Rockasteria

Sunday, May 10, 2026

rep>>> The Common People - Of The People By The People For The People From (1969 us, awesome garage psychedelic rock, 2006 fallout extra tracks edition)

The Common People are perhaps the greatest remaining enigma in 1960s US rock music. Their sole album has belatedly been acclaimed as one of the most distinctive recordings of its time, but - despite the best efforts of fans and journalists- none of the musicians involved has yet been found.

Led by Denny Robinett, who is remembered as a deeply charismatic figure, they are known to have originated in California (some say in Baldwin Park, others Fontana), where they are thought to have been bikers.

Having recorded two ultra-rare garage singles for the local Flodavieur label (which indicate the morose, brooding direction their music would take, and make their CD debut here), they fetched up on LA's famed Sunset Strip at the end of the decade.

By then they'd taken to wearing white robes and carrying Biblical staffs, and soon attracted the attention of legendary rock opportunist 'Sir' Tim Hudson, manager of garage heroes the Seeds and the Lollipop Shoppe.

Hudson had the prescience to recognise the uniqueness of Robinett's moody songwriting, and in 1969 he landed them an album deal with Capitol.

With a considerable budget to play with, he hired the legendary David Axelrod to score the material, and set about planning an ambitious fusion of the experimental pop of the Beach Boys, Love and The Velvet Underground with modern classical strings.

To this end he hired some of LA's top session musicians, several of whom were longtime Axel rod collaborators.

Cellist Jesse Ehrlich and violinist William Kurasch were both members of the Los Angeles Symphony Orchestra, and had recently contributed to albums including Love's Forever Changes and Frank Zappa's Lumpy Gravy, amongst others, while viola player Philip Goldberg was a veteran of sessions for Zappa, the Monkees, Van Dyke Parks and others.

Double bassist and tuba virtuoso Red Callender had played with jazz greats such as Louis Armstrong, Nat King Cole and Charlie Parker, while prolific trumpeter Tony Terran had contributed to recordings by Lou Rawls, Randy Newman and Linda Ronstadt, and went on to work with Tim Buckley, Tom Waits, Madonna and others. Rounding off the credits were engineers Rex Updegraft, Doc Siegel and Joe Polito, fresh from working with the Band, Buffalo Springfield and Glen Campbell respectively.

The stage seemed set for a masterpiece - but then disaster struck. With stunning work completed on just three songs, Axelrod's wife was badly injured in an accident and he had to pull out, effectively killing the project in the process.

Today those shimmering, ethereal masterpieces (Soon There'// Be Thunder, / Hove Been Alone and Those Who Love) are not only regarded as pinnacles of Axelrod's career, but of orchestrated pop in general - all the more remarkable given that they are said to have been recorded without charts.

Certainly their conductor, Sid Sharp (perhaps best-known for his work on the Beach Boys' Pet Sounds), regarded them as astonishing achievements.

One can only conjecture how magical the album would be had every track been thus treated, but Axelrod's departure gave Capitol cold feet, and they cut off their support, meaning that the remaining songs had to be rushed.

Though they're at odds with the opening trio, most are treasures too. Go Every Way, Why Must I Be?, Take From You, Feeling and Land Of A Day are all impeccable pop songs, delivered in Robinett's unique growl and imbued with the same wistful, suggestive atmosphere of the album's openers.

The record is only compromised by one or two less distinguished hornrock tracks, and Hudson's sole contribution, the wonderfully-titled but woefully-misbegotten novelty number They Didn't Even Go To The Funeral, a strong contender for the worst song ever to appear on a fine album.

When it crept out in late 1969, Of The People, By The People, For The People flopped, and it is assumed that the band folded soon afterwards.

The record, however, stands as a small masterpiece of brooding, late-night psychedelia, and it is to be hoped that Denny Robinett will surface one day, and tell the full story of his glorious, one-shot contribution to rock and roll.

Liner-Notes

Tracks
1. Soon There'll Be Thunder (D. Robinett, J. Robinett) - 2:21
2. I Have Been Alone - 3:09
3. Those Who Love - 3:14
4. Go Every Way - 2:22
5. Why Must I Be? - 2:20
6. Take From You - 2:51
7. They Didn't Even Go To The Funeral (Hudson, Hill) - 2:47
8. Feeling - 2:18
9. Girl Said (Know) - 1:36
10.Land Of A Day - 3:51
11.This Life She Is Mine (D. Robinett, J. Robinett) - 2:09
12.Oh My My (Bonus Track) - 1:57

13.Days On My Mind (Bonus Track) - 2:53
14.Look Around (Bonus Track) - 2:28
15.Dawn Of My Life (Bonus Track) - 2:44
All compositions by Denny Robinett except otherwise written.

The Common People
*Denny Robinett - Lead Vocals And Guitar
*John Bartley III - Guitar
*Michael Mccarthy - Bass Guitar
*William Fausto - Keyboards
*Jerrald Robinett - Drums

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1969-70 Toe Fat - BBC Sessions (2013 release)

Saturday, May 9, 2026

rep>>> Toe Fat - Bad Side Of The Moon An Anthology (1970-72 uk, impressive hard classic rock with some prog shades, 2021 double disc digi pak remaster)

Motown’s Rare Earth imprint intended to bring the sound of rock to the home of The Supremes, The Miracles, Martha and The Vandellas, The Temptations, and Four Tops. The imprint was named after a white rock band from Detroit and its artists were both home-grown and licensed from other parties. In the latter category was Toe Fat, a U.K. psych-rock band built around the talents of Cliff Bennett, formerly of the beat group Cliff Bennett and The Rebel Rousers. Both of Toe Fat’s albums – issued on Rare Earth in the U.S. and EMI in the U.K. – are newly collected on Bad Side of the Moon: An Anthology 1970-1972, a 2-CD set from Cherry Red’s Esoteric Recordings imprint. It gives a welcome opportunity to reevaluate the music of the band that yielded two future members of Uriah Heep, one member of Jethro Tull, and a key collaborator of The Bee Gees.

Toe Fat’s self-titled debut arrived on Rare Earth in 1970 following albums from Rare Earth (the band), Love Sculpture, U.K. import The Pretty Things, Rustix, and Messengers. Cliff Bennett was encouraged by EMI, with whom he’d been under contract leading the Rebel Rousers, to form a band reflecting the heavier sound of rock at the turn of the decade. When Bennett learned that Motown was interested, as well, he set out to form the oddly-monikered Toe Fat. (Malcolm Dome’s liner notes reveal that “Bollocks” and “Shit Harry” were two other options, so maybe Toe Fat wasn’t such a bad name, after all.) The core line-up was poached from the ashes of band called The Gods: guitarist/multi-instrumentalist Ken Hensley, bassist John Glascock (incorrectly credited during his time in the band as John Konas), and drummer Lee Kerslake. Pianist-lead vocalist Bennett tapped Mox Gowland on flute and harmonica as a guest musician. Recording took place with producer Jonathan Peel at Abbey Road.

Bennett’s efforts to modernize his sound were largely successful; Toe Fat was steeped in blues, rock, and soul and wrapped up in a rather frightening Hipgnosis sleeve depicting toe people. (Two of the four nude toe people were too much for Motown and were incongruously replaced with a sheep.) Bennett penned most of the material on the eponymous LP, sometimes in collaboration with Hensley (uncredited due to publishing rights issues).

Some notable outside compositions were brought in, too, including Elton John and Bernie Taupin’s “Bad Side of the Moon.” Bennett tells Dome that he’d known John as a young fan of the Rebel Rousers, so he gladly accepted the chance to record the rising star’s song. (Elton’s rendition appeared as the B-side of his “Border Song” in 1970.) Bennett’s deep, resonant, and gutsy vocals – which at times resemble those of Blood, Sweat and Tears’ David Clayton-Thomas – were well-suited to the guitar-dominated heavy soul approach to material such as “Bad Side” and “(Ain’t That) Just Like Me,” the Hollies oldie-but-goodie. Ernie Shelby and Dick Cooper’s “Nobody” (introduced by Larry Williams and Johnny Watson with The Kaleidoscope and covered by Three Dog Night) showcased Hensley with ample soloing and scorching fuzz guitar.

But the album primarily consisted of melodic but aggressive Bennett originals including the strong opener, “That’s My Love for You,” the attractive midtempo harmony ballad “The Wherefors and the Why,” the Tull-esque “Just Like All the Rest” (with Mox Gowland in place of Ian Anderson on flute as well as bluesy harmonica), the powerfully-rocking “I Can’t Believe,” and boogieing “You Tried to Take It All.” Hensley’s riffs complemented and added an edge to Bennett’s straightforward, hook-laden songs.

Despite lackluster sales upon the album’s May 1970 release, Toe Fat was poised for success with an opening slot on Derek and the Dominos’ U.S. tour. But it wasn’t without drama. Before the tour, the band’s management fired Hensley and Kerslake, much to Bennett’s surprise. They landed in Uriah Heep and were replaced in Toe Fat by future Bee Gees band member Alan Kendall on guitar and John Glascock’s brother Brian on drums. Once the tour was completed, this line-up, again joined by Mox Gowland, reunited with Jonathan Peel at Abbey Road for the sophomore LP sought by Rare Earth. The simply-titled Two was more eclectic than its predecessor but for consistency’s sake was adorned with another creepy-crawly Hipgnosis cover.

The opening “Stick Heat” established Alan Kendall’s bona fides. With its spiky, abrasive guitar and foreboding atmosphere, the tune announced that Kendall was more than ready to pick up where Ken Hensley left off. He also took Hensley’s place as Bennett’s primary co-writer, albeit with full credit. The duo co-wrote seven of the eight songs on Two, with Kendall sole author of the moody prog instrumental “Indian Summer.” The eight songs veered from driving hard rock (“Since You’ve Been Gone,” “Idol,” “Three Time Loser”) to a straight blues workout (“There’ll Be Changes,” boasting uncredited guitar from Fleetwood Mac co-founder Peter Green and harmonica from Mox Gowland) with psychedelia and prog flourishes laced throughout as on the slow-burning, two-part anthem “A New Way.” The band might not have settled on a firm direction, but they played in the manner of a tight-knit unit.

While singles had been issued from Toe Fat (“Bad Side of the Moon” in both the U.S. and U.K., and then a U.S. pressing with “Bad Side” relegated to the flip of “(Ain’t That) Just Like Me”)), neither Rare Earth in the U.S. nor EMI/Regal Zonophone in the U.K. released a 45 from Two. Before giving up the ghost, Toe Fat recorded one more single which was released in 1972 on the indie Chapter Two label. These have been included as bonus tracks on the second disc here. The A-side, “Brand New Band,” channeled a more rootsy sound, with barroom piano and a singalong chorus. “Can’t Live Without You,” on the B-side, also had a lighter sound than the two albums, pointing Toe Fat in a pub-rock vein.

Bassist John Glascock would join Jethro Tull in 1976, remaining with the band until his untimely death in 1979. Alan Kendall would form a crucial component of the Bee Gees’ band for two separate stints (1971-1980 and 1987-2001). Brian Glascock returned to session work for a number of high-profile artists including Dolly Parton and Heart’s Nancy Wilson. Cliff Bennett and Ken Hensley remained friends until Hensley’s death in 2020.

Esoteric’s collection is housed in a six-panel digipak containing a 20-page booklet. In Malcolm Dome’s notes, Bennett candidly and affectionately reflects on the band’s small but potent discography. Ben Wiseman has remastered all of the tracks here from master tapes other than the Chapter 1 sides which were sourced from a clean vinyl copy of the original single. Toe Fat has long been a mere footnote in the histories of Cliff Bennett and The Rebel Rousers, Uriah Heep, Jethro Tull, The Bee Gees, Elton John, and Motown/Rare Earth. Bad Side of the Moon: An Anthology 1970-1972 enjoyably places the music front and center.

by Joe Marchese, February 25, 2021

Tracks

Disc 1 Toe Fat 1970

1. That's My Love For You (Frank Allen, M. Roberts) - 4:02

2. Bad Side Of The Moon (Elton John, Bernie Taupin) - 3:25

3. Nobody (Dick Cooper, Ernie Shelby, Beth Beatty) - 6:03

4. The Wherefores And The Whys - 3:43

5. But I'm Wrong - 4:00

6. Just Like Me (Billy Guy, Earl Carroll) - 4:12

7. Just Like All The Rest - 2:32

8. I Can't Believe - 4:00

9. Working Nights - 2:33

10.You Tried To Take It All - 4:24

All songs by Cliff Bennett except where stated

Disc 2 Toe Fat II 1971

1. Stick Heat - 6:18

2. Indian Summer (Alan Kendall) - 2:08

3. Idol - 3:31

4. There'll Be Changes - 6:51

5. A New Way - 7:55

6. Since You've Been Gone - 4:47

7. Three Time Loser - 4:30

8. Midnight Sun - 4:44

9. Brand New Band (Towns) - 2:59

10.Can't Live Without You (Cliff Bennett) - 3:33

All compositions by Alan Kendall, Cliff Bennett except where noted

Bonus Tracks 9-10 released as Chapter 1 Records SGH-R 175 in September 1972

Toe Fat

*Ken Hensley - Guitar, Organ, Piano, Vocals (Disc 1)

*Cliff Bennett - Lead Vocals, Piano

*John Glascock - Bass, Vocals

*Lee Kerslake - Drums, Vocals

*Max Gowland - Flute, Harmonica

*Alan Kendall - Guitars, Ukele Banjo (Disc 2)

*Brian Glascock - Drums, Vocals (Disc 2)

1975 Ken Hensley - Eager To Please (2010 bonus track remaster)

1973-74 Carmen - Fandangos In Space / Dancing On A Cold Wind (2006 remaster and expanded)

1975/77 Iggy Pop And James Williamson - Kill City (2010 edition)

1969 Plays On (2013 remaster and expanded)
1970 A Lot Of Bottle (2013 remaster and expanded)
1971 Tightly Knit (2013 remastered with bonus tracks)

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Friday, May 8, 2026

rep>>> Climax Chicago - Rich Man (1972 uk, great blues rock with funky vibes , 2013 bonus track remaster)

Gospel Truth, Hipster Image, The Velvet Chords were all band names emblazoned across posters in the mid 60s. Hipster Image were impressing a lot of people in the Stafford, England area in the early 60s under the leadership of Colin Cooper on guitar, sax and vocals.

Decca were impressed by Hipster Image and a single was released, produced by Alan Price. It did very poorly, and in fact marked the end of the road. Returning to Stafford, Colin formed Gospel Truth with a very young Peter Haycock, still at school but already proving to be a sensational guitarist, and John Cuffley on drums who had already featured on a hit 45 with Emile Ford’s Checkmates.

Gospel Truth picked up where Hipster Image left off, and in the late 60s, Cooper and Haycock pointed the band in that direction and the Climax Chicago Blues Band was formed with guitarists Peter Haycock and Derek Holt; keyboardist Arthur Wood; bassist Richard Jones; drummer George Newsome; and vocalist and harmonica player, Colin Cooper.

Prior to the release of 1969's Plays On, Jones left the group, prompting Holt to move to bass. In 1970 they moved to the Harvest label, at the same time shifting towards a more rock oriented sound on A Lot of Bottle. Around the release of 1971's Tightly Knit, Newsome was replaced by John Cuffley; upon Wood's exit in the wake of 1972's Rich Man, they continued on as a quartet, also dropping the "Chicago" portion of their name to avoid confusion with the American band of a similar name.

‘Rich Man’ in 1973 also saw the nucleus of the band settle down to Cooper, Haycock, Holt and the addition of John Cuffley on drums. The album was released in America on the Sire label and made a dent into the lower regions of the Billboard chart.

It was an ambitious album and in keeping with the general progressive output on Harvest. However, like the band’s second album, it does come over as sounding disjointed, the political attitude and the humour of the tracks ‘Rich Man’ and ‘Mole On The Dole’, for instance, seem a little lost in time, and contrived. ‘All The Time In The World’ became the live set opener for many years. Tagged on the end of the album, almost as an afterthought, but to me the gem of the album is the sensitive slide & harmonica blues ‘Don’t You Mind People Grinning In Your Face’, long on title but brief and heartfelt succinct.

Climax Blues Band

Tracks
1. Rich Man - 5:50
2. Mole On The Dole - 5:04
3. You Make Me Sick - 3:52
4. Standing By A River - 5:29
5. Shake Your Love (Climax, Gottherer) - 5:28
6. All The Time In The World - 6:03
7. If You Wanna Know - 5:30
8. Don't You Mind People Grinning In Your Face (Sonhouse) - 2:31
9. Mole On The Dole (Single Version) - 3:59
All songs by Climax Chicago except where stated.

Climax Blues Band
*Colin Cooper - Vocals, Alto, Tenor Saxes, Guitar, Harmonica
*Pete Haycock - Vocals, Lead Guitar
*Derek Holt - Vocals, Bass Guitar, Electric Piano
*John Cuffley - Drums, Percussion

1969 The Climax Chicago Blues Band (2013 remaster and expanded)

Thursday, May 7, 2026

rep>>> Marian Segal And Jade - Fly On Strangewings The Anthology (1970-2013 uk, gorgeous ethereal folk psych, 2017 three disc box set)

Every autumn, when the nights start to get longer, the air begins to cool and all of the leaves start to change colors, I get an insatiable craving for folk music, but specifically English and psychedelic/acid folk and folk rock.

I’m not entirely sure why I prefer this particular sound at this time of year, but I think it has to do with these records often having a sort of chilly and rustic quality to them, which I immediately associate with the harvest, strolls through damp forests of yellow and orange under darkly overcast skies and vacant, leaf-strewn cemeteries. (A bit vague, I admit, but hopefully you know what I mean.)

The usual go-to albums that fit the bill for me include the likes of: First Utterance by Comus, The Hangman’s Beautiful Daughter by The Incredible String Band, the first four or five Pentangle and Fairport Convention records and of course the enigmatic work of Vashti Bunyan and Nick Drake. However, there are several artists and albums that I revisit each autumn that have sadly gone a little under the radar but still deserve just as much praise as some of their better-known contemporaries.

To help share my love of these lesser-known folk albums and to celebrate the season (the best time of year, in my opinion) I’m going to review a personal favorite of mine once per week until late November. I want to go all through the fall and we all know that winter doesn’t officially start until around December 21st, but let’s face it, by Thanksgiving, we’re so buried in Christmas music, decorations and much colder weather, it really doesn’t feel like autumn anymore.

Seeing that it’s still September, why not start with a band that recorded a track called “September Song”?

Fly On Strangewings by Jade (or ‘Marianne Segal and Silver Jade,’ as they were known in the US) is a unique yet successful hybridization of the traditional English folk rock style with the more polished American folk-pop sound. Imagine if Sandy Denny-era Strawbs recorded with the likes of Judy Collins or John Phillips.

Released in 1970, Fly on Strangewings is surprisingly accessible, even for its time, despite its eclectic instrumentation, which includes electric violin and generous amounts of harpsichord. The songs are all generally catchy and focus greatly on melody while mainly being constructed around piano and acoustic guitar parts, sounding similar to Unhalfbricking-era Fairport Convention.

The strongest moments of the album happen when the group leans the furthest into their English folk roots, like the galloping, Fotheringay-like “Mrs. Adams” and the dreamy, harvest imagery-laden opening track, “Amongst Anemones.” Another major highlight is the hazy, almost Jefferson Airplane-like “Reflections on a Harbour Wall,” with its phased, acidic electric guitar lines. These stand out moments also all share a sharp, driving rhythm, which makes sense, seeing that they all feature Pentangle’s Terry Cox behind the drum kit.

The one complaint that I have is that sometimes the orchestrations sound a little corny. Perhaps I’m spoiled by the superb Joe Boyd productions that came out around the same time, but I feel like the few songs on this record that feature orchestrations could have benefited from being arranged by the likes of Robert Kirby. That’s just my personal preference and I’m really nitpicking, because it really doesn’t detract that much from the album.

While this is the only record officially credited to Jade, some reissues feature bonus tracks made by Marianne Segal prior to and after Strangewings. The best of this other material include the previously mentioned “September Song” as well as an excellent cover of “Carolina in My Mind.” However, as of only a few weeks ago, a 3CD set called Fly on Strangewings: Anthology was released with tons of unreleased rehearsal and demo recordings as well as other songs by Segal as a solo artist as well as a duo with fellow Jade-member, Dave Waite. I have yet to hear this set since it just came out, but I imagine that it would be worth seeking out.

Talk about good timing!

If I could give a copy of this album to every person that liked Fairport, Roy Harper or Marianne Faithfull, then I’d do it in a heartbeat.

by Keith Hadad, September 22, 2017

Tracks

Disc 1

1. Amongst Anemones - 3:56

2. Raven - 2:37

3. Fly On Strangewings - 4:27

4. Mayfly - 3:35

5. Alan's Song - 3:20

6. Bad Magic - 3:21

7. Clippership - 2:49

8. Five Of Us - 4:08

9. Reflections On A Harbour Wall - 2:35

10.Mrs Adams - 3:30

11.Fly Me To The North - 3:24

12.Away From The Family - 4:51

13.Big Yellow Taxi (Master, 1971) (Joni Mitchell) - 3:35

14.Carolina In My Mind (Master, 1971) (James Taylor) - 4:06

15.Chicago Radio Spots (1971) - 2:06

16.Moses (Master, Circa 1971) - 3:00

17.Raven (Rehearsal, 1970) - 2:46

18.September Song (Rehearsal, 1970) - 3:32

19.How Can That Be Right (Demo, 1970) - 5:14

Music and Lyrics by Marian Segal except where noted

Tracks 1-12 origina LP 1970 "Fly On Strangewings "

Disc 2

1. Paper Flowers (Dave Waite) - 2:25

2. It's Really Quite Alright - 3:26

3. I Can't Love You More - 3:43

4. Safe In Your Castle - 2:46

5. Miranda In The Sun (Demo) - 2:45

6. Percy's Song (Bob Dylan) - 5:27

7. Just Like Tom Thumb's Blues (Bob Dylan) - 4:13

8. Dawn Song - 2:35

9. Milkwood Dragon - 2:33

10.September Song - 2:02

11.All The Reasons - 3:38

12.Rainbow - 3:57

13.I Think It's Going To Rain Today (Randy Newman) - 2:21

14.Miranda (Demo) - 2:45

15.Released - 2:22

16.All The Good Times - 3:10

17.It's Really Quite Alright (Demo) - 3:29

18.I Can't Love You More (Demo) - 3:30

19.Country Meets Folk (Radio Introduction) - 0:38

20.Shine A Candle (Live) - 2:05

21.Circles (Live) - 2:32

22.The Hedgehog Song (Mike Heron) - 4:05

23.The Dove (Jacques Brel) - 4:37

24.Chelsea Morning (Joni Mitchell) - 1:58

25.Alan's Song (Demo) - 4:02

26.Paper Flowers (Demo) (Dave Waite) - 2:19

All songs by Marian Segal axcept where stated

Disc 3
1. Circle Round The Sun (Master, 1971) - 3:57
2. Middling Man (Master, 1971) - 4:11
3. Gold Dust And Dirt - Song For Leonard Cohen (Demo, 1973) - 4:26
4. Sit Yourself Down (Demo 1974) - 4:45
5. Lucky Seven (Demo 1974) - 3:52
6. Fly Me To The North (Live, 1975) - 3:32
7. Deal Out The Cards (Master, 1976) - 2:13
8. Miranda (Master, 1976) - 4:33
9. Peaceful Easy Feeling (Master, 1976) (Jack Tempchin) - 3:28
10.So Sure Tonight (Master, May 1979) - 3:32
11.Kiss Of The Buddha (Master, May 1979) - 3:45
12.Outside The Wall (Master, 1984) (John B. Spencer, Graeme Taylor) - 4:57
13.Gypsy Girl (Master, 1990) - 3:34
14.This Life (Demo 1996) - 4:17
15.The Water Is Wide (Master, 2013) (Traditional) - 5:43
16.Better Side Of Me (Demo 1972) - 4:17
17.Topanga (Demo 1972) - 4:34
18.Swallow (Demo 1973) - 4:24
19.Bullseye On A Rainy Night (Demo 1974) - 4:00
All compositions by Marian Segal except where indiacated

Musicians
*Marianne Segal - Vocals, Guitar
*Dave Waite - Vocals, Guitar
*Rod Edwards - Vocals, Piano
*John Wetton - Bass
*Clem Cattini - Drums
*Herbie Flowers - Bass
*Barry Morgan - Drums
*Phil Dennys - String, Brass Arrangements
*Dave Moses - Bass
*Brian Brocklehurst - Bass

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Wednesday, May 6, 2026

rep>>> The Appletree Theatre - Playback (1968 us/uk, brilliant concept, baroque pop, sunshine psychedelic rock, 2009 remastered)

Playback was released in 1968 off the Verve label. Both John and Terrence Boylan were the brains behind this project that is divided into three acts. It’s an inventive pop album with great songs, strange sound effects, comedy bits and trippy dialogue in between some of the tracks. Fans of Friends era Beach Boys, Family Tree, the Smoke (Michael Lloyd’s band) and the Millennium will really love this record though it has more of a downbeat mood than the before mentioned sunshine pop classics.

Playback was released in two different album covers (both covers are great) and was supposedly one of John Lennon’s favorites from 1968. Some of the tracks, such as I Wonder If Louise Is Home suggest the boys may have indulged in too many psychedelic drugs, with its distorted megaphone vocals and soaring horns. The album opener, Hightower Square, and Nevertheless It Was Italy are strong hallucinary floaters that play it straight, with light psychedelic arrangements. There’s even a beautiful 52 second acoustic track with gorgeous strings and downer vocals called Saturday Morning.

The real meat of this jaded pop album lies within it’s best 3 tracks: Brother Speed, You’re The Biggest Thing In My Life, and the wonderful What A Way To Go. Brother Speed is a great blue-eyed soul drug number with stax-like horn arrangements, pounding drums, stoned vocals, and a loud guitar psych solo. It’s a good one for sure but You’re The Biggest Thing In My Life is superb as well with tons of guitar feedback within the confines of a creepy but pretty conventional pop song.

The album comes to a close with the outstanding What A Way To Go. This is one of the great introspective acid folk-rock songs that hits a downer psych nerve that few can equal. It’s a good one to play for square friends as the track has beautifully spaced out vocals and crazed, nonsensical lyrics. Highly recommended!

by Jason Nardelli

Tracks
1. In the Beginning - 0:55
2. Hightower Square - 2:24
3. Lullaby - 0:25
4. Saturday Morning - 1:53
5. Nevertheless It was Italy- 2:15
6. I Wonder If Louise Is Home - 2:10
7. Chez Louise - 1:02
8. E-Train - 1:00
9. Meanwhile - 0:15
10. Brother Speed - 3:15
11.You're the Biggest Thing In My Life - 3:35
12.Don't Blame It On Your Wife - 2:50
13.The Sorry State of Staying Awake - 3:54
14.Barefoot Boy - 2:43
15.Lotus Flower - 2:16
16.What a Way To Go - 2:50
All songs by John Boylan and Terry Boylan.

Musicians
*John Boylan - Vocals
*Terry Boylan - Vocals
*Larry Coryell - Guitar
*Eric Gale - Guitar
*Herb Lovelle - Vocals
*Chuck Rainey - Bass
*Chuck Israels - Bass Guitar
*Paul Griffin - Piano
*Buddy Saltzman - Drums
*Michael Equine - Drums
*Zal Yanovsky - Guitar

1972 Tom Rapp - Familiar Songs (2003 Water)

Tuesday, May 5, 2026

rep>>> Tom Rapp - Sunforest (1973 us, wonderful progressive folk rock, 2009 edition)

There was always something a little different about Tom Rapp and his music. Debuting in 1967 with his band Pearls Before Swine (a Biblically inspired name, in case you were wondering) and the fascinating album 'One Nation Underground', Rapp continued to explore a diversity of styles and influences through a succession of intriguing records. The personnel in the band might have shifted - after second album "Balaklava" (1968), the other original members all left - but the quality was clear sightedly retained.

Rapp had a remarkable way of espousing his own philosophies and worldly observations in expansive songs that made you think, while also allowing the listener to lose themselves in a melange of musical adventures. He never drew a sonic diagram to guide you through any album - it was your own interpretation that mattered as much as his creativity. By the time Rapp released the album 'Stardancer' in 1972, he was a clearly accomplished performer, both live and in the studio.

This record came out under his own name, something he hadn't encouraged but was imposed by the Blue Thumb label. However for 1973's 'Sunforest' (which would be his final record for nearly three decades – the reasons will be explained shortly), the band name Pearls Before Swine were back in view, as it had been for all his previous releases (except for '72's 'Familiar Songs', over which he had no control). was also a button mentioning the band.

" Most of the work for this record, recalls Rapp, was actually done during the same Nashville sessions which delivered 'Stardancer', although Larry Butler (who would go on to collaborate extensively with Kenny Rogers) did come in as coproducer, alongside Peter H. Edmiston. "I used some of the lyrics from one song here, 'Prayers Of Action', on the back over of 'Stardancer'. As far as I can recall, the two albums were pretty much done at the same time." We shall return to 'Prayers Of action', which seems to have taken on a life of its own, but let's deal with the one aspect of 'Sunforest' that disappoints Rapp to this day - namely the sound quality. "At the time, a new process had just been developed called Aphex. This was an audio processing system that was supposed to dramatically improve the sound of your music. So, I was persuaded to put this album through the Aphexing process. But it didn't turn out quite as I hoped and expected. Instead of enhancing everything, it really did the opposite. So, what you hear on the album is the result of a processing attempt that failed. It's such a pity, because that's the only thing connected to the record that I don't like."

As with 'Stardancer', its successor is full of well-constructed songs performed by musicians of the very highest calibre. And one of two of the tracks have becoming almost iconic, in particular the aforementioned 'Prayers Of Action'. "I would like the lyrics to that song used on my gravestone," states Rapp, calmly. "It really does seem to have had a profound effect on some people. I recall playing a show in London during 1999 (at the Terrastock 3 Festival, University Of London, in August of that year). After my set, a guy came up to me, with his head completely covered in bandages.

He was suffering from terminal cancer, and this had eaten away at his face. He knew he didn't have long to live, but asked if he could used 'Prayers Of Action' at his funeral. That was such an amazing moment for me. To have one of my songs mean so much to one person. "I've had people come up to me in the past and tell me how they were feeling suicidal, and that listening to one of my tunes helped pull them through, but to have someone planning to have this song played at his funeral, which could only be a matter of one or two months away...that was something else." Aside from this, it has also been used as the name of a charity, and has also appeared on a prayer website. "I was asked by the people who run www.worldprayers.org if they could reproduce the lyrics to the song on their website.

So 'Prayers Of Action' seems to have made its mark." Another song, 'Love/Sex', has often been cited as Rapp's own riposte to Stephen Stills' 'morally sleazy' 1970 classic 'Love The One You're With'. And Rapp can now confirm this is the case. "I did have exactly that in mind when I wrote the song, yes. The idea just came to me, and I wrote the song in just a few minutes. Sometimes things do happen that quickly. On other occasions, it can take ages to get the song out. But I wanted to come up with lyrics that really pointed out the importance of love, as opposed to it being interchangeable with sex." Like, 'Stardancer', this album was released to a generally positive critical response, although many reviews did highlight the fact that the sound on the album let it down a little. But this was to be Rapp's swansong.

Soon afterwards, he decided to leave the music business. Why? "I just felt that I'd achieved everything that I wanted to. I had written and recorded about 100 songs. I'd met everyone I wanted to meet. I'd hung out with John Lennon, got to chat to Bob Dylan...what more was there for me to do?" So, Rapp decided to go to law school, which proved a challenge of itself. "To pay for my studies, I sold popcorn at the Harvard Square Movie Theater. In fact, I was working and studying so hard that I probably got about five hours sleep in all over a period of two years! Eventually, in 1984 I graduated (from the University Of Pennsylvania Law School) and became a civil rights lawyer." Rapp did return to music in 1997, appearing at the Terrastock Festival in Providence, Rhode Island, and two years later he released a 'comeback' album 'A Journal Of The Plague Year'.

He now plays live on a regular basis, and it is his old material that strikes a chord with everyone. "You know, I couldn't tell you how many copies of 'Sunforest' have been sold. I never made any money from it at the time. But people appear to know the lyrics to these songs, so you have to assume that the album did quite well. I'm generally happy with the way it turned out although I wish the record label hadn't used a portrait of me on the cover!

There are two paintings by (19th century French post-impressionist) Henri Rousseau used on the back cover, and they should really have been on the front." 'Sunforest1 remains a fitting finale to a six-year era wherein Rapp had secured his place in rock history. It captures his imagination, and encapsulates his vision. Songs like the title track - a folk masterclass – and 'Forbidden City' - with is jazz inflections - reflect the fact that he had a diverse canvas, and was never afraid to be bold. A worthy, worthwhile record. Enjoy discovering - or -re-discovering - it.

by Malcolm Dome, London, February 2009

Tracks

1. Comin' Back - 2:59
2. Prayers Of Action - 3:05
3. Forbidden City - 2:51
4. Love / Sex - 4:04
5. Harding Street - 3:40
6. Blind River - 4:57
7. Someplace To Belong - 2:53
8. Sunforest - 6:19
9. Sunshine And Charles - 4:55
All titles by Tom Rapp

Musicians
*Tom Rapp - Vocals, Guitar
*Art Ellis - Flute, Congas, Vocals
*Bill Rollins - Cello
*Steve McCord - Guitar, Musical Advisor
*Jim Colvard - Dobro, Guitar
*Charlie McCoy - Bowed Psaltery, Harmonica, Harp, Organ
*Buzz Cason - Vocals
*Diane Harris - Vocals
*Chuck Cochran - Piano, String Arrangements
*Buddy Spicher - Electric Viola, Violin
*David Briggs - Piano
*Mike Leech - Bass, String Arrangements
*Farrell Morris - Percussion
*Bobby Wood - Piano
*Reggie Young - Piano
*Karl Himmel - Drums, Percussion
*Bobby Thompson - Dobro, Guitar, Banjo
*Kenny Buttrey - Drums
*Bob Dorough - Piano
*Bill Salter - Bass
*Warren Smith - Marimba

Tom's delights
1972 Tom Rapp - Stardancer

with Pearls Before Swine

1967 Pearls Before Swine - One Nation Underground (2010 Japan)

1968 Pearls Before Swine - Balaklava (2010 japan remaster)

1971 Pearls Before Swine - City of Gold (2003 Water)

1971 Pearls Before Swine - Beautiful Lies You Could Live In (2003 Water)

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1969 The Climax Blues Band - Plays On (2013 remaster and expanded)
1970 The Climax Chicago Blues Band - A Lot Of Bottle (2013 remaster and expanded)

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rep>>> Climax Chicago - Tightly Knit (1971 uk, magnificent blues rock, 2013 remastered with bonus tracks)

By the time of 1971's Tightly Knit, the group had settled into a very comfortable groove and suddenly didn't seem to be trying so hard, instead letting the music speak for itself. This newfound confidence was also mirrored in the fact that eight of the ten tunes aboard were group-penned originals.

While they showed some versatility on tunes like "Little Link" and "Shoot Her If She Runs" (both exhibiting a strong country rock flavor), they still managed to sound like no one else but the Climax Blues Band on such familiar warhorses as "Spoonful" and Robert Johnson's "Come on in My Kitchen." Peter Haycock's lead guitar reached scorching levels on the almost-ten-minute-long "St. Michael's Blues"; "Who Killed McSwiggin" explored the Bo Diddley beat for all its worth, and the closing "That's All" took the pan-flute New Orleans groove into folk-singalong territory, making a top-notch finish for the group's most varied outing.

by Cub Koda

Tracks
1. Hey Mama - 3:33
2. Shoot Her If She Runs - 3:33
3. Towards The Sun - 3:20
4. Come On In My Kitchen (Robert Johnson) - 6:34
5. Who Killed McSwiggen - 4:59
6. Little Link - 1:37
7. St. Michael's Blues - 9:55
8. Bide My Time - 3:20
9. That's All - 2:14
10.Hey Mama - 3:37
11.Shoot Her If She Runs - 4:47
12.Spoonful (Willie Dixon) - 6:22
All songs by Climax Chicago except where indicated
Tracks 10-13 recorded Live at Blow Up London, Autumn 1970

The Climax Chicago
*Colin Cooper - Vocals, Saxophone, Harmonica, Guitar
*Pete Haycock - Vocals, Guitar, Bass
*Derek Holt - Bass, Guitar, Keyboards
*George Newsome - Drums
*Arthur Wood - Keyboards

1969 The Climax Chicago Blues Band (2013 remaster and expanded)

1972 Joe Walsh - Barnstorm (2011 japan SHM remaster)

Monday, May 4, 2026

rep>>> Joe Walsh - But Seriously Folks... (1978 us, wonderful insightful, melodic classic rock, 2017 japan SHM remaster)

Joe Walsh's fourth album, ... But Seriously Folks, is best known for producing the hit single "Life's Been Good." But that's just the most obvious starting point of a record that proved to be one of Walsh's most durable LPs.

Comparisons to the Eagles for the album came early and often – and not just because this was the first stand-alone project Walsh released after he joined the group before 1976's Hotel California. All four of his bandmates appeared on ... But Seriously Folks, though they're mere footnotes on an album that strikes a more considered balance of introspection and biting wit, and of smart balladry and tough rockers, than the reconstituted Eagles' deflating finale The Long Run.

Walsh moves with cunning and verve through the expected joys of country rockers like "Second Hand Store" and the surprising reggae rhythms of "Over and Over," from the incisive nostalgia of "Indian Summer" to the fully realized instrumental wit of "Theme From Boat Weirdos."

Even casual fans will notice signature elements of the Eagles sound throughout, from the soaring background vocals of Glenn Frey, Don Henley and Timothy B. Schmit on "Tomorrow" to Don Felder's pedal steel on "Second Hand Store." Walsh and Felder then reanimate their twin-guitar "Hotel California" entanglement on "At the Station."

Still, ... But Seriously Folks arrived on May 16, 1978, as a Walsh record at its core, dominated not by the Eagles but by his vision. Don't let the winks and nudges fool you. As with Walsh's other must-buy solo album, The Smoker You Drink, the Player You Get, he's in complete command of his muse, something that becomes utterly clear on the hilarious album closer "Life's Been Good."

A comic depiction of the "hardships" of rock stardom, the song appeared on ... But Seriously Folks not in the zippy four-minute version that went to No. 12 on the pop chart but as an extended anthem of double that length.

Along the way, it earned fame separate from the charts when Walsh ran for president in 1980 as a lark. He suggested, tongue firmly in cheek, that "The Star-Spangled Banner" be replaced by "Life's Been Good." That didn't happen. But it certainly became Walsh's personal good-time anthem – and a staple of his concerts, with and without the Eagles.

Many fans understandably listen to ... But Seriously Folks decades later to relive that moment in time. But there's an entire album's worth of Walsh to enjoy here.

by Nick DeRiso, May 16, 2023

Tracks

1. Over And Over - 4:53

2. Second Hand Store (Joe Walsh, Mike Murphy) - 3:35

3. Indian Summer - 3:03

4. At The Station (Joe Vitale, Joe Walsh) - 5:09

5. Tomorrow - 3:39

6. Inner Tube - 1:25

7. Theme From Boat Weirdos (Bill Szymczyk, Jay Ferguson, Joe Vitale, Joe Walsh, Willie Weeks) - 4:42

8. Life's Been Good - 8:56

All songs written by Joe Walsh except where stated

Musicians

*Joe Walsh - Guitars, Synthesizers

*Joe Vitale - Drums, Percussion, Flute, Synthesizer,

*Jay Ferguson - Keyboards, Background Vocals

*Willie Weeks - Bass

*Joey Murcia - 2nd Guitar

*Don Felder - Pedal Steel, Vocals (Track 2), Guitar, Vocals (Track 4)

*Bill Szymczyk – Tambourine, Vocals (Track 4), Background Vocals (Track 8)

*Jody Boyer - Background Vocals (Tracks 2,3,8)

*Don Henley - Background Vocals (Track 5)

*Glenn Frey - Background Vocals (Track 5)

*Timothy B. Schmit - Background Vocals (Track 5)

1973 Joe Walsh - The Smoker You Drink The Player You Get (2009 HDCD)

1974 Joe Walsh - So What (2015 SACD)

1971 James Gang - Live in Concert (2010 SHM)