Jesse Ed Davis - Keep Me Comin' (1973 us, singular melt of electrified blues, Southern fried rocked up r'n'b, greasy funk, freaky soul jazz and country rock, Japan 2017)

Charismatic Jesse Ed Davis was truly one of the rare breed known as a “guitarist’s guitarist.” On session after session in the late 1960s and 1970s, he epitomized the concept of playing for the song, drawing deeply from country, blues, rock, and R&B influences without mimicking anyone. He recorded with three of the Beatles and blues giants John Lee Hooker, B.B. King, Lightnin’ Hopkins, and Albert King. He appeared in the film Concert for Bangladesh and played sessions with Eric Clapton, Gene Clark, Neil Diamond, John Trudell, and many others. He released three solo albums on major labels. And yet despite these accomplishments, Jesse Ed Davis remains best known for his work on the early Taj Mahal albums and for being “the guy who inspired Duane Allman to play slide guitar.”

True, Jesse created the signature riff used by Duane for the Allman Brothers Band’s “Statesboro Blues,” as well as the bottleneck on Eric Clapton’s “Hello Old Friend.” But slide was just one facet of Davis’ widespread talent. He created many memorable hooks. Playing fingers-and-pick country on his trademark Telecaster, he could fire off multiple-string bends and double-stops as naturally as a Nashville cat. In blues settings, he made every note count, like a B.B. King or Mike Bloomfield. He delved into jazz. His uncanny feel for rock led to his becoming John Lennon’s guitarist of choice for the Rock ’n’ Roll album.

With his handsome features, long black hair, and moddish clothes, Davis cut a dashing figure onstage. He was one of very few Native Americans to achieve prominence in pop music, and today, almost three decades after his untimely death, he’s regarded as a hero by many young Native Americans.

Early in 1973, Jesse played guitar and sang backup on Bryan Ferry’s These Foolish Things, featuring many Roxy Music alumni, and joined a star-studded cast for Rod Taylor’s self-titled release on Asylum. He next played on Arlo Guthrie’s The Last of the Brooklyn Cowboys, which also featured Ry Cooder and Clarence White. He also released his third and final solo album, the self-produced Keep Me Comin’, which was devoid of guest stars. Instead, Davis relied on studio stalwarts – drummer Jim Keltner, bassist Bob Glaub, and keyboardist James Gordon. He co-composed four of the songs with John Angelo, calling his “Who Pulled the Plug” one of “the great Okie classics.”

Jesse Davis spent his final days living in Long Beach, California, where he sometimes counseled at the American Indian Free Clinic. On June 22, 1988, he was found dead in a laundry room in Venice, California, reportedly of a heroin overdose. His body was returned to Oklahoma for a traditional Comanche burial. In 1998, his first two solo albums were issued on CD by Warner/Japan.

In 2002, Jesse Ed Davis was inducted along with Dave Brubeck and Patti Page into the Oklahoma Jazz Hall of Fame. “Whether it was blues, country, or rock,” stated the official citation, “Davis’ tasteful guitar playing was featured on albums by such giants as Eric Clapton, Neil Diamond, John Lennon, and John Lee Hooker, among others.” For a kid who used to imitate Elvis in front of a mirror, Jesse Ed Davis had truly come a long way.

by Jas Obrecht

Tracks
1. Big Dipper - 1:41
2. She's A Pain (Jesse Davis, John Angelos) - 2:52
3. Where Am I Now (When I Need Me) (Jesse Davis, John Angelos) - 3:16
4. Natural Anthem - 5:37
5. Who Pulled The Plug? (John Angelos) - 5:02
6. Ching Ching China Boy (Jesse Davis, John Angelos) - 2:57
7. Bacon Fat (Andre Williams) - 4:32
8. No Diga Mas (James Gordon) - 0:44
9. 6:00 Bugalu - 6:01
10.Keep Me Comin' (Jesse Davis, John Angelos) - 4:06
Songs 1,4,9 written by Jesse Davis 

Personnel
*Jesse Ed Davis - Guitar, Vocals
*John Angelos - Harmonica, Vocals
*Gary Barone - Flugelhorn, Trumpet
*George Bohannon - Trombone
*Bobby Bruce - Fiddle, Violin
*Billy Davis - Vocals
*Oma Drake - Vocals
*Jacques Ellis - Trombone
*Felix "Flaco" Falcon - Percussion
*Bob Glaub - Bass
*James Gordon - Clavinet, Keyboards, Piano
*Howard E. Johnson - Baritone Sax
*Jerry Jumonville - Alto Sax
*Jim Keltner - Drums
*Chris ODell - Vocals
*Bill Plummer - Double Bass
*Russell Saunkeah - Vocals
*Clifford Scott - Tenor Sax
*John Smith - Tenor Sax
*Julie Tillman - Vocals
*Bobby Torres - Congas
*Carolyn Willis - Vocals

1970  Jesse Davis (japan edition)
1972  Ululu (2003 japan HDCD remaster)

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Horse - For Twisted Minds Only (1970-71 uk, outstanding heavy psych rock, 2016 remaster and expanded)

Horse was formed in South London during the late sixties. They created occult influenced progressive hard rock that was ahead of its time. Guitarist Rod Roach had briefly played in an incarnation of British psych-rock legends Andromeda before forming Horse with other key member, vocalist Adrian Hawkins. Alongside bassist Colin Standring, the band also featured legendary drummer Ric Parnell, later of Atomic Rooster (amongst many others) and future star of This is Spinal Tap (aka Mick Shrimpton)! The obscure rockers have been a favorite among collectors for many years. For Twisted Minds Only is an album long overdue for an official reissue. 

Recorded in 1969, originally released in 1970 and bootlegged countless times from scratchy vinyl transfers, Rise Above Relics is now finally presenting this detailed release mastered and cut directly from the original master tapes. Featuring a treasure trove of previously unheard/unreleased material, For Twisted Minds Only is certain to have connoisseurs and collectors of the period frothing at the bit. This long classic gallops out of the gate with the psychedelic “The Sacrifice” that could feel at home on a Jefferson Airplane album from the era. With its bloody chorus and the equally creepy second track “See The People Creeping Round” we can see how this Horse might be an acquired taste.

by Rich and Laura Lynch

Tracks
1. The Sacrifice - 6:17
2. See The People Creeping Round - 4:25
3. And I Have Loved You - 3:13
4. Freedom Rider - 3:20
5. Lost Control - 2:26
6. To Greet The Sun - 4:06
7. The Journey - 3:56
8. Heat Of The Summer - 4:04
9. Gypsy Queen - 2:54
10.Step Out Of Line - 4:24
11.Autumn - 3:52
12.Winchester Town-Dreams Turn To Ashes - 4:15
13.Born To Be Wild - 6:48
14.Picture Of Innocence - 2:53
15.She Brings Peace - Original Version - 5:44
16.Anthems Of The Sea - 3:28
All songs by Adrian Hawkins, Road Roach

The Horse
*Rod Roach - Guitar
*Adrian Hawkins - Vocals
*Colin Standring - Bass
*Ric Parnell - Drums
With
*Jess Liddiard - Drums (Tracks 13,14)
*Steve Holley - Drums(Tracks 15,16)

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Taj Mahal - Taj Mahal (1968 us, electric blues masterpiece, 2017 japan reissue)

Taj Mahal's debut album was a startling statement in its time and has held up remarkably well. Recorded in August of 1967, it was as hard and exciting a mix of old and new blues sounds as surfaced on record in a year when even a lot of veteran blues artists (mostly at the insistence of their record labels) started turning toward psychedelia. The guitar virtuosity, embodied in Taj Mahal's slide work (which had the subtlety of a classical performance), Jesse Ed Davis's lead playing, and rhythm work by Ry Cooder and Bill Boatman, is of the neatly stripped-down variety that was alien to most records aiming for popular appeal, and the singer himself approached the music with a startling mix of authenticity and youthful enthusiasm. 

The whole record is a strange and compelling amalgam of stylistic and technical achievements -- filled with blues influences of the 1930s and 1940s, but also making use of stereo sound separation and the best recording technology. The result was numbers like Sleepy John Estes' "Diving Duck Blues," with textures resembling the mix on the early Cream albums, while "The Celebrated Walkin' Blues" (even with Cooder's animated mandolin weaving its spell on one side of the stereo mix) has the sound of a late '40s Chess release by Muddy Waters. Blind Willie McTell ("Statesboro Blues") and Robert Johnson ("Dust My Broom") are also represented, in what had to be one of the most quietly, defiantly iconoclastic records of 1968.

by Bruce Eder

Tracks
1.Leaving Trunk (Sleepy John Estes) - 4:52
2.Statesboro Blues (Blind Willie McTell) - 2:59
3.Checkin' Up On My Baby (Sonny Boy Williamson) - 4:55
4.Everybody's Got To Change Sometime (Sleepy John Estes) - 2:58
5.E Z Rider (Taj Mahal) - 3:04
6.Dust My Broom (Robert Johnson) - 2:39
7.Diving Duck Blues (Sleepy John Estes) - 2:43
8.The Celebrated Walkin' Blues (Traditional) - 8:53

Musicians
*Taj Mahal - Guitar, Harmonica, Vocals, Slide Guitar
*Ry Cooder - Rhythm Guitar, Mandolin
*Jessie Edwin Davis - Lead Guitar, Piano
*Bill Boatman - Rhythm Guitar
*Christopher Sisson - Acoustic Guitar
*James Thomas - Bass
*Gary Gilmore - Bass
*Sanford Konikoff - Drums
*Charles Blackwell - Drums

1968  Taj Mahal - The Natch'l Blues

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Forest Green - Forest Green (1973 us, exceptional brass jazz prog rock, 2019 korean remaster)

Since its formation in the Spring of 1970, Forest Green has devoted itself to a full-time, eminently professional exploration of its roots, influences, and the techniques at its command. Combining sensibilities hat stem and range from classical to the self-widening channels of improvisational jazz, 

Forest Green puts together a sound that is at once logical, tight, and satisfying. Most importantly, what emerges from the sophisticated incorporation of elements as diverse as a Big Band Sound or a Latin Pulse - is an exuberant lyrical innocence; a sense of wonder at all the wit and emotion that music may convey.

True then to the City of Philadelphia whose sound Forest Green has helped to further define, and to all others now interested in their music, Forest Green delivers a message of Youth and Life aspiring to newer, more progressive horizons.

by Matt Damsker, Associate Editor of "The Drummer"

A stunning debut album of this American band in 1973 features progressive and psychedelic rock with nice jazzy approach. Pretty awesome mixed bag album for prog jazz and classic rock.

Tracks
1. Never Found A Way (Timothy Jordan) - 4:36
2. I've Been This Way Before (Syd Silverstein) - 3:12
3. What It's About (Timothy Jordan) - 3:01
4. Black Shepherd (Arthur Cohen) - 3:15
5. Beggar Man (Ray Barrett) - 4:07
6. Scream Fear (Syd Silverstein) - 4:26
7. The Ballad Of Widow Jenkins And Rita (Arthur Cohen) - 3:10
8. Movin' To The Country (Syd Silverstein) - 2:34
9. Boundless Sky (Ray Barrett) - 4:28
10.Mountain (Timothy Jordan) - 5:16

Forest Green
*Timothy Jordan- Vocal, Electric, Lead, Rhythm, Acoustic Guitars
*Syd Silverstein- Vocal, Bass
*Lon Poland- Drums, Bongo
*Ray Barrett- Vocal, Organ, Electric Piano, Clavinet, Recorder
*Donald Hettinger- Flute, Alto Sax, Bassoon, Percussion
*Robert Mast- Flute, Tenor Sax
*Arthur Cohen - Piano

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The Byrds - Sweetheart Of The Rodeo (1968 us, masterpiece, two disc set remaster and expanded)

Recorded in Nashville, Sweetheart of the Rodeo was indeed a huge bust for the once-massively popular band, peaking at a dismal Number 77 on the album charts, and yielding not one hit single. A classic example of a timeless album that nobody appreciated at first, the record is a real treasure. Every track, save for Parsons’s two compositions, is a cover of either a contemporary song or an arrangement of a traditional country piece. 

The Byrds had always been known by some as Bob Dylan’s unofficial cover band (they recorded 12 Dylan songs between 1965 and 1968), and although Dylan was holed up in Woodstock, New York, recording his now-legendary Basement Tapes with The Band, he made two demos from those sessions available to McGuinn and Hillman, and they rank as some of the greatest covers of Dylan’s material ever recorded. Featuring some incredible pedal steel guitar by session musician Lloyd Green, “You Ain’t Goin’ Nowhere” has a deceptively sunny feel, as it masks some of Dylan’s most foreboding lyrics to date: “Strap yourself/To the tree with roots/You ain’t goin’ nowhere.” Meanwhile, the equally dark “Nothing was Delivered” features a tiny hint of rock in its stirring, 4/4 chorus, as it bursts to life with those vocal harmonies The Byrds were known for.

The cover of The Louvin Brothers’ “The Christian Life” is beautifully done, its lyrics incredibly square for a Sixties rock star to sing, but it’s delivered with full sincerity (“Others find pleasure in things I despise/I like the Christian life”). McGuinn goes on to sing terrific renditions of “You Don’t Miss Your Water”, Merle Haggard’s “Life in Prison”, and Woody Guthrie’s ballad “Pretty Boy Floyd”, while Hillman sings on “Blue Canadian Rockies” and the traditional hymn “I Am a Pilgrim”, but it’s Parsons who steals the show. Parsons’s smooth country croon, injecting a heaping dose of heartbreak into “You’re Still on My Mind”. However, it’s his own songs, “One Hundred Years From Now” (sung by McGuinn and Hillman), and especially the gorgeous “Hickory Wind”, that stand out the most, the latter a stunningly beautiful look back at his own childhood in the South.

Of course, with this edition, it’s all about the bonus tracks, and this album is loaded with them. Aside from the McGuinn/Hillman arrangement of the traditional folk song “Pretty Polly” and some previously unreleased takes of “All I Have are Memories” and “Blue Canadian Rockies”, the focus of the tracks for the most of the set is on Parsons. On the first disc, after the album portion, it’s rounded out by a helping of non-album tracks that were originally unearthed on the 1991 Byrds box set: the more rock-oriented J.T. Hardin song “Reputation”, which Parsons had been performing solo since 1966, as well as Parsons’s original vocal takes of the propulsive “Lazy Days” (a Parsons original that didn’t make the album), a terrific version of “The Christian Life”, “You Don’t Miss Your Water”, and “One Hundred Years From Now”.

Disc Two starts off with selections from Parsons’s International Submarine Band, including the straight-ahead rock songs “Sum Up Broke” and “One Day Week”, from their 1966 debut single for Columbia, and the country road song “Truck Drivin’ Man”, released the same year by Ascot records, which artfully swipes the melody from “Act Naturally”. Three of Parsons’s best songs from the ISB’s 1967 album Safe at Home are included: the sprightly country tunes “Blue Eyes” and “Strong Boy”, as well as the stupendous “Luxury Liner”, a flawless blend of rock and country that was years ahead of its time. The rest of the tracks on the second disc are all previously unreleased demos and outtakes, and while it gets a bit repetitive, as several takes of the same songs are included, there are some real revelations, the best of them all being an alternate take of “Hickory Wind”, which features just Parsons’s voice, and no harmony vocals, making it all the more spare and emotional.

By the time Sweetheart of the Rodeo came out in August 1968, Parsons had already left The Byrds, angry about a scheduled tour of South Africa, not to mention his bitterness at having most of his lead vocals taken off the album. By the end of that year, Hillman would leave the band as well, going on to form the Flying Burrito Brothers with Parsons. In 1973, after two classic albums with the Flying Burrito Brothers and two more phenomenal solo albums, Parsons overdosed on morphine and Tequila, passing away at the age of 26. 

He might have only been in the Byrds for an incredibly short time, but the importance of what Gram Parsons accomplished with that band is still felt today, as Sweetheart of the Rodeo had a direct influence on countless artists, including The Eagles, R.E.M., and Wilco, not to mention the entire alt-country community from the past decade. It’s never too late for new listeners to discover Parsons’s work for themselves, and this exhaustive edition of the classic album gives both longtime fans and curious newcomers a detailed, rewarding look at one of the most important albums in rock history.

by Adrien Begrand 

Tracks

Disc 1

1. You Ain't Goin' Nowhere (B. Dylan) - 2:38

2. I Am A Pilgrim (Traditional) - 3:42

3. The Christian Life (Charlie Louvin, Ira Louvin) - 2:33

4. You Don't Miss Your Water (William Bell) - 3:51

5. You're Still On My Mind (Luke Mc Daniel) - 2:26

6. Pretty Boy Floyd (Woody Guthrie) - 2:37

7. Hickory Wind (Bob Buchanan, Gram Parsons) - 3:34

8. One Hundred Years From Now (Gram Parsons) - 2:43

9. Blue Canadian Rockies (Cindy Walker) - 2:05

10.Life In Prison (Jelly Sanders, Merle Haggard) - 2:47

11.Nothing Was Delivered (Bob Dylan) - 3:24

12.All I Have Are Memories (Kevin Kelley) - 2:48

13.Reputation (Tim Hardin) - 3:09

14.Pretty Polly (Chris Hillman, Roger McGuinn) - 2:55

15.Lazy Days (Gram Parsons) - 3:28

16.The Christian Life (Charlie Louvin, Ira Louvin) - 2:29

17.You Don't Miss Your Water (William Bell) - 3:49

18.One Hundred Years From Now (Gram Parsons) - 3:01

19.Radio Spot: Sweetheart Of The Rodeo Album - 0:58

Disc 2
1. Sum Up Broke (Gram Parsons, John Nuese) - 2:13
2. One Day Week (Gram Parsons) - 2:16
3. Truck Drivin' Man (Terry Fell) - 2:34
4. Blue Eyes (Gram Parsons) - 2:47
5. Luxury Liner (Gram Parsons) - 2:53
6. Strong Boy (Gram Parsons) -  2:01
7. Lazy Days (Alternative Version) (Gram Parsons) - 3:18
8. Pretty Polly (Alternative Version) (Chris Hillman, Roger McGuinn) - 3:37
9. Hickory Wind (Alternative Version Take 8) (Bob Buchanan, Gram Parsons) - 3:40
10.The Christian Life (Rehearsal Take 7) (Charlie Louvin, Ira Louvin) - 3:26
11.The Christian Life (Rehearsal Take 8) (Charlie Louvin, Ira Louvin) - 3:05
12.Life In Prison (Rehearsal Takes 1, 2) (Jelly Sanders, Merle Haggard) - 3:16
13.Life In Prison (Rehearsal Takes 3, 4) (Jelly Sanders, Merle Haggard) - 3:16
14.One Hundred Years From Now (Rehearsal Takes 12, 13) (Gram Parsons) - 3:58
15.One Hundred Years From Now (Rehearsal Takes 14, 15) (Gram Parsons) - 3:59
16.You're Still On My Mind (Rehearsal Take 13) (Luke Mc Daniel) - 2:53
17.You're Still On My Mind (Rehearsal Take 48) (Luke Mc Daniel) - 2:38
18.All I Have Are Memories (Instrumental Take 17) (Kevin Kelley) - 3:13
19.All I Have Are Memories (Instrumental Take 21) (Kevin Kelley) - 3:07
20.Blue Canadian Rockies (Rehearsal Take 14) (Cindy Walker) - 2:59
Tracks 1-6 performed by The International Submarine Band

The Byrds
*Roger McGuinn - Acoustic Guitar, Banjo, Vocals
*Chris Hillman - Electric Bass, Mandolin, Acoustic Guitar, Vocals
*Gram Parsons - Acoustic Guitar, Piano, Organ, Vocals
*Kevin Kelley - Drums
Additional Personnel
*Lloyd Green - Pedal Steel Guitar
*Clarence White - Electric Guitar
*John Hartford - Banjo, Fiddle, Acoustic Guitar
*Roy Husky - Double Bass
*Earl P. Ball - Piano
*Barry Goldberg - Keyboards
*Jay Dee Maness - Pedal Steel Guitar

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Doug Sahm - Doug Sahm And Band / Texas Tornado / Groovers Paradise (1973-74 us, spectacular melt of country folk blues and classic rock, 2016 double disc set)

Doug Sahm began his solo career in 1972, after the Sir Douglas Quintet finished its contract with Smash/Mercury and after Atlantic Records co-owner/producer Jerry Wexler convinced him to sign to his label. Wexler gave the Texas maverick the chance to cut a star-studded, big-budget album, shuffling him off to New York where Wexler and Arif Mardin helmed a series of sessions with an ever-revolving cast of musicians featuring Bob Dylan, Dr. John, David "Fathead" Newman, David Bromberg, and Flaco Jimenez, in addition to such Sir Doug stalwarts as Augie Meyers and the rhythm section of bassist Jack Barber and drummer George Rains (all but the latter were in the last incarnation of the Quintet, raising the question of whether the group was indeed finished or not, but such is the nature of Sahm's discography). This group cut a lot of material, which was whittled down to the 12-track album Doug Sahm and Band, released in early 1973.

 At the time, the record received a push from the label and was generally disparaged because of those very all-stars on whose back it was sold, but the years have been kind indeed to the album, and it stands among Sahm's best. Indeed, the heart of the album is not at all far removed from those latter-day Sir Douglas Quintet albums on Mercury, which isn't much of a stretch since Sahm never really strayed from his signature blend of rock & roll, blues, country, and Tejano, but the bigger band and bigger production give the music a different feel -- one that's as loose as the best Quintet material, but off-handedly accomplished and slyly freewheeling. Original reviews noted that there was an overtly country direction on And Band, but that's not really true on an album that has Western swing and rambling country-rock like "Blues Stay Away from Me" and the anthemic "(Is Anybody Going To) San Antone" jutting up against pure blues in "Your Friends" and "Papa Ain't Salty," let alone loose-limbed rockers like "Dealer's Blues" and "I Get Off" or the skipping Tejano "Poison Love," fueled by Jimenez's addictive accordion. 

These are all convincing arguments that the larger band allowed Sahm to indulge in all of his passions, to the extent of devoting full tracks to each of his favorite sounds -- something that was a bit different than the Quintet records, which usually mixed it all up so it was impossible to tell where one influence ended and another began. That's still true on And Band -- for instance, witness the brilliant cover of Willie Nelson's "Me and Paul," a country song goosed by soulful horns and delivered in a delirious drawl from Sir Doug -- but much of the album finds that signature Sahm sprawl being punctuated by style-specific detours where Sahm seizes the opportunity to stretch out as much as his guests seize the opportunity to jam with this American musical visionary. 

These are all characteristics of a jam session, which these sessions essentially were -- after all, on this album he only penned three out of the 12 songs -- but relying on covers also points out how Doug Sahm sounds so much like himself, he makes other people's tunes sound as if he wrote them himself. Again, that's something that was true throughout his career, but here it is in sharper relief than most of his records due to the nature of the sessions. And while it's arguable whether this is better than latter-day Sir Douglas Quintet albums -- or such mid-'70s records as Groover's Paradise or Texas Rock for Country Rollers for that matter -- there's no question that this is music that is vividly, excitedly alive and captures Sahm at a peak. It's pretty much irresistible. 

Doug Sahm recorded much of his second Atlantic album, Texas Tornado, around the release of his first, Doug Sahm and Band, and even used outtakes from those sessions to fill out this 11-track record, so it would seem that the two records would be nearly identical. But, as they say, appearances can be deceiving, and the two albums have fairly distinct characters, at least within the frame of Sahm's music, where all his music is instantly identifiable. The biggest difference between the two records is that a good eight of the 11 songs are Doug Sahm originals -- an inversion of And Band, which relied on covers -- and most of those are produced by Sahm himself, not Jerry Wexler and Arif Mardin, who helmed its predecessor, and he gives the record a feel that's considerably more streamlined than the cheerfully rambling And Band, while giving it a little grit by more or less concentrating on rock 'n' roll.

That the exceptions arrive early and are as disarming as the "Summer Wind"-styled, Sinatra-esque crooner "Someday" and lite bossa nova groover "Blue Horizon" -- two detours that make more sense in the broader context of the complete Atlantic recordings showcased on Rhino Handmade's double-disc set The Genuine Texas Groover but are bewildering here -- gives the record an off-kilter feel that may cause some listeners to underrate what is not just a typically excellent Sahm set, but one of his strongest selections of songs. Apart from the barnstorming opener, "San Francisco FM Blues," perhaps the best attempt at shoehorning Sahm's untamed Texan feel to AOR, these all come on the dynamite second side that houses the anthemic title track, as perfect an encapsulation of his Tex-Mex fusion as they come, the rampaging roadhouse rocker "Juan Mendoza," one of his best salutes to Latin culture in the 2-step "Chicano," an excellent Sir Douglas-styled groover in "Hard Way," and the gloriously breezy "Nitty Gritty," one of his very best songs (not to mention one of his best performances, highlighted by his call to right-hand man Augie Meyers before his organ solo). 

Unlike Doug Sahm and Band, Texas Tornado is billed to the Sir Doug Band, which is not quite the Sir Douglas Quintet, but with all of his usual gang in place -- not just Meyers but bassist Jack Barber, drummer George Rains, and saxophonist Rocky Morales, among others -- it essentially is no different than a Sir Douglas Quintet album, but really that's splitting hairs since the album is simply first-rate Doug Sahm. It may be recorded toward the end of his peak period -- after this, he turned out two other arguable classics before settling into a comfortably enjoyable groove that he rode out for the rest of his life -- but it still captures him at an undeniable peak and it's undeniably irresistible.

by Stephen Thomas Erlewine

Anyone who finds hippies irritating might want to throw this record across the room -- and that's a good review right there, since it has been long established via intense scientific study that music which somehow motivates people to throw records across the room is usually quite good. No exception to this rule here, as fans of Doug Sahm often choose this as a personal favorite, while it is also one of the better side projects of the Creedence Clearwater Revival rhythm section. If Sahm was writing the review himself in 1974, he would have no doubt described the whole thing as some kind of "trip"; after all, this expression is used three times alone on the back cover of this album, actually less than one might expect considering the stoned-out nature of the accompanying comics. These black-and-white illustrations by Kelly Fitzgerald are a great part of the record's enduring charm, but the music itself is deeper than the coolie hippie vibe.

This is simply a great roots rock album, and like much of Sahm's work it is loaded with complex details as well as loving interplay between the musicians. These tracks indicate a mastery of many basic forms such as blues, rhythm & blues, norteño, country, and Cajun and the players always seem to be probing beyond this to find something new. Creedence Clearwater Revival drummer Doug Clifford produced as well as played, and did a superior job, irrigating the proceedings with a range of available Sahm streams like some kind of master gardener. The use of horns is excellent, not only providing plenty of punch in the arrangements but memorable effects such as the spooky baritone sax solo on "Just Groove Me." A large section of the sonic spread is always reserved for Sahm's lush guitar playing, including lots of rock, country, and blues licks, while bassist Stu Cook sometimes adds additional guitar, expertly mocking the patented hypnotic John Fogerty sound for an effect that is not unlike Sahm sitting in on a Creedence album. Of course, the range of that classic '60s and '70s rock group seems quite limited compared to Sahm, who whips off an expert version of the Tex-Mex instrumental "La Cacahueta," the only track here which he did not compose himself. 

The well-crafted yet daringly personal and unembarrassed songs include haunting country-influenced ballads such as "Her Dream Man Never Came," as well as really top-notch examples of good old rock & roll, the hilarious "For the Sake of Rock 'N' Roll" and the bewitchingly cooking "Devil Heart." The second side of the original vinyl is one of this artist's most perfect set of songs. The final track, "Catch Me in the Morning," is one of several on this album that benefits from a long, satisfying arrangement -- hardly the kind of simple dirt that is often tossed off the shovel in the quest for roots rock. The band tends to move through these pieces with confidence, as if already expecting to have lost the attention of the simpletons in the crowd. At the same time, there are those listeners who will find it hard to believe a simple song, let alone such a magnum opus, could be created from the almost nonexistent message of this song. "Call me in the morning, I am too tired to talk right now," is just about all this song says, and it is one of the marvels of Sahm that he is able to parlay a near-operatic sense of importance into such a typical part of daily life. Giving him an instrumental credit for being a "dreamer" -- nicely enough, it comes right after the credit for bajo sexto -- is one of the most appropriate details, or "trips," on Groover's Paradise. 

by Eugene Chadbourne

Tracks
Disc 1 Doug Sahm And Band 1973
1. (Is anybody Going to) San Antone (Dave Kirby, Glen Martin) - 3:10
2. It's Gonna Be Easy (Atwood Allen) - 3:31
3. Your Friends (Deadric Malone) - 5:23
4. Poison Love (Elmer Laird) - 4:21
5. Wallflower (Bob Dylan) - 2:40
6. Dealer's Blues (Doug Sahm) - 2:59
7. Faded Love (Bob Wills, John Wills) - 3:55
8. Blues Stay Away From Me (A. Delmore, H. Glover, R. Delmore, W. Raney) - 4:48
9. Papa Ain't Salty (Grover McDaniel, T-Bone Walker) - 4:30
10.Me And Paul (Willie Nelson) - 3:34
11.Don't Turn Around (Doug Sahm) - 3:28
12.I Get Off (Doug Sahm) - 2:39

Disc 2  Texas Tornado / Groovers Paradise 1973-74
1. San Francisco FM Blues - 3:31
2. Someday - 3:21
3. Blue Horizon - 4:25
4. Tennessee Blues (Bobby Charles) - 5:34
5. Ain't That Loving You (Deadric Malone) - 4:58
6. Texas Tornado - 2:58
7. Juan Mendoza - 2:57
8. Chicano - 2:18
9. I'll Be There (Dave Burgess) - 2:38
10.Hard Way - 2:13
11.Nitty Gritty - 3:08
12.Groover's Paradise - 3:25
13.Devil Heart - 4:26
14.Houston Chicks - 3:52
15.For The Sake Of Rock 'N Roll - 3:21
16.Beautiful Texas Sunshine - 3:17
17.Just Groove Me - 3:27
18.Girls Today - Don't Like To Sleep Alone - 2:31
19.La Cacahuata (Peanut) (Luis Guerrero) - 1:48
20.Her Dream Man Never Came - 3:13
21.Catch Me In The Morning - 5:09
All songs by Doug Sahm except where noted
Tracks 1-11 as The Sir Douglas Band

Musicians

1969-73  Sir Douglas Quintet - Mendocino (bonus material reissue)
1973  Doug Sahm - Doug Sahm And Band  

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rep>>> Reason - The Age Of Reason (1969 us, fine rough soulful psych rock, 2016 edition)

Pressed in minute quantities by Arlington-based Georgetowne label, 1969's "The Age of Reason" lay largely forgotten until it appeared in one of Austrian vinyl collector Hans Pokora's books - 1001 Record Collectors Dreams.  Like anything listed in one of Pokora's books, the album's subsequently become a high priced, in-demand release. 

This late-1960s release is also a pretty good example of hype and rarity taking precedence over quality. That's not to imply the album's bad, rather for the big bucks it commands, you could certainly find a couple of more enjoyable releases. 

The band apparently came together in 1967, featuring the talents of keyboardist Tommy Didly, former The Telstars bassist Terry Gorka, drummer Bill Manning, and lead guitarist Billy Windsor.  

Two years later they were apparently back in the Washington, D.C. area, releasing what may have been a vanity project on the small Arlington, Virginia-based Georgetowne label.  Produced by drummer Manning, "The Age of Reason" offered up a mixture of late-1960s FM covers (Dylan, Savoy Brown Blues Band, Ike Turner) and band originals.  The players were all pretty good with keyboardist Didly featured on most of the songs.

Best of the lot was their opening Dylan cover.  Showcasing a couple of band originals, side two was marginally better with Manning's 'The View From Tom Thompson's Cell' standing as one of the best performance.   Elsewhere the biggest surprise was their cover of  'Temptations Bout To Get Me'.  The result was a totally unexpected knockout slice of blue-eyed soul.  Shame they didn't record more in this vein.

by Scott Blackerby

Tracks
1. This Wheel's On Fire (Bob Dylan, Rick Danko) - 4:14
2. Stay With Me Baby (Chris Youlden, Kim Simmonds, Dave Peverett) - 4:31
3. I'm Blue (Ike Turner) - 4:05
4. Don't Try To See Through Me (N.R. Colbertson) - 4:51
5. The View From Tim Thompson's Cell (Bill Manning) - 4:22
6. Letter To Home (Tommy Dildy, Bill Manning) - 4:57
7. Bang Bang (Sonny Bono) - 5:09
8. Temptations Bout To Get Me (Jimmy Diggs) - 4:07

Reason
*Tommy Dildy - Keyboards, Vocals
*Terry Gorka - Bass
*Bill Manning - Drums, Vocals
*Billy Windsor - Guitar, Vocals
With
*Danny Gatton - Guitar

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rep>>> Fresh Air - A Breath Of Fresh Air (1969 us, delicate hard psych)

Copies of Fresh Air's only album, 1970's A Breath of Fresh Air - one of the very first albums released on the Amaret label, who issued recordings by the Minneapolis blues-rock quintet Crow -- are highly sought-after and treasured by collectors. 

Featuring dramatic organ flourishes and flamboyant guitar leads throughout, A Breath of Fresh Air is similar to other organ-driven hard pop groups of the era, including Sugarloaf, Blues Image, and Three Dog Night. 

The highlight here is the leadoff track, a fast-paced, histrionic discotheque take on Buffalo Springfield's "For What It's Worth" -- by then already a few years old -- which features heavy distorted guitar and Marc Piscitelli's intense lead vocals. Six of the remaining tracks were written by the group's "sixth member," Louie Caridi, including "Somewhere a Mountain Is Moving" (taking its title from a line in the Left Banke's "Pretty Ballerina"). 

This was a different Fresh Air from the group of the same name that featured keyboardist Don Randi (they recorded a self-titled Fresh Air album around the same time, but for Columbia Records). Piscitelli later became an engineer and backing vocalist, working with a varied group of artists during his career, including Glen Campbell, Juice Newton, Spirit, and John Travolta.

by Bryan Thomas

Tracks

1. For What It's Worth (Stephen Stills) - 2:40

2. Faces In The Fire - 3:50

3. December (Marc Piscitelli) - 4:50

4. Somewhere A Mountain Is Moving - 2:30

5. Get Away Car Car - 2:39

6. I've Lost My Faith - 3:10

7. Baby Lady (R. Kutner) - 3:20

8. Sleeping In Sunshine - 3:20

9. Sailor Man (Marc Piscitelli, Louie Caridi) - 2:30

10.I Finally Found A Friend - 2:45

All songs by Louie Caridi except where noted

Fresh Air

*Allen Carey - Guitar

*Mick Jones - Guitar

*Marc Piscitelli - Lead Vocals

*Peter Plumeri - Drums

*Tim Whitcanack - Bass, Keyboards

*Louie Caridi - Lyrics

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rep>>> The Moon - Without Earth And The Moon (1968-69 us, outstanding orchestrated psychedelia)

The music recorded was an effort to contribute an augmented level of warm, meaningful, and enjoyable listening fare for all of the creatures that hear. The beginnings were mainly generated by the songs being written by Matthew Moore. Matthew's brother, 'Daniel Moore', was an independent record producer in Los Angeles and had produced several singles with Matthew as the artist.

Daniel had arranged a meeting with  'Mike Curb' at Sidewalk Productions, in an effort to find a recording contract, and Mike was very helpful in providing the producer, and engineer, and drummer, and keyboardist: (Larry Brown), and in encouraging Matthew to seek out musicians that would form a group to record his compositions. Larry Brown introduced "Drew" Bennett to the proposed gathering, and Matthew had been running into David Marks around town, so he approached David with the idea of recording a few trial tracks. Within a few weeks the project was under way.

The Studio was to be, "Continental Studio", in Hollywood, and the four young adventurers set up camp and locked the doors. These young men were still not yet 21 years of age. The tremendous technical and organizational task had began. All were single, all were very accomplished musicians, all were ridiculously fearless as to the huge undertaking they had embarked upon. It was agreed upon from the beginning that the fewest possible distractions and interruptions during the recording process must be the rule.

The doors were locked and only food deliveries and an occasional visit from Mike Curb was allowed during the basic track recording phase. Sleeping, eating and playing music....that was all. The quest for perfection was the standard, many re-takes, many 'start all overs', and many heated discussions concerning choices of parts to be played or parts, not to be played. Matthew: " I remember waking up ..having slept on the floor near the piano. A dim light was on in the booth, so I tried to walk to the door out of the studio.

 I kept stepping on boxes and kicking over cans and bottles but I made my way to the light panel to bring up the light in the room. I couldn't believe the amount of clutter and trash we had accumulated. We had to take a day off to allow the janitors to come in and clean. I still can recall the 'Warnings' we invoked,  to "be careful and not move any wires or mikes or touch any set up instruments". We had to go out into the world for a day and entertain ourselves. Dave and I went to a $.50 triple feature western movie downtown and watched the winos sleep. A few days later we resumed our quest.

No one knows for sure, how many hours or days or weeks or months it took to finish the first album, (Without Earth)  but we do remember the final moment when we all looked at each other and nodded in agreement that it was finished. The second Album (The Moon), was actually time logged by Larry Brown. He said It took 470 hours, from start to finish. The first one took much more time.

The Moon-albums

Tracks
1. Mothers and Fathers - 2:06
2. Pleasure - 3:19
3. I Should Be Dreaming - 2:33
4. Brother Lou's Love Colony (Dalton, Montgomery) - 3:57
5. Got to Be on My Way - 2:00
6. Someday Girl - 2:42
7. Papers - 0:59
8. Faces - 2:06
9. Never Mind - 1:51
10.Give Me More - 2:48
11.She's on My Mind (Dalton, Montgomery) - 2:21
12.Walking Around - 1:56
13.Pirate - 2:55
14.Lebanon (Moore, Moris) - 1:45
15.Transporting Machine - 1:40
16.Mary Jane (Klimes, Whitcraft) - 2:16
17.Softly - 3:01
18.Not to Know - 2:42
19.The Good Side - 2:59
20.Life Is a Season - 2:22
21.John Automation - 2:17
22.Come Out Tonight - 2:47
23.Mr. Duffy (Brown, Moore) - 2:56
24.Pirate (Mono 45 Mix) - 2:38
25.Not to Know (Mono 45 Mix) - 2:41
26.Face in the Crowd - 2:05
27.White Silk Glove (Clifford) - 2:15
28.Come On - 2:58
All compositions by Matthew Moore unless else stated.

Musicians
*Matthew Moore - Piano, Vocals, Guitars
*David Marks - Guitars, Background Vocals
*Larry Brown - Drums
*Dave Jackson  - Bass
*Joe Foster - Synthesizer
*Nick Robbins - Synthesizer
*Bob Klimes - String Arrangements
*Dave Roberts - Horn Arrangements

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rep>>> Estus - Estus (1973 us, raw hard rock, with Marc Bell from Dust and Ramones, 2010 Flawed Gems issue)

This excellent album by American hard rock band was released in 1973 by Columbia label, but unfortunately went completely unnoticed! The band name was associated only with a drummer Mark Bell (of US heavy rock legend Dust & then a future member of Ramones - as Marky Ramone) - which was a huge injustice! 

Estus music combined early 70's classic heavy, bluesy rock sound with storming, heavy guitar rifts, but also with nice and catchy melodies.

It often sounded very similar to Dust (understandably), but also to Led Zeppelin, Wishbone Ash and even early Lynyrd Skynyrd. This perfectly produced and beautifully sounded album will surely appeal to the most fans of ambitious heavy rock!

Tracks
1.  90 M.P.H. (Tom Nicholas) - 4:27
2.  On The Wings (John Nicholas, Tom Nicholas) - 7:12
3.  McCloud (Tom Nicholas) - 2:28
4.  Goodbye (J. Nicholas, T. Nicholas) - 5:05
5.  Inside Out You Look The same (John Nicholas) - 5:29
6.  Sweet Children (J. Nicholas) - 6:14
7.  Truckin’ Man (J. Nicholas, T. Nicholas) - 4:06
8.  In The Morning (Harry Rumpf) - 4:35
9.  B.M.D. (J. Nicholas, T. Nicholas) - 5:09

Estus
*Tom Nicholas - Vocals, Guitars, Keyboards
*John Nicholas - Bass, Vocals, Harp, Percussion
*Harry Rumpf - Vocals, Guitar, Keyboards, Percussion
*Marc Bell - Drums

Related Act
1971-72  Dust - Hard Attack / Dust (2013 edition)

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Vanilla Fudge - Vanilla Fudge (1967 us, excellent psych rock, 2013 japan remaster)

Vanilla Fudge was one of the few American links between psychedelia and what soon became heavy metal. While the band did record original material, they were best-known for their loud, heavy, slowed-down arrangements of contemporary pop songs, blowing them up to epic proportions and bathing them in a trippy, distorted haze. Originally, Vanilla Fudge was a blue-eyed soul cover band called the Electric Pigeons, who formed in Long Island, New York, in 1965. Organist Mark Stein, bassist Tim Bogert, and drummer Joey Brennan soon shortened their name to the Pigeons and added guitarist Vince Martell. They built a following by gigging extensively up and down the East Coast, and earned extra money by providing freelance in-concert backing for girl groups. In early 1966, the group recorded a set of eight demos that were released several years later as While the Whole World Was Eating Vanilla Fudge, credited to Mark Stein & the Pigeons. 

Inspired by the Vagrants, another band on the club circuit led by future Mountain guitarist Leslie West, the Pigeons began to put more effort into reimagining the arrangements of their cover songs. They got so elaborate that by the end of the year, drummer Brennan was replaced by the more technically skilled Carmine Appice. In early 1967, their manager convinced producer George "Shadow" Morton (who'd handled the girl group the Shangri-Las and had since moved into protest folk) to catch their live act. Impressed by their heavy, hard-rocking recasting of the Supremes' "You Keep Me Hangin' On," Morton offered to record the song as a single; the results landed the group a deal with the Atlantic subsidiary Atco, which requested a name change. 

The band settled on Vanilla Fudge, after a favorite ice cream flavor. "You Keep Me Hangin' On" didn't perform as well as hoped, but the band toured extensively behind its covers-heavy, jam-oriented debut album Vanilla Fudge, which gradually expanded their fan base. Things started to pick up for the band in 1968: early in the year, they headlined the Fillmore West with the Steve Miller Band, performed "You Keep Me Hangin' On" on The Ed Sullivan Show, and released their second album, The Beat Goes On. Despite its somewhat arty, indulgent qualities, the LP was a hit, climbing into the Top 20. That summer, Atco reissued "You Keep Me Hangin' On," and the second time around it climbed into the Top Ten. It was followed by Renaissance, one of Vanilla Fudge's best albums, which also hit the Top 20. The band supported it by touring with Jimi Hendrix, opening several dates on Cream's farewell tour, and late in the year touring again with the fledgling Led Zeppelin as their opening act. 

by Steve Huey

In a debut consisting of covers, nobody could accuse Vanilla Fudge of bad taste in their repertoire; with stoned-out, slowed-down versions of such then-recent classics as "Ticket to Ride," "Eleanor Rigby," and "People Get Ready," they were setting the bar rather high for themselves. Even the one suspect choice -- Sonny Bono's "Bang Bang" -- turns out to be rivaled only by Mott the Hoople's version of "Laugh at Me" in putting Bono's songwriting in the kindest possible light. Most of the tracks here share a common structure of a disjointed warm-up jam, a Hammond-heavy dirge of harmonized vocals at the center, and a final flat-out jam. Still, some succeed better than others: "You Keep Me Hanging On" has a wonderfully hammered-out drum part, and "She's Not There" boasts some truly groovy organ jams. While the pattern can sound repetitive today, each song still works as a time capsule of American psychedelia. 

by Paul Collins

Tracks
1. Ticket To Ride (John Lennon, Paul McCartney) - 6:06
2. People Get Ready (Curtis Mayfield) - 6:34
3. She's Not There (Rod Argent) - 4:55
4. Bang Bang (Sonny Bono) - 5:00
5. Illusions Of My Childhood, Pt. 1 - 0:29
6. You Keep Me Hangin' On (Brian Holland, Lamont Dozier, Eddie Holland) - 6:42
7. Illusions Of My Childhood, Pt. 2 - 0:15
8. Take Me For A Little While (Trade Martin) - 3:21
9. Illusions Of My Childhood, Pt. 3 - 0:22
10.Eleanor Rigby (John Lennon, Paul McCartney) - 8:26

Vanilla Fudge
*Carmine Appice - Drums, Vocals
*Tim Bogert - Bass, Vocals
*Vince Martell - Guitar, Vocals
*Mark Stein - Lead Vocals, Keyboards

1968  Vanilla Fudge - Renaissance 
1969  Vanilla Fudge - Rock 'n' Roll (2013 remaster & expanded)
Related Acts

1970  Cactus (Japan SHM remaster)
1971  One Way...Or Another (Japan SHM remaster)
1971  Ultra Sonic Boogie (2010 issue)
1970-72  Fully Unleashed / The Live Gigs, Vol. 1
1971  Cactus - Fully Unleashed / The Live Gigs, Vol.2 (2007 limited two disc edition)
1976  KGB - KGB (2005 remaster)

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