmon, Reginald Turner, Robert Peckman, Victor Drayton) - 4:25
14.Weekend (Mick Jackson, Tommy Mayer) - 6:01
15.Smoke (Michael Duke) - 5:05
16.The Hard Way (Michael Duke) - 4:22
17.Tired Dreams (Michael Duke) - 4:13
18.This Time (Michael Duke) - 4:00
19.Mr. Streamline (Jack Hall, Jimmy Hall, Marshall Smith) - 4:01
20.You Don't Know What You Mean To Me (Eddie Floyd, Steve Carpenter) - 4:11

The Wet Willie
1977 Manorisms
*Jimmy Hall - Lead Vocals, Harmonica, Saxes, Percussion
*Jack Hall-Vocals, Bass
*Mike Duke - Lead Vocals, Keyboards
*Theophilus Lively - Drums, Percussion, Vocals
*Marshall Smith - Vocals, Guitars
*Larry Berwald - Guitars
1979 Which One's Willie?
*Larry Berwald - Guitars
*Mike Duke - Keyboards, Vocals
*Jack Hall - Bass Guitar, Vocals
*Jimmy Hall - Vocals, Harmonica, Saxophone
*Theophilus K. Lively - Drums, Percussion
*Marshall Smith - Guitars, Vocals
With
*Paulette Brown, Venetta Fields, Angelle Trosclair, Mighty Clouds Of Joy - Vocals


1973  Wet Willie - Drippin' Wet Live
1974  Wet Willie - Keep On Smilin
1975  Wet Willie - Dixie Rock
1976  Wet Willie - The Wetter The Better
1977  Wet Willie - Left Coast Live

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Jimmy Campbell - Son Of Anastasia (1969 uk, brilliant folk psych rock, 2009 remaster bonus track issue)

Jimmy Campbell was born on January 4th, 1944, three years after the Liverpool Blitz, to William and Anastasia Campbell. Only very essential rebuilding had occurred and Liverpool had still not been restored back to normal living conditions. England's vital port city was consumed by the war effort transporting munitions and American soldiers for the invasion of Europe. It is hard to imagine that out of such devastation would arise some of the most creative popular music performers and composers the world has ever known and one that deserves to be known. Jimmy, like most boys teenage boys in Liverpool during this period, became immersed in Eddie Cochran, Little Richard, Elvis, Buddy Holly and Everly Brothers records.

On March 11th, 1961 he would go to see The Beatles play a farewell dance at Aintree Institute and his life would be changed forever. "They were God," recalled Jimmy later. After that event, he began playing guitar like his idols and putting a band together (the Tuxedos) with his mates from Brookfield Comprehensive School in Kirkby. The Tuxedos changed their name to the Pulsating Panthers in 1962 and supported The Beatles at Hambleton Hall in Huyton on January 13th. Soon the Panthers would be playing the famous Cavern and in March of 1964 Cavern compere Bob Wooler would unintentionally change their name to The Kirkbys after the area in Liverpool where most of the band members resided.

The Kirkbys would go on to tour Germany and Finland. A 1964 tour of Finland found the band supporting Herman's Hermits, playing live on Finnish TV and releasing their first single, penned by Jimmy, 'Don't You Want Me No More' b/w 'Bless You' for RCA Finland. The Kirkbys' sole UK single, 'It's a Crime' b/w 'I've Never Been So Much in Love', would be released in 1966 before the band would change their name to the more psychedelic 23rd Turn Off and release the single 'Michelangelo' b/w 'Leave Me Here' for Deram in 1967.

After the 23rd Turn Off fizzled out at the end of 1967, Jimmy would continue to write his very personal songs while working as a toolmaker in a factory to help earn money. Jimmy was very much influenced at this time in his life by musicians Tim Hardin, Bob Dylan, Lennon and McCartney, The Band, and master painters Michelangelo and Van Gogh.

Meanwhile, Merseys' bassist Billy Kinsley had developed a deep friendship with Campbell when the 23rd Turn Off supported the Merseys on a UK Who tour. Billy would spend time at Campbell's flat listening to all of the amazing songs that Jimmy had composed.  Although the two Merseys' singles failed to attract much attention, Fontana A&R man Dick Leahy was a confirmed believer in Campbell's songwriting abilities and managed to sign him to a three album recording contract with Phillips.

A Fontana press release from 1969 describes Campbell as: "A 1969 song-writer minstrel like King Richard the Lionheart's Blondel." A Scouse Jack Kerouac beat who, "Rides in trains, boats, planes and hitches rides on giant lorries and jumps into the back of vans to get to his next destination." Campbell did enjoy the beat lifestyle and he often kipped on London benches out of the enjoyment of the experience and not out of need.

A 25-year-old Jimmy was rushed into the Phillips studio complex at Stanhope Place and Bayswater Road in London during the summer of 1968 to record enough material to complete two albums, Jimmy never possessed the self confidence as a solo artist and he would have preferred bringing a band to back him  during the sessions. Leahy felt differently and envisioned Campbell as a singer/songwriter like Cat Stevens. Jimmy's nervousness shows on all of the Son ofAnastasia recordings and he described his own voice, years later, as sounding "weedy" on all of the recordings. 

Most of the songs were run ' through in just one or two live takes with Jimmy on a borrowed acoustic guitar from Billy Kinsley and his kazoo. So naive was Jimmy about the recording process that he actually backed away from the microphone on the autobiographical 'Tremendous Commercial Potential' when he wastold that they would be doing a 'fade' to end the song!

Jimmy did manage a trip back into the studio in late 1969 to record 'Frankie Joe' with a backing band consisting of Billy Kinsley on bass and Dave Harrison on drums for the B-side of the delayed second single 'Lyanna'. However, by the time 'Lvanna' was released on February 12th 1970, the Fontana publicity machine had already spent its dime promoting Son ofAnastasia. Interesting enough, Jimmy's manager, Hal Carter, had been successful in promoting Jimmy's songs around to other artists. 

In 1970, Sgt. Will Scruffham (aka Don Charles) would release covers of 'And They All Came Marching Home' and 'Salvation Army Citadel' (which Jimmy recorded during the Son of Anastasia sessions and would later be released by Campbell himself on his final album, Jimmy Campbell's Album.  Rolf Harris also covered 'Salvation Army Citadel' in the same year. Jimmy would only hnd out about the cover version when he happened to see Harris performing the song on BBC TV!

By the end of the 1969, Campbell was in need of additional money and took a job replacing a pre-Badfinger Joey Molland in the Merseybeats. While on tour, Jimmy spent time composing songs for his 1970 follow up album Half Baked, but then that's another story.

by Mark A. Johnston, Dayton, OH 2009

Tracks
1. When I Sit Down To Reason - 1:22
2. Mother's Boy - 2:59
3. Another Vincent Van Gogh - 2:07
4. Penny In My Pocket - 2:35
5. Bright Side Of The Hill - 1:57
6. Dear Marge - 1:29
7. Lyanna - 2:19
8. They All Came Marching Home - 2:21
9. On A Monday - 3:26
10.Lovely Elisa Cope Is Dead - 2:41
11.You'll Break My Heart In Two - 2:18
12.Tremendous Commercial Potential - 2:04
13.Adrian Henri's Party Night (At O'Connor's) - 3:02
14.Another Springtime's Passed Me By - 1:57
15.Michelangelo - 2:57
16.Painting A Song - 1:19  
17.Frankie Joe (Bonus Track 1970 Single) - 3:14
Lyrics and Music by Jimmy Campbell

Musicians
*Jimmy Campbell - Vocals, Guitar
*Danny Thompson - Bass
*Colin Green - Guitar
*Ray Carr - Drums, Percussion
*Harold McNair - Flute
*Yvonne 'Sue' Wheatman - Vocals
*Heather 'Sunny' Wheatman - Vocals

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Dr. Music - Bedtime Story (1974 canada, elegant jazz prog rock with some blues traces)

Dr Music was the brainchild of Toronto native and Doug Riley, who first took piano lessons as a child as a means of coping through polio. Born in Toronto in 1945, he took lessons in classical piano at the Royal Conservatory of Music in Toronto beginning at the age of four. Later, in Montreal, he studied pipe organ with Harry Duckworth at St. Anne de Belleville Church, and piano with Paul DeMarky, Oscar Peterson's piano teacher, and eventually developed into one of the country's most up and coming arrangers.

He went on to earn a Bachelor of Music in composition from the University of Toronto, while playing R&B with the Silhouettes, appearing at the Blue Note and the other Toronto nightclubs of the day. and turned down an offer to join Ray Charles' band after working on his 1969 album, DOING HIS THING. He was working as the Music Director for a number of TV shows, when in 1969 Ray Stevens ("Guitarzan," "Ahab The Arab") came calling. CTV had given him his own show, and Riley, dubbed 'Dr Music,' was recruited to put together a band.

Several members came and went at first, but following the cancellation of the show after the 1970 season, Riley kept the core of the group in tact and began touring the local area jazz clubs. The actual band was rounded out with Doug Mallory on vocals and guitar, bassist Don Thompson, vocalist Diane Brooks, and the Kennedy brothers - Michael on vocals and percussion and ex-Motherlode member Steve leading the horns section that also included Gary Morgan, Keith Jollimore, and Barrie Tallman.

RCA approached Riley later that year for a Coca-Cola jingle they were releasing, and so they recorded one of two versions of the new theme song, a cover of The New Seekers' "I'd Like To Teach The World To Sing," with the Laurie Bower Singers doing the other. It was released internationally as a single, gaining both groups some overseas notoriety.

Riley had also just opened up Toronto Sound Recording Studio with producer and engineer Terry Brown (Klaatu, Rush, etc), where they mostly did jingle work. This connection came in handy when looking for a label, as GRT Records was fledgling, and Riley signed a deal with them the following spring, knowing studio time was obviously going to be available. During this period, he also manned the helm for some other GRT projects, including the sole album from Everyday People, and his own debut album, FOXEY LADY.

With a cast of session players including singers Laurel Ward, Brenda Gordon, Trudy Desmond, Rhonda Silver, and Terry Black (who was also featured on FOXEY LADY, Dr Music's eponymous debut album was in the stores later that year. Three singles hit the airwaves before year's end - "Try A Little Harder," Neil Sedaka's "One More Mountain To Climb," and "Gospel Rock." The last single's b-side, "Sun Goes By," was released as its own single the following spring. But following some select shows around the Toronto and Detroit regions, Riley disbanded this version of the group so he could focus on the studio.

But by the end of '72, Riley had resurrected a new version of the group that included Mallory, the Kennedys, Jollimore, and Tallman, along with new drummer Wayne Stone. After some live dates across the country, they went into the studio the first couple of months of the new year, and released their sophomore album that summer, DR MUSIC II. "Long Time Comin' Home" b/w the unreleased "Stay Real" and "Tryin' Times" were released as singles, following in Riley's tradition of finding a common ground between sophisticated jazz arrangements and a pop attitude that got decent airplay. Other noteable cuts included the Robbie Robertson-penned "Where Do We Go From Here," and Steve Kennedy's "6 - 5."

The TV bug bit Riley again, and he worked for the CBC on Keith Hampshire's new program, "Music Machine." That run lasted two seasons, but before the final curtain was dropped in '74, Riley had already reformed Dr Music, which was working as the show's house band.

By that summer, they released their third album, BEDTIME STORY. The new supporting cast had Mallory, Steve Kennedy, Jollimore, and Tallman returning, and new to the lineup were drummers Claude Ranger and Dave Brown, Don Thompson on bass, and trumpet and horns player Bruce Cassidy.

The album was generally more progressive than his previous outings, with a heavier guitar-oriented sound. The songs were longer, and more complex, and the title track (written by Herbie Hancock) b/w the lead-off "I Keep It Hid" became the only single, but didn't fare as well on the charts or in airplay that was expected. So following some dates around the Toronto area, Riley once again disbanded the group so he could concentrate on producing and engineering other artists.

Canadian-Bands

Tracks
1. I Keep It Hid (Jim Webb) - 3:19
2. Take That Rollo (Doug Riley) - 9:00
3. Tickle (Claude Ranger) - 11:38
4. She's Funny That Way (Neil Moret, Richard Whiting) - 6:13
5. Gandalf (Don Thompson) - 6:41
6. Bedtime Story (Herbie Hancock) - 8:04

The Dr. Music
*Doug Riley - Keyboards
*Doug Mallory - Lead Vocals, Guitar
*Claude Ranger - Drums
*Bruce Cassidy - Trumpet, Fluegel Horn
*Don Thompson - Bass
*Dave Brown - Second Drums
*Steve Kennedy - Vocals, Tenor, Alto Sax, Flute
*Keith Jollimore - Vocals, Baritone, Alto, Tenor Sax, Flute
*Barrie Tallman - Trombone

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