Baxter were one of those early-'70s US bands who can only really be described as 'rock': not heavy enough to be 'heavy', prog enough to be 'prog' or soft enough to be 'West Coast'. Their sole, eponymous album from '73 displays a mixture of styles, from the twin-guitar hard rock of '51 through the near-country balladry of Gentle Arms to the almost-prog of Renaissance Woman and Moonfire II, the two main tracks that save this album from mediocrity and gain it an extra half star. There are other progressive moments, not least in Doctor Doctor and 197Three, but too much of this album is mid-paced third-division material, which explains why you've probably never heard of them before.
Mellotron from both Doug Arioli and Steve Kirshenbaum, though I've no idea who played what and where. Renaissance Woman marks the first entrance of the Mellotron, with a cello part that couldn't be anything else, with a more 'normal' string part on Gentle Arms, leaving the album's major Mellotron interjection to side two's Moonfire II, with some very upfront strings and less of the same on closer 197Three. So; Baxter is a game of two halves, the band's proggier material being dragged down by their more straightforward stuff. However, I'm quite sure that the latter went down better on stage and, since I'm sure they relied on live work to pay the bills, who can blame them for recording some of it? Anyway, not bad, not great, with a surprising amount of Mellotron work.
Planet-Mellotron
Tracks
1. By The Gates (Steven Kirshenbaum) - 3:55
2. Give It All (John Linde, Peter Antell) - 2:56
3. Renaissance Woman (Steven Kirshenbaum) - 7:36
4. "51" (Steven Kirshenbaum, Lawrence Di Natale, Steve Belgrade, Edwin Damus Perry) - 4:32
5. Gentle Arms (Doug Arioli) - 3:02
6. Moonfire II (Lawrence Di Natale, Steven Kirshenbaum) - 7:32
John Martyn debuted as a fresh-faced teenage folky with 1967's London Conversation, he soon embarked on a restless musical odyssey. Built on a foundation of folk, blues, and jazz, Martyn's music has ranged from effects-laden experimentation, through rock, to fusion-influenced pop. This overview of Martyn's Island recordings ignores his first two albums and two releases with then-wife- Beverley, picking up with Bless the Weather (1971). Although ornate love songs from that record like "Head and Heart" remain close to Martyn's traditionalist roots, the instrumental "Glistening Glyndebourne" shows he was keen to distance himself from the Donovan-Cat Stevens orbit of twee folk-pop.
Solid Air, 1973's sublime follow-up, is well represented here. On it, Martyn moved effortlessly among light acoustic tunes ("Over the Hill"), darker numbers ("Solid Air," his ode to friend Nick Drake), and gizmo-enhanced excursions (his rendering of Skip James' "I'd Rather Be the Devil"). Martyn pursued his experimental inclinations further with the jazz-folkadelic Inside Out (1973). By the gently droning "Eibhli Ghail Chiuin Ni Chearbhaill," which reworks a 19th century Celtic folk tune with such late 20th century rock tools as a fuzzbox and phase-shifter. Sunday's Child (1974) returned to a more focused song format, as demonstrated by mournful "Spencer the Rover." Martyn's next studio venture, One World (1977), combined chilled-out ("Small Hours"), ("Dancing"), the latter tendency even more prominent on Grace & Danger (1980) and exemplified by the delicate "Sweet Little Mystery." While Martyn's later Island releases were less memorable, those mid-'80s numbers collected here hold up well.
by Wilson Neate
This album provides a great introduction to John Martyn; its only weakness is the omission of his earliest efforts, a sampling of which would give a fuller sense of his work's evolution. There's no doubt what so ever that Martyn himself must have suffered his fair share of hangovers. You can hear it in his voice when those crooning, slurring tones eventually degenerated into something like a wino's rasp- Before his untimely death at the age of 60 in 2009, a few weeks after he was awarded an OBE.
by Greg Freeman
Tracks
Disc 1
1. Bless The Weather - 4:32
2. Head And Heart - 4:55
3. Glistening Glyndebourne - 6:34
4. Solid Air - 5:46
5. Over The Hill - 2:52
6. Don't Want To Know - 3:01
7. I'd Rather- Be The Devil (Skip James) - 6:21
8. May You Never - 3:44
9. Fine Lines - 3:50
10.Eibhli Ghail Chiuin Ni Chearbhaill (Traditional) - 3:09
11.Make No Mistake - 5:58
12.One Day Without You - 3:00
13.Lay It All Down - 1:52
14.Root Love - 4:36
15.Sunday's Child - 3:17
16.Spencer The Rover (Traditional) - 4:13
17.You Can Discover - 3:44
18.Call Me Crazy - 7:30
Lyrics and Music by John Martyn except where indicated
Disc 2
1. Couldn't Love You More - 3:07
2. Certain Surprise - 3:51
3. Dancing - 3:56
4. Small Hours - 8:44
5. Dealer - 4:56
6. One World - 4:02
7. Some People Are Crazy - 4:19
8. Lookin' On - 5:13
9. Johnny Too Bad (Derrick Crooks, Roy Beckford, Trevor Wilson, Winston Bailey, John Martyn) - 3:57
10.Sweet Little Mystery - 5:27
11.Hurt In Your Heart - 4:59
12.Baby Please Come Home - 3:54
13.Sapphire (Alan Thompson, John Martyn) - 5:16
14.Fisherman's Dream - 4:18
15.Angeline - 4:45
16.Send Me One Line - 4:45
Words and Music by John Martyn unless as else written
Dropped by Capitol, the band were enticed back by Gerry Bron who had managed the Manfreds in the years before their demise. They recorded two albums for Bron's label, Bronze, 'C'est La Vie' and 'Rainbow' and in spite of recapturing their former sound (with new members Jim Evans on guitar and Lou Stonebridge, ex Palladin, on keyboards and vocals) they finally called it a day in 1975 after Hughie Flint suffered a collapsed lung and it was clear he would be convalescing for some time.
Tracks
1. Catfish (Tom McGuinness) - 3:32
2. C'est La Vie (Tom McGuinness) - 3:07
3. Ride That Horse (Tom McGuinness) - 5:05
4. (I Don't Like Your) Country Music (Dixie Dean, Mike McGann) - 3:46
5. Please Give Me (Dixie Dean) - 3:39
6. Fast Eddie (Tom McGuinness) - 4:28
7. Siren Sadie (Dixie Dean) - 5:12
8. Union Hall (Lou Stonebridge) - 3:03
9. Rabbitt Isle (Lou Stonebridge) - 7:24
McGuinness Flint
*Dixie Dean - Vocals, Bass Guitar, Guitar, Horns, Harmonica
The Early Late Unicorn" kicks off with Unicorn's swan song – the legendary Shed Sessions of '77-'78. Picture this: a garden shed transformed into a recording studio, where musical magic happened even as punk was busy pogoing all over the charts. It's like the band said, "If we're going out, we're going out in style... and in a shed."
Ken Baker, Unicorn's songwriting wizard, proves he could pen a catchy tune faster than you can say "missed opportunity." From the heartstring-tugging "Open Books" to the reggae-tinged "Can't Stop Thinking About You," it's a masterclass in what-could-have-been pop perfection.
But wait! Just when you think it's all over, we hit the rewind button. Suddenly, you're transported back to 1967-69, grooving with The Late (Unicorn's previous incarnation, because why be on time when you can be awesome?). It's raw, it's fresh, it's Unicorn before they even knew they were magical.
And for the grand finale? A cherry on top of this time-warped sundae – a live version of "Weekend" from 1975, catching Unicorn at their peak. It's the perfect bridge between their early days and shed-bound swan song.
"The Early Late Unicorn" is both a perfect introduction for newcomers and a treasure trove for long-time fans, proving that Unicorn's magic never fades – it just gets better in reverse.
TLAK
Tracks
1. Open Sea - 3:08
2. Don't Want To Go Home Alone - 3:19
3. Canada's A Long Way - 3:37
4. Singing You Praise - 4:39
5. Social Shirker - 3:44
6. You Can Have A Dream - 3:45
7. Get It Back - 3:56
8. Rainy Season - 4:50
9. Open Books - 3:32
10.Restless - 3:10
11.Is That A Shame? - 5:10
12.Stay Out Of My Dreams - 3:19
13.Can't Stop Thinking About You - 4:07
14.You Tell Too Many Lies - 4:49
15.Family Tree - 2:32
16.Train Coming My Way - 2:48
17.Queen Of Hearts - 2:37
18.Working Man - 3:36
19.Doris - 2:09
20.Going Back Home - 3:18
21.Faint Is The Song - 3:17
22.Weekend - 3:12
All songs by Ken Baker except track #15 by Pat Martin
Tracks 1-14 from the 1977-78 Shed No Tear Sessions
There’s an old video floating around online of John Martyn performing in Germany that neatly encapsulates the brilliance of his 1973 album with only a rendition of its title track. In it, he swigs a beer, boisterously breaks a string and riffs with the crowd: “Couldn’t ask for something nice and simple, could ya?” A couple of minutes and a few jokes at B.B. King’s expense go by, and the quips suddenly stop. He slips effortlessly into ‘Solid Air’, and it’s devastating. His voice is gruff but pleading: “I know you, I love you. I will be your friend.” Written as an ode to his friend Nick Drake, who committed suicide just 18 months after the project’s release, it’s haunting and resigned to the inevitable.
That video specifically speaks to the emotional whiplash of Solid Air. You can bounce between pure folk, flashes of rock and blues, and be bathed in Echoplex tape delay effect only a few songs in. The husk of Martyn’s voice and his unrestrained approach to writing about love and loss *“You know I love you like I should / You hold no blade to stab me in my back / You know that there’s some of them that would” *make it one of the most profound offerings of British folk.
But it always seemed like Martyn couldn’t bear the seriousness of it all. When pressed on its themes, he only said: “It has got a very simple message, but you’ll have to work that one out for yourself.” There was synth and sax and moments of silence, but never simplicity. Every song on Solid Air is textured and laced with Martyn’s evocative writing, barring a rogue Skip James cover. Martyn took ‘Devil Got My Woman’ and injected it with warped delay until it arrived as as the spaced out ‘I’d Rather Be the Devil’.
Recorded live, the album sessions wrapped up in only eight days. Tony Coe, who provided saxophone on ‘Dreams by the Sea’ and ‘Solid Air’ once admitted in an interview he didn’t even remember being there. Although it was the defining project of Martyn’s career, you get the sense he probably felt the same. If his warning that fans needed to figure out its core message were anything to go by, he wanted to excise his worries about Drake and leave them in the studio in one blacked-out haze.
The album also featured Martyn’s longtime collaborator, Danny Thompson, whose double bass waves in and out of focus as an unmistakable presence. In the liner notes to the Solid Air CD, it’s noted that Thompson and Martyn used to call the heavy title track ‘Sausages’, in yet another example of Martyn’s compulsive need to find light relief on what was a viscerally gutting work.
Thompson so casually moulded his bass around the timbre of Martyn’s voice; those same liner notes have to reiterate how seismic his contribution actually was. Every musician that appeared on the album, from John ‘Rabbit’ Bundrick to Sue Draheim, played with such clarity and focus that it sounded like second nature to all of them, and it’s almost easy to overlook quite how miraculous their collective sound is.
While Solid Air and its dedication to Drake later became a prelude to tragedy, it could be as uplifting as it was emotionally ruinous. “I don’t want to know ’bout evil,” he sings on ‘Don’t Want to Know’. “Only want to know ’bout love”. In essence, the entire album is a love letter. While it’s often deeply introspective, you feel the depth of his love for his folk roots, Drake, distortion, and dreams, which are translated with the same emotive force. You couldn’t place it to a specific year or genre if you tried. It is a totally timeless record, and as the years go on, hitting timely annual anniversaries of Drake and Martyn’s deaths, you realise just how ahead of his time Martyn was.
by Poppy Burton, Mon 12 February 2024
Tracks
Disc 1
1. Solid Air - 5:45
2. Over The Hill - 2:54
3. Don't Want To Know - 3:02
4. I'd Rather Be The Devil - 6:19
5. Go Down Easy - 3:36
6. Dreams By The Sea - 3:17
7. May You Never - 3:41
8. The Man In The Station - 2:53
9. The Easy Blues / Gentle Blues - 3:20
Lyrics and Music by John Martyn except track #4 written by Skip James
Disc 2
1. Solid Air - 5:49
2. Over The Hill - 3:30
3. Don't Want To Know - 3:28
4. I'd Rather Be The Devil - 7:41
5. Go Down Easy - 4:57
6. Dreams By The Sea - 3:24
7. May You Never - 3:35
8. The Man In The Station - 5:34
9. The Easy Blues / Gentle Blues - 4:51
10.Keep On - 4:59
11.Never Say Never - 8:39
12.In The Evening - 4:06
13.May You Never - 2:45
14.The Easy Blues - 4:23
15.May You Never - 4:07
16.I'd Rather Be The Devil - 8:33
Words and Music by John Martyn except tracks 4 & 16 written by Skip James
2000 Island Remaster
1. Solid Air - 5:46
2. Over The Hill - 2:55
3. Don't Want To Know - 3:04
4. I'd Rather Be The Devil - 6:20
5. Go Down Easy - 3:37
6. Dreams By The Sea - 3:19
7. May You Never - 3:43
8. The Man In The Station - 2:54
9. The Easy Blues (Jelly Roll Blues/Gentle Blues) - 3:24
10.I'd Rather Be The Devil - Live - 6:11
All compositions by John Martyn except track 4 & 10 by Skip James
Personnel
*John Martyn - Acoustic Guitar, Electric Guitar, Vocals, Synthesizer
*Dave Pegg - Bass
*Speedy (Neemoi Acquaye) - Congas
*Danny Thompson - Double Bass
*Dave Mattacks - Drums
*Rabbit (John Bundrick) - Piano, Electric Piano, Organ, Clavinet
When I got Nick Jameson's “Already Free” I was surprised to find that he plays all the instruments except Eric Parker's drums and the legendary Paul Butterfield's harmonica, which was the key to my decision to buy the vinyl. I put it on the turntable at home, and I was immediately hooked: country rock, folk, soft rock and 70's RnR twinned in a natural way, without stridency, with great melodies and harmonicas of extreme quality by Butterfield. The surprise comes when I start to investigate Jameson: fasten your seatbelts!!!!
He debuts in 1970 with the band “The American Dream” (whose eponymous debut will be the first production of the legendary Todd Rundgren), in the middle of the decade he establishes himself as a solo artist (“A Crowd of One” from 1986 is his second and last work) and also produces a couple of records to Tim Moore, his colleague Paul Butterfield, and Foghat: the three most popular records of the band (“Rock and Roll Outlaws”, “Fool for the City” and “Live”) bear his signature !!!! But apart from his musical facet Jameson has developed a career as an actor, dubbing specialist (animation and video games) and stand-up comedian... !!!!!
But possibly what fascinated me most of all the interactions, coincidences and twists was his participation in my favorite series of all time, “Lost”. Chance and fate played in my favor so that I could enjoy an album without great pretensions, but super entertaining, well thought out and well played. Lie down in your favorite armchair, listen to “I Ain't Searching” and enjoy. Everything happens for a reason...
Raisin Kane was from Martin, Tennessee and recorded their LP "It's About Time" at Sound Farm Studios in Puryear, Tennessee, circa 1978. An excellent mix of 70s Country Rock / Southern Rock with fantastic guitar sessions. Rare private press in the vein of The Outlaws, Allman Brothers and Marshall Tucker.
Tracks
1. Raisin´ Kane (Larry Bedwell, Russ Hall) - 2:31
2. Tennessee Foxy Lady (Gary Wadley, Larry Bedwell) - 3:26
3. Autumn - 3:25
4. Rock 'n' Roll Song - 3:08
5. We´ll Find A Way (Riley, Larry Brewer) - 3:56
6. I Don´t Want To Take It (Elmore, Larry Bedwell) - 2:31
7. You Don´t Listen To What I Say - 3:30
8. All I Can Do - 2:49
9. Neon Lights (Gary Wadley, Larry Bedwell, Larry Brewer) - 7:32
The most exciting facet of this tremendous album is not so much that it contains the Procols' best recorded works to date, but that their potential is still nowhere near being fully spent.
If this is an example of what their experiments can lead them to, long may they continue to push out past the accepted frontiers of pop.
It would be hard to pick a stand-out but the title-track, also their current single, must rank as their most potently commercial offering since Whiter Shade of Pale. The poetic quality of Keith Reid's lyrics delivered by Gary Brooker against music that rises and crashes like the waves adds up to a positively stunning track.
Brooker takes five other writing credits; Milk of Human Kindness is a personal favourite, mainly for its gorgeous razzy guitar. Too much Between Us, which he co-wrote with Robin Trower, is wispy and dreamy with shades of Incredible String Band in the harmonies. The Devil Came from Kansas has a distinct country feel with Barrie Wilson's powerful drumming behind a piano running rife. All This and More is nearer the old Procols.
Boredom, by Brooker and Matthew Fisher, has the latter featured strongly on marimba with a pretty calypso lilt making it one of the most appealing songs.
Fisher on his own has two entries, stand out being Wreck of the Hesperus with a complex arrangement for piano and strings that spins like whirlpools of water and has a charm and prettiness little found in today's pop.
The album also marks the emergence of Trower as a writing force. His two songs include Juicy John Pink, a strident rock blues with shades of John Lee Hooker. Other titles: Crucifiction Lane, Pilgrim's Progress
by Nick Logan in New Musical Express, 5 July 1969
Tracks
1. A Salty Dog - 4:39
2. The Milk Of Human Kindness - 3:44
3. Too Much Between Us - 3:40
4. The Devil Came From Kansas - 4:33
5. Boredom - 4:37
6. Juicy John Pink - 2:04
7. Wreck Of The Hesperus - 3:44
8. All This And More - 3:47
9. Crucifiction Lane - 4:56
10.Pilgrim's Progress - 4:33
11.Long Gone Geek - 3:18
12.Goin' Down Slow - 7:48
13.Juicy John Pink - 2:39
14.Crucification Lane - 4:35
15.Skip Softly My Moonbeams / Also Sprach Zarathustra - 5:29
16.The Milk Of Human Kindness - 3:47
All Lyrics by Keith Reid except track #12
Tracks 1-5,8,11,15,16 Music by Gary Brooker
Tracks 3,6,9,13,14 Music by Robin Trower
Tracks 5,7,10,11 Music by Matthew Fisher
Track 12 written by James B. Oden
Tracks 12-15 recorded in USA April 1969
Track 16 Take 1 / Raw Backing Track
Same Tracklist as above
Disc 1
1. A Salty Dog - 4:39
2. The Milk Of Human Kindness - 3:45
3. Too Much Between Us - 3:43
4. The Devil Came From Kansas - 4:36
5. Boredom - 4:34
6. Juicy John Pink - 2:06
7. Wreck Of The Hesperus - 3:48
8. All This And More - 3:51
9. Crucifiction Lane - 5:00
10.Pilgrims Progress - 4:31
All Lyrics by Keith Reid
Tracks 1-5,8,11 Music by Gary Brooker
Tracks 3,6,9 Music by Robin Trower
Tracks 5,7,10 Music by Matthew Fisher
Disc 2
1. Skip Softly (My Moonbeams) - 3:47
2. Wish Me Well - 3:41
3. Long Gone Geek - 2:42
4. Goin' Down Slow - 7:48
5. Juicy John Pink - 2:38
6. Crucifiction Lane - 4:46
7. Skip Softly My Moonbeams / Also Sprach Zarathustra - 5:25
8. The Milk Of Human Kindness - 3:39
9. Juicy John Pink - 2:15
10.A Salty Dog - 4:36
11.Long Gone Geek - 3:10
12.The Milk Of Human Kindness - 3:57
All Lyrics by Keith Reid except track #4
Tracks 1-3,8,10-12 Music by Gary Brooker
Tracks 5,6,9 Music by Robin Trower
Tracks 3,11 Music by Matthew Fisher
Track 4 written by James B. Oden
Tracks 1,2,3,9 recorded at 'Top Gear' BBC Radio One Session
Tracks 4-7 recorded in USA April 1969
Track 8 recorded at 'Symonds On Sunday' BBC Radio One Session
Having issues with their label, as their commercial success was declining dramatically, and the changes in music with disco and punk taking the lion's share of the sales, the times were difficult but they stayed together and in 1980 they recorded and released “Right On Time”, on Auric Records, a Florida based label. The bulk of the compositions of course goes to Dru Lombar, who signed half of the album's 10 songs.
There's another version of our favourite “Lady Luck”, of the three that have appeared on three different albums in total. Τhe music follows the familiar sound fields, with the guitars dominating, the vocals and the rest of the instruments all in high standards. A year later, “Have Band Will Travel” released on the independent Robox Records and soon after, -they realized that as a band they had hit a dead end- broke up. We love Grinderswitch, we love Southern Rock, we don't expect innovations, we are not disappointed by this album.
Tracks
1. Movin' On Back To You (Dru Lombar, Stephen Miller, Joe Dan Petty, Rick Burnett) - 3:42
2. Lady Luck (Dru Lombar) - 4:56
3. Confusion (Dru Lombar) - 6:57
4. 80 Miles To Memphis (Joe Dan Petty) - 3:08
5. Slow Movin' Dancer (Joe Dan Petty, Larry Howard) - 4:17
6. Brand New Feeling (Dru Lombar) - 3:56
7. When The Rain Comes Down (Dru Lombar, Chris Anderson) - 6:38
Despite further changes, album number 3 from Atlantis was not long in coming. “Ooh, Baby” was recorded in the summer of 1974 and produced by Dieter Dierks . One drastic change was certainly the departure of old comrade Jean-Jacques Kravetz , who only appears as a guest on piano. Adrian Askew has now taken over the keyboards and the guitar position has also been reassigned, this time with Alex Conti . The songs are short and concise and are a mix of rock, blues, soul, funk and gospel. The following year they achieved one major goal: an extensive tour of the USA. They opened for acts such as Lynyrd Skynyrd and Muddy Waters . But they also experienced the downside in the form of their American record company, who offered absolutely no support.
After the aforementioned US tour, Conti left the band again, and with returning guitarist Diez and newcomer Rainer Marz, they had two guitarists on board, producing "Get on Board" in 1975, their last album on Vertigo. Here, too, they start right away with the title track, a catchy number with good vocal arrangements, with all the musicians contributing background vocals. Overall, this album is a bit more rock-oriented, with the guitars clearly dominating.
Eventually, the band's spirits ran out, and in early 1976, the band's end was announced. An album called "Top of the Bill" was supposed to be released, but it contained material from '76, on which Inga Rumpf was not present (!), as well as songs from the '75 lineup. The live album recorded in 1975 will also be re-released soon.
by Juergen Meurer, January 26, 2025
Tracks
1. Brother - 3:09
2. Son Of A Bitch's Son - 3:51
3. Waiting And Longing - 3:15
4. Mr. Bigshot - 5:31
5. The Way I Choose - 3:52
6. Ooh, Baby - 2:53
7. Smiling People (Inga Rumpf, Jean-Jacques Kravetz) - 3:31
8. New York City - 4:38
9. Godfather - 3:43
10.Leave It To The Devil - 3:12
11.Good Friends - 3:34
12.Mainline Florida (George Terry) - 2:55
13.He's Got A Gun In His Hand (Frank Diez) - 4:14
14.Hot Rocks (Mary S. Applegate, Rainer Marz, Robert A. Smith-Diesel) - 2:54
15.Out Of Tune - 3:23
16.Don't Put The Lady Down (Frank Diez, Richard Palmer-James) - 3:19
17.Northern Bounty (Mary S. Applegate, Rainer Marz, Robert A. Smith-Diesel) - 4:00
18.Haven't You Heard - 5:30
19.Just Blues (Adrian Askew, Inga Rumpf, Karl-Heinz Schott, Ringo Funk, Rainer Marz, Frank Diez) - 11:28
Tracks 1,3,6,11,15,18 written by Inga Rumpf
Tracks 2,4,5,8,9,10 written by Adrian Askew
Tracks 1-10 are taken from the LP "Ooh Baby".
Track 11 is taken from the single "Good Friends"
Track 12 is taken from the single "Mainline Florida".
Tracks 13-19 are taken from the LP 'Top of the Bill'.
Shine On Brightly, released in 1968, was Procol Harum’s second studio album. It followed on from their iconic single, A Whiter Shade of Pale, which reached No. 1 on the UK Singles Chart, and their 1967 debut studio album, Procol Harum.
Shine On Brightly highlights the progressive path the band were trailblazing in 1968, with a unique mix of rock, blues, classical, and psychedelic influences. Quite Rightly So, the opening track, showcases all these elements. Matthew Fisher’s Hammond organ mixes classical and psychedelic influences, over which Gary Brooker’s expressive voice, and urgent piano playing, give flight to Keith Reid’s figurative lyrics. Robin Trower part way through the song adds a trademark squall of bluesy guitar. The very capable rhythm section of Dave Knights on bass and B. J. Wilson on drums, propel the song forward with some very funky playing. A really striking opening to the album.
Shine On Brightly, the title track, features B. J. Wilson’s imaginative drumming built on subtle fills and splashing cymbals, and Robin Trower’s atmospheric and wailing guitar phrases. Gary Brooker’s vocal has a lament quality, as he gives an eloquent reading of Keith Reid’s lyrics which convey bewilderment and questioning. The opening couplet is quite intriguing
Matthew Fisher’s organ solo at the midpoint in the song is quite exquisite, and the song is undoubtedly one of the album highlights.
Skip Softly (My Moonbeams) is possibly the most psychedelic track on the album. It has a playful musical feel, with what sounds like a tuba in the mix. The song then evolves and offers up an impressionistic instrumental section, that begins softly with just organ and piano, before Dave Knights’s bass brings back in the drums and guitar, with a marvellous solo from Robin Trower, full of ringing reverb. Wish Me Well, offers another side of the band, and has an expansive blues base, where Gary Brooker’s rolling piano chords and soaring voice prove irresistible. Complementing this is Robin Trower’s sublime sustain laden guitar fills and solo.
Rambling On has a classic progressive rock flavour, with its slow build, anthemic middle section, and slight return coda. Magdalene (My Regal Zonophone), in contrast, is a slow paced ballad, that shines the spotlight back on Gary Brooker’s very fine voice. Both these tracks set the scene nicely, for the lengthy five section suite that follows, In Held Twas in I. It is a hugely ambitious piece with varying musical colours and lyrical concepts, and evidences the innovative and creative drive that was at the heart of the band.
Part One, Glimpses Of Nirvana, has two mystical spoken word passages, that appear to muse on philosophical questions about being. A central musical theme is played, which at different points involves piano, organ, guitar, sitar, and choral voices. Part Two, Twas Tea Time At The Circus, begins with tubular bells, and has a freewheeling and jaunty mood, which somewhat contrasts with the lyrical content which asks the listener to look below the surface of what we think we see. Part Three, In The Autumn Of My Madness, mixes a lilting organ harmony, and syncopated rhythm, with random sounds that fly in and out of the mix, including an old-fashioned car horn and sirens. Part Four, Look To Your Soul, has an initial instrumental section, with some wondrous hard rock guitar effects and an organ motif, that are complemented by some precision ensemble playing. When the vocal enters, Gary Brooker’s voice weaves around the tumbling drums and then soars over the music. The very best vocal performance on the album and a perfect complement to the words that pose the process of learning and seeking as the key to being. Part five, Grand Finale, is a majestic instrumental piece that has the choral vocals returning and provides the setting for Robin Trower’s stand out guitar solo, full of melodic runs. It just has to be heard
by Gareth Allen on 23rd May 2024
Tracks
1. Quite Rightly So (Gary Brooker, Keith Reid, Matthew Fisher) - 3:38
2. Shine On Brightly - 3:30
3. Skip Softly (My Moonbeams) - 3:43
4. Wish Me Well - 3:20
5. Rambling On - 4:28
6. Magdalene - 2:47
7. Glimpses Of Nirvana (Gary Brooker, Keith Reid, Matthew Fisher) - 4:20
8. Twas Teatime At The Circus (Gary Brooker, Keith Reid, Matthew Fisher) - 1:15
9. In The Autumn Of My Madness (Gary Brooker, Keith Reid, Matthew Fisher) - 3:02
10.Look To Your Soul (Gary Brooker, Keith Reid, Matthew Fisher) - 4:49
11.Grande Finale (Gary Brooker, Keith Reid, Matthew Fisher) - 3:39
12.Quite Rightly So (Gary Brooker, Keith Reid, Matthew Fisher) - 3:42
13.In The Wee Small Hours Of Sixpence - 3:02
14.Monsieur Armand - 2:39
15.Seem To Have The Blues - 2:48
16.McGreggor - 2:47
17.The Gospel According To... - 3:28
18.Shine On Brightly - 3:23
19.Magdalene - 2:25
20.A Robe Of Silk (Gary Brooker) - 1:59
21.Monsieur Armand (Gary Brooker) - 2:42
22.In The Wee Small Hours Of Sixpence (Gary Brooker) - 3:00
All Music by Gary Brooker, Lyrics by Keith Reid except where indicated
Bonus Tracks 12-22
Same tracklist as above
Disc 1
1. Quite Rightly So (Gary Brooker, Keith Reid, Matthew Fisher) - 3:40
2. Shine On Brightly - 3:31
3. Skip Softly (My Moonbeams) - 3:45
4. Wish Me Well - 3:18
5. Rambling On - 4:29
6. Magdalene (My Regal Zonophone) - 2:48
"In Held 'Twas In I"
7. Glimpses Of Nirvana (Gary Brooker, Keith Reid, Matthew Fisher) - 4:29
8. Twas Tea Time At The Circus (Gary Brooker, Keith Reid, Matthew Fisher) - 1:19
9. In The Autumn Of My Madness (Gary Brooker, Keith Reid, Matthew Fisher) - 3:08
10.Look To Your Soul (Gary Brooker, Keith Reid, Matthew Fisher) - 4:58
11.Grand Finale (Gary Brooker, Keith Reid, Matthew Fisher) - 3:36
12.Il Tuo Diamante - 3:27
13.Quite Rightly So - 3:41
14 In The Wee Small Hours Of Sixpence (Gary Brooker) - 3:00
All Music by Gary Brooker, Lyrics by Keith Reid except where noted
Tracks 1-11 Stereo Mix Released as Regal Zonophone SLRZ 1004 in December 1968
Bonus Tracks 12-14
Disc 2
1. Quite Rightly So (Gary Brooker, Keith Reid, Matthew Fisher) - 3:34
2. Shine On Brightly - 3:27
3. Skip Softly (My Moonbeams) - 3:41
4. Wish Me Well - 3:12
5. Rambling On - 4:25
6. Magdalene (My Regal Zonophone) - 2:46
'In Held 'Twas In I'
7. Glimpses Of Nirvana (Gary Brooker, Keith Reid, Matthew Fisher) - 4:25
8. Twas Tea Time At The Circus (Gary Brooker, Keith Reid, Matthew Fisher) - 1:18
9. In The Autumn Of My Madness (Gary Brooker, Keith Reid, Matthew Fisher) - 3:05
10.Look To You Soul (Gary Brooker, Keith Reid, Matthew Fisher) - 4:53
11.Grand Finale (Gary Brooker, Keith Reid, Matthew Fisher) - 3:33
All Music by Gary Brooker, Lyrics by Keith Reid except where stated
Mono Mix Released As Regal Zonophone LRZ 1004 in December 1968
Disc 3
1. Monsieur Armand (Gary Brooker) - 2:29
2. Seem To Have The Blues (Most All The Time) - 2:46
3. Magdalene (My Regal Zonophone) - 2:24
4. Shine On Brightly - 3:19
5. In The Wee Small Hours Of Sixpence (Gary Brooker) - 3:02
6. Monsieur Armand - 2:45
7. A Robe Of Silk (Gary Brooker) - 1:56
8. McGreggor - 2:45
9. The Gospel According To... (Wish Me Well) - 3:32
10.Skip Softly (My Moonbeams) - 3:28
11.Quite Rightly So (Gary Brooker, Keith Reid, Matthew Fisher) - 3:38
12.Ramblin' On - 4:12
13.Shine On Brightly - 3:41
14.Skip Softly (My Moonbeams) - 3:27
15.Wish Me Well - 2:31
16.Long Gone Geek - 2:32
17.In Held 'Twas In I (Look To Your Soul / Grand Finale) - 3:59
All Music by Gary Brooker, Lyrics by Keith Reid unless as else written
Tracks 1-9 from "Top Gear" BBC Radio One Session - 14 February 1968
Tracks 10-13 from "Top Gear" BBC Radio One Session - 19 August 1968
Tracks 14-16 from "Top Gear" BBC Radio One Session - 6 October 1968
Originally released in 1980 on private press vinyl, "Diggin' in' is the only album by the US trio Claw. Probably hailed from Illinois, the recordings took place, round 1978 at the GDS studio in Morton. Seven songs are original penned by the band, in the vein of hard boogie southern rock, and three covers one Beatles song, and the other two from the blues legends Muddy Waters and Willie Dixon.
Tracks
1. Diggin' In - 2:14
2. Mannish Boy (Muddy Waters, Mel London, Bo Diddley) - 2:55
3. Cathouse Stomp - 4:25
4. Eleanor Rigby (John Lennon, Paul McCartney) - 4:47
5. Bred To Rock And Roll - 3:58
6. Captain Feelgood - 4:31
7. Love Pit - 2:18
8. Coke Call Rock - 6:17
9. Voltage Man - 2:47
10.Spoonful - An Abstract Jam (Willie Dixon) - 8:07
All songs by Danny Meyers, Jack Reginald, Moe Baker except where indicated
The only work by Red Bud Thunder, a hard southern bar band that toured pubs all over the Midwest, recorded in 1979 and privately pressed in 1980. The original is a rare, expensive copy. The cover has a B-grade feel that connoisseurs of southern rock love, and the combination of a super classic title that makes you ride against the wind. The band is from Wisconsin, so their sound it's not strictly southern, but it has the fast-paced sound solid dual guitar parts and manly vocals are the classic style of biker rock. You'll fall in love with the sadness that this mischievous adult sometimes shows!
Tracks
1. Any Convenient Time (Jeff Stenson) - 4:35
2. 1000 Dreams (Jeff Stenson) - 3:51
3. Road I'm Riding (Tony Walker) - 4:21
4. Buntline Special (Jeff Stenson, Tony Walker) - 4:55
5. Magnolia P. Thunderthighs (Jeff Stenson) - 3:57
Love And Peace were a big outdoor festival in Germany (Fehmarn, last live performance of J. Hendrix) held in the summer of 1970. As was traditional for such events, an album was also released to document it. Though, actually, the album consisted of mock-live studio recordings from German bands that performed at the event, recorded under better conditions in the studio. All the music is original and features rare material from Thrice Mice, Tomorrow’s Gift, Dr. Roberts Blues Band, Sphinx Tush with latter Frumpy guitarist Rainer Baumann and Greenlight.
Guggenheim's bizarre self-titled LP was originally released in 1972 on the low key Indigo label but went largely unnoticed due in part to the ineffective distribution by Decca. The blending of styles also made the record difficult to categorise and thus promote. However, recent interest in the album has soared and now enthusiasts would be hard pushed to secure a copy in top condition for under £400.
Many collectors have mistakenly tagged the band as Irish but this error is due to the fact that the LP was pressed in Ireland, as were many of the label's other releases, although Indigo Sound Studios where the recording was made was based in Manchester, England. It was in 1971 when Chris Pye and Paul McDowell met up while working on a TV comedy show at Granada called 'Flat Earth'. Earlier, Paul had been a painter at Chelsea Art College and then a writer on 'The Two Ronnies' and 'Frost Report'. But it was in the early 60s that he found fame as lead singer in the successful pastiche 1920s jazz band The Temperance Seven who had a huge hit in Britain with 'You're Driving Me Crazy'. Known as 'Whispering' Paul McDowell he also released a single on the Fontana label called 'Frankie'/'Be A Man' Chris and Paul hung out during rehearsals and started to write songs together. Chris then introduced his friend Jules Burns to Paul and the three of them began writing and arranging songs that feature on the LP. At that time, another friend, Bob Auger, a sound engineer at Granada, was opening a new studio called Indigo with his colleague Dave Kent-Watson and the Guggenheim album was the first project of its kind to be undertaken at the studio. Tracks 1-12 that make up the original release were recorded in the Autumn of 1971.
The following year some additional tracks were recorded at Granada Studios in Manchester that featured two sisters Zofia Williams and Laka Koc (later known as Laka D) whom Chris had met when they all sang together in a folk group in Lancaster in the 60s. In general the small Indigo label became of minor interest to record collectors mainly due to the Guggenheim LP sparking interest in other releases such as Therapy - 'One Night Stand' and Sharon People - 'Inside Looking Out'. The original catalogue number of the Guggenheim vinyl album is GOLP 7001 and it gains its first legitimate CD release right here in the form of an anthology encompassing the band's entire career.
As one might expect the group drew much of its inspiration from main singer/song writer 'Whispering' Paul with Chris and Jules providing effective back-up as they confidently handled the instrumentation side. Additional support came from saxophonist Alan Fawkes. The combined efforts resulted in an offbeat excursion straddling jazz-folk, pop-psych and vaudeville with occasional stoner elements most notably on the tripped-out 'Susie'. The oddly thoughtful 'Doorway Lovers' is another example of the collective's diversity of styles. Simultaneously endearing yet tricky to objectify as a whole; Guggenheim's identity remains sublimely baffling. At this point the three core members went their different ways for a while. Promotion of the LP by local distributors Selecta was virtually non-existent leaving the band disillusioned. Yet it wouldn't be the last throw of the dice for them, not yet. McDowell went on to an acting career starring as the sour-faced prison guard Mr Collinson in the hit TV series 'Porridge' and lived in Northamptonshire until his death in 2016.
While Chris continued as a TV producer at Granada, Jules went on to help form Witches Brew, who became regulars on the London pub-rock scene alongside bands like Slowbone and Ducks Deluxe. The band's line-up included keyboardist/vocalist Laka Koc, who had already helped co-write Guggenheim's 'Why Should We Care' with Jules and co. Witches Brew recorded a good deal of material (a mighty fine track 'Brother' can be found on our compilation Electrified Neptune Staircase') but most of their demos remained in the vault. However, they did manage to secure inclusion of a song called 'The Party's Over' recorded at the Hope & Anchor pub in 1975 on a compilation LP called 'The Honky Tonk Demos' and it features some excellent flute playing by Mick Strickland who, it is said, auditioned for Genesis during their 'Trick Of The Tail' sessions. Despite having a fine voice the decision was made that Mick's style was 'unsuitable'
Then in 1976 Jules joined Chris at Granada, working as a production manager and they began to play together again - this time without Paul. They also started to work with Richie Close, a producer and arranger who was part of 10CC's Strawberry Studios in Stockport and who composed music for TV animation and drama. Together they recorded eight or so new songs at Indigo Studios and later that year a few more demos were laid down at Strawberry Studios with Richie providing keyboards and producing and arranging the tracks. Drummer Jonathan Silver, another Granada colleague joined them.
The final two songs on this anthology 'Long Gone' and 'Searching Around' represent the last ever Guggenheim recording session which took place in 1977 at Cargo Studios, Todmorden. After that, Guggenheim faded away. Paul carried on acting and taught Qigong and Tai Chi. Jules enjoyed dizzy heights at the Granada Group and then with All3media. Chris left Granada in 1980 and became a TV producer in Los Angeles. Returning to the UK in 1994 he was appointed Head of Entertainment at the BBC and, later, at ITV with Jules. Richie Close sadly passed away in 1978. Laka carried on working as a musician as well as arranging and conducting large scale choral projects. Her sister Zofia worked as an editor but continued to sing and play violin. Jonathan Silver (who at school had been a member of Genesis ) ran his family's catering business in North London.
by Pete Sarfas, April 2022, Special thanks to Jules Burns, Chris Pye and Bob Auger.
Tracks
1. Glenville (Paul McDowell, Chris Pye) - 2:35
2. When The Snows Leave (Paul McDowell) - 2:59
3. Why Should We Care (Paul McDowell, Chris Pye, Jules Burns, Laka Koc) - 3:18
4. Games (Paul McDowell) - 2:20
5. Good-Bye Baby (Paul McDowell) - 3:02
6. Susie (Paul McDowell, Jules Burns) - 3:12
7. Songs For A Rainy Day (Paul McDowell, Chris Pye) - 2:13
8. Gonna Rain Forever (Paul McDowell) - 2:55
9. How You've Changed (Paul McDowell) - 2:59
10.Setting Out Again (Paul McDowell, Chris Pye) - 2:54
11.Doorway Lovers (Paul McDowell) - 3:14
12.Guggenheim (Paul McDowell, Chris Pye) - 2:52
13.Morning Light - 2:41
14.Confusion - 2:47
15.Sunday Sounds - 2:56
16.Move Myself Around - 3:01
17.California - 2:24
18.Get Rich - 3:05
19. he Late , Late Show - 3:10
20.Good Guys - 3:17
21.Country Boy - 3:03
22.I've Been Away Too Long (Paul McDowell, Chris Pye, Jules Burns, Steve Hawes) - 2:53
23.Long Gone - 3:50
24.Searching Around - 2:44
Songs wrritten by Paul McDowell, Chris Pye, Jules Burns except where noted
Tracks 1-12 recorded 1971 at Indigo Sound Studios, Manchester
Tracks 19-21 recorded 1976 at Indigo Sound Studios, Manchester
Tracks 13-18 recorded 1972 at Granada Studios, Manchester
Track 22 recorded 1976 at Strawberry Studios, Stockport
Tracks 23 and 24 recorded 1977 at Cargo Studios, Todmorden
