Progressive bluegrass group the Rowans consisted of harmonizing brothers Peter (guitar, most members of the mandolin family), Lorin (guitar), and Chris (guitar, flute). All three grew up in the small Massachusetts town of Weyland, near Boston, and played rock and bluegrass music together. Peter played with several folk bands in the New England area, joined Bill Monroe's band for a time, then teamed up with mandolin virtuoso David Grisman in the folk-rock outfit Earth Opera during the late '60s and early '70s. Lorin and Chris, meanwhile, teamed up as the folk/pop/country-rock duo the Rowan Brothers in the early '70s. With Grisman in tow, they relocated to the San Francisco Bay Area and scored a record deal with CBS, helped in part by an endorsement from Grisman's old cohort Jerry Garcia.
The Rowan Brothers' self-titled debut was released in 1972, with Grisman producing under the alias David Diadem, and they opened for the Grateful Dead. By 1975, brother Peter was between projects, and he joined his brothers as the renamed trio the Rowans. Their eponymous debut together was released on Asylum in 1975 and received highly positive reviews for its progressive, sometimes jazzy leanings and extended compositions. The 1976 follow-up, Sibling Rivalry, was equally acclaimed, but most critics agreed that 1977's Jubilations halted the trio's creative hot streak. They subsequently parted ways with Asylum and issued two more albums on the small Appaloosa label in 1980 before disbanding to pursue other projects. The Rowans reunited periodically for performances, particularly in the late '80s, and in 1994 (as Peter Rowan & the Rowan Brothers) recorded Tree on a Hill for the Sugar Hill roots label.
by Steve Huey
Joined by brother Peter and Chris Lorin Rowan signed with Asylum Records for their second outing, this time as the Rowans. Peter injects a bit more substance into the material, although it follows the same folk and country-rock leanings of its predecessor. Once again, Chris and Lorin offer a collection of sincere, tuneful, albeit slight songs, while Peter delivers three of the album's best cuts, including "Beggar in Bluejeans," "Thunder on the Mountain," and the near-classic "Midnight, Moonlight" (also released that same year as part of the great bluegrass project Old & in the Way and a few years later on his solo debut).
by Brett Hartenbach
Tracks
1. Take It As It Comes (Lorin Rowan) - 3:22
2. Midnight-Moonlight (Peter Rowan) - 4:19
3. Me Loving You (Chris Rowan) - 4:04
4. Old Silver (Peter Rowan) - 3:02
5. Thunder On The Mountain (Peter Rowan) - 8:25
6. Beggar In Blue Jeans (Chris Rowan) - 4:56
7. Do Right (Lorin Rowan) - 4:15
8. Man-Woman (Chris Rowan) - 5:44
9. Pieces On The Ground (Lorin Rowan) - 3:54
10.Here Today Gone Tomorrow (Peter Rowan) - 3:42
One thing you learn, sleuthing for obscure psychedelic music from the sixties, is that for every “White Rabbit” there is a “Night Sounds Loud.” And a “Crystal Forms.” And God knows how many other brilliant songs grown out of the same protoplasm, but forgotten to history. There is just no shortage of mind-exploding songs that have long ago slipped away into The Nothing – standout songs from bands less consistent, or just less lucky than Jefferson Airplane.
Even knowing that so much great overlooked music is out there, buried deep in record stacks and on YouTube, I was unprepared for “Introspection” by The End. Ironically, seeing that it was produced by Bill Wyman and engineered by Glyn Johns actually lowered my expectations. Let me explain. For an album with such a pedigree – produced by a Rolling Stone in 1968 – to have completely fallen between the cracks, it couldn’t actually be any good, or surely I’d have heard about it before now. Even the album cover is great – is that Charlie Watts’ eye?? It was just too good to be true, so it had to be lousy.
But it’s not lousy. In fact, it’s incredibly not lousy. Not just one or two of the songs, either – the whole album is a full-bodied technicolor blowout. Exquisite production, hooks galore and whiplash transitions. The album was set to come out on Decca (the Rolling Stones’ label) in 1968, and by all rights conquer the world. But, bafflingly, it was shelved for about a year. Which, in the music scene in the late sixties, might as well have been twenty. When Decca did finally release it, they put nothing behind it, and it sunk like a stone.
by Benjamin Wheelock
Although The End actually formed in 1965 some early groundwork was laid down beforehand. As 1964 progressed and Colin Giffin and Dave Brown became increasingly aware that song-writing had a future indeed, was possibly the future, they used their free time between The Innocents' touring and gig date; to start developing their own writing, often demoing their songs at the now-legendary R.G. Jones recording studio in Morden. The studio was something of a magnet for artists and groups all around south London and surrounding areas, such as The Rolling Stones, Yardbirds, PP Arnold and many others (Bill Wyman would later use the studio for sessions with The End).
Mr R.G. Jones himself was an avuncular figure endlessly enthusiastic and encouraging to the many young musicians and singers passing through on their way to who-knew-where. Many of the tracks recorded by Giffin and Brown have disappeared 'Another Time, Another Place', 'She's The One' for example, but may, hopefully, be hidden away in some dusty cupboard or attic somewhere but two titles are included in this compilation; 'I Want You Around and 'I Can't Believe It'. This writing partnership continued through The End years, augmented by productive collaborations with Nicky Graham and Terry Taylor.
CD Liner Notes
Tracks
Disc 1 In The Begining 1964-67
1. I Can't Get Any Joy (Dave Brown, Colin Giffin) - 2.17
2. Hey Little Girl (Dave Brown, Colin Giffin) - 2.22
3. I Want You Around (Dave Brown, Lawrie Williams) - 2.21
4. I Can't Believe It (Dave Brown, Colin Giffin, Lawrie Williams) - 2.19
5. Lost Without You (Dave Brown, Colin Giffin, Lawrie Williams) - 1.52
6. Baby Stay Like You Are (Dave Brown, Colin Giffin) - 2.35
7. It Won't Be Long (Dave Brown, Colin Giffin) - 2.09
8. She Believed Me (Dave Brown, Colin Giffin, Lawrie Williams) - 1.44
9. I Got Wise (Dave Brown, Colin Giffin) - 3.27
10.You're So Right (Dave Brown, Colin Giffin) - 2.21
11.You Better Believe It Baby (Joe Tex) - 3.06
12.Please Do Something (Don Covay, Ron Miller) - 2.11
13.Why (Dave Brown, Colin Giffin) - 2.41
14.Yo-Yo (Dave Brown, Colin Giffin) - 2.40
15.Searching For My Baby (Dave Brown, Colin Giffin) - 2.11
16.Daddy Loves Baby (Don Covay) - 2.30
17.We've Got It Made (July 1967 Mix) (Dave Brown, Colin Giffin, Nicky Graham) - 2.34
18.Shades Of Orange (November 1967 Mix) (Bill Wyman, Peter Gosling) - 2.37
Disc 2 Introspection 1968-69
1. Dreamworld (Dave Brown, Colin Giffin, Nicky Graham) - 4:16
2. Under The Rainbow (Colin Giffin) - 3:47
3. Shades Of Orange (Album Version) (Bill Wyman, Peter Gosling) - 2:39
4. Bromley Common (Talk) (George Kenset) - 0:49
5. Cardboard Watch (Dave Brown, Nicky Graham, Terry Taylor) - 2:53
6. Introspection (Part 1) (Dave Brown, Colin Giffin, Nicky Graham) - 4:03
7. What Does It Feel Like (Colin Giffin, Terry Taylor) - 2:47
8. Linen Draper (Talk) (George Kenset) - 0:13
9. Don't Take Me (Dave Brown, Colin Giffin, Nicky Graham) - 3:24
10.Loving, Sacred Loving (Album Version) (Bill Wyman, Peter Gosling) - 2:58
11.She Said Yeah (George Jackson, S. Christy) - 2:50
12.Jacobs Bladder (Talk) (George Kenset) - 0:53
13.Introspection (Part 2) (Dave Brown, Colin Giffin, Nicky Graham) - 2:43
14.Shades Of Orange (Mono Single Version) (Bill Wyman, Peter Gosling) - 2:39
15.Loving, Sacred Loving (Mono Single Version) (Bill Wyman, Peter Gosling) - 3:02
Disc 3 Retrospection 1968-69
1. Loving Sacred Loving (February 1968 remix) (Bill Wyman, Peter Gosling) - 2:48
2. Building Up A Dream (Dave Brown, Colin Giffin, Nicky Graham, Terry Taylor) - 2:41
3. Little Annie (Colin Giffin) - 2:58
4. Morning Dew (Bonnie Dobson, Tim Rose) - 3:34
5. Tears Will Be The Only Answer (Colin Giffin, Dave Brown) - 2:25
6. Today Tomorrow (Dave Brown, Nicky Graham) - 2:47
7. Lady Under The Lamp (Colin Giffin) - 2:33
8. Black Is Black (Michelle Grainger, Steve Wadey, Anthony Hayes) - 4:46
9. Mister Man (Colin Giffin) - 2:39
10.Call Me (Colin Giffin, Dave Brown) - 2:28
11.Shades Of Orange (June 1968 remix) (Bill Wyman, Peter Gosling) - 2:41
12.Mirror (Dave Brown, Nicky Graham) - 2:53
13.We've Got It Made (Mellotron Mix) (Dave Brown, Colin Giffin, Nicky Graham) - 2:25
14.Bypass The By-Pass (Dave Brown, Nicky Graham, Terry Taylor) - 2:43
15.Mister Man (Instrumental Version) (Colin Giffin) - 3:47
16.The Fly (Dave Brown, Colin Giffin, Nicky Graham) - 1:29
17.Sometimes I Wish I Were Dead (Dave Brown, Colin Giffin, Nicky Graham) - 3:41
18.Stones In My Banana (Dave Brown, Colin Giffin, Nicky Graham) - 2:59
Disc 4 The Last Word 1969-70
1. Son Of Lightning (Dave Brown, Nicky Graham, Terry Taylor, Paul Francis) - 5.02
2. Second Glance (Dave Brown, Nicky Graham, Terry Taylor, Paul Francis) - 4.53
3. Mistress Bean (Dave Brown, Nicky Graham, Terry Taylor) - 3.14
4. For Eleanor (Terry Taylor) - 1.58
5. So Free (Dave Brown, Nicky Graham, Terry Taylor) - 3.53
6. North Thames Gas Board (Dave Brown, Colin Giffin, Terry Taylor, Nicky Graham) - 4.03
7. Do Right Woman Do Right Man (Dan Penn, Chips Moman) - 3.10
8. Turn On Waterstone (Dave Brown, Nicky Graham, Terry Taylor, Paul Francis) - 3.06
9. Smartypants (Dave Brown, Nicky Graham, Terry Taylor, Paul Francis) - 3.56
10.My Friend (Dave Brown, Nicky Graham, Terry Taylor, Paul Francis) - 4.01
The End (In The Begining 1964-67)
*Dave Brown - Bass, Vocals
*Colin Giffin - Guitar, Sax, Vocals
*Nicky Graham - Organ, Vocals
*Chris Winters – Drums
*Hugh Attwooll – Drums With
*John Horton - Sax
*Charlie Watts – Tabla
The End (Introspection/Retrospection 1968-69)
*Dave Brown - Bass, Vocals
*Nicky Graham - Keyboards, Vocals
*Colin Giffin - Guitar, Vocals
*Terry Taylor - Guitar
*Hugh Attwooll - Drums With
*John Horton – Saxophone
*George Kenset – Voice
*Nicky Hopkins – Harpsichord
*Ken Leeman – Sax
*Jim Henderson - Additional Harmony
*Charlie Watts - Tabla
*Chris Winters - Drums
*Lennie Neldrett - Guitat
*Tefry Taylor - Guitar
The End (The Last Word 1969-70)
*Dave Brown - Bass, Vocals
*Nicky Graham - Keyboards, Vocals
*Terry Taylor - Guitar
*Paul Francis - Drums
*Jim Henderson - Vocals With
*Chris Spedding - Guitar
*Ian Stewart - Piano
Hailing from California, they became one of the most popular bands in the area, playing regularly at Mr Lee's Swingin' Affair nightclub in West Covina to packed houses. The band's one and only album, featured 12 self-penned tracks of fuzz-led blues and psych.
Despite enjoying a minor level of success including supporting both the Shirelles and Big Joe Turner, the band called it a day in 1969, leaving this lone recording as their epitaph.
This extremely rare album has a strong mix of psychedelia, garage and folk sounds mid to late sixties, given the high musical standard and excellent recording quality, still stand up amazingly well today.
Tracks
1. Soap Suds And Cream - 5:44
2. Stop (Pat Edwards) - 1:57
3. Leaving Just Isn't Fair (John Dalbeck) - 2:29
4. Yes I Love You - 3:39
5. Bad Case of Booze (Pete's Theme) - 4:46
6. Goodbye Sunshine - 3:19
7. Why Not Three Or Four (John Dalbeck) - 2:35
8. Lay It On The Line - 2:46
9. Mediocre Blues (John Dalbeck) - 2:50
10.It's Hurting Me - 2:33
11.Look Looky Look (John Dalbeck) - 2:19
12.I Can't Go on - 3:38
All songs by Alan Clark except where stated
The Rock Shop
*Alan Clark - Vocals, Lead Guitar, Bass, Organ
*John Dalbeck - Guitar
*Pat Edwards - Bass
*Pete Stevens - Drums
Contemporary music documentaries are saturated with exasperating stories just like Scott Fagan’s. Recent cultural excavations have yielded new knowledge about artists like Rodriguez, as examined in the release of Searching for Sugar Man. An entire generation of Cambodian psych-pop music eradicated by Pol Pot’s regime was exposed to audiences far and wide thanks in part to the documentary Don’t Think I’ve Forgotten. The examples go on and on, but the necessity of unearthing undiscovered gems from the past is as much an art form as the gems themselves. In fact, that’s pretty much the storyline for how Scott Fagan’s overlooked debut was introduced to the world.
Upon its release in 1968, South Atlantic Blues, for whatever confounding reasons, dropped like a brick commercially, despite Fagan’s uncanny pedigree. Upon arriving in New York from the Virgin Islands at 21, Fagan landed a successful audition with legendary producer Doc Pomus, gigged with some guy named Jimmy James (later known as Jimi Hendrix), unwittingly sired a literary indie-pop genius in Stephin Merritt (they did not meet in person until 2013), and almost became the first non-Beatle to be signed to the Fab Four’s revered Apple Records label (touche, James Taylor).
Suffice it to say that despite these forces of chaos, they did nothing to lift South Atlantic Blues to the masses, and the LP was pretty much forgotten about very soon after its release. Enter pop artist Jasper Johns, who came upon Fagan’s album in a cutout bin some years later and, bewitched by the strength and wonder of the songs etched into the groove of this discarded unknown, set to creating the pieces for the series “Scott Fagan Record,” which hang in the MET and MoMA today.
There’s a bit of a good luck that set Fagan’s record in the hands of the folks at Saint Cecilia Knows and Light in the Attic—both arbiters of high standard in the art of the reissue. The story of how Fagan’s debut was ignored and rediscovered at random by a respected and popular artist is incredible, no doubt. In a bit of cruel irony, it’s the record itself that’s more incredible, by far.
Beginning with “In My Head,” Fagan’s conscious vocals command attention, ruminating on the hazy inner dialogue of someone coming into his own not just as an artist, but as a man. Fagan sings, “The city street show cracks like a star so I wonder/why is it so strange to rearrange the clouds over and under myself?/and I have always seen the sea as secret lover/but does she want the sky instead?/Oh no; it’s something in my head.” String flourishes and tasteful guitars accentuate the propulsion of what sounds more Motown than sacred psych-folk (as this release is widely incorrectly ballyhooed as), which is one of the first indicators of the album’s otherness. Fagan’s powerful vocal takes are the next.
Belting high in the mix, Fagan’s raw vibrato warbles like Bowie’s but rambles like Reed’s, painting pictures in words not unlike those his son would excel at much later. And while not all Fagan’s lyrical musings can be described as entirely legible in addition to being literarily strong, his striking ability to have injected vignettes of angst into Bacharach-like horn-heavy groovers like “Crying” ought to have endeared him to an entire generation of Van Morrison-worshipping peaceniks.
Interestingly, “Nickels and Dimes” predates Morrison’s “Moondance” by two years, at least in terms of release, and pulses on the same Pink Panther-esque menagerie of sultry horns and suspicious melodies inspired by Caribbean sensibilities and R&B swagger. South Atlantic Blues utilized plunky keys, warm bass and barely-there percussion to guide songs to emerge both as ethereal aural maps as well as perfectly unobtrusive melodic foundations for Fagan’s fanciful crooning. “Nickels and Dimes” is the opus of a confused spirit, bemused by the calling of his talent even at age 21, when so much of the world had still yet to be discovered. Whether those discoveries were made in quite the way Fagan imagined is a question this record, sadly, probably never prophesied.
If it’s possible to listen to this album with the context of when it was released in mind, when the Donovans of the world were sipping champagne from velvet slippers and The Beatles were still together, try your hardest. The story is great, but it wouldn’t mean shit if this was a work of garbage, despite its rescue from such a fate at the hands of Johns.
After listening to South Atlantic Blues, the likely thought-route is to ponder the whereabouts of the thousands of staggeringly great pieces of music, art, literature just gathering dust in a bin somewhere, and who might be paying attention enough to pick them up. Luckily, this one was given a new life, and with it, a new testament to the staying power of rebellious, mischievous, talented songwriters.
by Ryan J. Prado
Tracks
1. In My Head - 4:09
2. Nickels And Dimes - 2:18
3. Crying (Joe Kookoolis, Scott Fagan) - 4:27
4. The Carnival Is Ended - 4:07
5. South Atlantic Blues - 4:48
6. Nothing But Love (Joe Kookoolis, Scott Fagan) - 2:40
7. Tenement Hall (Joe Kookoolis, Scott Fagan) - 4:47
8. In Your Hands - 3:20
9. Crystal Ball (Mort Shuman, Scott Fagan) - 3:52
10.Madam Moiselle - 4:42
Bonus Tracks
1. They Think She’s Crying Cause She’s Happy - 3:41
2. When You’re Lonely And You’re Blue - 3:53
3. Bonua (Traditional) - 2:30
4. I’ve Been So Lonely For So Long - 3:31
5. All For The Sake Of Love (Doc Pomus, Joe Kookoolis) - 2:46
Bonus tracks not including on CD or LP editions, only as lossy format via label's download page.
All Words and Music by Scott Fagan unless as else stated
Britain's Climax Blues Band didn't waste any time following up their self-titled debut in 1969 (dropping the moniker The Climax Chicago Blues Band), as they once again entered EMI's Abbey Road studios and put together Plays On, a highly adventurous and varied affair that saw plenty of new elements starting to creep into their once straight Chicago styled blues sound. The band had then slimmed down to a five-piece, consisting of Colin Cooper (vocals, sax, harmonica, bamboo whistle), Peter Haycock (guitars, vocals), Arthur Wood (keyboards), Derek Holt (bass, Mellotron), and George Newsome (drums). It was at this juncture that the band started to experiment with rock and jazz, and mixed with their already formidable blues chops the results on Plays On are quite spectacular. Esoteric Recordings continues on with the CBB reissues, giving this one stellar, crystal clear sound and another info packed booklet.
The album opens up with the lengthy jazz-fusion instrumental "Flight", a scorching piece highlighted by tasty interplay between all the players, especially Cooper's collection of reeds and Haycock's guitar. It must have been quite puzzling for fans of their blues soaked debut to pop on Plays On and hear this blast of awesome jazz to kick off the record. "Hey Baby, Everything's Gonna Be Alright, Yeh Yeh Yeh" sees the band returning to gritty blues, complete with scalding guitar solos from Haycock, but they go right back to jazz with a Latin flavor on the engaging "Cubano Chant", featuring some tight grooves, nimble piano, and some wild bamboo whistle lines from Cooper (who needs a flute, right?). On "Little Girl" the band add in some meaty rock riffs & organ to their blues base, another killer instrumental that also sees Cooper deliver some great sax melodies.
Wood tosses in the theme from '2001: A Space Odyssey" using organ, Moog, & Mellotron on the spooky, psychedelic piece ""Mum's the Word", a track for all the prog lovers to seek out, before the slide guitars from Haycock lead in the raunchy ragtime blues of "Twenty Past Two/Temptation Rag". Emotional, slow blues with yearning vocals can be heard on "So Many Roads", while the upbeat organ/guitar vehicle "City Ways" has plenty of swing and groove to it. The final tune on the album, "Crazy Bout My Baby" reminds of the material from the debut, and has a certain 'Peter Green era-Fleetwood Mac' feel to it.
Once again, Esoteric has unearthed some scorching bonus tracks here on this reissue; "Like Uncle Charlie" is a bluesy hard rocker complete with red-hot guitar licks from Haycock and an almost proggy middle section filled with sumptuous organ and layers of psychedelic vocals, and "Loving Machine" also sees the band rocking harder, driven by Haycock's stinging lead guitar."Dance of the Mountain King's Daughter" is another stab at jazz for the band, and has an almost Frank Zappa feel to it, but it's a shame the song isn't longer. There's also another mix of the Allman Brothers Band influenced "Flight" for good measure.
Though the band would go on to even greater heights with albums like Gold Plated, Flying the Flag, Sense of DIrection and others, Plays On is Climax Blues Band at their 'risk taking' best, as they basically said 'to hell with anything remotely commercial' and just went for it here. As such it's their most complex offering from a musical perspective, easily appealing to jazz-fusion, rock, prog rock, and blues fans alike. Incredible stuff!
by Pete Pardo
Tracks
1. Flight - 7:52
2. Hey Baby, Everything's Gonna Be Alright, Yeh Yeh Yeh - 4:24
3. Cubano Chant (Ray Bryant) - 5:35
4. Little Girl (Graham Bond) - 3:00
5. Mum's The Word - 3:45
6. Twenty Past Two, Temptation Rag (Cooper, Haycock, Holt, Wood, Newsome, Henry Lodge) - 3:20
7. So Many Roads (Marshall Paul) - 6:34
8. City Ways - 3:21
9. Crazy 'Bout My Baby (Haycock, Cooper, Holt, Newsome, Wood, Richard Jones) - 6:13
10.Like Uncle Charlie - 4:14
11.Loving Machine - 2:26
12.Dance Of The Mountain King's Daughter - 2:35
13.Flight (First Mix) - 7:28
All songs by Peter Haycock, Colin Cooper, Derek Holt, George Newsome, Arthur Wood except where stated.
The Climax Blues Band
*Colin Cooper - Vocals, Saxes, Harmonica And Bamboo Whistle
*Peter Haycock - Vocals, Guitars
*Arthur Wood - Keyboards
*Derek Holt - Bass Guitar, Mellotron
*Richard Jones - Bass Guitar
*George Newsome - Drums
After Flower Power and before punk, heavy, hard rock bands dominated the American music scene. In towns across the country, garage bands that had grown up taking drugs, flashing peace signs, and listening to the Beatles had witnessed the atrocities of Vietnam and Altamont, gaining a new perspective in a darker, crunchier, and more bombastic sound in their music. Bands like Led Zeppelin, Black Sabbath, the Jimi Hendrix Experience, Grand Funk Railroad, and Deep Purple were blasting out of muscle car windows, influencing a new generation of jaded musical amateurs.
Some of these ambitious groups earnestly composed some pretty far out jams. Playing hard and heavy just like the pros, these bands were on par with their heroes, albeit with a much smaller budget and inferior gear. The 45s these bands produced, mostly independently, were glorified demos given to record executives or sold for gas money. Generally speaking, a few hundred copies were sold direct to fans at local gigs outside of any kind of distribution. These pressings have since become highly sought after rarities and fetch serious coin when they are offered up for sale. Hence, the need to compile some of this material in a series we're calling Brown Acid.
The tunes compiled here come from a time that's been neglected in the compilation realm. The purgatory that lies between garage and punk has caused these gems to go overlooked by closed-minded collectors for far too long. Expand your mind, embrace the bad trip, and follow us down a two-lane highway into the abyss that is the American Rock'n'Roll Underground circa 1968-1979.
CD Liner Notes
Tracks
1. Zekes - Box (Lenny Gayle, Kenny Gayle) - 2:28
2. Snow - Sunflower (Rob Russen) - 3:59
3. Tour - One Of The Bad Guys (Tom Sweeney) - 3:18
4. Zebra - Wasted (Timo Laine, Bruce Borden) - 3:55
5. Bob Goodsite - Faze 1 (Robert Bruce) - 2:14
6. Raw Meat - Stand By Girl (Raw Meat) - 3:10
7. Punch - Deathhead (Ray Kusnier) - 4:56
8. Bacchus - Carry My Lead (Eric Turner) - 3:28
9. Lenny Drake - Love Eyes (Cast Your Spell On Me) (Leonard Drake) - 2:53
10.The Todd - Mystifying Me (Ron "Sonny" Hrehovcik) - 2:51
11.Josefus - Hard Luck (Bailey, Mitchell, Turner, Ontiberoz) - 3:46
"Sooner Or Later" is John Hammond's second Atlantic LP originally released in 1968. The material selected did testify to his good taste. Ten songs of electric blues boogie with a rocking band featuring songs written by Chester Burnett, John Lee Hooker, Elmore James, Willie Dixon, Sonny Boy Williamson - all done the funky and electrifying. A respectably hard-hitting electric blues set, comfortably integrating piano and (on occasion) Willie Bridges' saxes into the arrangements. “Sooner Or Later” was Hammond’s final effort in the sixties.
Tracks
1. Crosscut Saw (R. G. Ford) - 2:43
2. How Many More Years (Chester Burnett) - 3:13
3. Sooner Or Later (Jimmy McCracklin) - 2:14
4. Shake Your Moneymaker (Elmore James) - 1:56
5. Sugar Mama (John Lee Hooker) - 4:13
6. Nine Below Zero (Sonny Boy Williamson) - 2:43
7. Dust My Broom (Elmore James) - 2:24
8. Evil Is Going On (Willie Dixon) - 3:38
9. That's Alright (Jimmie Rogers) - 3:20
10.Don't Start Me Talking (Sonny Boy Williamson) - 2:31
Since the last tranche of Esoteric Climax Blues Band reissues were reviewed here we have had the sad news of Pete Haycock's death, and he now joins co-founder Colin Cooper in that great 12-bar line up in the sky. This series of reissues by Esoteric Recordings has provided a fitting if unintended tribute.
Gold Plated was, until many years later, both my entry and exit point where following the career of the Climax Blues Band was concerned. This was courtesy of the band's biggest hit Couldn't Get It Right which was released in the late autumn of 1976. A few weeks later the seismic shift of punk burst on to the U.K. scene and well-crafted blues funk was consigned to the dumper by those of us who were the right age at the right time and in the right place. This was a shame, because Gold Plated, the band's ninth album, was a set of finely crafted funky moves, of the kind favoured at the time by the likes of Kokomo and the Average White Band, with some well-seasoned blues chops never far below the surface.
If you look at the chart trajectory of their previous albums, you can see a slow but steady upwards progression in the States, albeit in the foothills of the chart mountain, and unfortunately no action to speak of back home. The band decided to popularise their take on the blues by stirring in the funky ingredients, and it worked, as Gold Plated turned out to be the high point in their career charts-wise, peaking at no. 27 in the U.S.A., and even making an appearance in the charts over here.
CBB came to the funk from their blues background, where the two bands I mentioned above had soul dancin' shoes. Dem blooze are still well represented on this highly polished record, produced once again by Mike Vernon. Although the record has a very sophisticated American sound, it was actually mostly recorded in the decidedly English setting of Chipping Norton in Oxfordshire. The band's U.S. label decided the record needed a hit and this turned out to be a song written in no time at all and included on the album without Vernon's participation, recorded separately in London. The off the cuff nature of "the hit" is apparent when listening to the album, but it remains irresistibly catchy to this day.
The album opens with the radio friendly Together and Free, and already fans of the band must have been taken aback by the change in the group's sound, but the usual high quality musicianship and writing meant that this was probably only a fleeting reservation. Mighty Fire combines the blues chops with the new-found funky dance moves with some panache, and many rugs are cut to the precise and at the same time loose-limbed Chasin' Change, which exemplifies the AWB comparison.
Despite its title, Berlin Blues is more of an R&B belter in the mould of the Allman Brothers than a straight blues workout. "The hit" we've already mulled over, and it is testament to its sharps hooks that it reached the dizzy heights of no.3 in the States and no.10 over here.
We have to wait until Rollin' Home for the first out-and-out blues number, and even that is not a traditional 12-bar, adding in some Stax soul for good measure. The guitar on this is quite magnificent by the way! Sav'ry Gravy is a slow funk shuffle, and the album concludes with Extra, which rolls out some more down home boogie for our delectation. The "gold plated" of the album name also refers to Pete Haycock's Veleno guitar, and great fun was had by the guitarist reflecting the spotlight back into the audience, no doubt!
The bonus tracks include a session for the John Peel show, and without the benefit of studio production embellishments the sheer professionalism of the band stands out. It cannot have been long after that session that punk took over, ironically given its first radio exposure by Peel, and the Climax Blues Band were never as high profile again, but that does not detract from a highly crafted and fun album.
by Roger Trenwith
Tracks
1. Together And Free - 3:52
2. Mighty Fire - 4:49
3. Chasing Chase - 4:18
4. Berlin Blues - 3:27
5. Couldn't Get It Right - 3:17
6. Rollin' Home - 3:12
7. Sav'ry Gravy - 4:52
8. Extra - 3:37
9. Fat Mabellene (Single B Side) - 3:14
10.Together And Free (Single Edit) - 3:16
11.Chasin' Change (Extended Take) - 5:16
12.Shadow Man (Previously Unreleased) - 1:24
13.Couldn't Get It Right (BBC Radio One John Peel Session) - 3:11
14.Chasin' Change (BBC Radio One John Peel Session) - 4:41
15.Together And Free (BBC Radio One John Peel Session) - 3:58
16.Mighty Fire (BBC Radio One John Peel Session) - 5:06
All songs written by Climax Blues Band
Bonus Tracks 9-16
The Climax Blues Band
*Colin Cooper - Vocals, Alto, Tenor Saxes, Rhythm Guitra, Clarinet
*Pete Haycock - Vocals, Lead Guitar. Slide, Acoustic Guitars
*Richard Jones - Keyboards, Guitar, Vocals
*Derek Holt - Vocals, Bass Guitar, Rhythm Guitar, Electric Piano
*John Cuffley - Drums, Percussion
Regarding The Tropics, Tom Petty is unequivocal: “In 1965 [they] were the biggest band in Florida. I watched them in awe.” Starting out in Tampa Bay in 1963 as a hornaugmented showband, by mid-decade they’d slimmed down, toughened up and focused in on their primordial essential selves. Their 1965 debut single, I Want More, could be The Searchers tumbling down a scree; similarly, It’s You I Miss, a 1966 B-side, is a gleaming beat ballad with tough-tender harmonies and vision-obscuring tremolo guitar: When You Walk In The Room’s evil twin.
Both are included on this spellbinding compilation, alongside flailing folk-rockers such as For A Long Time, suggestive of The Beau Brummels trying on The Byrds’ trousers, and attacked with the unmitigated gusto that was The Tropics’ birthright. Then there’s You Better Move, with hoodlum harmonica, crotch-itch maracas and pimply hormones in perfect balance and accord. A gleefully unconstrained vocal eventually succumbs, completely, to orgiastic primal screams. Best of all, 1967’s clanging, palpitating As Time’s Gone is the actual quintessence of 60s garage punk: like The Chocolate Watchband checking themselves out in a mirror and masturbating furiously. Talkin’ Bout Love, the band’s final single from 1969, heavy-treads through vanilla sludge with its molten Hammond and avid white-soul vocals. It still rules, though.
by Oregano Rathbone
Tracks
1. As Time's Gone (Albert Von Schweikert, Karl Lamp) - 2:16
2. You Better Move (Buddy Pendergrass, Dave Burke) - 2:39
3. For A Long Time (Travis Fairchild) - 2:34
4. Time (Take The Time) (Charlie Souza, Sandy Phelps) - 2:02
5. I Want More (Phil Gernhard, Tropics) - 2:27
6. It’'s You I Miss (Charlie Souza) - 2:37
7. Black Jacket Woman (Tropics) - 2:31
8. This Must Be The Place (Charlie Souza) - 1:52
9. Talking ‘'Bout Love (George Soule, Paul Davis) - 2:22
10.Laughing Again (Sonny Lamp) - 2:41
11.Goodbye My Love (Lamar Simington, Leroy Swearingen, Bob Mosley) - 2:43
12.Hey Little Girl (Travis Fairchild) - 2:24
13.The Prism (Sonny Lamp) - 2:29
14.Toy Soldier (Charlie Souza) - 2:56
Basement heavy psych, recorded in early 70's. Rough fuzz guitar, substantial organ and hooting vocals. Original LP released in about 500 copies. Album including one original composition written by bass player Jim Sarvis and five covers.
Tracks
1. Hot Blooded Mama (Jim Sarvis) - 4:58
2. A Whiter Shade Of Pale (Gary Brooker, Keith Reid, Matthew Fisher) - 4:00
3. Evil Ways (Clarence "Sonny" Henry) - 5:50
4. Get Ready (William "Smokey" Robinson) - 7:50
5. House Of The Risin' Sun (Traditional) - 5:27
6. Vehicle (Jim Peterik) - 2:24
By the mid-'60s singer/guitarist Sonny Lathrop had made a minor name for himself as a member of Mickey and The Invaders and The Starfires (see separate entries). Along with a wave of other California-based acts (Merrell Fankhauser, Jimi Hendrix, Quicksilver Messenger Service, etc.), the late-'60s found Lathrop living and working in Hawaii. Teaming up with drummer Willy Bims and singer/bassist Prince Teddy, as Sweet Marie the trio began to attract local attention, eventually being signed by the small California-based Yard Bird label.
The band made their recording debut with the 1970 single "Remember Mary" b/w "Don't You Understand?" (Yard Bird catalog number YDB-70-1314), and seemed poised on the edge of success when Liberty Records acquired national distribution rights, reissuing the 45 (Liberty catalog number 56215). Unfortunately, the single vanished without a trace. In the meantime, Yard Bird financed an album. Recorded in Honolulu, Hawaii 1970's self-produced "Sweet Marie 1" offered up a great slice of guitar-propelled rock. Interestingly, splitting vocal chores, Lathrop and Teddy provided the band with the ability to handle distinctively different styles.
Regardless of who was handling vocals, the material was peppered with some first rate guitar (check out the jazzy "Goin' Down the Road"). Now the bad news. While they may have been one of the best bands in Hawaii, little on the album was particularly original or innovative. It's a good, if somewhat pedestrian rock set that you're liable to like if you enjoy Hendrix. As for dealers that are advertising it as being psych, or progressive ... nope! Signed to a small label such as Yard Bird guaranteed limited sales, though the band apparently made enough money to buy a nightclub on the island of Oahu.
Tracks
1. Remember Mary (D. Bennett) - 3:26
2. Standin' By The River (D. Bennett) - 2:36
3. Sweet Pea (D. Bennett) - 2:21
4. Don't You Understand (S. Lathrop) - 2:11
5. If You Love Me (D. Bennett) - 3:48
6. Thru Rusty Windows (S. Lathrop) - 1:30
7. Walk Marie (S. Lathrop) - 2:02
8. Coin' Down The Road (D. Bennett) - 4:37
9. Dr. Feelgood (W. Lewis, S. Lathrop) - 3:33
10.Willy Bims (Solo) (W. Lewis) - 3:42
11.Bugalusa Baby (D. Bennett) - 5:11
12.It's Your Love (S. Lathrop) - 2:56
Green And Yellow is the collected recordings of legendary lost 1970s Deep South freaksters, THE STROKE BAND. Seen and heard, until now, by only a few South Georgia pot heads, rednecks, sheriffs, strippers, and intoxicated U.S. Marines. Fronted by Bruce Joyner – a swamp rat synthesis of Buddy Holly, Bryan Ferry and Jerry Lee Lewis – The Stroke Band were an art-punk aberration to anything else happening in South Georgia in 1978 – 79. This Anthology Recordings re-release of the Green and Yellow album is the first in any form since the private press LP came out in 1978. The Green And Yellow digital and CD releases include the original Green And Yellow album; plus the band’s only live performance at Joe’s Cellar – a notorious strip club in Albany, Georgia; and a set of demos and psychotic improvs from their Cork House headquarters in Valdosta.
Singer and band leader Bruce Joyner, who signed to Sire Records with The Unknowns in 1981 and has released several acclaimed solo albums since 1983; Don Fleming, guitarist for the Stroke Band, who went on to front his own bands Velvet Monkeys and Gumball, and produced albums for Sonic Youth, Teenage Fanclub, Hole, Screaming Trees, Andrew W.K.; Mark Neill, guitarist for The Stroke Band and The Unknowns, who is a renowned recording producer and engineer, in 2011 he won a Grammy for his production of the Black Keys Brothers album; and Green And Yellow album producer Robert Lester Folsom, whose own album Music and Dreams from 1976.
When David Bowie placed Tucker Zimmerman’s 1969 album Ten Songs by Tucker Zimmerman on a list of his 25 favorite albums – alongside acknowledged classics by The Velvet Underground, James Brown, Little Richard and even Steve Reich – readers of the 2003 list could have been forgiven for wondering, “Who is Tucker Zimmerman?” It’s taken some time, but the RPM label has finally unearthed Ten Songs by Tucker Zimmerman – in an expanded edition that could now be titled Seventeen Songs.
Zimmerman’s collection of self-penned, forceful folk-rock was produced by Bowie’s frequent collaborator Tony Visconti, who also played on the album. But the superstar artist’s connections to Zimmerman didn’t end there. The future Spiders from Mars – then known as Ronno after lead guitarist Mick Ronson – released Zimmerman’s “Fourth Hour of My Sleep” on a Visconti-produced single. And Zimmerman had actually played Bowie’s Beckenham Arts Lab, jokingly billed as cousin to Robert Zimmerman, a.k.a. Bob Dylan! (All kidding aside, Bob’s influence on Tucker can be detected in the harmonica and guitar work throughout the album.)
Zimmerman came to Britain from America in 1968 with a degree in music theory and composition under his belt as well as a songwriting credit on a Butterfield Blues Band album. Gigging throughout Europe under various names, he attracted the attention of EMI’s Regal Zonophone imprint. Regal Zonophone paired him with Visconti, who had been producing for the label, and the pair recorded a reported 80 demos. A single was initially released, “The Red Wind,” featuring Zimmerman supported by future Beach Boy Ricky Fataar on drums, Visconti on bass and Rick Wakeman, later of Yes, on organ and piano. Though the single didn’t make waves, the label proceeded with an album. Wakeman and Visconti joined another impressive cast of musicians including drummer Aynsley Dunbar and guitarist/sitar player Shawn Phillips for Ten Songs.
The atmospheric, haunting and edgy folk-rock of Ten Songs, like “The Red Wind,” failed to catch on with the public. Tucker Zimmerman would make five more albums through 1983 even as Ten Songs gained collectable cachet. RPM’s reissue adds seven bonus tracks including the mono and stereo versions of “The Red Wind,” non-album B-side “Moondog,” and four previously unreleased recordings from the period. Kieron Tyler has provided the excellent new liner notes and Simon Murphy has remastered from Rob Keyloch’s transfers from the original analogue tapes.
by Joe Marchese
Tracks
1. Bird Lives - 3:56
2. October Mornings - 3:37
3. A Face That Hasn't Sold Out - 4:33
4. The Roadrunner - 5:42
5. Children Of Fear - 4:55
6. The Wind Returns Into The Night - 5:35
7. Running, Running From Moment To Moment - 2:55
8. Upsidedown Circus World - 3:26
9. Blue Goose - 6:28
10.Alpha Centauri - 5:44
11.The Red Wind - 3:35
12.Moondog - 5:17
13.La Rinascente - 2:50
14.Non C'e Niente Mai - 3:33
15.En Memoire De Jean Genet - 3:45
16.Les Visions De Rimbaud - 3:43
17.The Red Wind - 3:38
All songs written by Tucker Zimmerman
Bonus Tracks 11-17
This extravagant six-CD set documents the astonishing life span of the first pop independent label in the U.K., Immediate Records. Founded in 1965, Immediate flipped, flopped, and staggered its own way, competing against unhip American labels like EMI and Decca until late 1969. The label, and the documentary CD set, showcases in particular the Small Faces, who enjoyed a brief U.K. number one hit, Ogden's Nut Gone Flake. More familiar to American listeners will no doubt be the three-chord sock-hop favorite "Hang on Sloopy" by the McCoys, and a number of covers of familiar American folk-rock hits are present as well.
The esoteric collector will appreciate inclusions by such café balladeers as the Poets and Les Fleurs-de-Lis, also signed by Immediate before the advent of the swinging London sound, marked by the Rolling Stones revolution and other mod developers influencing the pants off the tiniest studio cover bands. Immediate also helped sculpt the success of anguished bellower Chris Farlowe, soon to be joined by the similarly throaty vibrato of PP Arnold and, of course, manager, producer Andrew Oldham's best toss of the dice, the Small Faces, whom he ripped away from Decca. By the fourth disc, you are, in fact, in the throes of swinging London, featuring Farlowe's heart-stopping "Yesterday's Papers" and Arnold's "The First Cut Is the Deepest," written by the much-in-demand Cat Stevens.
Most of the music is minimal and often out of tune, production at an early-time low, replete with tinny echoes and accidental outtake moments. The most successfully recorded instruments seem to be the sitars, baroque strings, and arpeggio harpsichord riffs that "translate" well under Immediate's studio circumstances. Notable moments: Small Faces' "Here Comes the Nice" and "Itchypoo Park," Murray Head's "She Was Perfection," and the Marquis of Kensington's Kinks, new vaudeville hybrid, "Changing of the Guard."
This is a luxurious, overcollected document that could be easily managed on one museum-piece disc, although it would be hard cull dozens of small contributions by say, drop-ins Nico, Rod Stewart, and Mick Fleetwood. The jewel on the record is without question the Faces version (sung not by Stewart but by Chris Farlowe) of "Handbags and Glad rags": "They told me you missed school today, So I suggest you just throw it all away, The handbags and glad rags that your granddads had to sweat, So you could buy." Very British, very Immediate.
by Becky Byrkit
Tracks
Disc 1
1. The McCoys - Hang On Sloopy (Russell, Farrell) - 3:04
2. The McCoys - I Can't Explain It (Feldman, Goldstein, Gottehrer) - 2:27
3. The Fifth Avenue - The Bells Of Rhymney (Davies, Seeger) - 2:52
4. The Fifth Avenue - Just Like Anyone Would Do (Jimmy Page) - 2:20
5. Nico - I'm Not Sayin (Lightfoot) - 2:49
6. Nico - The Last Mile (Oldham, Page) - 2:29
7. Gregory Phillips - Down In The Boondocks (South) - 2:37
8. Gregory Phillips - That's The One (Oldham, Page) - 2:38
9. The Masterminds - She Belongs To Me (Dylan) - 2:44
10.The Masterminds - Taken My Love (Meakin, Cassidy) - 2:46
11.The Poets - Call Again (George Gallacher, Paton) - 2:23
12.The Poets - Some Things I Can't Forget (Gallacher, Paton) - 1:50
1. Rod Stewart - Little Miss Understood (D'Abo) - 3:39
2. Rod Stewart - So Much To Say (D'Abo, Stewart) - 3:14
3. P.P. Arnold - (If You Think You're) Groovy (Lane, Marriott) - 2:55
4. P.P. Arnold - Though It Hurts Me Badly (Arnold) - 4:19
5. Small Faces - Tin Soldier (Lane, Marriott) - 3:20
6. Small Faces - I Feel Much Better (McLagan, Lane, Marriott) - 3:56
7. Billy Nicholls - Would You Believe (Paul) - 2:42
8. Billy Nicholls - Daytime Girl (Nicholls) - 2:43
9. Small Faces - Lazy Sunday (Lane, Marriott) - 3:03
10.Small Faces - Rollin' Over (Lane, Marriott) - 2:10
11.Chris Farlowe - Handbags And Gladrags (D'Abo) - 3:24
12.Chris Farlowe - Everyone Makes A Mistake (Alcock, Crane) - 2:00
13.Chris Farlowe - The Last Goodbye (D'Abo) - 2:50
14.Chris Farlowe & The Thunderbirds - Paperman Fly In The Sky (Alcock, Crane) - 2:45
15.P.P. Arnold - Angel Of The Morning (Chip Taylor) - 3:18
16.Outer Limits - Great Train Robbery (Christie) - 3:38
17.Outer Limits - Sweet Freedom (Christie) - 3:00
18.The Nice - America (Bernstein, Sondheim) - 6:19
19.The Nice - The Diamond Hard Blue Apples Of The Moon (Emerson, Jackson) - 2:46
20.Small Faces - The Universal (Lane, Marriott) - 2:43
21.Small Faces - Donkey Rides A Penny A Glass (McLagan, Lane, Marriott) - 2:49
22.Duncan Browne - On The Bombsite (Bretton, Browne) - 2:46
23.Duncan Browne - Alfred Bell (Bretton, Browne) - 4:36
Disc 6
1. Chris Farlowe - Paint It Black (Jagger, Richard) - 2:59
2. Chris Farlowe - I Just Need Your Loving (Alcock, Crane) - 3:12
3. The Nice - Brandenburger (Davison, Emerson, Jackson) - 4:24
4. The Nice - Happy Freuds (Emerson, Jackson) - 3:26
5. Amen Corner - (If Paradise Is) Half As Nice (Fishman, Battisti) - 2:44
6. Amen Corner - Hey! Hey! Girl (Fairweather-Low) - 3:02
7. Chris Farlowe & The Thunderbirds - Dawn (Bruce Waddell, Steve Hammond) - 3:47
8. Chris Farlowe & The Thunderbirds - April Was The Month (Alcock, Crane) - 3:57
9. Michael D'Abo - (See The Little People) Gulliver's Travels (D'Abo) - 2:33
10.Michael D'Abo - An Anthology Of Gulliver's Travels (Part Two) (D'Abo) - 1:08
11.The McCoys - This Is Where We Came In (Feldman, Goldstein, Hobbs, Zehringer, Gottehrer, Zehringer, Brandon) - 1:37
12.Small Faces - Afterglow (Of Your Love) (Lane, Marriott) - 3:21
13.Small Faces - Wham Bam Thank You Man (Lane, Marriott) - 3:18
14.Fleetwood Mac - Man Of The World (P. A. Green) - 2:51
15.Earl Vince And The Valiants - Somebody's Gonna Get Their Head Kicked In Tonight (Spencer) - 2:39
16.Amen Corner - Hello Susie (Wood) - 2:34
17.Amen Corner - Evil Man's Gonna Win (Fairweather-Low) - 4:00
18. Humble Pie - Natural Born Bugie (Marriott) - 4:15
19.Humble Pie - Wrist Job (Marriott) - 4:14
20.Amen Corner - Get Back (Lennon, McCartney) - 2:52
21.Amen Corner - Farewell To The Real Magnificent Seven (Fairweather-Low) - 6:27
22.The Hill - Sylvie (Waddell, Hammond) - 3:21
23.The Hill - The Fourth Annual Convention Of The Battery Hen Farmers Association (Part II) (Waddell, Davey, Robinson, Hammond) - 4:35
