Rockasteria

rep>>> Saraband - Close To It All (1973 uk, wonderful folk rock, 2018 korean remaster)

Saraband was a short lived folk band from Rochdale (England), released only album in 1973. They started out as The Honeydew releasing one LP in 1970, befor changing their name to Saraband.

Fragile female vocal well mixed with various acoustic instruments and male vocal harmonies.

This is their sole album, one of the first on the tiny independent Folk Heritage label, and, lacking any distribution network, it was only available at gigs or mail order.

Tracks

1. Close To It All (Melanie Safka) - 4:55

2. Winter Song (Frank Harrison, Barbara Yates) - 4:44

3. This Moment (Mike Heron) - 7:14

4. Retrospect (Frank Harrison) - 3:43

5. I'm Your Man (Frank Harrison, Stuart Mawdsley, Barbara Yates) - 3:04

6. Black Jack Davey (Traditional) - 3:35

7. Peace Will Come (Tom Paxton) - 3:03

8. River (Frank Harrison, Barbara Yates) - 8:32

9. Herbie (Frank Harrison, Barbara Yates) - 3:55

10.All The Way To Richmond (Ed Welch, Tom Paxton) - 4:00

Saraband

*Barbara Yates - Vocals, Tambourine, Recorder

*Frank Harrison - Guitar, Vocals, Mandolin

*Stuart Mawdsley - Guitar, Vocals

With

*Dave Titley - Bass, Electric Guitar, Vocals

*Chris Bradley - Drums, Tambourine, Bongos, Cymbal, Mandolin, Bodhrán

Sunday, October 11, 2026

rep>>> Morgen - Morgen (1969 us, superb heavy fuzz psych, 2013 remaster and expanded)

Morgen was a hard rock/psych band that hailed from Long Island, NY. They were fronted by guitarist/vocalist/wild man Steve Morgen but also included drummer Bob Maiman and guitarists Barry Stock and Rennie Genossa. In 1969, record label Probe (ABC) released the group’s sole offering.

The album’s best known track is the classic “Welcome To The Void.” 40+ years later this cut’s over the top acid guitar work and pounding drums still shred the best of speakers. Certainly a unique mixture of acid garage and hard rock, “Welcome To The Void” is essential listening. There are other great cuts to be found on Morgen, like the stealth rocker “Purple” and the freaky fuzz corker ”Of Dreams.” “Eternity In Between,” probably influenced by the Who, is another excellent track that begins with ringing guitars and crashing drums. This 5 minute song is nearly ruined by a two and a half minute drum solo.

Steve Morgen’s sexually charged lyrics and over the top vocals will irritate some listeners but that’s really a minor complaint as most of Morgen is full of great fuzz guitar solos and solid songs. No beads or flowers for these guys, Morgen is straight up brooding hard rock psych. A mini gem of a record that will reward patient listeners.

by Jason Nardelli

Tracks
1. Welcome To The Void - 4:46
2. Of Dreams - 5:37
3. Begging Your Pardon (Miss Joan) - 4:47
4. Eternity In Between - 5:06
5. Purple - 4:11
6. She’s The Nitetime - 3:29
7. Love - 10:53
8. Of Dreams (45 Version) - 3:24
9. She’s The Nitetime (45 Version) - 3:27
10.Street Walker - 3:39
11.Lady - 4:06
12.Too Many Americas - 5:47
13.Don’t You Tell Me - 5:52
14.Maryjane - 2:59
15.Alpha Omega - 5:01
All songs by Steve Morgen

Morgen
*Steve Morgen - Vocals, Guitar
*Rennie Genossa - Bass
*Bob Maiman - Drums
*Barry Stock - Rhythm Guitar

Saturday, October 10, 2026

rep>>> Graham Bell - Graham Bell (1972 uk, fabulous rhythm 'n' blues, 2016 korean remaster)

Bell's father, Jimmy, who died in 2010, was a well-known local singer, and his late mother, Leonora Rogers, was in show business prior to marriage, after which she was heavily involved in local music and dance.

Graham made a solo single in 1966 and one year later replaced Alan Hull as the singer of psychedelic rock band Skip Bifferty (later renamed Heavy Jelly). In 1969 he was singer in another psychedelic rock band Griffin. In 1970 he began his stint with Charisma Records, joining Every Which Way, a band formed by Brian Davison formerly of The Nice, as singer and principal writer. Musical style was jazzy progressive rock with guitar from John Hedley (who was later part of Last Exit, with Sting) playing call and response with Bell's blues shout vocals. Bell then rejoined his old mates from Skip Bifferty, now known as Arc, to form Bell & Arc in July 1971, with John Turnbull, Mick Gallagher, Bud Beadle, Kenny Craddock, Steve Gregory, Tom Duffy and Alan White. Bell was then tempted to leave the group to record an album as a solo artist in 1972. Featuring Tim Hinkley, Mel Collins and lan Wallace, it was produced by Bob Dylan associate Bob Johnston.

After Bell's appearance in the London Symphony Orchestra version of Tommy it was reported that Pete Townshend produced an album for him, but it never saw the light of day. In 1974 he contributed backing vocals on Carol Grimes' Warm Blood also featuring Tommy Eyre, Jess Roden, John 'Rabbit' Bundrick and Henry Lowther. In the late 1970s Graham Bell was featured on the front page of Sounds music paper as a "the man -most likely to", but sadly his profile was affected by the rise of punk and the new wave. Bell moved to America, where he toured with Long John Baldry, and was the co- front man along with Jackie Lomax of a band of LA Brit expatriates known as the Tea Bags, among others, before returning to his native Northeast England in the mid 1980s. He also lived for a while in Cumbria before finally heading for London again and cropping up in Snowy White's Blues Agency in 1988/89. In 2008 he died of cancer shortly after his 60th birthday.

Liner-Notes

Tracks

1. Before You Can Be A Man (Graham Bell) - 4:01

2. The Thrill Is Gone (B.B. King) - 4:52

3. After Midnight (J.J. Cale) - 5:32

4. Down In The City (Graham Bell, Tim Drummond) - 5:17

5. Watch The River Flow (Bob Dylan) - 4:38

6. Too Many People (Bob Wilson, Graham Bell) - 4:18

7. How Long Will It Last (Bob Wilson, Graham Bell) - 3:09

8. The Whole Town Wants You Hung (Graham Bell) - 2:27

9. The Man With Ageless Eyes (Graham Bell) - 5:11

10.So Black And So Blue (Kris Kristofferson) - 3:54

Personnel

*Graham Bell - Guitar, Vocals

*Bob Wilson - Keyboards

*Derek Quinn - Percussion

*Gaspar Lawal - Percussion

*Eddie Mordue - Baritone Saxophone

*Ian Wallace - Drums

*Mel Collins - Alto, Tenor, Baritone Saxophones

*Ron Cornelius - Guitar

*Tim Drummond - Bass

*Tim Hinkley - Keyboards

*Kenny Wheeler - Trumpet

*Mark Charig - Trumpet

*Nick Evans - Trombone

*Derek Collins - Tenor Saxophone

1974 A Band Called O - "O" (2019 korean remaster)

Friday, October 9, 2026

rep>>> A Band Called O - Oasis (1975 uk, a nifty mixture of pop rock and funky tunes, 2019 korean remaster)

Originally known as The Parlour Band, playing progressive rock, they renamed to A Band Called O for two albums on CBS/Epic and later to The O Band for further albums with UA.

In 1975 they released their second album, "Oasis". They had one track "There Ain't Nothing I Wouldn't Do / Morrocan Roll" on a single to promote their tour with Sassafras and Randy Pie as the 'Hot on the Tracks' package.

Despite issuing five albums, on three major labels, and being championed by John Peel, for whom they recorded four Peel Sessions, they had no chart success; but were a popular live act, who toured Britain and Europe.

Tracks

1. Amovin' (Craig Anders, Peter Filleul, Jonathan Pickford) - 3:42

2. Foolin' Around (Craig Anders, Jonathan Pickford) - 4:33

3. Sleeping (Jonathan Pickford) - 5:22

4. Morrocan Roll (Craig Anders, Jonathan Pickford, Derek Ballard, Peter Filleul, Mark Anders, Nicky Graham) - 2:41

5. Fine White Wine (Jonathan Pickford) - 3:49

6. Take Your Time (Craig Anders, Jonathan Pickford, Derek Ballard, Peter Filleul, Mark Anders, Nicky Graham) - 3:11

7. Bird Of Paradise (Jonathan Pickford) - 4:11

8. Ice (Craig Anders) - 2:12

9. That's Up (Craig Anders, Jonathan Pickford) - 3:12

10.Some People (Craig Anders, Jonathan Pickford) - 5:53

A Band Called O

*Jonathan "Pix" Pickford - Vocals, Guitar

*Derek Ballard - Drums

*Peter Filleul - Electric Piano, Clarinet, Vocals

*Mark Anders - Bass Guitar

*Craig Anders - Guitar, Slide Guitar

rep>>> A Band Called O - "O" (1974 uk, groovy funky glam prog rock, 2019 korean remaster)

Formed in Jersey, Channel Islands, circa 1970, as "The Parlour Band", the early line up comprised brothers Mark Anders (bass and vocals) and Craig Anders (lead guitar and vocals) with Peter Filleul (keyboards and vocals) formerly of the Climax Blues Band , John “Pix” Pickford (guitar and vocals) and Jerry Robbins (drums). Released in 1972, The Parlour Band's only album Is a Friend?, was produced by Nick Tauber in a melodic progressive rock style, sounding like a "more mainstream, less art-rock-inclined Yes" with strong keyboard and guitar parts.The Parlour Band toured supporting Caravan and Steve Hillage’s Khan.

They relocated from Jersey to Leicester, changed their name to "A Band Called O", and their drummer to Derek Ballard. This line-up released their first album on the Epic label, produced by Ben Sidran of the Steve Miller Band, and Chris White of the Zombies. A Band Called O (1974) and, despite being an album orientated band, a single "Rock and Roll Clown"/"Red Light Mama Red Hot" was released in Germany while they recorded the first of four Peel Sessions on 24 September 1974. They recorded their second Peel Session on 18 March 1975, before touring with Man and John Cipollina.

Singer-songwriter and guitarist Jonathan Pickford "Pix", who had been living in Torre del Mar in Spain, went missing on 29 August 2021, after having dinner in a restaurant with friends, a week later on Monday Septempber 6th 2021, his body was recovered near a river in the area.

Tracks

1. Red Light Mama Red Hot (Peter Frampton, Jeremy Shirley, Greg Ridley, Steve Marriott) - 6:19

2. Angelica (Craig Anders, Mark Anders, Jonathan Pickford) - 3:46

3. Helping Hand (Craig Anders, Jonathan Pickford) - 3:43

4. Lady Beatrice (Jonathan Pickford) - 4:00

5. Ride, Ride, Ride (Craig Anders, Peter Filleul) - 3:16

6. Rock Roll Clown (Peter Filleul) - 3:32

7. All I Need (Jonathan Pickford) - 2:08

8. Get Funky (Peter Filleul, Jonathan Pickford) - 3:34

9. Captain Cellophane / Sidewalk Ship (Craig Anders, Derek Ballard, Mark Anders, Peter Filleul, Jonathan Pickford) - 12:05

A Band Called O

*Jonathan Pickford "Pix" - Vocals, Guitar

*Derek Ballard - Drums

*Peter Filleul - Electric Piano, Vocals

*Mark Anders - Bass Guitar

*Craig Anders - Guitar, Slide Guitar

Thursday, October 8, 2026

rep>>> Joyous Noise - Joyous Noise (1971 us, strong melodic folk country swamp rock, 2012 korean remaster)

The contents of this album are meant to be a combination of music, positivism and thoughtfulness aimed at both gut and the mind. Joyous Noise formed in the Spring of 1971. Their individual experiences are considerable in number and scope and their collective axperience a key to their ensemble ability.

Joyous Noise have been bringing audiences to their feet to dance on tables, chairs, floors and other available surfaces. This record may get you up on yours, moving, thinking and having a high old time. It will tell you what you need to know about Joyous Noise, and it may tell you something about yourself.

by Jim Bickhart (Original album sleeve notes)

Tracks
1. Joyous Noise (Part 1) (Lee Montgomery) - 2:25
2. Music Song (Lance Wakely) - 4:23
3. Lady Beside Me (Marc McClure) - 4:28
4. Funky Lady (Lee Montgomery) - 5:15
5. Question Of Direction (Ron Elliott, Gary Downey) - 4:26
6. Never Been To Spain (Hoyt Axton) - 4:35
7. Lost Man (Lance Wakely, Gabe Lapano) - 4:15
8. If People Could Just Get Together (Lance Wakely) - 4:00
9. Joyous Noise (Part 2) (Lee Montgomery) - 2:45

Joyous Noise
*Lee Montgomery - Vocals
*Lance Wakely - Guitar, Vocals
*Marc McClure - Guitar, Keyboards, Percussion, Vocals
*Dennis Dragon - Drums
*Happy Smith - Bass
With
*Ricardo Rincorn - Congas, Percussion
*Joyous Noise Chorus - Vocals

1972 Joyous Noise - Wanderingman (2012 korean remaster)

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Wednesday, October 7, 2026

rep>>> Chris Harwood - Nice To Meet Miss Christine (1970 uk, gorgeous jazzy folk, naked vocals ride a rock-solid back beat with clavinet funk and a wash of luscious strings sending you into a trance-like state, 2006 bonus trax remaster)

Has anybody met Chrissie Harwood? Let us introduce to you an elusive British artiste who made an equally elusive, immaculate LP, which in the 35 years since its original release, as if by tragic magic, has materialised into thin air.

Recorded for an obscure British label it was the only record she ever made and no singles were ever released. In fact it was seldom heard beyond these shores (aside rumours of an Australian vanity pressing), and alongside Vertigo’s obscure Linda Hoyle LP, late period Transatlantic releases such as CMU’s Space Cabaret and Julie Covington’s early solo LP Beautiful Changes, it remains one of the most sought after English female folk rock records ever released. Until now it has been a mystery amongst pop-historians, DJs and record collectors alike.

For a short time in the early 90s the original LP became a regular exhibit at UK record fairs where aspiring collectors and DJs like myself would be the only buyers willing to take a gamble on this anonymous slab of vinyl housed in its uninspiring black and white sleeve which was devoid of any information likely to inspire any of the old-faire to take a punt. A record shop in Stockport called ‘The 78 Record Exchange’ was rumoured to have a whole box of these LPs sat outside in the rain throughout the late Eighties until the final copy was snapped up for the modest 50 pence asking price. The old cliche “never judge a book by the cover” couldn’t be more apt – and although, in hindsight, the LP has all the enigmatic trappings of an American private press, Smithsonian, folksploitation LP the bland packaging didn’t quite cut the mustard. Since then copies of the LP rarely crop up, only two have cropped up on the ‘necessarily evil’ eBay within the last 3 years and both have commanded figures around the £200 mark (£192 and £228 retrospectively). With a notable resurgence in vintage British folk rock it is little wonder that ‘an original Chris Harwood’ has become something of a holy grail amongst collectors, but few can say they actually know the history behind this sacred LP – the original artist, as I already mentioned, has remained somewhat elusive to say the least.

Throughout the heady summer of 1970 a regular folk tinged fixture at Rick Wakeman’s notorious ‘Brewer’s Droop’ rock pub in London was an unnamed blues-folk outfit featuring a sixteen-year-old singer called Chrissie Harwood. Spellbinding performances were warmly received by the progressive-pop cognoscenti which inspired Chrissie’s latter day squeeze and future husband and rock hack, Mark Plummer, to pursue a record deal resulting in an overnight guinea-pig contract with the launch of a CBS distributed new label owned by an uber-legendary, Mickie-Most-alike called Miki Dallon.

The first release on the short lived Birth imprint (which acted as a sister-label to Dallon’s Youngblood Records) was realised with a half baked business plan, and after a short run of break-neck off-peak studio sessions at Marble Arch (one of which witnessed a temporary power cut) – the LP, ‘Nice To Meet Christine’, was written and recorded with Plummer behind the desk and Ms. Harwood in the vocal booth. In his debut role as producer, Plummer enlisted the services of a host of up and coming progressive rock and folk stars drawing from a little black book of celebrity friends who he had previously interviewed for the likes of Melody Maker and in turn they then created the blueprint for a Rock Family tree-surgeons breakfast.

The original ‘Yes’ guitarist Peter Banks, who would later reform ‘Blodwyn Pig’ was drafted in to play acoustic and pedal steel guitar throughout the entire LP alongside a young Guitarist Dave Lambert who would go on to work with Dave Cousins in ‘The King Earl Boogie Band’ and later join ‘The Strawbs’. Lambert wrote three tracks for the album, a country-rock-boogie number ‘Ain’t Gonna Be Your Slave’, the up-tempo ‘Flies Like A Bird’ and a quasi-political intro track ‘Mama’ which included a Gainsbourg / Melody Nelson-esque choral arrangement courtesy of folk-rock vocal group ‘Design’ (craftily recording under the moniker ‘The Designettes’ to avoid legal wranglings with their new label Epic).

By contacting Joe Cocker’s Hammond organist Tommy Eyre, Plummer would inject ‘the funk’ into the proceedings, which goes some way to explaining why the LP has become a regular inclusion on record collectors wants-lists, especially sought after amongst Hip-Hop producers and die-hard Acid-Jazzers over the last ten years. Eyre (who would play on albums by ‘Juicy Lucy’, ‘The Sensational Alex Harvey Band’ and John Martyn) added sublime twinkles of Fender Rhodes and bursts of Hammond B3 to the LP, most notably on an astonishing, orchestral-funk cover of CSN’s ‘Wooden Ships’ as well as Chrissie’s self penned ‘Gotta Do My Best’ complete with pulsating backbeat courtesy of rock journalist veteran Chris Welsch drumming under the pseudonym J.K. Boots. Chris Welsch also supplied a future-DJ-friendly drum break on another of Chrissie’s original compositions ‘Never Knew What Love Was’, a stripped down arrangement exposing the raw fender bass played on the album by Roger Sutton, fresh from recording the seminal Brian Auger and Julie Driscoll LP ‘Open’.

With extra percussion from drum workshop legend Peter York, more guitars by folk-festival stalwart Mike Maran, and ‘Macdonald & Giles’ saxophonist, Ian MacDonald, contributing to a version of Traffic’s ‘Crying To Be Heard’ the LP unintentionally became an all star super-session (library music enthusiasts might revel in the fact that violins were contributed by session-man and Michel Legrand side-kick Johnny Van Derrick whilst taking a break from recording incidental music for The Pink Panther). Three further tracks were recorded in the session which have never been heard since the original recording.

After the studio bill was paid the LP was delivered, manufactured and sadly, mysteriously disappeared in to the purple ether with minimum commitment in the artwork, marketing and radio-plug department. A crest fallen Chrissie was given the cold, ambiguous explanation that ‘nothing happened’ with her only handcrafted stab at fulfiling the teenage dream. In later years Chrissie would hide her only copies of the ultra rare original release in a cupboard only to smash and tear them to pieces to save the potential humiliation of the record re-appearing at family functions like an embarrassing photo album. To this day since, the mysterious Chris Harwood has shyly put her singer songwriter days behind her and successfully covered the tracks. Fruitless, feeble attempts to track Chrissie down have lead to a string of ‘dodgy’ bootlegs from France, Italy and the UK which have only highlighted ‘Miss Christine’s’ enigmatic position in the mystery of pop history. In a topsy-turvy chain of events, the solo artist would step down the pop-ladder and become a session vocalist. Chrissie’s voice can be heard clearly on two tracks by the Peter Grant discovered ‘Stone The Crows’ backing up lead vocalist Maggie Bell on ‘Sunset Cowboy’ and ‘Crystal Palace Bowl’. The Twickenham born singer also spent extra studio time in an unnamed rock combo recording for Bell Records before a twist of fate saw her take the disappointing music industry in to her own hands and until recently she has worked behind the scenes, promoting pop music overseas.

Find-Keeps

Tracks

1. Hear What I Have To Say (Chris Harwood) - 3:45

2. Never Knew What Love Was (Chris Harwood) - 2:42

3. Wooden Ships (David Crosby, Stephen Stills) - 4:58

4. Before You Right Now (Dave Lambert) - 3:47

5. Crying To Be Heard (Dave Mason) - 5:03

6. Question Of Time (Roger Sutton) - 3:43

7. When I Come Home (Chris Harwood) - 2:30

8. Gotta Do My Best (Chris Harwood) - 3:18

9. Romance (Chris Harwood) - 3:56

10.Ain't Gonna Be Your Slave (Dave Lambert) - 3:14

11.Flies Like A Bird (Dave Lambert) - 2:36

12.Mama (Dave Lambert) - 3:19

13.When I Come Home (Reprise) (Chris Harwood) - 1:25

Personnel

*Chris Harwood - Vocals, Percussion

*Dave Lambert - Acoustic, Electric, Rhythm Guitar, Backing Vocals, Percussion

*Peter Banks - Acoustic Guitar

*Tommy Eyre - Hammond Organ, Piano

*Jeff Matthews - Acoustic Guitar, Electric Guitar

*Mike Maran - Acoustic Guitar

*Ian McDonald - Flute, Saxophone

*John Russell Morgan - Stomping, Tambourine

*Jeff Starrs - Vocals

*Roger Sutton - Bass, Celli

*Johnny VanDerrick - Violin

*Pete York - Congas, Percussion

*Chris Welch - Drums

1970 On The Boards (Japan SHM edition)

rep>>> Taste - What's Going On Isle Of Wight Festival (1970 ireland, spectacular classic hard blues rock, 2015 extra tracks remaster)

TASTE - THE ISLE OF WIGHT FESTIVAL, August 28, 1970

The 1970 Isle Of Wight festival is remembered for several reasons: it would prove to be the largest rock festival yet held - attracting, it is estimated, up to 600,000 people and so leading to a ban on music festivals on the IOW for the next 32 years. While a ticketed festival, the huge numbers of people heading to the island meant it quickly became a free festival (with much rhetoric being spouted alongside several stage invasions by self-proclaimed "hippie activists"). Alongside leading rock, soul and |azz musicians the IOW hosted what would turn out to be the final UK performances of both Jimi Hendrix and The Doors. The IOW also featured a particularly ferocious set by Taste.

Taste were formed in the city of Cork. Ireland, by 18-year old Rory Gallagher in 1966. By then Gallagher was a veteran of the showband circuit, had toured much of Europe and played a residency in Hamburg. With Taste he mixed original material with blues covers, the band's raw, dynamic sound quickly establishing them In Belfast then London. Just before Taste signed with Polydor Records the band's management insisted on replacing the Cork rhythm section with drummer John Wilson and bassist Richard McCracken, both veteran Belfast musicians (Wilson had played in Them). Taste's exciting live performances set attendance records at London's Marquee Club and they gained wide European popularity with their eponymous 1969 debut album.

1970 should have been Taste's year: they released their sophomore album 'On The Boards' on January 1st. 1970, to rave reviews across Europe and the US. The band's work effort and inspired live performances had established Taste truly as a "people's" band. Praise for the band - and, especially, Rory Gallagher - came from many noted musicians: John Lennon championed Taste while Jimi Hendrix, when asked how it felt to be the world's greatest guitarist, replied that he had no idea and the question should be redirected to Rory. Yet, internally. Taste were bitterly divided due to differences between Gallagher and the rhythm section over management, money and status.

A break-in to the band's van (only drum pedals were stolen) the night before they headed to IOW brought tensions to a head with Rory emphasising that if management had provided Taste with a superior vehicle (as long requested) the theft wouldn't have occurred. If tensions were simmering in the van the Southampton ferry crossing on Friday morning provided a sense of exhilaration - they could feel the excitement building as thousands of rock fans gathered for the festival. Unfortunately, the huge numbers of people arriving on the IOW (population 100,000) meant Taste struggled to get on site in time for their late afternoon set. Things only got worse once there as they became aware the festival was being filmed: their manager threatened to cancel Taste's performance.

But perform they did: taking the stage in perfect conditions. Taste tore into 'What's Going On'. The huge audience, until then somewhat subdued in response to the afternoon's bands, rose to their feet. The ten thousand hours Kory had put in playing live over the past six years ignited a truly explosive performance. Perhaps the inter-band tension also fuelled Taste as the trio played superbly, giving their absolute all. each member listening and responding so creating music alive with excitement and possibility. Electricity was in the air and the audience screamed for an encore. Taste obliged but the audience refused to let them go. One - two - three - encores! Right then everyone bearing witness agreed: Taste were the most exciting live band in the world.

Backstage Taste were charged with adrenalin and aware they had achieved something special. This is what it's all about - playing rock and roll like your very life depended on it! But the ill feeling remained and. when photographer John Minihan requested that Taste gather for a portrait, the trio were reluctant. Finally, bassist McCracken said, "come on guys, even if it is the last one" and grabbed Gallagher and Wilson for the photo. Photo taken, Rory and his brother Donal then went off to watch Tony Joe White play. Rory was so impressed he would later include White's 'As The Crow Flies' in his live set. Taste might have had the adulation of an adoring public ringing in their ears but their IOW performance did not heal the band's divisions and they would confirm that they were to split a few days later. As Taste were contractually committed to a European tour they continued until a final Belfast concert on New Year's Eve, 1970. In that tumultuous year their Isle Of Wight performance sealed Taste as more a legend than a band.

by Garth Cartwright

Tracks
1. What's Going On - 5:31
2. Sugar Mama (Traditional) - 10:47
3. Morning Sun - 4:37
4. Gambling Blues (Traditional) - 4:52
5. Sinner Boy - 5:41
6. I'll Remember - 8:29
7. I Feel So Good (Big Bill Broonzy) - 10:26
8. Catfish Blues (Traditional) - 14:14
9. Same Old Story - 6:54
10.Blister On The Moon - 7:46
All songs by Rory Gallagher except where stated

The Taste
*Rory Gallagher - Guitars, vocals
*Richard McCracken - Bass
*John Wilson - Drums

1969 Taste - Taste

1971 Rory Gallagher (Japan Mini Lp replica)

1972 Rory Gallagher - Live In Europe (2018 remaster)

1973  Rory Gallagher  - Tattoo (2012 promo copy)
1974  Rory Gallagher  - Irish Tour (2018 remaster)
1975 Rory Gallagher  -  Against The Grain (2018 remaster)

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1971 Rory Gallagher (Japan Mini Lp replica)

Tuesday, October 6, 2026

Taste - On The Boards (1970 ireland, classic blues rock, second album, 2010 japan SHM-CD)

"On The Boards" the Taste's second LP was issued in 1970 and was a much more satisfying affair than their debut. In fact this record was a favorite of mine as a stoned teenager in the 70's, I've recently revisited "On The Boards" and it still sounds pretty damn good. The record opens with the Taste show stopper "What's Going On" a powerful electric blues raveup with some stinging Gallagher guitar work. "Railway and Gun" is a folkish blues not too far removed from early Thin Lizzy. "It Happened Before, It'll Happen Again" is a remarkable number that really stretches out, Rory plays some really thoughtful runs on guitar and even plays some useful Alto Sax in the mid section.

"If The Day Was Any Longer" is a pretty laid back song that's almost folk-rock, Rory plays some nice Mel Lyman style harp on this one. "Morning Sun" is a full out rocker again recalling fellow Irishmen Thin Lizzy.

Side two opens with another blistering raver called "Eat My Words" the group is really clicking on this one Richard McCracken's plays lead bass right in your face ala Andy Fraser, Rory plays some razor sharp bottleneck lines while John Wilson plays the Ginger Baker part on drums. The title track "On The Boards" is a very interesting one that uses space to great effect, Rory's guitar sounds very San Francisco-ish like he just got done jamming with Barry Melton.

"If I Don't Sing I'll Cry" is a blues rock stomper in the Savoy Brown mold and may be seen as a throwaway but nothing too bad. "See Here" is a beautiful solo acoustic song by Rory, kinda like Danny Kirwan's contributions to Fleetwood Mac's classic "Then Play On" album.

"On The Boards" finishes with "I'll Remember" which is the best song on the album, the arrangement is great, the band are totally in sync and they rock like there is no tomorrow. "On The Boards" is a tight well played album that is filled with great songs with no frills just the way Rory liked it.

Taste split after this album but Rory put together another trio very much in the same mold as Taste. He made many worthwhile records in the 70's, "Deuce" being my favorite. Before punk happened his records were the only thing that got me through the wasteland of the mid 1970's. I had a chance to meet him after a concert in the 70's and he was a true gentleman. A great man who will be sorely missed.

by Dave Furgess

Tracks
1. What's Going On - 2:48
2. Railway and Gun - 3:38
3. It's Happened Before, It'll Happen Again - 6:33
4. If the Day Was Any Longer - 2:10
5. Morning Sun - 2:39
6. Eat My Words - 3:47
7. On the Boards - 6:02
8. If I Don't Sing I'll Cry - 2:40
9. See Here - 3:05
10. I'll Remember - 3:02
All compositions by Rory Gallagher

Taste
* Rory Gallagher - Guitars, Vocals, Saxophone, Harmonica
* Richard "Charlie" McCracken - Bass Guitar
* John Wilson - Drums

1969 Taste - Taste

1972 Rory Gallagher - Live In Europe (2018 remaster)

1973  Rory Gallagher  - Tattoo (2012 promo copy)
1974  Rory Gallagher  - Irish Tour (2018 remaster)
1975 Rory Gallagher  -  Against The Grain (2018 remaster)

1971 Rory Gallagher (Japan Mini Lp replica)

Taste - Taste (1969 ireland, excellent debut, raw blues rock)

Rory Gallagher's rock’n’roll odyssey began at age six, when he saw Elvis Presley on TV. Inspired by other greats like Woody Guthrie, Lonnie Donegan and Leadbelly, Gallagher first picked up ukulele, then guitar, and by his teens was playing throughout Ireland in a number of the showbands that were popular at the time.

Out of one of those groups came the first line-up of Taste, a three-piece blues-rock band who were pioneers of the ‘60’s rock trio sound along with Cream and the Jimi Hendrix Experience. They were hailed in New Musical Express by John Lennon, who found Taste an especially bright spot in what he thought was a dismal musical year, and was impressed by Gallagher's playing and singing talents. Taste were also among the star attractions at Britain's Woodstock - The Isle of Wight Festival- where they shared the stage with Hendrix and the Doors.

Tracks

1. Blister On The Moon - 3:26

2. Leavin' Blues (Huddie Ledbetter) - 4:15

3. Sugar Mama (Chester Burnett)- 7:14

4. Hail - 2:35

5. Born On The Wrong Side Of Time - 4:00

6. Dual Carriageway Pain - 3:13

7. Same Old Story - 3:32

8. Catfish (Traditional) - 8:04

9. I'm Moving On (Hank Snow) - 2:29

All Tracks composed by Rory Gallagher except where stated.

Taste

*Rory Gallagher - Guitars, Vocals, Saxophone, Harmonica

*Richard "Charlie" McCracken - Bass Guitar

*John Wilson - Drums

1972 Rory Gallagher - Live In Europe (2018 remaster)

1973  Rory Gallagher  - Tattoo (2012 promo copy)
1974  Rory Gallagher  - Irish Tour (2018 remaster)
1975 Rory Gallagher  -  Against The Grain (2018 remaster)

Monday, October 5, 2026

rep>>> Lee Clayton - Border Affair • The Capitol Years (1978-79/81 us, excellent classic rock, with country folk rock blend, 2007 acadia double disc edition, including three albums)

Introducing an artist such as Clayton is an excuse for the lazy sleeve note writer to trot out such hackneyed adjectives as 'enigmatic', or 'obscure', but not 'million-selling'. In a recording career that spans over thirty years, his album output doesn't even run into double figures, so one epithet that cannot be used in conjunction with Clayton's name is 'prolific'.

However, I'll take qualify over quantity any day, and if Clayton needs to take his time over albums as consistently strong as the three contained here - Border Affair, Naked Chid and The Dream Goes On, well, so be it. So, here's the point at which I shade in a bit of the Clayton background detail for yet.

According to the few music encyclopaedia entries on him, he was born in Alabama on October 29th, 1942, and was raised in Oak Ridge, Tennessee from the age of four. He told the UK fanzine Omaha Rainbow that "I've always known that music was important - when my dad knew he'd got uptight, and the world got too much for him, he would break out his bourbon and play Red Foley and Jimmie Rodgers records, and tell war stories and drink whisky.

I can remember trying to figure out what was going on; why everybody would sit there and get drunk and cry. I figured anything that could evoke that kind of emotion had to be pretty strong." Clayton's father was keen for him to learn a musical instrument, and gave him the choice of accordion or Guitar. He choose the latter of course, but it appears that his father purchased a steel guitar (maybe even a dobro) and also arranged for young Lee to have lessons. After a couple of years, Clayton expressed the opinion tha he preferred learning the instrument by ear, as opposed the formal lessons, his father promptly sold the guitar.

He didn't return to music until his teens. Music remaind one of numbered interests that he maintained during his student days at the University of Tennessee, wherein he eventually earned a Bachelor of Science degree in Industrial Managment, after which he got a job. He was doing ok, but in the mid '60's he was married had a Porsche sports car, and yet feld strangely unfulfilled. As well as music, he yearned to fly aeroplanes and despite being married, had the ol "roving eye" when it comes to the ladies.

According to Clayton "one day something went click and i turned around and went back home, quit the job and started trying to get in to the Air Force. He was to spend three years in USAF getting the pilot to March 2nd McDonnell BF101 Voodoo Fighter, which was most known amongst fly boys as "The Widowmaker", owing to a design fault that led to it behave unpredictably during certain manoeuvres.

In fact that experience inspired the song "Old Number NIne" from his album Border Affair. Having crossed off the desire to fly from his "to do" , on quitting the force, Clayton decamped to Nashville with the aim of pursuing a career of singer-songwritter. During his period with the services, Clayton has honed his skills as singer-songwritter, working on his Guitar playing and lyrical skills. There was clearly more than a grain of talent there, but in Nashville he was one of the zillion aspirant singer-songwriters trying to shine up the greasy pole.

" I was living in Luisville Kentucky, and spend three or four days of week in Nashville... people would say to me -what are you doing? - I'd say I'm a poet and songwriter. With in six months my money started to go and they took my credit cards away from me and I was on the street. Sols my Porsche and I had and old beat-up VW. I went from then until I got some money from the record company when i signed the deal in early '73. Before that was out on the street , sleeping in the floor time".

The record company referred to hear is MCA, who signed Clayton in 1973, following the succes he had enjoyed when Wylon Jennings had covered his song "Ladies Love the Outlaws". Clayton's excellent self-titled debut album is also available and is well worth checking out. However, Clayton spoked with somewhat mixed feelings of the year 1973 and released his debut long player. "The start of '73 I had no money, got some money made a record, spend a lot of money, end of '73, broke off the label, back on the streets again, all in one year.

I lived in motel room in California most of '74 - out in the Mojave Desert and lived there with this woman. Didn't do a whole lot, the truth is, just sat around and looked at things. Watched a whole lot of sun downs and sunrises, thought a lot, climbed the mountain, and one day figured it was time for me to go at it again". A considerable factor in the re-energising of Clayton's muse was his meeting and befriending Philip Donnelly, a fine Irish guitar player who was then a part of Donovan's touring band. In Donnelly, Clayton found an incisive and inspired guitarist, who helped supply a razor-sharp cutting edge to Clayton's recordings, lifting the music out of the Nashville standard, into something slightly more rock-orientated and contemporary.

This was Outlaw country, I guess. Clayton landed a new record deal with EMI / Capitol, and cut the three albums that you're hopefully enjoying. Border Affair was released in 1978, and enjoyed positive critical notices, and Willie Nelson loved the track If You Can Touch Her At All enough to cover the track himself. Cashbox magazine nominated Clayton for New Male Vocalist of the year. It's follow-up, Naked Child had a more difficult gestation - Clayton had crises of confidence over the production sound and the way recordings were progressing - however, he hauled it together, and its release in May 1979 again saw it well-received, critically.

Although Clayton had made little impression sales-wise in his native USA, the album did sell well in continental Europe, and Clayton, with an impressive band, toured the continent supporting label mates Roger McGuinn, Gene Clark and Chris Hillman. His European fan base has proved loyal; Clayton still enjoys a reputation on the Continent, years after the release of his final Capitol album, The Dream Goes On.

Lee Clayton has only intermittently returned to the recording and gigging fray in the twenty odd years since the early 80's; Bono of U2 has claimed Clayton as an influence, bizarrely enough, but Clayton's story is ultimately one of potential largely unfulfilled. Mind you, if one book-ends his debut with the three albums contained here, you have a quartet of some fine Outlaw Country music that no self-respecting fan should be without

by Alan Robinson, November 2007

Tracks

Disc 1

1. Silver Stallion - 4:48

2. If You Can Touch Her At All - 4:35

3. Back Home In Tennessee - 4:33

4. Border Affair - 3:47

5. Old Number Nine - 3:07

6. Like A Diamond - 4:36

7. My Women My Love - 5:02

8. Tequila Is Addictive - 4:32

9. My True Love - 4:36

10.Rainbow In The Sky (Lee Calyton, Phillip Donnelly) - 3:33

11.Saturday Night Special - 3:11

12.I Ride Alone - 5:14

13.10,000 Light Years / Sexual Moon - 6:23

14.Wind And Rain - 2:40

All songs by Lee Clayton except where indicated

Tracks 1-10 from Border Affair 1978

Tracks 11-14 from Naked Child 1979

Disc 2
1. I Love You - 5:06
2. Jaded Virgin - 4:14
3. A Little Cocaine - 5:26
4. If I Can Do It (So Can You) - 4:44
5. What's A Mother Gonna Do - 2:54
6. Industry - 7:27
7. Wont You Give Me One More Chance - 3:22
8. Draggin' Them Chains - 3:31
9. Where Is The Justice - 4:48
10.Whatcha Gonna Do - 4:06
11.Oh How Lucky I Am - 3:41
12.The Dream Goes On - 4:47
All compositions by Lee Clayton
Tracks 1-4 from Naked Child 1979
Tracks 5-12 from The Dream Goes On 1981

Musicians
1978 - Border Affair
*Colin Cameron - Bass
*Lee Clayton - Guitar, Harp, Lead Vocals
*Jimmy Day - Pedal Steel Guitar
*Phillip Donnelly - Lead Guitar, Vocal Harmony
*Danny Lane - Drums
*Andy McMahon - Keyboards
*Wayne Jackson - Trumpet
*Andrew Love - Sax

1979 - Naked Child and 1981 - The Dream Goes On
*Clay Caire - Drums
*Lee Clayton - Guitar, Lead Vocals
*Phillip Donnelly - Guitar
*Tim Krekel - Lead Guitar
*Steve Marshall - Bass
*Tony Newman - Drums tracks 8,12
*Bobby Ogdin - Keyboards
*Rachel Peer - Bass track 12
*Glenn Rieuf - Pedal Steel
*Vickie Hampton, Donna McElroy, Deborah Allen - Backing Vocals
*Sweet Honey Bees (Children's Voices) - Backing Vocals
*Thomas Cain & The Corinthian Church Choir (Big Children's Voices) - Backing Vocals

Sunday, October 4, 2026

rep>>> Cockney Rebel - Cavaliers, An Anthology (1973-74 uk, two masterpieces and other gems, 2012 four disc set remaster)

The British band Cockney Rebel, founded by singer-songwriter Steve Harley, entered the rock scene in 1973 after signing with EMI. Their debut The Human Menagerie contained the single Sebastian with its classical keyboard arrangements. This single definitely generated interest in the band and it was a big international success. It paved the way for their second album The Psychomodo (1974), which was a great success either charting the top-ten in the UK along with the hit singles Judy Teen and Mr Soft. Recently these two albums were re-released in a 4CD anthology set. Beside these two albums this set includes all the singles and flip sides, recently discovered early alternative versions, mixes of tracks from both albums and various BBC concerts and sessions, including two tracks from The Old Grey Whistle Test. All these tracks were previously unreleased on CD.

On Cavaliers (An Anthology 1973-1974) Steve Harley & Cockney Rebel cover a range of musical genres from pop to progressive rock and even classical music. The first disc contains the entire debut album plus two singles and their flip sides. The Human Menagerie was recorded in June and July 1973 in the Air Studios in London and produced byNeil Harrison. All songs were written by Steve Harley. It was released by EMI Records in November 1973, but failed to chart in the UK and the USA. The line-up consisted of Steve Harley (vocals), Stuart Elliott (drums, percussion), Paul Jeffreys (bass), Milton Reame-James (keyboards) and Jean-Paul Crocker (electric violin, mandolin, acoustic guitar). Engineer was the well-known Geoff Emerickwho had worked with The Beatles, while Andrew Powell (The Alan Parsons Project, amongst others) did all the string arrangements.

The album features no electric guitars. Although the band originally had several guitar players, Harley felt that the Cockney Rebel sound didn't need an electric guitar. They settled on the combination of Crocker's electric violin and the Fender Rhodes piano of keyboardist Reame-James sharing the lead. Their first single Sebastian was an immediate success in Europe, although it failed to score in the UK singles charts. The band attracted a growing following in London with their debut album on which Sebastian undoubtedly is the ultimate highlight. This song is mostly performed on the acoustic piano, but has a lot of bombastic passages thanks to the use of a classical orchestra and a choir.

Two other musical highlights on The Human Menagerie are the short piece Chameleon, which is a kind of intro to Death Trip. The classical arrangements elevate this piece to a high level. It beautifully moves towards an excellent climax where the choirs sound absolutely stunning! The bonus tracks are a DJ edit of Sebastian and Rock And Roll Parade, the flip side of this single, which is a happy pop tune like many other songs on their debut. The next single that was recorded as Cockney Rebel has been added as well. The non-album track Judy Teen and its flip side Spaced Out end the first disc. This is a rather good single with fine playing on the violin. Judy Teen became their first hit in the UK; the flip side is a rather pop-like song.

The second disc contains the entire second album The Psychomodo complemented with two singles. This time the album was produced by Steve Harley and Alan Parsons, who produced the famous album Dark Side Of The Moon by Pink Floyd. He also worked with The Beatles. It was released by EMI Records on the 2nd of June 1974. The album failed to chart in the USA, but charted at number eight in the UK. The line-up was similar to their debut and once more Andrew Powell did all the string arrangements. You could say that The Human Menagerie was a journey into the decadence of mankind, while The Psychomodo is like a trip to the circus.

On the latter album different musical elements of the circus can be heard throughout. Maybe this album has even more to offer than the band's debut. In my opinion the highlights are Ritz, Cavaliers and Tumbling Down. These pieces contain more prog rock influences compared to the other compositions. They also used more keyboards beside the usual piano parts. Especially Tumbling Down sounds very good thanks to the fine string arrangements. This disc contains rather strong bonus material as well like Such A Dream, the flip side of Mr Soft. Big Big Deal was the first solo single by Steve Harley released in 1974. It never appeared on an album. In 1975 Cockney Rebel scored a big hit in the UK with Make Me Smile (Come Up And See Me). The song preceded the formation of a new line-up, because after a successful UK tour all musicians, with the exception of Stuart Elliott, quit.

The third disc features several early versions, stereo mixes and alternate mixes of songs that later appeared on the first two albums. It's nice to listen to different versions of a number of tracks, especially the more well-known numbers like Sebastian, Mr Soft and Judy Teen. This time no orchestral arrangements can be heard. These versions sound purer as if they were recorded in a rehearsal room. The final and fourth disc is actually the most interesting one, because it contains the live versions of the rather sterile songs. If you listen to Cockney Rebel during performances for a BBC concert, The Old Grey Whistle Test and a John Peel session you just feel the energy. The songs are more lively thanks to a strong playing band. Even the two songs with the classical arrangements sound perfect. You hardly miss the string sections on Sebastian and Death Trip.

After the first split, Cockney Rebel was in fact a Steve Harley solo project. In 1974, The Best Years Of Our Lives was released again produced by Alan Parsons. This album included the aforementioned track Make Me Smile (Come Up And See Me) which became a number one single in February 1975. It was the band's biggest hit that sold over one million copies globally. More albums followed, but they never got the success of this one. In 2010, Steve Harley & Cockney Rebel began to tour again in England, Ireland and Northern Ireland following the release of Stranger Comes To Town, a new studio album.

Cavaliers (An Anthology 1973-1974) is a fine 4CD compilation comprising the early days of Cockney Rebel. I think this set will be enjoyed by many lovers of progressive rock music since songs as Sebastian and Death Trip are real beauties.

by Henri Strik (edited by Peter Willemsen)

Sadly Steve Harley passed away, 17th March 2024, at the age of 73...

Tracks

Disc 1

The Human Menagerie

1. Hideaway - 3:48

2. What Ruthy Said - 2:19

3. Loretta's Tale - 4:10

4. Crazy Raver - 3:44

5. Sebastian - 6:59

6. Mirror Freak - 5:11

7. My Only Vice - 2:49

8. Muriel the Actor - 4:09

9. Chameleon - 0:51

10.Death Trip - 9:51

11.Sebastian (DJ Edit) - 3:52

12.Rock And Roll Parade - 2:55

13.Judy Teen - 3:43

14.Spaced Out - 2:59

Disc 2

The Psychomodo

1. Sweet Dreams - 2:08

2. Psychomodo - 4:04

3. Mr Soft - 3:17

4. Singular Band - 3:02

5. Ritz - 7:14

6. Cavaliers - 8:35

7. Bed In The Corner - 3:34

8. Sling It! - 2:44

9. Tumbling Down - 5:58

10. Such A Dream - 5:08

11. Big Big Deal - 4:30

Disc 3

Special Versions

1. Sebastian - 8:20

2. Hideaway - 4:03

3. Chameleon - 0:42

4. Death Trip - 8:52

5. Loretta's Tale - 4:48

6. Crazy Raver - 4:01

7. Mirror Freak - 5:40

8. My Only Vice - 2:54

9. Rock And Roll Parade - 3:30

10.Judy Teen - 4:10

11.Crazy Raver - 3:48

12.Rock And Roll Parade - 3:30

13.Mr Soft - 3:23

14.Big Big Deal - 5:34

Disc 4
Concerts And Sessions
1. Hideaway - 5:03
2. Crazy Raver - 3:51
3. Loretta's Tale - 4:40
4. Sebastian - 7:38
5. Death Trip - 11:24
6. Hideaway - 4:16
7. My Only Vice - 2:48
8. Bed In the Corner/Sling It! - 6:07
9. Mr Soft - 3:15
10.Sweet Dreams/Psychomodo - 5:44
All compositions by Steve Harley

Cockney Rebel
*Steve Harley - Vocals, Acoustic Guitar
*Stuart Elliott - Drums, Percussion
*Paul Jeffreys - Bass
*Milton Reame-James - Keyboards
*Jean-Paul Crocker - Electric Violin, Mandolin, Guitars

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