rep>>> Redwing - Redwing (1971 us, astonishing classic rock with country folk blues and psych tinges, 2007 remaster)

The seeds of Redwing were sown in Sacramento, California in 1962. when folk trio Tim, Tom and Ron formed. Comprising Timothy B Schmit (guitar / bass / vocals), Tom Phillips (guitar / vocals) and Ron Floegel (guitar / vocals), they soon added drummer George Hullin and evolved into a surf band named the Contenders, then a British Invasion-influenced act called the New Breed. Under that moniker they issued their debut 45 on the tiny Diplomacy label in 1965, Green Eyed Woman I I'm In Love. 

The A-side was stomping garage rock, while the flip was an obscure Lennon-McCartney number that had been a hit for the Fourmost but wasn't recorded by the Beatles. A 1966 follow-up on Mercury (Leave Me Be I I've Been Wrong Before) failed to break nationally, and their last two 45s (Want Ad Reader / One More For The Good Guys and Fine With Me I The Sound Of The Music) were minor garage classics that appeared on their own World United label.

Despite recording an LP's worth of material at this time, no album release was forthcoming so in 1968 they were only too glad to sign to a production company named Equinox (under the aegis of Byrds producer Terry Melcher). They promptly taped a further album's worth of material as the Breed, produced by engineer Erik Wangberg— but were dismayed when it appeared on ABC as by 'Glad', entitled Feelin' Glad (ABCS 655, 1969) Worse still, studio musicians had been drafted in to record certain parts, and several songs were swamped by string and brass arrangements. 

Disaffected, Schmit departed to join Poco (and later the Eagles), leaving his former bandmates to draft in Andy Samuels, late of local blues act Nate Skitter's Band. Stung by their experience with ABC, they recorded a self-financed LP's worth of demos, which soon won them a deal with Fantasy, which was riding high with the massive success of Creedence Clearwater Revival. Their sound was now a tauiv gritty and commercial blend of blues, country and rock influences, which legendary Rolling Stone critic Ralph J Gleason declared had 'knocked me right out of my mind'. 

Nonetheless, their debut LP (produced by Creedence engineer Russ Gary) was not the bestseller it could have been, and four further albums (1972's What This Country Needs, 1973's Take Me Home, 1974's Dead Or 'Alive and 1975's Beyond We Sun And Stars} were solid Californian sellers but unsuccessful nationally, causing them to split at the end of  1975.

CD Liner-Notes

Tracks
1. The Underground Railway - 3:01
2. Please Doctor Please (Ron Floegel, Andrew Samuels) - 3:00
3. Bonnie Bones - 2:52
4. Dark Thursday (Ron Floegel, Andrew Samuels) - 2:45
5. Sweetwalkin' Lady (Ron Floegel, Andrew Samuels) - 3:18
6. I'm Your Lover Man - 5:13
7. Shorty Go Home (Ron Floegel, Andrew Samuels) - 4:29
8. Hogtied - 3:15
9. I'm Counting on You (To Come Through) - 4:58
10.Oh Maggie (Don't Lift the Weight) (Ron Floegel, Andrew Samuels) - 3:18
11.(Tell Me Baby) Why You Been Gone So Long (Micheal Newbury) - 3:01
12.California Blues (Jimmy Rogers) - 3:56
All songs by Ron Floegel, Andrew Samuels, Tom Phillips except where stated.

The Redwing
*Andrew Samuels - Lead Guitar, Bass, Vocals
*Ron Floegel - Rhthm Guitar, Vocals
*Tom Phillips - Guitar, Slide Guitar, Piano
*George Hullin - Drums, Vocals

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rep>>> Terry Knight And The Pack - Terry Knight And The Pack • Reflections (1966-67 us, great detroit hard garage beat psych, pre Grand Funk, 2010 issue)

This two-fer compiles the only two albums by Michigan's Terry Knight & the Pack; its self-titled 1966 debut and 1967's Reflections. Rock 'n' roll collector's and Michigan rock aficionados have given these albums semi-legendary status simply because the lineup included the roots of Grand Funk Railroad -- Knight was the band's manager and producer until 1972, and both guitarist Mark Farner and drummer Don Brewer came from its ranks.

These two recordings were originally issued on the Lucky Eleven imprint and were distributed by Cameo/Parkway who had scored a number one hit with "96 Tears" by ? and the Mysterians, another Michigan act. Knight's gift wasn't so much as a singer, but as a songwriter capable of aping the hitmakers of the day, and he knew how to arrange. This is born out on the first album's covers of Sonny Bono's "Where Do You Go," "You're a Better Man Than I" (a hit for the Yardbirds), and a particularly strange reading of the Rolling Stones' "Lady Jane." The single from the album was a reading of the Lieber & Stoller nugget "I (Who Have Nothing)."

Knight's own tunes include the fuzz guitar-drenched album-opener "Numbers" was reminiscent of the Seeds, while "What's on Your Mind" walked a line between Georgie Fame and the Zombies. The band's second album, Reflections, opens with the whitest cover of Joe Tex's "One Monkey (Don't Stop No Show)" ever.

There are some real rockers here, too, in "Love, Love, Love, Love, Love," that's reminiscent of the Standells, the soul-inflected-cum-Association-influenced "This Train," and a unique garage psych cover of the Stones' "(I Can't No) Satisfaction." This is an integral part of Michigan Rock history.

by Thom Jurek

Tracks
1. Numbers - 2:30
2. What's on Your Mind - 1:48
3. Where Do You Go (Sonny Bono) - 3:08
4. You're a Better Man Than I (Mike Hugg, Brian Hugg) - 2:53
5. Lovin' Kind - 3:00
6. The Shut-In - 3:37
7. Got Love - 3:12
8. A Change On The Way - 3:42
9. Lady Jane (Mick Jagger, Keith Richards) - 2:56
10.Sleep Talkin' - 3:00
11.I've Been Told - 2:41
12.I (Who Have Nothing) (Carlo Donida, Giulio "Mogol" Rapetti, Jerry Leiber, Mike Stoller) - 3:25
13.One Monkey Don't Stop No Show (Joe Tex) - 2:35
14.Love, Love, Love, Love, Love - 2:54
15.Come with Me - 2:41
16.Got to Find My Baby - 2:49
17.This Precious Time (P.F. Sloan, Steve Barri) - 2:48
18.Anybody's Apple Tree - 2:33
19.The Train - 2:11
20.Dimestore Debutante - 4:22
21.Dirty Lady - 3:13
22.Love Goddess of the Sunset Strip - 3:35
23.Forever and a Day - 3:06
24.(I Can't Get No) Satisfaction (Mick Jagger, Keith Richards) - 3:57
All songs by Terry Knight except where indicated.

Terry Knight And The Pack
*Don Brewer - Drums, Vocals
*Bob Caldwell - Bells, Vocals
*Mark Farner - Bass, Vocals
*Herm Jackson - Bass
*Curt Johnson - Guitar, Vocals
*Terry Knight - Harmonica, Harpsichord, Piano, Vocals

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Mars Bonfire - Faster Than The Speed Of Life (1968 canada, fascinating acid psych rock, 2007 remaster)

Mars Bonfire has earned himself rock 'n' roll immortality, not to mention lifetime royalty checks, for penning Steppenwolf's inescapable classic "Born to Be Wild," that eternal anthem of would-be bikers and weekend hellraisers worldwide. 

The power of the song has been blunted over the years, thanks to endless cover versions (including a duet between Ozzy Osbourne and Miss Piggy on the Kermit Unpigged album), and ironic use in sitcoms, films, and TV commercials. A listen to Bonfire's own recording of "Born to Be Wild" on this solo outing can remind one just how powerful the song really is. 

Bonfire's take is druggier than the balls-out Steppenwolf hit, a slippery psychedelic tone without the dramatic dynamics and steamroller rhythm. It's still an upbeat rocker with twisting fuzz guitar leads, but Bonfire's vocals suggest a college kid dropping acid at a house party, while John Kay makes the same lyric into a threat. Bonfire didn't possess the macho bombast of his ex-bandmates; his self-titled debut is a lost masterpiece of introspective psych-pop full of great tunes. 

The lead track, "Ride With Me, Baby" lays out everything on his mind with a groovy, dirty, Sunset Strip vibe. Bonfire manages to get out lines like "the beautiful thing has fallen thru with cancer, death, deformity" without sounding clumsy, and he catalogs his worries, woes, and hopes over six minutes of overdriven organ and guitar. "Night Time's for You" is another great rocker, a rather sinister celebration of the dark, while "Sad Eyes" and "Christina's Arms" are sweeter pop numbers. 

Even at his most sensitive, Bonfire never drifts into the ether, keeping things grounded in hard rock instrumentation, so that even ballads like "Tenderness" and "How Much Older Will We Grow?" are loud, full-band affairs. Bonfire's talent as a songwriter was obvious to Steppenwolf, as they would go on to raid this album for a full four songs over the course of their career ("Tenderness," "Ride With Me, Baby," and "The Night Time's for You" all appeared on For Ladies Only). 

This debut was repackaged a year later with a different track order as Faster Than the Speed of Life, but Bonfire was unable to net any hits of his own, and he retreated into private life. 

by Fred Beldin

There are several reasons why the name of Mars Bonfire should be regarded as quite an important entry in every rock’n’roll related encyclopedia, and while being as good as any itself, none of these reasons happen to be his own LP, originally released on the Uni label in 1968, soon to be re-issued on Columbia.

Before actually starting the “bonfire” of his career, along with, among others, Bruce Palmer (soon to join another fellow Canadian in forming Buffalo Springfield), Mars joined Jack London & The Sparrows as Dennis Edmonton. With German émigré, John Kay, replacing their front man, and shortening the name into The Sparrow, the band relocated to New York, releasing a couple of singles, with Mars’ own Tomorrow’s Ship / Isn’t It Strange these days being considered for a minor psychedelic classic.

After yet another move, onto an even hipper coast, the disillusioned Dennis Edmonton, finally becomes Mars Bonfire, while leaving some of his own songs behind, most notably Born To Be Wild, helping his former bandmates reach the long desired heights “faster than the speed of life”, and under a different moniker of another, more appropriate beast ….. without himself present, ironically enough.

Being too tempting to avoid, I suppose Mars just couldn’t help but “cover” his defining number himself, somewhat lacking a ball or two in delivery, compared to the “original”, and it’s a pretty similar kind of a groove that he explores in a more sophisticated way for the album’s title track.

In spite of it not being suggested so, most of the album falls into a lighter, occasionally slightlydelic sound, as heard in Sad Eyes, Lady Moon Walker, She, So Alive With Love or How Much Older Will We Grow?, with the latter being a great Beatle-ish Britsike ballad.

Sometimes he even gets down the folky country round (Tenderness), and on a couple of bluesier tracks, the fragility of the vocal delivery seems to place him somewhere halfway between the Al Wilson-fronted Canned Heat and the Mickey Dolenz-fronted Monkees (Ride With Me Baby, Night Time’s For You).

No less than three more tracks from Faster … were covered by Steppenwolf in 1971, making the legacy of their former bandmate an inexhaustible source, which he hasn’t seemed to be able to take advantage of himself.

by Garwood Pickjon

Tracks
1. Faster Than The Speed Of Life - 2:59
2. Born To Be Wild - 2:59
3. Sad Eyes - 2:19
4. Lady Moon Walker - 2:39
5. Tenderness - 4:26
6. She - 2:584
7. Ride With Me Baby - 6:01
8. How Much Older Will We Grow? - 5:48
9. So Alive With Love - 2:40
10.In Christina's Arms - 3:11
11.Night Time's For You - 2:16
All songs by Mars Bonfire

*Mars Bonfire - Guitar, Vocals

Related Acts
1969  Early Steppenwolf (1967 Live, Japan SHM mini lp)
1969  At Your Birthday Party (Japan SHM 2013 remaster)
1969  Monster (2013 japan SHM issue)

1970  Steppenwolf - 7 (2013 Japan SHM)
1970  Live (2013 Japan SHM edition)
1971  For Ladies Only (Japan SHM 2013 remaster)

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rep>>> Crystal Syphon - Family Evil • Elephant Ball (1967-69 us, impressive garage psych rock, 2020 double disc remaster and expanded)

Here, after over 50 years, is the total recorded output of Crystal Syphon. It is the amalgam of the talents and tastes of six musicians, friends and brothers from the little town of Merced, California. On almost every weekend, dances were held atone of Merced's four musical venues: The American Legion Hall, the Italo-American hall, the Women's Clubhouse, or the Merced Fairgrounds. Crystal Syphon was formed in 1965 by a group of musicians from Merced High School. Originally known as the Morlouchs, the founding members were Jeff Sanders on vocals, his brother Jim Sanderson rhythm guitar and vocals, Tom Salles on lead guitar and vocals, Dave Sprinkel on keyboards and vocals, Roger Henry on bass and Andy Daniel on drums.The band was very much influenced by the sounds of The Beatles and The Byrds, and is evidenced in their ability to do very difficult four part harmonies.

The group played many local area gigs, including Battle Of The Bands, but under the management of Jeff and his older brother Bob, the band began to pursue writing their own music. The band pooled ail their earnings for both equipment and recording sessions, and this practice continued the entire time the band was together. In May of 1966, Roger left the band and was replaced by Bob Greenlee on bass. In 1967, the band recorded Marcy, Your Eyes, Paradise, Have More Of Everything, and Try Something Different at Dick Terzian's studio in Fresno and were 3 track recordings; thus they were essential live with only some mild vocal or guitar overdubs. Other well known artists the band appeared with were Bo Diddley, Creedence Clearwater Revival, The Youngbloods, Quicksilver Messenger Service, Country Joe & The Fish, The Grateful Dead, Buffalo Springfield, Elvin Bishop, Lee Michaels and Santana.

Throughout the band's existence, the band shopped itself to various record labels. With the assistance of Bob Sanders and Richard Delong, who replaced Bob as the band's manager in 1967. Ultimately, the band had several offers to sign, but because they insisted on artistic freedom and complete ownership of their publishing, no agreement was ever reached with a label at the time.

In late 1968, Jim Sanders left the band and was soon followed by Dave Sprinkel. The four remaining members continued on as a four piece group, with Jeff Sanders taking over on keyboards. The band stayed together until late 1969, finally disbanding in early 1970. When Marvin Greenlee moved to Stockton to play in other bands, Tom, Bob and Jeff (now on drums) joined up with Merced guitarist John Fox to form Boogeyman, who recorded a 45 on a local Merced label. They played together for several more years, finally disbanding in 1973.

CD Liner Notes

Tracks

Disc 1 Family Evil 1967-68

1. Marcy, Your Eyes - 3:36

2. Paradise - 3:09

3. Have More Of Everything - 5:25

4. Try Something Different - 3:42

5. Fuzzy And Jose - 7:30

6. Are You Dead Yet? - 2:46

7. In My Mind - 2:42

8. Family Evil - 5:37

9. Fails To Shine - 5:42

10.Winter Is Cold - 6:56

11.Winter Is Cold - 6:12

All songs by Crystal Syphon

Tracks 8-10 recorded live At The Fillmore West 1-21-68

Track 11 recorded 2008

Disc 2 Elephant Ball 1967-69

1. Dawn Sermon - 1:21

2. For All Of My Life - 3:12

3. Tell Her For Me - 3:29

4. Elephant Ball - 4:26

5. Sing To Me - 8:36

6. It's Winter - 3:23

7. Snow Falls - 5:16

8. Don't Fall Brother - 3:20

9. There Is Light There - 6:33

All compositions by Crystal Syphon

Crystal Syphon

*Tom Salles - Vocal, Guitar

*Jim Sanders - Vocal, Guitar (Disc 1 Tracks 1-11, Disc 2 Tracks 1-3)

*Jeff Sanders - Vocals, Organ, Percussion, Drums 

*Bob Greenlee - Bass 

*Dave Sprinkel- Vocals, Organ, Percussion (Disc 1 Tracks 1-3, 5-11,  Disc 2 Tracks 1-3)

*Andy Daniel - Drums (Disc 1 Tracks 1-4, Disc 2 Tracks 1-3)

*Marvin Greenlee - Drums (Disc 1 Tracks 5-10, Disc 2 Tracks 4-9)

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rep>>> Amory Kane - Memories Of Time Unwound (1968 us, wonderful baroque folk psych, 2015 korean remaster)

Amory Kane was born Jack Daniel Kane Jr. at St. Mary's Hospital, San Francisco, California. The month was March in 1946. The Kane Family, with three small kids in tow, sailed to Great Britain in 1947, where Jack Daniel Kane sr. was posted in the capacity of military air attaché. Young Jack attended British schools in London- (Cannon Park Road School), and in Bath, Cornwall (Priory Park). Soccer and cricket were the games of choice and Jack jr , who was tall, became affair goalie.

Young Jack was moved by the classic music played in the British Isles throughout the year but especially during England's most heartfelt holiday, Christmas. People sang all the old songs together. He began piano lessons. At English schools the kids learned French, English, Latin and Greek from the very first years of pre-school. Everyone was also, it seems, guided to a musical instrument Electric Guitar

The Kanes were returned stateside by the military powers that be when JD (now Jack Jr s family name) turned seven. The family was stationed in San Antonio, Texas and there was music everywhere. Jack soon discovered the electric steel guitar and, by the age of nine, he was appearing on the locally televised Sagebrush Shorty Show, a popular local kids show, and participating in musical reviews at the Civic Auditorium. Grace, Jack's mother, soon purchased him a Recording King lap steel guitar and a Gibson amplifier.

The Kane kids had been getting their religious instruction with Saturday catechism and the Sunday choir and services at the local charismatic Baptist Church. We kids were adopted warmly by the entirely African American congregation and introduced to the great gospel music of the Church. A love of the rich black culture rubbed off strongly on Jack for the rest of his musical life.

After three rich years in San Antonio, the family moved back to Hamilton Air Force Base, near Novato, California, when Jack was ten or eleven. Jack Amory Kane, 1975 With the family living in Marin County, Jack discovered he was carrying a viable singing ability with him, much of which he had come by in the Baptist choir back in Texas. He wanted to switch over to the Spanish style guitar to comp behind his voice in singing the pop, blues and folk songs of the day. Jack also wanted to emulate the electric guitar blues that he was listening to nightly on his tiny battery powered transistor radio, tuned into distant Tijuana blues station XERB, with the Wolfman, which only came in at night.

Since he had been studying piano now for some years, Jack had developed a great love for the classical music his teachers had given him. And he had three years of lessons in learning the pedal steel guitar, playing the great country hits of the '50's. But that Wolfman Jack blues music, emanating from so far away over the night airwaves, was what would become Jack's most compelling interest, and the blues he heard most acutely was played on the electric Spanish guitar. Young Jack soon acquired a guitar neck and some castoff pickups and he fashioned a body of wood to mate the neck to. A colorful paint job was applied and a castoff bridge was glued in place to accept the strings.

Astonishingly, the mongrel guitar worked admirably with a radio that he turned into an amp of sorts. Body Rhythm Flyer Mama Grace eventually took notice of his initiative and, with her help he soon graduated to a Sears Silvertone guitar and amp combo, plus a Harmony twelve string. Grace played classical guitar and piano and always fostered her kids musical development Jack says, "That's why I did those six or seven years at the piano lessons, ending only when the guitar became too irresistibly obsessive. My mom wanted me to." Jack attended a couple of Bay Area Catholic schools, through ninth grade, St. Raphael's in San Rafael and St. Joseph's in Mountain View. Then he finished high school at Novato High School, where he did talent shows with Chris Clark, who was later to sign with Motown Records as their first white female artist.

During high school. Jack was being booked as a single act at hotels and venues around the Bay by well-known manager, Lucille Bliss. There were also gigs for his folk group, The Hearthside Singers, throughout high school. Jack led a surf band as well, called "The Chancellors" at hops and dances. "I just wanted to be making music all the time," he says. He was, however, mostly an "A" student, throughout school.

After a year of studying music at Kentfield Community College, the pull became just too strong from his future. Grades, for the first time in his educational history, were slipping Jack would have to (and would) attain a college degree later in life JAK and his jaguar While attending the momentous 1967 San Francisco Human Be-in with friends, it became clear to the young man that fate had another road in store for him. What others were seeking here m San Francisco, he would only find elsewhere. He sold his creampuff '57 Galaxie convertible and his extensive record collection and left the City By the Bay. He would hit the skyways with his redheaded Gibson guitar to play his way through Europe.

CD Liner Notes

Tracks 

1. Mama Mama - 2:14
2. Reflections "Of Your Face" - 3:34
3. All The Best Of Songs And Marches (Terry Stamp) - 2:59
4. You Were On My Mind - 4:48
5. Physically Disqualified Blues - 2:22
6. New Light - 5:08
7. Night - 2:58
8. Maybe You`ll Stay - 3:08
9. Candy Queen - 4:05
10.Birds Of Britain - 4:09
11.Perfumed Hand Of Fate - 9:52
All compositions by Amory Kane except Track #3

Musicians
*Amory Kane - Guitar, Vocals
*Dave Pegg - Bass
*Ned Balen - Drums

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rep>>> Help - Second Coming (1971 us, impressive hard classic rock with spirituals references, 2021 korean remaster)

Help were a Christian power trio from California that included future Doobie Brothers drummer Chet McCracken. They released an excellent self-titled album for Decca in 1970, the style of which was very melodic rural-rock. By the time of their second album, Second Coming, they had incorporated distortion, fuzz and wah-wah which made them a more incendiary hard rock outfit.

Opening track Do You Understand The Words is a stormer, spiced with acid guitar from Jack Merrill. Pounding drums, tight production, solid bass playing and strong vocal melodies throughout the album make for a pleasurable listen, although it’s the guitar playing of Merrill that makes Second Coming such a curio for hard-rock/proto-metal fans.

There’s the nine-minute epic Dear Lord, which can be something of a test for a Black Sabbath fan. he album’s second half, however, features an intense, heavy jam, showing off their accomplished talents. Oh My features a killer lead riff and is one of the heavier tracks, along with All Day and its infectious, funky wah-wah riff.

by Lee Dorrian

Tracks

1. Do You Understand The Words - 3:42

2. All Day - 2:47

3. Good Time Music - 3:32

4. Hold On Child - 4:03

5. T.C.A. - 6:50

6. Dear Lord - 9:22

7. Oh My - 4:42

8. Power - 6:12

All songs by Bob Rochan, Chet McCracken, Jack Merrill

Help

*Jack Merrill - Guitar, Vocals

*Bob Rochan - Bass, Vocals  

*Chet McCracken - Drums

1970  Help - Help (2021 korean remaster)   

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rep>>> Joe Beck - Nature Boy (1968 us, outstanding heavy fuzz jazz psych rock, 2006 remaster)

Most music lovers know Joe Beck as a famous jazz guitarist, composer and producer. At the early age of eighteen he left his home town Philadelphia to New York, where due to his extraordinary talent he soon became co-artist with famous jazz musicians ( such as Paul Winter, Charles Lloyd, Gary McFarland and Chico Hamilton). Miles Davis took him on as the first “electric guitarist”. In late 1966 he recorded the LP “Rock Encounter” with Sabicas, one of the world’s greatest flamenco guitarists, a truly extraordinary album, even in hindsight (first published on CD on Long Hair, LHC 48). The recordings on this LP earned him a record deal with MGM/Verve, and in 1967/68 “Nature Boy” was recorded. For further details please note the following remarks by Joe Beck in person!

Since at the time of the recording session Joe Beck did not have an own band, he won drummer Donald McDonald, who was to be his fellow artist with the band Jeremy And The Satyrs and was also drummer with the Tim Hardin Band and under contract with Verve. Joe Beck (guitars, bass, organ) and Donald McDonald (meanwhile deceased) recorded most of the album, with the occasional help of Don Payne, bass, Crazy Horse guitarist Danny Whitten (died in 1972) and trumpeter Randy Brecker.

Except for the jazz-standard “Nature Boy” all titles were composed by Joe Beck. Later on he did a few more recordings of the title song “Nature Boy” (composed by a certain Eden Ahbez) with various famous jazz musicians. “Nature Boy” had previously been recorded by Nat King Cole, Frank Sinatra, Miles Davis, John Coltrane and several others, and - interestingly so - is part of the soundtrack of the movie Moulin Rouge - sung by David Bowie! It is a very adaptable song that lends itself to a variety of interpretations, and in this album is brilliantly presented by Joe Beck and his extraordinary guitar work as a psychedelic rock song. 

“Nature Boy” is a congenial opener of the album of the same name, which Vernon Joynson in his recommendable book “Fuzz, Acid and Flowers” aptly described as a mixture of psyche, rock and jazz, with occasional classic influences, but clearly dominant psychedelic and rock elements. A fascinating album with exciting compositions that display high technical skills.

In 1968 Joe Beck joined Jeremy Steig’s The Satyrs. Rather unusual from today’s point of view, Jeremy and The Satyrs toured the United States together with Cream. Since he was open for musical ideas and forms apart from jazz, Joe Beck could not escape the fascination of this extraordinary band. He was also quite impressed by Jimi Hendrix’ guitar play, which was new and unusual at that time.

Apart from being bandleader, producer, composer, arranger and co-artist with many famous jazz, jazz-rock and funk artists, Joe Beck made himself a name as composer of theme songs for TV and radio and has also been famous for his film music and for adding sound to TV documentaries. He also recorded with the Royal Philharmonic Orchestra in London, the Milan Philharmonics and the Paris String Ensemble in joint studio productions.

The making of this record could be the plot of a movie. A sixties adventure! It started out with me signing a contract with Verve for $100,000.00 advance. A large sum in 1967. I insisted that the recording be done in my house and that they also sign Warren Bernhardt. They agreed to these unheard of demands and much more and the project started soon after. 

I had the musicians living in my house and had rented every conceivable instrument and recording device possible at the time, including Jay Messina, the engineer. All in my house. We had a month to do the project. My fiancé at the time (Diane Doe) and Warren’s future wife got into a fight and all music ceased. Needless to say, neither marriage lasted very long. To make the very long story short, after all the contract talks and money to make this project work, we spent the entire budget on parties and who knows what and, at the end of a month, we had just one basic track. One track! It was acoustic guitar and conga drums – “Spoon’s Caress”. We had spent $100,000.00 and achieved nothing. The sixties. 

Now it was time to show Verve what a great project they had paid for. Out of desperation, I started recording tunes with myself playing all the parts except drums, which Donald MacDonald agreed to do. I sang, I played bass, I played piano, guitar, percussion, whatever it took to get the record done. As I worked, people came by the studio and that is how Randy Brecker came to play on it as well as Danny Whitten on a vocal or two.

“The Rapid Disintegration of a Chamber Orchestra” starts with part of a piece I wrote for my friends to play as a Christmas present the year before. I think I was 20 or 21 when I wrote it. It really was a gift for the players who worked for me at the time in the TV commercial business. They were all great musicians and I just wanted them to get a chance to play something not written for a commercial. Also, I wanted to play piano and this was part of a twenty minute piece for piano which has been lost over the years.

To tell the whole story of this project would take a long time and I’m not sure it is worth the telling. I suppose it is an accurate picture of my life at the time, but a little painful to look at too closely. Some of the people involved with this project passed away as a result of the times, others have left the business. I think I can safely say that those of us who survived the music and life of the sixties have a great respect for our art and how it affects others. I think of the ones we lost every day of my life and dedicate this new project to the memory of Donald MacDonald. He was my favorite drummer of all time and touched thousands of people with his music and his love.

by Joe Beck, May 2006

Tracks
1. Nature Boy (Eden Ahbez) - 5:32
2. Spoon's Caress - 3:16
3. Let Me Go - 3:44
4. Come Back: Visions Without You - 6:05
5. Maybe - 3:21
6. No More Blues - 6:26
7. Goodbye L.A. - 6:22
8. Please Believe Me - 5:27
9. Ain't No Use In Talking - 5:33
All titles by Joe Beck except where stated

Personnel
*Joe Beck - Guitar, Vocals, Piano, Organ, Bass
*Donald McDonald - Drums, Conga Drum, High Hat, Tambourine
*Danny Whiten - Rhythm Guitar, Vocals
*Randy Brecker - Brass
*Don Payne - Bass

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rep>>> Help - Help (1970 us, outstanding folk psych jam rock, 2021 korean remaster)

The pleasures of record collecting aren’t always obvious. Some albums avoid the shop-front glare to modestly wait in a gloomy rack, whispering anecdotes like Dostoevsky said happens in forgotten churchyards. An interesting cover might provoke a quick pull up, thinking we knew every name under the sun, then comes decision time guided by that sweet frisson of excitement or a heavy sigh. In the case of Help, if one can get over the less-than-prepossessing moniker, the surprise will be something like “How come I missed this nugget – after all it’s on Decca for Christ’s sake?” or words to that effect. 

There are actually two Decca albums from one year to choose from (plus two lifted singles) with enigmatic sleeves: suggestions of leafy autumn side-streets coloured by summer’s recent adventures. This also fits the band’s brief life, featuring a snapshot of a great (and much-loved) musician who had one fleeting chance at the big time, snatched away as mysteriously as it was given. Jack Merrill (guitar, vocals), Ron ‘Bobby’ Rochan (bass, vocals) and Chet McCracken (drums, vocals) formed Help in 1969, in the clubs and studios of North California. It was the dawn of titanic trios such as Cream, Taste and Hendrix – but with three singers? This is just one surprise from a band with its own sound which soon led to a prestigious label deal. 

It was a natural progression for drummer Chet, who started in Skip Battin’s Evergreen Blueshoes based in LA, the band of the legendary bassist who went on to fame with The Byrds and The Flying Burrito Brothers. Their period-typical ’69 LP on Amos, The Ballad Of Evergreen Blueshoes, was picked up by London for UK release – the frolicking nudies in the wood had a lot going for it at the time (and probably later). It’s a weird potpourri: hardy perennial Dylan, Leonard Cohen’s obscure Mrs Cohen’s Little Boy, The Incredible String Band’s The Hedgehog’s Song, a track based on Poe’s Raven, and a bizarre cover of Johnny B Goode for a single. No slavish copying like Corporal Gander’s Firedog Brigade, bless ’em, just quirky originality. Chet McCracken became a sought-after sessionman before Jack Merrill appeared on the scene. 

Help’s eponymous debut first appeared in Germany in 1970, on MCA, then stateside as Decca DL-75257 with the barest of information for nine co-written originals, and a cover produced by Val Garay and Mark Hopkins MacNabb. The latter went into film music production, most notably with The Cure and The Mask, while Garay has a stellar career of Grammy Best Album Awards (Michael Jackson/Quincy Jones; Paul Simon’s Graceland; Tina Turner etc). He recalls working in ’71 with young musicians at the renowned Sound Factory on Hollywood’s Selma Avenue, and that was where Help cut their teeth too. It’s interesting that Decca issued the album soon after, as it coincided with one of their biggest declines after the Stones left them in 1970 (as did Genesis and Bowie). Help would not improve that situation. 

For some the debut is a grower, for others it hits the mark straight away. The lyrics prove the band’s name is better chosen than first assumed. They don’t proselytise against selfishness, including a still-relevant obsession with money, but let’s see this another way. It’s refreshing, but never saccharine: it was a new decade after all. There’s Merrill’s tempo-shifting wah-wah and Rochan’s innovative, hyperactive bass drive, like Grand Funk Railroad when they lived up to their name. The track Runaway boasts maracas for a bouncy samba beat, then a Stax-feel solo through the foot pedals. Shared vocals, with a tasty bass-to-the-fore interlude adding a progressive touch, convinced the label to issue it as a debut single (Decca 32783), backed with Keep In Touch, which is so melodic one can bathe in it and imagine a blue lagoon. The album closes with a speedy version of Tennessee Waltz, the King/Stewart classic but more like Leonard Cohen’s rendition on his first live album. The debut is more Man or Blossom Toes than Brinsley Schwartz in terms of a British equivalent. 

by Brian R Banks 

Tracks

1. For Sale (Jack Merrill) - 4:34

2. Open Up The Door (Bob Rochan) - 2:32

3. I Tried Too Hard (Bob Rochan, Jack Merrill) - 1:45

4. Easy To Be Free (Rick Nelson) - 3:09

5. Run Away (Bob Rochan) - 6:51

6. Keep In Touch (Jack Merrill) - 4:00

7. Take A Look At Yourself (Bob Rochan, Jack Merrill, Chet McCracken) - 4:43

8. Commit Yourself (Bob Rochan, Jack Merrill, Chet McCracken) - 2:59

9. Help Me, Help You, Help Me (Bob Rochan, Jack Merrill) - 4:06

10.Tennessee Waltz (Redd Stewart, Pee Wee King) - 4:03

Help

*Jack Merrill - Guitar, Vocals

*Bob Rochan - Bass, Vocals  

*Chet McCracken - Drums

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rep>>> Emily - Emily (1972 us, amazing vocals in an acid psych folk rock trip, 2011 edition)

Emily Bindiger is a NY singer who has performed on hundreds of recordings, including commercials, movie soundtracks, industrials and records, as well as concert stages worldwide. 

She started out as a teenager playing clubs in Greenwich Village, then moved to France at 16 where she recorded and released in the spring of 1972, this extremely rare album that has been acclaimed as a psychedelic folk masterpiece. With sensitive backing from local progressive rockers Dynastie Crisis, the eight self-penned songs feature delicate arrangements and lyrics that show remarkable maturity and depth. A firmly established rarity in its original incarnation.

By her returning to US she made her Broadway debut in "Shenandoah," immediately followed by the revival of "Hair," and for seven seasons she starred as "Frannie" on the Peabody Award-winning children's TV show, "The Great Space Coaster." Emily has recorded and/or performed with such diverse artists as Leonard Cohen, Buster Poindexter, Ann Hampton Callaway, Joan Osborne, Lou Reed, Steve Van Zandt, Oscar Brand, Mary Fahl, Andy LaVerne, The Klezmatics, Peter White, Kevin Mahogany, Deodato, Michael Amante, Lesley Gore, Kathie Lee Gifford, David Friedman, Christine Lavin, Ben Vereen, Bobby Caldwell, Black 47, Laurie Beechman, Patti Austin, Ronnie Spector, Catherine Russell, Julie Gold, and the legendary Neil Sedaka, with whom she toured for several years.

Tracks
1. Confession - 2:28
2. Sunflower Seeds - 1:55
3. Jesus Said -  3:52
4. My Mother’s House - 4:00
5. Song For Steven (lyrics by Jeanne Claire Severac) - 2:35
6. Born Again -  2:39
7. Song Of Decision - 2:22
8. Old Lace (To John) - 9:26
Words and Music by Emily Bindiger except where indicated.

Musicians
*Emily Bindiger - Vocals, Guitar
*Jacques Mercier - Vocals, Guitar
*Jacky Chalard - Bass
*Philippe Lhommet - Keyboards
*Geza Fenzl - Drums

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rep>>> Steppenwolf - 7 (1970 canada, classic hard bluesy rock, 2013 japan SHM remaster)

This album benefited greatly from Larry Byrom’s creative surge and contributions from George Biondo (who replaced Nick St. Nicholas on Bass) - . Larry and George had worked together in the group ‘T.I.M.E.” and were not only fine players but also excellent singers. 

We put their vocal talents to good use on the songs “Foggy Mental Breakdown”, “Who Needs Ya” and “Fat Jack” on which George also sang co-lead or solo. Those tracks as well as “Renegade” and “Hippo Stomp” were some of my favorites and featured some of Larry’s finest playing along with Jerry Edmonton’s imaginative arrangement ideas. I found that these tracks stimulated my lyric/melody writing and I was quite pleased with our finished collaboration. 

Since I was busy working on vocal parts for tracks the guys were laying down, I found myself playing guitar only on “40 Days and 40 Nights” and “Snowblind Friend”, however Larry more than picked up the slack in that department. During these sessions, I developed an ear infection and remember doing vocals with one ear out of commission. All in all “7” remains as one of my favorite Wolf albums to this day.

Steppenwolf

Tracks

1. Ball Crusher (Larry Byrom, John Kay) - 4:53

2. Forty Days And Forty Nights (Bernie Roth) - 3:04 

3. Fat Jack (Larry Byrom, George Biondo) - 4:52

4. Rengade (Larry Byrom, John Kay) - 6:07

5. Foggy Mental Breakdown (Larry Byrom, John Kay) - 3:54

6. Snow Blind Friend (Hoyt Axton) - 3:55

7. Who Needs Ya (Larry Byrom, John Kay) - 3:00

8. Earschplittenloudenboomer (Larry Byrom) - 5:01

9. Hippo Stomp (Larry Byrom, John Kay) - 5:45

10.Screaming Night Hog (John Kay) - 3:18

11.Snow Blind Friend (Hoyt Axton) - 3:20

12.Hipop Stomp (Larry Byrom, John Kay) - 3:22

Bonus Tracks 11,12

Steppenwolf
*John Kay - Guitar, Vocals,   Harmonica
*Larry Byrom - Guitar, Vocals
*Goldy Mcjohn - Keyboards
*George Biondo - Bass, Vocals
*Jerry Edmonton - Drums

1969  Early Steppenwolf (1967 Live, Japan SHM mini lp)
1969  At Your Birthday Party (Japan SHM 2013 remaster)
1969  Monster (2013 japan SHM issue)
1970  Live (2013 Japan SHM edition)
1971  For Ladies Only (Japan SHM 2013 remaster)

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rep>>> Crowfoot - Crowfoot (1970 us, fascinating psych classic rock with west coast aura, 2017 remaster)

Born in Philadelphia, DaShiell lived on Oahu between the ages of three and fifteen, and took up guitar at the age of fourteen. He moved with his family to Florida in 1963, where he formed a band that played covers in the local Sugar Shack club. He then joined Doug Killmer's band The Sonics, which after the addition of drummer Rick Jaeger became The Beau Gentry in 1965; 

Originally, they played British Invasion songs, but turned more to original material as DaShiell began to write it. They were signed by manager Ken Adamany (who later handled Cheap Trick); he took them to the Midwest for a summer tour, and they continued to be based there for the next two years. In December 1968, they moved to Marin County, CA, in hopes of getting a record deal during the renaissance of San Francisco rock bands, but they eventually found success playing with others rather than in their own band. DaShiell also began working as a session guitarist, playing on A.B. Skhy's 1969 debut album, and going on to play in Harvey Mandel's band. He also played on Norman Greenbaum's Spirit in the Sky album, including the chart-topping title track, and went on to tour with Greenbaum and play on his next two albums. 

In 1970, DaShiell secured a record contract with ABC-Paramount for Crowfoot, but by then it was essentially a solo act. Nevertheless, he recorded a self-titled Crowfoot album, with Jaeger playing drums, that was released in the fall of 1970. A year later came Find the Sun, which found DaShiell backed by Sam McCue (guitar and vocals), Bill Sutton (bass), and Don Francisco (drums and vocals). Neither album succeeded commercially, and DaShiell went on to other projects. In the early 1990s, he reunited with Killmer and Jaeger for an EP under the name Mesenger that he released on his own Aerial View label. 

Tracks

1. Winter Comes - 3:41

2. Love Is Everywhere - 2:35

3. You Won't Cry - 3:13

4. Lady Fair - 1:45

5. Maybe I Can Learn To Live - 2:50

6. California Rock'n Roll - 1:59

7. Dry Your Eyes - 3:08

8. A Falling Leaf - 3:51

9. No Don't Leave - 3:39

10.Dancing Lady - 2:43

11.Groove Along - 4:01

All compositions by Russell Da Shiell

Crowfoot

*Russell Da Shiell - Bass, Keyboards, Guitar, Vocals

*Rick Jaeger - Drums

Related Act

1976  The Don Harrison Band - The Don Harrison Band (2004 edition) 

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rep>>> The Marshall Brothers Band - The Marshall Brothers Band (1975 australia, fine classic rock with prog touches, 2005 edition)

The Marshall Brothers Band are lesser-known Aussie proggers, quite possibly due to their lounge-act name, but also quite possibly due to their lounge-act music, certainly when compared to the likes of Aleph or the mighty Sebastian Hardie. The Marshall Brothers Band (produced by noted 'Tronnist Chris Neal).

There aren't any Marshall Brothers on the band, their name came after Rob Scott's wish to use the word "Brothers" like Allman Bros or Doobie Bros, so they called the band after Dave’s amplifier brand! 

Classical rock music influenced by King Crimson, Vanilla Fudge and Rick Wakeman. Their 1975 sole album sold quite well, spending eight weeks in the charts. 

Tracks
1. Falcon 1959-1912 - 5:42
2. Bright Light Lady (David Hinds, Chris Browne) - 2:35
3. Pioneer Suite - 4:27
4. Mr. 'l' - 5:11
5. Come Out With Your Hands Up, Baby (Chris Neil) - 2:48
6. Flying High - 5:56
7. Summer Love (Chris Browne) - 5:28
8. Younger Now - 11:18
All songs written by Robert Scott except where indicated

The Marshall Brothers Band
*Chris Browne - Vocals
*John 'Funky' Halls - Drums
*David Hinds - Guitar
*Karl Hofman - Guitar
*John Rairty - Drums
*Robert Scott - Keyboards, Vocals
*Kevin Wyatt - Bass, Vocals

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