Mick returned to the UK, and more touring with bands like Soft Machine and Curved Air, and performing at the Hammersmith Odeon with Jose Feliciano. The band underwent further changes with the addition of drummer Alan Eden and ex-John Mayall guitarist, Roger Dean. Mick then spent a little time away with an ancient tribe of musicians called Jajouka in the Moroccan mountains, visited previously by Brian Jones of the Rolling Stones and Ornett Coleman, before writing material for his third album, Midnight Dreamer.
This time around, Mick was holding the reigns of producer along with his engineer Vic Gamm at Sound Techniques. This now celebrated album with Mick on vocals, piano, keyboards, electric and acoustic guitars, also features Pat Donaldson on bass guitar, drummers William A. Murray, Gerry Conway and Barry De Souza, and backing vocals from Barry St.John, Sue Glover, Liza Strike, Bonny Hamilton and Kay Garner. Also featured are Kenny Wheeler on trumpet, Chris Hughs on Tenor Sax, Graham Smith on harmonica, and a further brass section comprising Eddie Mordue, Rex Morris, Duncan Lamont, Wally Smith, Rick Kennedy, Chris Smith, Creg Bowen and Johnny Huckridge. Superb arrangements by Steve Hamilton and Richard Hewson (who arranged the strings on The Beatles’ Eleanor Rigby).
Through a chain of events, Greenwood became involved with the same record company and management as Fleetwood Mac, was inadvertently caught up in the political and legal wars of their separation, as witnessed by the tabloid coverage of the Old Bailey case. Even though the album was recognised, sadly the launch of Midnight Dreamer suffered as a result.
"Midnight Dreamer" originally released on Warner Brothers, charters Mick’s solid progression as he stepped into the role of producer/artist/writer. This celebrated album with Mick on vocals, piano, keyboards, electric and acoustic guitars, also features a star-studded lineup; Pat Donaldson, William A. Murray, Gerry Conway and Barry De Souza, and backing vocals from Barry St.John, Sue Glover, Liza Strike, Bonny Hamilton and Kay Garner.
What other talents does Mick Greenwood have up his sleeve? Not only does this album contain sensitive well written songs from across the spectrum, delivered and performed with authority by himself and a host of top musos, but Mick has also produced with his engineer a rock solid piece of product with soul. Midnight Dreamer is a great third album by this guy. Highly recommended.
by Jonathon Teller, PlayTime Review
Tracks
1. Black Roses - 2:56
2. Captain Life - 4:09
3. Writing On The Wall - 4:25
4. Easy Street - 4:43
5. Miss Morning - 3:52
6. Lady Midnight - 3:23
7. Diana Demons - 4:36
8. Deep Water - 3:48
9. Open Road - 2:12
All compositions by Mick Greenwood
In the 1960s a new era of creativity began. The post-WWII values of the 1940s and 50s had begun to show cracks and a new generation, dissatisfied with rigid social boundaries, the Vietnam war and what they perceived as shallow materialism, created a new counter-culture. This change was ripe with opportunities for young musicians, allowing them the freedom to explore new, creative possibilities.
Ill Wind was a result of that perfect storm. The seeds of III Wind took root in 1965 at MIT in Cambridge, Massachusetts, when Ken Frankel, a biophysics graduate student, met Carey Mann, a math graduate student, and they decided to start a rock band. Multiinstrumentalist Ken, although only 23 at the time, had been playing professionally for 7 years, first in high school in L.A. (as lead guitarist in a successful rock band), and then at U.C. Berkeley on banjo, mandolin, and guitar.
Ken had played in bluegrass and oldtime bands in the San Francisco Bay Area with people such as Jerry Garcia, Robert Hunter, Richard Greene, Sandy Rothman and Rick Shubb, as well as lead guitar in a college rock band that played bars and fraternity parties. Carey Mann was also a young but experienced musician. In high school in Pennsylvania he'd played piano in a Dixieland band, and at MIT he won awards as the guitarist in the school's highly respected jazz band.
After wonderful experience with Dick Weissman as a very hands- on producer, the band was shocked at Wilson's unexplained lack of focus in the studio. They were inexperienced and wanted a strong producer, but he spent most of the time reading the newspaper or talking on the telephone. Following the hasty atmosphere of the recording, he excluded them from the mixing sessions, which were not done to the band's taste or satisfaction.
The band had a wonderful cover proposal by a local artist, but ABC insisted that they needed a cover photo in one week, because they wanted to release the album right away. ABC arranged for an uninspired studio photo, and then didn't release the album for six months. When the first run of 10,000 discs appeared in August 1968, there was a mistake in the pressing process, meaning that 'High Flying Bird' had a skip where an ending phrase repeated three times (this was corrected on a subsequent pressing of 2000 copies).
The photos on the back cover were accidentally printed so dark that you couldn't tell what they were, and ABC didn't print enough albums to meet demand, so many stores couldn't obtain them, despite putting in multiple orders. Nonetheless, despite a lack of promotional activity or reviews, and the backlash caused by the 'Bosstown hype’, ‘Flashes’ was fairly well-received. Three singles were taken ('Walking and Singing' b/w 'High Flying Bird', 'Dark World' / b/w 'Walking and Singing and / finally 'Dark World' b/w 'High "lying Bird'), though most copies were promos.
The album was played often on the radio, especially in New England, the band was paid well for performances, albeit in amounts that (in today's dollars) would shock contemporary musicians. Ill Wind performed with many well-known acts, including The Who, Fleetwood Mac, The Byrds, Moby Grape, Van Morrison, The Rascals, The Buckingnams and Mitch Ryder. They continued to gig regularly at The Boston Tea Party and started a free music-in the-park series in Cambridge.
They became important leaders of the New England rock scene, and were even recognized on the street. In mid-1968, III Wind was poised to take the next step (whatever that might have been), when Carey announced he was leaving. This was quite a blow, since he was one of the band's founders. They replaced him with bass player / vocalist Michael Walsh. At the same time, Ken put together a 4-track recording studio in the basement of one of the dormitories where the band was living, consisting of two cheap Sony 2-track reel-to-reel recorders with heads switched around, and some $10 Radio Shack stereo mixers.
The purpose was to make demos of new songs without having to pay for studio time, and perhaps regain control of the band's destiny from ABC records and Tom Wilson. In 1968, with Michael on bass and vocals, III Wind recorded 5 songs on this makeshift equipment ('the Wel Tesley Basement Recordings'), but no further record contract resulted. The band broke up following year, when Ken Frankel (who'd married the band's original singer, Judy Bradbury) moved to Marin County in Northern California, which his friend Jerry Garcia had convinced him was 'the place to be' for musicians.
In 1970 the band reformed with all original members except Ken, with Carey rejoining on lead guitar and organ in place of Ken, Conny on vocals, Richard on rhythm guitar, Dave on drums, Michael on bass, and Berred acting as road manager for larger venues. After a few months, Carey quit again and was eventually replaced by Walter Bjorkman. In this form the band carried on doing mostly covers for nearly a year. Richard left in 1971, to be replaced eventually with Bryant Thayer on piano.
In this configuration, with Conny and Dave as the only remaining members from the ABC album, and with Michael still on bass, the band probably played more performances than ever before, but finally dissolved for good in 1973. The surviving members of III Wind remain in touch with each other, and all but Ken still live in New England. He became a successful real estate entrepreneur in Northern California, and owned and ran a major music venue, The Cotati Cabaret, in the 1980s, when he also formed the classical group The Electric Guitar Quartet. Ken received his Ph.D in Psychology, and is currently undertaking psychology research. He continues to perform professionally in Marin County, California.
Carey Mann recorded an album with Dirty Johns Hot Dog Stand in 1970, and played in a variety of bands on the club circuit through 1975. He had always modified his instruments, but is most proud of completely rebuilding his Hammond organ into a different configuration, even adding semi synthesizer stops. After he quit playing music full-time, he developed a successful career in computer technology and still lives in Massachusetts, where ne continues to play rock professionally.
Conny Devanney owned and ran the well known booking agency CoCo (for 'Conny Company') for many years. She has never stopped singing professionally, and has been the lead singer with a Dixieland band and in various bands doing jazz standards, including an 18-piece big band, and her own 7-piece band, with whom she still performs.
After the final version of III Wind broke up, David Kinsman played with John Lincoln Wright & The Sourmash Boys in 1974, but left the music business in 1975 and moved to Maine. There he raised a family and started the successful bicycle parts company Downeast Bicycle, which he ran for 20 years, before selling the company and retiring^ Richard (Zvonar) Griggs received his Ph.D. in composition and music technology in 1982, and worked extensively both as a musician and intermedia artist, before his death in 2005.
He created the III Wind website, www.lll-Wind.com, and was the driving force behind the creation of this CD. Michael Walsh continued to be involved in music for over 30 years, working mostly out of Boston, but also Nashville and California. He played with many notable performers, including Jonathan Edwards, Tom Rush, Livingston Taylor, Vassar Clements, James Montgomery, John Pousette-Dart, Andy Pratt, Robin Lane, Mark Spoelstra, Bill Stains and David Mallet. He currently lives in Vermont.
Judy (Bradbury) Frankel embarked on a successful solo singing career after an amicable divorce from Ken in 1989. She was internationally known as a singer and collector of Jewish Sephardic music. Judy lived in San Francisco for 30 years prior to her death in 2008. To learn more, visit www.JudyFrankel.org.
Berred Ouellette became a successful recording engineer. He has worked on productions in England, France, Venezuela, and 49 of the 50 United States. He has toured with and / or recorded many famous performers, including Livingston Taylor, Tony Williams, Rahsaan Roland Kirk, Aerosmith, Buddy Guy & Junior Wells, The J. Geils Sana, JethroTull, The Beach Bovs, Linda Ronstadt, America and dozens of national jazz acts, and continues to do so. He currently lives in Massachusetts.
by Susan Nielsen, June 2009
Tracks Disc One
1. Walkin' And Singin' (Tom Frankel) - 3:11
2. People Of The Night (Ken, Tom Frankel) - 7:44
3. Little Man (Ken, Tom Frankel) - 4:31
4. Dark World (Ken, Tom Frankel) - 3:45
5. L.A.P.D. (Richard Criggs) - 5:05
6. High Flying Bird (Billy Ed Wheeler) - 4:58
7. Hung Up Chick (Ken, Tom Frankel) - 5:52
8. Sleep (Ken Frankel) - 2:38
9. Full Cycle (Ken, Tom Frankel) - 6:10 All Tracks Recorded In New York, 1968 Produced By Tom Wilson
Disc Two
1. Ill Wind (Ken Frankel) - 2:56
2. All Over Love Is One (Ken Frankel) - 2:26
3. I Can See You (Carey Mann) - 2:55
4. I Tell You I Know (Ken Franke) - 2:51
5. Tomorrow You'll Come Back (Ken Frankel) - 2:39
6. You're All I See Now (Carey Mann, Sandy Darlington) - 2:19
7. Are You Right? (Ken Frankel) - 2:25
8. People Of The Night (Ken, Tom Frankel) - 2:25
9. It's Your Life (Ken, Tom Frankel) - 2:20
10. Flashes (Richard Griggs) - 3:28
11. The Water Is Wide (Traditional) - 3:35
12. Mauti (Ken, Tom Frankel) - 5:30
13. Waking In The Water (Ken, Tom Frankel) - 3:11
14. 1 And 100 (Ken, Tom Frankel) - 4:31
15. Frosted Summer Drink (Ken, Tom Frankel) - 3:21 Tracks 1-4 are demos made in Terry Hanley's Studio, Boston, in 1966 Tracks 5-9 are demos made at Capitol Records, NY, in 1967, produced by Dick Weissman Track 10 is a live recording made at Westborough High School, MA, in 1967 Tracks 11-15 are basement recordings made in Wellesley, Massachusetts in 1968
As I sit down to write these thoughts, it occurs to me that its now over thirty years since I embarked on a career in the 'biz', in fact its 33% years or an albums worth! Over the course of the years I've been a roadie, drummer, D.J., radio presenter, band manager, recording artist and pop columnist.
A fulsome list and a happy life. I outline this potted biog only because none of this would have happened had it not been for one band, one group of people whose generosity of spirit towards a callow 15 year old, "oh so long ago", made it all possible. 1967 'the summer of love' and this 15 year old heard two records on Radio Caroline that crystallised a lurking desire to 'get into the music biz'. They were Denny Laines' 'Say You Don't Mind' and Rupert's People's 'Reflections of Charles Brawn'. Something in these two songs communicated itself to me in some way inexplainable but lit the fire.
In those days I lived in Hastings and the centre of the pop world there was the Pier Ballroom on a Saturday night. This tatty hall perched on the end of a Victorian edifice transformed itself on a Saturday into a magical place that played host to, amongst others, The Stones, The Who, The Kinks, The Move, Joe Cocker, Jimi Hendrix, Pink Floyd (with Syd Barrett) and... Rupert's People. Having acquired a Saturday job lugging Marshall amps, Hammond organs et al from the roadies' vans to the ballroom for most of the afternoon, I was rewarded with free entrance and backstage privileges at the gigs.
One sultry summer afternoon a van arrived and disgorged Rod, Ray, Steve, John and Dai. The equipment was then duly pushed and lifted into place and the important business of having a drink got under way! In those days the retinue of PRs, managers, press agents etc. that encircle today's artists was happily absent. Rather it was a case of 'we're all in this adventure together', no big time egos, just camaraderie. In this atmosphere I listened to stories from the boys of their life on the road and their hopes for the future. Later that night, on stage and to a packed hall, Ruperts delivered an electrifying set.
Whether it was the musical talent, their good looks or indeed their splendid stage clothes or more likely all of these, they were... special. The gig ended, the gear was reloaded and the van set off back to London. A year passed, a new promoter in the shape of one Jon Scofield leased the pier for the '68 summer season. Jon had turned up at the pier one afternoon in July to find me plugging in some lights backstage and after some discussion offered me a job as stage manager and office boy in his London office. I gratefully accepted! Some weeks later sitting in Jon's office off the Strand he asked me for suggestions for bands to play the pier.
Thus it was at my suggestion that Rupert's People returned for their second gig. By now their second single for Columbia, and may I add my own personal favourite, had been released, 'A Prologue to a Magic World'. The boys once again arrived at the Pier and now living in London, I took up the invitation to 'hang out1 with them. So it was that I 'hung out' at legendary clubs like Middle Earth, UFO, The Marquee and memorably the Cafe des Artistes in Fulham. It was at the latter where for reasons lost in the mists of time I took to the drums (a skill I had acquired along the way) to cover one night for an absent Steve. That was one of my proudest nights, to play with such a great band.
Time moved on,.. Ruperts' third single, 'I Can Show You' was released and I waited for them to explode. It didn't happen. Why? I don't know, but this is a personal story, lets move on. I moved on to work for a record company and gradually lost touch with the guys, but I never forgot them. Its 1995 and disaster! My beloved vinyl record collection is stolen and with it my three priceless Ruperts' singles. Imagine my surprise if you will when glancing through a copy of Record Collector, I find to replace said copies will cost me a small fortune! Rupert's People had over the years assumed icon status. I should not have been surprised, it was only what they deserved.
So why in this age of re-issues of every 'collectable' band known to man was there no Ruperts 'retrospective'? A mission was born. Space does not permit the ensuing four years that passed in vain attempts to locate my old friends. Then in 1999 whilst I was in Amsterdam I received a call from a friend to tell me I might be interested to know that Rupert's People were playing a gig in... Hastings!! Flying back and hurrying down to The Marina Pavilion on Hastings seafront with a sense of bewilderment I was sure he had his facts wrong. So it was on yet another Saturday afternoon I came face to face with Rod, Ray and Steve (sadly no John).
A whole new bunch of fans of the new 'Mod' scene had persuaded the band to re-form for a gig at their 'Mod' rally. To say it was an emotional moment would be a gross understatement. Much later that night the plans were hatched to give life to the record you now hold in your hands. Again space negates all the tales of how much work has gone into this album, suffice to say that Ray's breakfast table in deepest Essex has been the scene of much discussion, planning and not a little reminiscence.
As I stated earlier why Ruperts missed out on the big time is an enigma, 0K they would be the first to agree The Beatles they ain't but Rod, Ray, Steve and John created something that has stood the test of time and anyone who attended that gig two years ago would tell you the story is far from over. They also, through their generosity of spirit and love started a 15 year old boy on a journey that was to fulfil a 'dream in my mind' and for that I love and thank them. Now it just remains for me to invite you to "step inside and join us, in our magic world".
by Colin Bell, Sussex 2001
Tracks
1. All So Long Again (Rod Brosse) - 3:15
2. Charles Brown (Rod Brosse) - 2:18
3. Reflections Of Charles Brown (Howard Conder, Rod Lynton) - 4:18
4. Hold On (Gordon Haskell, Howard Conder, Rod Lynton) - 3:33
5. Dream In My Mind (Rod Lynton) - 3:22
6. I Can Show You (Rod Lynton) - 2:58
7. A Prologue To A Magic World (Howard Conder, Rod Lynton) - 4:20
8. I've Got The Love (Ray Beverly, Rod Lynton) - 4:09
9. Water To A Stone (Ray Beverly, Rod Lynton) - 3:56
10. I See You've Changed (Rod Lynton) - 4:34
11. Reflecting (Rod Lynton, Terry Poole) - 6:12
12. You Can't Always Get What You Want (Mick Jagger, Keith Richards) - 5:37
13. My Mind's Eye (Ronnie Lane, Steve Marriott) - 3:24
14. Rain (John Lennon, Paull McCartney) - 3:55
15. I See You've Changed (Rod Lynton) - 5:30
16. Hold On (Gordon Haskell, Howard Conder, Rod Lynton) - 5:40
Tracks 1,2 perfomed by The Sweet Feeling
Ruperts People
*Ray Beverly - Bass Guitar (1, 2, 5 to 9, 13 to 16)
*Terry Poole - Bass, Vocals (10 to 12)
*Steve Brendell - Drums (1, 2, 4 to 16)
*Dai Jenkins - Guitar (4 to 12)
*Rod Lynton - Guitar, Vocals (1, 2, 4 to 16)
*John Tout - Organ (4 to 12) with
*Gordon Haskell - Bass
*Keith Guster - Drums
*Bryn Haworth - Guitar
*Peter Solley - Keyboards
*Chris Andrews - Vocals
Gary Farr was born on October 19th 1944 and raised in Worthing, Sussex, the youngest of four children of the legendary Welsh heavyweight boxer Tommy Farr. Privately educated, he travelled extensively and spent a time working in his sister's London jazz club, The Farm, before deciding to pursue a career in music himself. He began his career in February 1964, as frontman of the T-Bones.
They quickly became a leading light of the UK R&B scene, playing a longterm residency at impresario Giorgio Gomelsky's Crawdaddy Club in Richmond (alongside the Yardbirds, the Rolling Stones and many others), and signing to Columbia. Though they also had a residency at the Marquee club, toured with blues legends such as Sonny Boy Williamson and Howlin' Wolf, appeared on the popular TV show 'Ready Steady Go!7, neither the three 45s or the EP they issued in 1964 and 1965 sold in significant quantities, and Farr departed for a solo career at the start of 1967.
That January he recorded an up-tempo track backed by the Action, 'A Little Piece Of Her' (which is heard here for the first time), but the remainder of his songs were in a markedly different style, combining acoustic singer-songwriter structures with wistful, poetic lyrics. Gomelsky remained his manager, and - after Farr had recorded numerous demos, included here on disc two - he paired him up with former Blossom Toes drummer Kevin Westlake.
The duo initially called themselves 'The Lion and the Fish', but the only disc released by them, 'Green' / 'Everyday' (also included here as bonus tracks) appeared under their full names in June 1968, on Gomelsky's Marmalade label. Soon afterwards they amicably parted, and Farr was again pursuing a career alone, living at the house rented for the label's artists in Fulham, London.
Towards the end of the year Gomelsky put him into the studio to tape a solo LP, backed by numerous other musicians associated with the label, including Meic Stevens and members of the Action, Mighty Baby, the Blossom Toes and Spooky Tooth. Though it was melodic, thoughtful and expertly played, Take Something With You never had a chance - its release was delayed for almost a year, and when it finally appeared in December 1969 Marmalade was mid-collapse and Gomelsky had just moved to France.
It received no promotional support whatsoever, and only seems to have been reviewed in two of the UK's pop newspapers, meaning that neither it nor the 45 that preceded it ('Hey Daddy' / 'The Vicar and the Pope') sold. Undeterred, by early 1970 Farr had got some attention on the live scene, especially after appearing at the Isle Of Wight Festival in August 1969 (organised by his brother Rikki), and he soon signed another deal, with CBS.
Having moved to Surrey, he spent several months gigging and rehearsing new material, before recording his second album that autumn, with backing from Richard Thompson and members of Mighty Baby. Strange Fruit was issued in December, exactly a year after Take Something With You, and sadly suffered much the same fate. An early demo of its standout track, 'In The Mud', closes disc two here. Soon afterwards he moved to the US, where he eventually signed to Atlantic and recorded his third and final album, Addressed To The Censors Of Love, in Muscle Shoals in 1973, under the auspices of the legendary Jerry Wexler.
Later in the decade he formed the US-based rock band Lion, whose sole LP, Running All Night, appeared on A&M in 1980. Thereafter, disillusioned with the music business, he pursued a career as a photographer, taking stills for Hollywood movies and also for private clients. He never gave up music, however, and his friends and family cherish privately-made recordings of him, which find him returning to the blues and folk of his youth to stunning effect. On July 29th 1994 he succumbed to a heart attack tragically young, after cycling near to his Laurel Canyon home.
His reputation has never ceased to grow in the years since, however - especially with the advent of the internet. Copies of Take Something With You have changed hands on eBay for up to £300, and it is to be hoped that this first reissue - produced with the full involvement of his family - will allow more people than ever to appreciate his considerable talents.
by Richard Morton Jack, September 2008
Tracks
Disc One
1.Don’t Know Why You Bother Child - 4:10
2.The Vicar and the Pope - 4:03
3.Green - 4:57
4.Two Separate Paths Together - 4:48
5.Take Something With You - 6:09
6.Dustbin - 3:42
7.Time Machine 4:09-
8.Why Not? - 4:02
9.Curtain Of Sleep - 4:02
10.Goodbye - 4:45
11.Everyday (Bonus Track) - 3:25
12.Green (Bonus Track) - 2:59
13.Hey, Daddy (Bonus Track) - 3:21
All songs by Gary Farr except tracks 3, 11 and 12 by Gary Farr and Kevin Westlake
Disc Two
1.A Little Piece Of Her (1967 demo) - 2:37
2.Victorian Dreams (1967 demo) - 2:10
3.Two People (1967 demo) - 3:57
4.Concerto For Men In The Country (1967 demo) - 3:19
5.Images Of Passing Clouds (1967 demo) - 3:51
6.I See You (1967 demo) - 3:50
7.Pondering Too Long (1967 demo) -3:59
8.Hey Daddy (1968 demo) - 3:45
9.Don't Know Why You Bother Child (1968 demo) - 4:41
10.Green (1968 demo) - 3:07
11.Two Separate Paths Together (1968 demo) - 3:50
12.Time Machine (1968 demo) - 3:05
13.Why Not? (1968 demo) - 4:44
14.Goodbye (1968 demo) - 3:36
15.In The Mud (1970 demo) - 6:50
All songs by Gary Farr except track 10 by Gary Farr and Kevin Westlake.
Musicians
*Gary Farr - Guitar, Vocals
*Meic Stevens - Lead Guitar
*Martin Stone - Lead Guitar
*Ian Whiteman - Piano, Flute, Saxophone (track 9)
*Mike Evans - Bass
*Brian Belshaw - Bass
*Andy Leigh - Bass, Mandolin
*Nick Jones - Congas., Tambourine
*Roger Powell - Drums
*Karen, Cynthia, Nichola and Linda - Backing Vocals
As with many others of my generation, watching "The Beatles" on the Ed Sullivan Show in early 1964 completely changed my life's desire from pursuing a medical education to playing in a Rock 'n' Roll band. I still remember that sudden dramatic change of ife. At first I tried playing the guitar. While some friends and I were just playing around a girl said that I played guitar like I was playing drums. We needed a drummer so I got my first set and started playing the drums—it was definitely a better fit! We called ourselves The Serfs. Band members were: Jim Bensen (guitar), Frank Moultrie (guitar and voca s), Ronnie Gomez (bass and vocals), and Val Rogolino (drums and vocals).
What a great feeling it was to hear the sound come together. We played mainly Rock 'n' Roll and Soul music. I still remember the first time we played before a live audience and the sensational feeling I had of realizing that the people were dancing to our music. We played during the era of "Sock Hops" and "Teen Clubs." Later, we became a trio and changed our name to The Group. In 1969, we changed our name again to Badge, with band members: James (Cheese) Sellers (guitar and vocals), Jim O'Dell (bass and vocals) and Val Rogolino (drums and vocals). We started playing in night clubs and writing original songs as Badge. The recording bug hit us. Cheese and I did all the recordings.
In the early to mid 1970's, we made three 45 rpm singles and one EP. The tape recorder we used was a Teac 2340. Through the 70's, the band continued performing, recording, and utilizing different techniques and sounds and enhanced productions. 3RI I wanted to expand the recordings so I decided to make an LP. This LP was not a Badge project. I named the album Kath, and recorded it during the summer of 1974.
Kath had a variety of songs, more complex production and greater overall depth than previous projects. The musicians performing on this project: Cheese Sellers, Brent Buckley, Bruce Lapier, Bob George, and Val Rogolino. Recording began on March 31, 1974 and ended September 5, 1974. Only 60 copies were made. Some of the equipment used in the production: Teac 2340 (4 track tape recorder), a Kustom PA amp (mixing board), two Kustom PA columns (mix down speakers), a Vox Echo Unit, a Vox Jaguar (organ), Ludwig drums, and Shure microphones. Most songs needed 12 to 14 tracks—a lot of over dubbing was necessary.
Badge still performed through the 70's adding horns, and female vocalists to our live performances. But of course, Disco reared its ugly head. The nightclub gigs dried up and many bands were out or work. The days of teen clubs and the night clubs of my era were a memory— a thing of the past. I'll always remember waiting for the next 45 or LP to be released, listening to live groups, comparing and just communicating with fellow musicians. Sadly, the sound and feel, and the way we experienced the music were gone.
As with many others of my generation, in the early 1980's I had to get a "real job", but music and recording remain my first love. The world of music still fills my lire and burns deeply in my heart and soul. "I fell in love with this world of song—laughing—crying as the years go on." When I was contacted by Rockadelic (in May 2005) regarding the Kath LP I revisited a cherished time. I appreciate Rockadelic for caring and taking the time to re-release this album. Many thanks to Rich Haupt, Carl Weiss, and Patrick the Lama. Special thanks to David Haffner, Steve Lorber, and Vincent Tornatore for releasing the CD version of Kath. Wherever this paths leads I'll treasure the entire venture.
There are those who understand the feeling of playing and performing Rock 'n' Roll—that feeling will never fade away. Dedicated to all my friends and family for their love and support, and many thanks to countless musicians who brought their love to music. A heartfelt remembrance to those who experienced this world of music with me—I simply thank you.
by Val Rogolino
Not many albums can get you in the mood to blow out your speakers quite like Kath, a band that evolved from local Maryland 1960’s band Badge. This is an authentic low-fi DIY effort, recorded in the home of the band’s leader (and, yes, actually dedicated to his pet monkey—and his girlfriend!), originally released in 1974 in a micro edition of 60 hand-made copies, and later reconfigured for a legendary Rockadelic label LP version.
Truth to tell, the Kath album is full of well written melodic songs with loose, semi-ramshackle, low-fi/no-fi production values. Nothing gets down and dirty quite like 'Say What You Feel,' with its blown out bass, killer guitar and drums, echoed vocals and sound effects; well, actually, ‘Love Me Down' is equally potent. The band also had a fondness for tape experimentation ('Seagulls') and simply screwing around ('Toilet Theme'). As Patrick the Lama said in Acid Archives, “Obscure and impressive melodic basement garage/psych excursion with a lo-fi atmosphere that would have most purveyors flip out, hits the Ampex two-track echo & tinny drum sound dead on....
At times the vibe is almost like Mystery Meat or Index, and that's not something you run across every day. A totally outside garage/psych/private LP that feels as personally projected as those Michael Yonkers sides. Nuts lo-fi recording quality and impossible-to-figure production values gives this a nicely zonked almost real-people vibe. Keyboards, fuzz, heap of amateur avant spirit and a cover of 'Norwegian Wood' that ranks up there as one of the few listenable Beatles covers ever cut by teens with brains." There's also included Badge's excellent 1978 five-track EP as bonus tracks.
Lion
Tracks
Disc 1 Kath "One" (Original Album)
1. I Want To Love You - 3:16
2. Lonely Again - 2:44
3. Goodbye Sunshine - 3:36
4. Tell Laura I Love Her (Ben Raleigh, Jeff Barry) - 4:11
5. Seagulls - 1:54
6. Silly Willy - 3:36
7. It Doesn’t Mean - 5:25
8. Candleman - 4:46
9. Norwegian Wood (John Lennon, Paul McCartney) - 2:50
10.BLPSVC - 4:12
11.Typical Recording Session (With Breakdown Of Instrumental Version Of Mother Dear) - 3:50
12.Mother Dear - 3:16
13.Say What You Feel - 2:54
14.Toilet Theme (With Part Of Say What You Feel) - 3:58
15.She’s The Girl I Love - 3:32
16.Love Me Down - 2:56
17.I Hear Them Laughing - 3:47
18.As I Looked - 4:02
19.Just Like You - 2:19
20.She - 2:13
All songs by Cheese Sollers, Val Rogolino except where stated
Bonus tracks 16-20 from "Badge EP"
Disc 2 Unreleased Material
1. It Doesn’t Mean - 4:29
2. I’ve Got That Feeling - 3:53
3. Tearfall In The Rain - 5:42
4. Look To Your Window - 3:47
5. The Great Pretender (Buck Ram) - 6:43
6. Little Miss - 3:31
7. Keep Tryin’ - 2:23
8. Do You Wanna Dance (Bobby Freeman) - 3:45
9. I Need You (George Harrison) - 2:28
10.Everything I Do - 2:38
11.Sitting All Alone - 2:57
12.When You Walk In The Room (Jackie DeShannon) - 4:03
13.Just A Little Smile - 4:14
14.I Lie Awake - 5:06
15.Singing Out Thoughts To My Lady - 5:27
16.A Gentle Breeze - 3:57
17.Le Fini - 2:56
18.C - 1:43
All songs by Cheese Sollers, Val Rogolino except where indicated
Kath
*Cheese Sellers - Rhythm Guitars
*Brent Buckley - Lead Guitar, Organ, Sax
*Bruce Lapier - Bass
*Bob George - Trumpet
*Val Rogolino - Drums, Tambourine, Vocals, Organ
Tear Gas, the Scottish rock outfit, released a pair of albums in the early ’70s that vividly highlighted their talents for guitar-based rock. Though the band kept up a rigorous touring schedule, it only really paid off once a few band members joined with Alex Harvey as The Sensational Alex Harvey Band. Still, Esoteric’s reissues of Piggy Go Getter (in its first-ever official CD release) and its follow up Tear Gas show the band’s early promise.
The Glasgow-based group originally formed in the tail end of the ’60s and included Eddie Campbell on keys, Zal Cleminson on guitar, Chris Glen on bas and vocals, Gilson Lavis on drums, and Andi Mulvey on vocals. By 1970, their lineup had changed.
By 1971, Tear Gas had undergone another shift in personnel as Eddie Campbell departed and Ted McKenna replaced Wullie Monroe on drums. Session keyboardist Ronnie Leahy stepped in during the sessions of what would become the band’s self-titled second album. He was a skilled player and, as Zal Cleminson recalls in the liner notes, “[Leahy] could do exactly what we needed.” The band’s goal for their next album was to create a collection of more rock-leaning material. While the debut had some Traffic-like hippie-folk, Tear Gas was inspired by some of their contemporaries to embrace a heavier sound.
To that end, Tear Gas took a stab at that Jeff Beck Group arrangement of “Jailhouse Rock/All Shook Up” and covered Jethro Tull’s “Love Story.” The latter, with its slow build and sudden dynamic shifts, was often the dramatic opener for Tear Gas’s live shows. With more than one scorching guitar solo and several intense instrumental interludes, “Love Story” was a far cry from some of the lighter fare on their debut. The medley of “Jailhouse Rock” and “All Shook Up” was equally heavy, with layers upon layers of distorted guitars consistently propelling the tunes forward, if sometimes burying the vocals along the way.
Other highlights include the rockabilly-inspired “Lay It On Me.” Its crunchy leads, honky tonk piano, and layered slide guitar lines demonstrate their country-rock flair, which they amp up as loud as possible. The Sabbath-like “I’m Glad” begins as a more straight-ahead heavy rocker with an array of propulsive guitar riffs. After a lengthy solo, the band glides gently into the second part of the song – a more tender, ballad-like B-section with electric twelve strings, phasey drums, and yearning (if not particularly strong) vocals. The band builds just as quickly into another rocking exit.
Though sales figures for Tear Gas showed much room for improvement, the album’s release brought the group attention throughout Europe. In early 1972, Tear Gas opened for Alex Harvey at London’s Marquee Club. By the middle of the year, faced with the fact that they weren’t going to reach the levels of their heroes, Glen, McKenna, and Cleminson signed on to be Harvey’s back-up group, eventually becoming known as The Sensational Alex Harvey Band. Donning larger-than-life glam outfits and performing experimental-leaning music, the SAHB, as it became known, found a cult following in Europe.
by Sam Stone, July 9, 2019
Tracks
1. That's What's Real (Davey Batchelor, Zal Cleminson) - 6:03
2. Love Story (Ian Anderson) - 7:00
3. Lay It On Me (Davey Batchelor, Zal Cleminson) - 3:44
4. Woman For Sale (Davey Batchelor, Zal Cleminson) - 4:23
5. I'm Glad (Davey Batchelor, Zal Cleminson) - 5:43
6. Where Is My Answer (Davey Batchelor, Zal Cleminson) - 5:54
7. a. Jailhouse Rock (Jerry Leiber, Mike Stoller)
...b. All Shook Up (Elvis Presley, Otis Blackwell) - 5:44
8. The First Time (Davey Batchelor, Zal Cleminson) - 4:47
9. The Temptation Of St. Anthony (Alex Harvey) - 5:06
Bonus Track 9
The 1968 self-titled debut by California based country rock group Southwind is a rather obscure little gem. The unique combination of country, psych, soul, funk, and just good old rock & roll turns this record into a stew of great listening, and really makes this record stand out.
The band’s origins can be traced back to Norman, Oklahoma, while members were attending the University of Oklahoma. Coming together first as a rockabilly-flavored band known as “The Disciples,” the group comprised John “Moon” Martin (guitar, vocals), Jim Pulte (bass, vocals), Phil Hope (organ), and Eric Dalton (drums). Soon after forming, the band scored an opportunity to play at several venues in Wisconsin to delighted audiences. In 1967, the band headed out for the musical promised land of Los Angeles, with The Disciples changing their name to the more contemporary-sounding “Southwind.”
The newly-named band started incorporating psychedelic rock, country, blues, soul, and funk into their sound. After playing gigs in and around L.A. for a while, in 1968, Southwind were signed to the tiny MGM subsidiary Venture records, which was a label known for giving lesser-known soul/R'n'B acts a shot. Nevertheless, the band headed into the studio and laid down tracks for their debut.
The opening tune, the outstanding cover of Bob Dylan’s “You Been On My Mind,” is a blend of country-tinged pop with lush strings. The song features wonderfully beautiful and expressive vocals, and doesn’t sound too far from something an early Nitty Gritty Dirt Band may have cut. Next up is the rave-up soul flavored number “Get On Board The Train,” which asks the listener to get on board of the soul (love?) train before it takes off, undoubtedly leaving them behind in the dust. Track three is the rather dark “I’m Proud To Be,” and is a bit of a psychedelic mini-masterwork, containing very creepy sounding vocals and guitar playing.
The last track on side one is also another stand-out, “Got To Get Myself Together,” a plaintive tune of love gone bad and the choice of finally moving on. To my ears, the best track on the album is on side two. “New Orleans (Mardi Gras)” is a song that was deserving of hit status, and was also recorded by Del Shannon for his “The Further Adventures Of Charles Westover” album. The song had the typical late ’60’s flower power sound, complete with very hallucinatory and vivid lyrics, and eerie and dissonant harpsichord and guitar work. The song gives off a definite “loss of glory and happiness of days gone by” vibe. This whole album is full of great tracks.
Southwind released this and a handful of singles before replacing organist Phil Hope with longtime pal Dugg (Fontaine) Brown as a full time member. The group left Venture records for the eccentric and now-legendary Blue Thumb label, releasing their second album “Ready To Ride” in 1970. Southwind’s final effort was the more blues-influenced “What A Strange Place To Land” album in 1971, and not long after the release, the group disbanded.
John Martin (now going by his newly-adopted first name of “Moon”) went on to back artists such as Linda Ronstadt and later recorded several solo albums, all of which received little attention. Martin is probably best remembered for writing Robert Palmer’s huge hit “Bad Case Of Lovin’ You (Doctor, Doctor).” Jim Pulte made a couple of solo albums for United Artists, and virtually dropped out of radar. Little is known of the whereabouts of original organist Phil Hope or drummer Eric Dalton. Dugg (Fontaine) Brown has been in the music scene for years, and was at one time connected to music legends Del Shannon and Bob Seger. Brown still writes and records music today.
by Katie Kanitz
Tracks
1. You Been On My Mind (Bob Dylan) - 2:47
2. Get On Board The Train (Doug Brown, Vicki Basemore) - 2:36
3. I'm Proud To Be (Leon Ware, Vicki Basemore) - 3:18
4. Highway One (Jim Pulte, John Martin, Phil Hope) - 2:46
5. I'm Moving On (Willie Hutch) - 3:02
6. Got To Get Myself Together (Doug Brown, Jim Pulte, John Martin, Phil Hope) - 2:42
7. Hollywood Honeys (Jim Pulte, John Martin) - 2:19
8. Tryin' To Fly My Kite (In Rainy Weather) (Calvin Arnold, Willie Hutch) - 3:27
9. You're Gonna Blow My Mind (Willie Hutch) - 3:04
10.New Orleans (Mardi Gras) (Jim Pulte) - 3:10
11.Fresh As A Daisy (Leon Ware, Vicki Basemore) - 2:44
12.My Baby Was Never Lonely (Doug Brown) - 2:54
The Southwind
*Phil Hope - Keyboards, Harpsichord
*Jim Pulte - Bass, Vocals
*Eric Dalton - Drums
*John "Moon" Martin - Lead Guitar, Vocals
Frustratingly little is known about Alan Trajan, whose sole LP has become one of the rarest singer-songwriter recordings of the late 1960s. Born Alan Robertson in Livingston, outside Edinburgh, he became an accomplished barrelhouse / boogie-woogie pianist in his teens and was part of Edinburgh’s fertile music scene in the late 1960s, where he made friends with David McNiven, leader of the much-loved folk trio (later duo) Bread, Love & Dreams.
When Decca producer Ray Horricks (perhaps best known for his seminal work with guitarist Davy Graham) spotted the latter at the Edinburgh Festival in 1968, he signed them up, and McNiven introduced him to Robertson. Much taken by his distinctive keyboard style and soulful voice, Horricks offered him the chance to record too.
Featuring heavy organ and searing electric guitar parts on tracks like Speak To Me, Clarissa (addressed to a girl who has OD’d) and the propulsive One Tends To Get Bitter Now And Again, mellower numbers such as the beautiful Thoughts (featuring Graham) and a heartfelt cover of David Ackles’ Down River, as well as three good-timey Dylan covers, which reflected his long apprenticeship playing in pubs, it’s a varied and unusual collection whose surreal lyrics and frequently despairing atmosphere ensured poor sales when it appeared on MCA in 1969.
Robertson was prevailed upon by his manager to change his name to Trajan for the LP’s release (he believed Robertson sounded too Scottish, and decided that the expansionist Roman Emperor’s name was more distinctive), but neither it nor the extracted 45 (Speak To Me, Clarissa / This Might Be My Last Number) sold, and he soon reverted to his real name.
Having contributed memorable organ parts to Bread, Love and Dreams’s classic Amaryllis LP in 1970, he went on to forge a partnership with Scottish blues singer Tam White, with whom he made a musical TV series for Grampian in the early 70s, before relocating to London.
There he played in innumerable pubs and became part of legendary jazzer George Melly’s band for many years, but his hard-drinking landed him in prison and he died of liver disease at the start of this century. It is to be hoped, however, that this first CD issue of Firm Roots will focus attention on his overlooked gift as a musician and singer-songwriter, one whose idiosyncratic compositions straddled soul, folk, pop, psychedelia and progressive rock at a time when few were daring to be as diverse.
Tracks
1. Speak To Me, Clarissa - 4:09
2. One Tends To Get Bitter Now And Again - 2:18
3. Thoughts - 2:36
4. Highway 51 Blues (Bob Dylan) - 1:57
5. This’ll Drive You Off Your Head - 2:16
6. Mental Destruction - 2:35
7. Time - 3:08
8. Down River (David Ackles) - 3:43
9. Corinna, Corinna (Bob Dylan) - 2:40
10.This Might Be My Last Number - 2:30
11.Girl From The North Country (Bob Dylan) - 2:19
12.Charles Russell, Gtr., Vcl. & Harmonica - 4:00
All songs by Alan Trajan except where noted.
Musicians
*Alan Trajan - Vocals, Keyboards, Piano, Organ
*Davy Graham - Guitars
*David McNiven - Guitars, Keyboards
There is no way to get at the music without taking the whole context of the music too - there is no separation. We say the MC5 is the solution to the problem of separation, because they are so together. The MC5 is totally committed to the revolution, as the revolution is totally committed to driving people out of their separate shells and into each other's arms.
I'm talking about unity, brothers and sisters, because we have to get it together. We are the solution to the problem, if we will be just that. If we can feel it, LeRoi Jones said, 'feeling predicts intelligence." The MC5 will make you feel it, or leave the room. The MC5 will drive you crazy out of your head into your body. The MC5 is rock and roll. Rock and roll is the music of our bodies, or our whole lives - the resensifier, Rob Tyner calls it. We have to come together people, "Build to a gathering," or else. Or else you are dead, and gone.
The MC5 will bring you back to your senses from wherever you have been taken to hide. They are bad. Their whole lives are totally given to this music. They are a whole thing. They are a working model of the new paleocybernetic culture in action. There is no separation. They love together to work together, they eat together, fuck together, get high together, walk down the street and through the world together. There is no separation. Just as their music will bring you together like that, if you hear it. If you will live it. And we will make sure you hear it; because we know you need it as bad as we do. We have to have it.
The music is the source and effect of our spirit flesh. The MC5 is the source and effect of the music, just as you are. Just as I am. Just to hear the music and have it be our selves, is what we want. What we need. We are a lonely desperate people, pulled apart be the killer forces of capitalism and competition, and we need the music to hold us together. Separation is doom. We are free men, and we demand a free music, a free high energy source that will drive us wild into the streets of America yelling and screaming and tearing down everything that would keep people slaves.
The MC5 is that force. The MC5 is the revolution, in all its applications. There is no separation. Everything is everything. There is no thing to fear. The music will make you strong, as it is strong, and there is no way it can be stopped now. All power to the people! The MC5 is here now for you to hear and see and feel now! Give it up - come together - get down, brothers and sisters, it's time to testify, and what you have here in your hands is a living testimonial to the absolute power and strength of these men. Go wild! The word is yours! Take it now, and be one with it! Kick out the jams, motherfucker!
And stay alive with the MC5!
by John Sinclair, from original album notes, Friday, December 13th 1968.
Tracks
1. Ramblin' Rose (Fred Burch, Marijohn Wilkin) - 4:15
2. Kick Out The Jams - 2:52
3. Come Together - 4:29
4. Rocket Reducer No. 62 (Rama Lama Fa Fa Fa) - 5:41
5. Borderline - 2:45
6. Motor City Is Burning (Al Smith) - 6:04
7. I Want You Right Now (Colin Frechter, Larry Page) - 5:31
8. Starship (MC5, Sun Ra) - 8:15
All songs written and composed by MC5 except as stated.
MC5
*Rob Tyner – Lead Vocals
*Wayne Kramer – Lead, Rhythm Guitar, Lead Vocals (Ramblin' Rose)
*Fred "Sonic" Smith – Rhythm, Lead Guitar, Backing Vocals
*Michael Davis – Bass, Backing Vocals
*Dennis Thompson – Drums
Keen Followers of the 1960s Rock scene have become used to tales of long lost tapes and unissued recordings that have seemingly disappeared forever. Every so often, however, a cache of "lost" recordings does surface.
In subsequent years, the finally crafted pop-psych of "Sycamore Sid" helped earn the group a reputation for being one of the more intriguing- and most elusive- UK bands of the sixties. Yet nothing more was heard from Focal Point until 2002, when two previously unreleased tracks recorded at the same session as their Deram single appeared on the compilation CD 94 BAKER STREET which features artists who were signed to The Beatles' Apple Music Publishing company. Both, "Never Never" and "Girl on the corner" confirmed that "Sycamore Sid" was no fluke and that FOcal Point were perharps one of the great lost English pop groups of the 60's.
Since then, Paul Tennant, Dave Slater and Tim Wells of Focal Point have scoured lofts and basements across England in an effort to uncover tracks that were recorded during Focal Point's 1967-1968 heyday but were misplaced during ensuing decades. FIRST BITE OR THE APPLE represents the fruit of their labours. In addition to the four songs recorded for Deram in early 1968, FIRST BITE OF THE APPLE includes a number of tracks that were recorded independently at an 8-track studio in Manchester in late 1968.
by Stefan Granados
Tracks
1. Miss Sinclair - 2:29
2. Sycamore Sid - 2:39
3. Hassle Castle - 3:39
4. Never Never - 3:27
5. Lonely Woman - 3:31
6. Far Away From Forever - 3:42
7. Love You Forever - 2:56
8. Tales From The GPO Files - 2:19
9. McKinnley Morgan The Deep Sea Diver - 3:10
10.Falling Out Of Friends (Paul Tennant, Dave Slater, Tim Wells) - 3:29
11.Girl On The Corner - 2:22
12.Goodbye Forever (Dave Slater, Paul Tennant, Tim Wells) - 2:29
13.This Time She's Leaving (Dave Slater, Paul Tennant, Tim Wells) - 3:22
14.'Cept Me - 2:28
15.Miss Sinclair - 2:38
16.Miss Sinclair - 2:57
17.Hassle Castle - 3:02
18.Never Never - 3:04
19.Reflections - 2:54
20.Reflections - 2:59
All songs by Paul Tennant, Dave Rhodes except where noted.
