rep>>> Gentle Giant - The Power And The Glory (1974 uk, significant prog rock, 2014 Steve Wilson remix and the original mix)

This British band is just the cup of tea for aficianados who demand virtuosity, progress and originality in their music. Gentle Giant's work is not easy listening or immediately enjoyable [what really fine music is?] Like many ambitious concept albums, The Power and the Glory takes some getting used to. The unifying themes are power, corruption and the human ramifications. Politics are of course implicit but not dealt with exclusively.

The conception of The Power and the Glory occurred during the making of Octopus [Columbia], GG's previous US release. That album is a masterpiece of juxtaposed idioms and striking freshness. Three brothers were in the group at that time--Ray, Derrick and Philip Schulman--the last of whom has since departed to pursue a teaching career. It was largely his influence that accounted for the literary historical base for much of Octopus' material, with songs inspired by Camus, Laing, Rabelais. Grad student rock.

The Power and the Glory is less esoteric and less diverse in scope as well. That minor complaint is my only one. Serious, complicated, and strangely beautiful, the album is a compelling exploration of power's use and illusory appeal.

I spoke to Ray and Derek at a meet-your-record-company bash the night before their appearance at last month's Traffic concert. About the album: they wished to stress that Watergate and current British political scenes were in no way motivations for The Power and the Glory: relevance is coincidental. Also, they intend that the songs be taken individually, appropriate in their own sense, if you do not consider them in their thematic unity. The cynical "Aspirations" for instance is contextually a song from the people begging their leaders for guidance, advice; out of context, it is a love song.

Instead of using a dramatic format, eight broad categories were decided upon for inclusion [one for each track]-- necessary as Ray noted, because a thorough exploration of the topic would require about 10 albums. The "message" if any comes at the end of the record when the cycle of dreams, promises, corruption, and power begins to repeat itself.

The brothers informed that "Proclamation", the opening cut, is a political speech. It is also meaningless doubletalk "rubbish". Still, afterwards and again at the record's close, the people cheer desperate "Hails!"

The brothers avoid commenting on their own political, individual commitments, wishing their music to remain wide open for interpretation. Derek sees their roles as humanistic chroniclers of the times rather than as advocates of a specific point of view. 'Existential' would probably come closest to characterize their outlook: they noted that this philosophy is an ideal, impractical intellectual one, necessary to consider but impossible to live.

GG has never been too interested in drugs either. Music is their way of life. Keyboardist-composer Kerry Minnear received the NIM degree in composition from the Royal Academy of Music--the first awarded in ten years. Ray has been studying classical violin for 14 years. Percussionist John Waters, from Wales, has played with Graham Bond and the Grease Band.

The material is written by the Schulman brothers and Minnear. a heuristic at heart, I tried to get the group to name influences, personal favorites. Though hesitant, they begrudged a few names: Stravinsky, Zappa, Steely Dan, Corea and Hancock, Norman Mailer. David Bowie? "Pleasant music, that's all", quipped Derek.

The music of GG is as important, intelligent and original as any being made today. Next project: a live album, guaranteed to blow heads---unfortunately an experience only hinted at by GG's recent encounter with David's shoddy-sound-system slingshot in the Colisseum. Too bad the Ebbetts Field rumors never materialized.

by GE, CAKE EATERS MAGAZINE 1974? BOULDER-DENVER

The Power And The Glory is a gem amongst gems, mixing Gentle Giant's restless energy and invention, with beautiful melodies and potent (complex) Rock riffage. This edition features 2014 stereo and 5.1 mixes by Steven Wilson, a flat transfer of the original mix.

Tracks
1. Proclamation - 6:56
2. So Sincere - 3:51
3. Aspirations (R. Shulman, Minnear) - 5:20
4. Playing The Game - 6:45
5. Cogs In Cogs - 3:09
6. No God's A Man - 4:27
7. The Face - 4:12
8. Valedictory - 3:22

Music and Lyrics by Kerry Minnear, Derek Shulman, Ray Shulman, except where noted

Bonus Tracks on 2014 Steve Wilson Mix
9. The Power And The Glory (Kerry Minnear, Derek Shulman, Ray Shulman) - 2:59
10.Aspirations (Instrumental) (Ray Shulman, Kerry Minnear)  - 5:15

Gentle Giant
*Derek Shulman - Lead Vocals, Tenor Saxophone
*Kerry Minnear - Hammond Organ, Minimoog , Electric Piano, Mellotron , Marimba, Vibraphone, Cello, Vocals
*Ray Shulman - Bass, Violin, Electric Violin, Acoustic Guitar, Vocals
*Gary Green - Electric Guitar, Acoustic Guitar, Vocals
*John Weathers - Drums, Tambourine, Sleigh Bells, Cymbals

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rep>>> King Harvest - Dancing In The Moonlight (1972 us, elegant soft classic rock)

They scored only one real hit, but the magic of King Harvest's infectious invitation to go "Dancing In The Moonlight" has secured the song a regular rotation on many oldies stations. The members of King Harvest were all students at Cornell University in Ithaca, New York in the '60s when they began playing, partly to pay their way through college. David (Doc) Robinson, Eddie Tuleja, Ron Altbach and Rod Novak played all over the Northeast, developing a reputation that even helped them score a gig in the balmy Virgin Islands.

Things changed in 1969. Altbach went to Paris to study classical piano and the rest of the band drifted off to other pursuits. For three years the players performed film music and did what one member once called "bizarre stage shows". How bizarre? They were a vaudeville rock group called Nik. They played as the Chicago Beau Blues Band. They were even a country band for a time, working as E. Rodney Jones & The Prairie Dogs.

In 1972 the band cut "Dancing In The Moonlight" in Paris. Then they took another break. Two members cruised the Mediterranean on a tuna boat. A couple went to Switzerland. Meanwhile, tiny Perception Records in the States had secured the release rights to "Dancing" and promoted it into a hit. That inspired King Harvest to regroup and return to this country to tour, promoting the single and subsequent album, named after "Dancing In The Moonlight".

After one album for Perception and an unsuccessful follow-up to "Dancing In The Moonlight" called "A Little Bit Like Magic", the band dropped out of music for the most part, spending a little time touring, playing favorite places like Oleott, New York and fishing, racing sailboats on Lake Ontario and occasionally working on some new songs.

In 1975, King Harvest reappeared with those new songs. This time they were on A&M Records, doing an album called "King Harvest". Produced by music veteran Jeff Barry - who had written numerous hits and produced the likes of Andy Kim for his own Steed Records - the album was a pleasant mix of 70s pop styles. But even with the help of musical friends like Mike Love and Carl Wilson of The Beach Boys, Pete Cetera of Chicago and jazz ace Charles Lloyd, The group was unable to harvest any hits for A&M.

by Mark Marymont

Tracks
1. Lady, Come On Home (Ronnie Altbach) - 2:45
2. Motor Job (Eddy Tuleja) - 2:47
3. Roosevelt And Ira Lee (Tony Joe White) - 5:32
4. Dancing In The Moonlight (Ronnie Altbach) - 2:40
5. She Keeps Me High (Eddy Tuleja) - 4:00
6. Think I Better Wait Till Tomorrow (Ronnie Altbach) - 3:00
7. The Smile On Her Face (Ronnie Altbach) - 2:55
8. You And I (Ennio Morricone, Ronnie Altbach) - 2:38
9. Marty And The Captain (Ronnie Altbach) - 2:17
10.I Can Tell (William Bell) - 4:45

King Harvest
*Ron Altbach - Keyboards
*Eddie Tuleja - Guitar
*Rod Novak - Bass, Saxophone
*Dave "Doc" Robinson - Keyboards, Bass, Lead Vocals

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rep>>> The Pandamonium - The Unreleased Album (1969 uk, outstanding psych folk rock, 2004 release)

Singers/guitarists Martin Curtis and Bob Poton started their professional musical careers in 1963 as members of the beat band The Pandas.  By 1966 they'd expanded their line up to include Kent Mick Glass and drummer Steve Chapman.  They'd also opted for a name change, dropping The Pandas for the hipper Pandamonium.

Produced by Shel Talmy and Hugh Murphy, the collection found the duo supported by members of Fairport Convention/Fotheringay (Jerry Donahue, Gerry Conway and Tim Donaldson) and Heads, Hands and Feet (Albert Lee and Chas Hodges).  Musically the album was quite different from the earlier "Thoughts & Words" release.  Whereas the former sported a distinctive reflective folk feel, material like 'I Know You', the Badfinger-ish 'Sunrise' and 'Sit and Watch the Sunshine' showcased a far more commercial and up-tempo pop feel.  

Showcasing all original material, the pair had a clear knack for crafting the kind of melodies that crawled into your head and wouldn't let go - I dare you to shake 'I Believe In You' out of your memory.  Curiously, as lead singers neither Curtis nor Ponton had great voices, but when they were paired together they somehow managed to turn in some truly stunning harmony work (the country-tinged 'If I Could Be With You').   

Even more interesting were a couple of psych-influenced numbers.  'I Am What I Am' sported another mesmerizing melody, couple with one of the best fuzz and backward guitar solo sections I've ever heard.  Yeah, there were a couple of duds - 'Baby I'll Be Yours' was a forgettable country-influenced number, 'Who Knows What We May Find' was a fey ballad, and 'Waiting for Summer' was a strange Latin-flavored piece that wouldn't have sounded out of place on an Everything But the Girl album.  Still, one of my favorite recent discoveries the big mystery being why Liberty would have shelved an album with so much commercial potential 

by Scott Blackerby

Tracks
1. I Know You - 3:18
2. It´s A Long Time - 3:14
3. I Am What I Am - 3:54
4. Sunrise - 4:10
5. If I Could Be With You - 2:15
6. Sit And Watch The Sunshine - 3:11
7. Baby I´ll Be Yours - 3:52
8. Send Out A Smile - 3:04
9. Who Knows What We May Find - 3:15
10.Waiting For The Summer - 2:30
11.I Believe In You - 3:57
All songs by Bob Ponton, Martin Curtis

Personnel
*Bob Ponton - Lead, Acoustic Guitars, Vocals (Tracks 1-11)
*Martin Curtis - Rhythm Guitar (Tracks 1-11)
*Albert Lee - Lead, Rhythm Guitars (Tracks 3-5, 8, 10, 11)
*Pete Gavin - Drums (Tracks 3, 8)
*Chas Hodges - Bass (Tracks 3, 8)
*Clem Cattini - Drums (Tracks 4, 5, 10, 11)
*Gerry Conway - Drums (Tracks 1, 2, 7, 9)
*Jerry Donahue - Lead, Rhythm Guitars, Vocals (Tracks 1, 2, 7, 9)
*Pat Donaldson - Bass (Tracks 1, 2, 7, 9)
*Tom Parker - Piano (Tracks 1, 2, 4. 5, 7, 9-11)
*Val Cope - Baking Vocals (Tracks 1, 2, 4. 5, 7, 9, 11)

1969  Thoughts And Words - Thoughts And Words (2005 reissue)  

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rep>>> Bert Sommer - The Road To Travel (1968 us, beautiful folk psychedelic baroque tinged rock, 2006 remaster)

Major labels were taking all kinds of chances on untested talent in the late '60s, but although his name may have been unfamiliar to most in the industry, Bert Sommer was hardly untested. By the release of The Road to Travel, his 1968 debut, he had already written five songs for the Vagrants (founded by a pre-Mountain Leslie West, Sommer's schoolmate) and sung lead vocals on the Left Banke's single "Ivy, Ivy" through a friendship with that band's Michael Brown. 

The Road to Travel shows that his well of inspiration had not yet run dry. With help from a conglomeration of friends and studio professionals, Sommer proved he was facile in a variety of styles -- orchestral pop, acoustic folk, and some of the most sensitive singer/songwriter material heard before the style had fully flowered (with apologies to Tim Buckley). All of this was delivered in Sommer's plaintive voice, although he was more convincing when he really let go than when he tried to rein it in. Anachronistically, he began the LP with the words "And when it's over" (the title of the opener), moving quickly on the song from eerie Baroque pop to bombastic, brass-led art rock. 

That was a mere taste of what was to come, encompassing the hippie-dippie end of folk on "Jennifer" (the song Sommer gained raves for at Woodstock), straightforward sunshine pop for "Things Are Goin' My Way," and a curiously aggressive falsetto take on art rock for "Tonight Together." Sommer's power as a songwriter and performer was clear, but he was incredibly difficult to pin down. That may be what doomed The Road to Travel, but it has an undeniable flair. 

by John Bush

Tracks
1. And When It's Over - 3:13
2. Jennifer - 2:35
3. Things Are Coin' My Way - 2:29
4. She's Just A Girl - 3:44
5. Tonight Together - 2:28
6. The Road To Travel - 3:55
7. She's Gone - 3:01
8. Hold The Light - 2:53
9. A Simple Man - 2:45
10.Brink Of Death - 3:20
11.A Note That Read - 3:27
All selections written by Bert Sommer

Musicians
*Hugh McCraken - Guitars
*Danny Cooch. - Guitars
*David Cohen - Guitars
*Sam Brown - Guitars
*Al Giorgoni - Guitars
*Bert Sommer - Guitars Vocals
*Joe Mack - Bass
*Renie Press - Bass
*Al Rogers - Drums
*Ron Frangipane - Piano
*Paul Griffin - Piano
*Artie Kaplan - Flute
*Specs Powell - Vibes

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rep>>> Foghat - Foghat (1972 uk, terrific hard blues rock, 2008 japan remaster)

In the 1970s Foghat's love of the blues led them to simplify rock at a time when many of their peers were adding synthesizers and complex arrangements. While critics complained that bands like Foghat and Grand Funk Railroad had dumbed down rock, fans raided record bins and flocked to concerts. "By the end of the decade," noted Richard Skelly in Goldmine, "the rock world had caught up to Foghat, and the group was clearing space on the wall for gold and platinum albums with increasing regularity." The group's success continued to build until 1978 when disco and punk pulled the plug on arena rock, leaving Foghat to limp into the early 1980s before calling it quits.

In 1971, singer Dave Peverett, bassist Tony Stevens, and drummer Roger Earl decided to break away from British blues-rock band Savoy Brown. "When we first left Savoy we were looking to rock out a bit more," Peverett told Skelly. They recruited lead guitarist Rod Price, and began to practice at the Country Club in England. The unnamed band generated a great deal of interest, leading Albert Grossman, Bob Dylan's legendary manager, to attend a practice session. 

He liked what he heard and signed the new band to his label, Bearsville Records. After recording the band's first album in Rockford, Wales, the members still hadn't decided what to call themselves. They had considered Brandywine Track or Hootch, but rejected both in favor of the nonsensical name Foghat, which Peverett and his brother had dreamed up during a game of Scrabble.

Their self-titled LP rose to 127 on the American albums chart, and was bolstered when "I Just Want to Make Love to You" received airplay. It was only with their second release the following year that the band seemed to find its musical niche. The album, also called Foghat but referred to as Rock and Roll (thanks to clever cover art featuring a rock and a dinner roll), sported boogie-friendly cuts like "Ride, Ride, Ride" and "Road Fever." "Foghat's second album finds the group working its way towards the fusion of blues and hard rock that would make them an arena rock favorite," 

by Donald A. Guarisco

Tracks

1. I Just Want To Make Love To You (Willie Dixon) - 4:21
2. Trouble Trouble (Dave Peverett) - 3:20
3. Leavin' Again (Again!) (Dave Peverett, Tony Stevens) - 3:36
4. Fool's Hall Of Fame (Dave Peverett) - 2:58
5. Sara Lee (Dave Peverett, Rod Price) - 4:36
6. Highway (Killing Me) (Dave Peverett, Rod Price) - 3:51
7. Maybellene (Chuck Berry) - 3:33
8. A Hole To Hide In (Dave Peverett, Rod Price, Roger Earl) - 4:06
9. Gotta Get To Know You (Deadric Malone, Andre Williams) - 7:44

Foghat
*Dave Peverett - Rhythm Guitar, Vocals
*Rod Price - Lead Guitar, Slide Guitar
*Tony Stevens - Bass
*Roger Earl - Drum
With
*Andy Fairweather Low - Backing Vocals
*Dave Edmunds -  Guitars
*John Ward -  Bass

1974  Foghat - Rock And Roll Outlaws (2007 Japan K2 HD)
1975  Foghat - Fool For The City ( 2008 ultradisc MFSL)
Related Acts
1967-68  Savoy Brown - Shake Down / Getting To The Point
1969-70  Savoy Brown - Raw Sienna / Looking In

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rep>>> Catapilla - Catapilla (1971 uk, outstanding heavy progressive rock with jazz tinges, repertoire edition)

West London based Catapilla originally formed in Christmas 1970 with a line up of Jo Meek (vocals), Malcolm Frith (drums), Hugh Eaglestone (sax), Dave Taylor (bass), Graham Wilson (guitars), Robert Calvert (sax) andThiery Rheinhart (wind instruments). 

Their brand of experimental Jazz Rock brought them to the attention of Orange Music, a management company who also handled John Miles, and they arranged for the band to showcase their set to an invited audience of Music Industry people. Black Sabbath manager Patrick Meehan picked up on the band and offered to produce their debut LP. However before he got them to the studio vocalist Jo Meek left and was replaced by her sister Anna. 

The band's self titled debut LP (Vertigo LP 6360029}, produced by Meehan, was released in late 1971 and mint copies of it are today worth around £40 on the collectors market. To support the release the band headed out on a nationwide tour with fellow Vertigo acts Graham Bond and Roy Harper. However the age old "musical differences" reared its ugly head before the group entered the studio to record their second LP resulting in Eaglestone, Frith, Rheinhart and Taylor quitting to be replaced by Bryan Hanson (drums), Ralph Rawlinson (keyboards) and Carl Wassard (bass). 

It was this line up that recorded 1972 's "Changes" LP (Vertigo 6360074), a much more instrumental affair than their debut. Soon after the album's release though the band split up. Most of the members pursued non-recording musical careers though Calvert did record with John Stevens and Taylor popped up in Liar. It was Eaglestone however who kept the name Catapilla alive, opening two collectors record shops in Exeter and Taunton. 

by Mark Brennan

Catapilla released two highly original albums on the legendary Vertigo-"swirl" label. Their style was jazzy, sax-driven progressive rock with lengthy tracks. They really don't remind me of any other band, with the possible exception for "Tumbleweed" and "Promises" that both reminds me a little bit of Affinity (another Vertigo-"swirl" band). The album opens with the 15-minute "Naked Death". 

It features heavy sax-work, powerful vocal-parts with the aggressive, tormented female vocals of Anna Meek, and a long jam in the middle. What really gave Catapilla their distinctive stamp were probably the vocals of Meek and the atmospheric sax-playing. The highlight on the album is of course the 24-minute "Embryonic Fusion". An intense blowouts of energetic, saxophone-driven early 70's jazz-influenced progressive rock. It features great jamming and some structured and strong riffs too. A good album for anyone who likes saxophone-dominated progressive rock. 

Vintage-Prog

Tracks
1. Naked' Death - 15:38
2. Tumbleweed - 3:54
3. Promises - 5:42
4. Embryonic Fusion - 24:08
All tracks written by Wilson, Rheinhart, Cahert, Frith, Meek.

Catapilla
*Jo Meek - Vocals
*Malcolm Frith - Drums
*Hugh Eaglestone - Sax
*Dave Taylor - Bass
*Graham Wilson - Guitars
*Robert Calvert - Sax And
*Thiery Rheinhart - Wind Instruments

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rep>> The 21st Century Sound Movement - 21st Century Sound Movement (1969 us, fine garage folk psych rock, 2012 bonus tracks edition)

The 21st Century Sound Movement where four youngsters from Missouri, consisting of two brothers Terry and Jack Viles, together with Bill O'Malley and Ray Bahr. In late 1968 (short after the recording of the album), guitarist Jack Viles left the band and was replaced by Jerry Lemberger.

In their sole album featuring mostly cover songs, has a youth ful exuberance and energy that’s how much they admired the music of their day.Their lack of keyboards was more than made up for with their fuzzed-outtakes on “House Of The Rising Sun” and “Light My Fire”. Their own musical limitations resulted in some disarmingly crude interpretations and clearly they set their mark in garage music history!

The album was recorded at Damon Studios in Kansas City, Missouri and the cover photo was taken at nearby Volker Fountain.

Tracks

1. Don't Let The Sun Catch You Crying (Fred Marsden, Gerry Marsden, Les Chadwick, Leslie Maguire) - 2:23

2. The House Of The Rising Sun (Traditional) - 4:09

3. The Weight (Robbie Robertson) - 3:59

4. Fire (Jimi Hendrix) - 2:12

5. Hey Jude (John Lennon, Paul McCartney) - 5:11

6. Mercy, Mercy, Mercy (Joe Zawinul) - 2:28

7. Susie Q (Dale Hawkins, Eleanor Broadwater, Stanley Lewis) - 3:29

8. Light My Fire (Jim Morrison, John Densmore, Robby Krieger, Ray Manzarek) - 2:30

9. For The Rest Of My Life (Bill O'Malley, Terry Viles, Ray Bahr, Jack Viles) - 3:03

10.In-A-Gadda-Da-Vida (Doug Ingle) - 7:32

11.Feelin' Down (Bill O'Malley, Terry Viles, Ray Bahr, Jerry Lemberger) - 2:35

12.First Day (Bill O'Malley, Terry Viles, Ray Bahr, Jerry Lemberger) - 2:21

The 21st Century Sound Movement

*Bill O'Malley - Drums

*Terry Viles - Bass

*Jack Viles - Lead Guitar (1963-68) 

*Ray Bahr - Guitar

*Jerry Lemberger - Lead Guitar (1968-71)

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rep>>> Various Artists - The Room Of Loud Sound White Lace And Strange, Vol. 2 (1967-72 us, excellent compilation with heavy psych gems, 2008 release)

Psych comps come and go, but the Psychic Circle label's simultaneously released Realistic Patterns and The Room of Loud Sound are there to stay. Credit that to the Bevis Frond's Nick Saloman who did a great job compiling these lost gems. Saloman clearly understands that rarity is not enough to make a good track, and that musical quality does not necessarily translate into a good album.

In the end, it's all about selection and order: selecting outstanding tracks (and keeping the filler out) and ordering them into a track list that will create its own sense of purpose. This he has succeeded to do on The Room of Loud Sound, a thrilling ride through some of America's best forgotten heavy psychedelic numbers from 1968 to 1972.

The fuzz guitar and the sleazy organ are the key features in all the music heard here, but approaches vary. In fact, there is quite some ground covered between Hot Soup's Hendrix-like anthem "You Took Me by Surprise," and Hammer's fast-paced blues rocker "Something Easy," and Carlo's funky take on "Fever."

Other highlights include Morning Sun's "Dark Hair," and the Mystic Number National Bank's "Beautician Blues," but the jewel of the crown here is Florida band Fantasy's "Understand," featuring the phenomenal singer Lydia Janene Miller (the closest anyone got to emulating Janis Joplin).

by Francois Couture

Artist - Track - Composer

1. Hot Soup - You Took Me by Surprise (Mario Castellanos) - 2:45

2. Bump - Got to Get You Back (Jerry Greenberg) - 2:39

3. Fuse - Permanent Resident (Craig Meyers, Joe Sundberg) - 3:55

4. Carlo - Fever (Eddie Coolie, John Davenport) - 2:41

5. Five By Five - Good Connection (Danny Rhodes, Tim Milam, Rommy Miller) - 3:25

6. Plant And See - Put out My Fire (Willie French Lowery) - 3:21

7. Morning Sun - Dark Hair (Jack Grochmal) - 2:19

8. Today's Special - Krista (Eddie Simon, Paul Gelber) - 2:41

9. Fantasy - Understand (Lydia Janene Miller) - 3:21

10.Mister Beeler - Henrietta (Erik Will) - 2:52

11.Peace And Quiet - You Can Wait Till Tomorrow (Jim Tolliver) - 3:10

12.Tombstone Shadow (John Fogerty) - 2:39

13.Salem Witchcraft - Rock 'n' Roll Lover (Arlen Viecelli) - 4:18

14.Vagrants - Beside the Sea (Bert Sommer, Felix Pappalardi, Gail Collins) - 2:17

15.Hammer - Something Easy (John De Roberts, Norman Landsberg) - 2:54

16.Blowtorch - C'mon And Get It (Austin Roberts, Christopher Welch) - 2:57

17.Locomotive - Get on Away (John Ussery) - 3:18

18.Eagle - Pack Up (John Lincoln Wright, Robert Rhodes) - 3:51

19.Mystic Number National Bank - Beautician Blues (B.B. King, Jules Taub) - 1:57

20.Silk - Skitzo Blues (Chris Johns, Bill Szymczyk, Michael Stanley Gee, Randy Sabo) - 4:28

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rep>>> Think Dog - Dog Days (1969-70 us, brilliant art progressive rock with jazz, blues and folk shades, 2007 remaster)

In 1966, the whole world was drunk on the music of the Beatles and the social and cultural changes of the era. Students everywhere were dropping out of school and joining bands or becoming hippies or both. In that year, as a graduate student of music composition at the University of Illinois in Urbana, I, too, became infatuated with the notion of forming a rock and roll band. 

As a lifelong lover of chamber music, I believed then, as I still believe in the magic and power that can be summoned by a small group of fine musical minds working closely together over a period of years. I also believe that the optimum number of musicians in an ensemble is four. In my mind the Beatles were just another embodiment of the ideal represented in the model of the classical chamber music quartet - four creative souls working together to produce something immensely greater than the sum of its parts I theorized that the right combination of musicians, having deep classical background, appreciation for and experience with so-called "new music." and love for the best rock and popular music of the time, might create the chemistry necessary to produce music that was genuinely different and memorable. 

Whether that hope was naive is a moot question three decades later. The tale that follows is a greatly simplified and sanitized version of  the basic facts concerning the band finally known as Think Dog!, reconstructed to the best of my ability from memory. Some of the details, particularly regarding the sequence of events, and dates of the recording sessions, ma, be slightly jumbled. 

The band had problems throughout its existence - problems with getting enough money to live, problems with thieves stealing our means of living problems with playing well together, problems with keeping the personnel stable, problems with personality conflicts, problems with the draft, problems with drugs, problems with health, problems with our love lives - you name it. The environment we lived and worked in was not conducive to intelligent disciplined, artistic growth. 

That some took place despite it is a miracle For me the three-year history of Think Dog! is partly a story of personal failure. Suffice it to say that I bet the farm on this venture, as did at least one other member, but we were unable to make it work. Some of the blame can be put upon me, though by no means all of it. The times were hard. The year 1968 was one of the worst of the century for almost everyone. That I just happened to pick that inauspicious year to make a start in my professional life in New York City did not make it any easier. 

New York City, September 1968—Winter 1969

It was in this time frame that we changed our name from Time to Think Dog! We always had to explain that the name includes the exclamation point; it's an imperative. We struggled for months trying to create a good name. One night, while gathered at Richard's apartment, I told an anecdote about how a friend was told to write Spanish-flavored music by telling himself: "Think Spanish!" which everyone thought was hysterical. Later, for reasons I have long forgotten, someone asked: "How do you act like a dog?" I replied: "Think dog!" We thought it was funny and relevant at the time. The rest is history. 

A friend says that Think Dog! sounds like a dyslexic way of saying Thank God! While doing research for these notes I discovered on the Internet that there is now a book in print called Think Dog! - yes, with the exclamation point. Appropriately, the subject is dog training. I considered buying it just for the fun of having the title on my shelf. Something else we needed was a stronger guitarist. Richard did a fine job of learning his parts, but he was neither a rocker nor a soloist. 

It was the era of guitar bands; every group had to have a strong lead player, preferably an Eric Clapton or a Jimi Hendrix. We decided to look for a fifth person, though we did not know where we might find one. One afternoon I was working alone in the loft, when Ron Renninger, then an eighteen-year-old kid from the Bronx, walked in with his Fender Telecaster. We talked, and soon he took out his instrument and started to play. I was astonished by his spectacular talent. He wasn't just good—he was a genuine original, and he was available. I had him come back, and immediately told the others about him. 

After one session together, we invited him to join the band. We learned quickly that Ron was also a prolific songwriter, and an undisciplined but passionate singer. For the first time we started to sound like a real rock and roll band. Ron and I began playing as a duo at a small coffee house in the West Village where we would get up and do nothing but jam for a half hour or more at a time, and then pass a basket. Whatever customers saw fit to throw in would be our pay. Sometimes it barely covered subway, but it gave us a great opportunity to get to know each other's playing very well. I played mostly bass on those jobs, though I think I must have played some guitar, too.

by Lynn David Newton

Tracks
1. No Julia No - 2:29
2. Good Time Jimbo (Tom McFaul) - 2:32
3. Can't Begin To Be Happy (Ron Renninger) - 4:06
4. Very Natural - 2:28
5. For Peace (Tom McFaul) - 2:17
6. Sunday Brings Another Day (Tom McFaul) - 2:09
7. For A Dime Or So (Tom McFaul) - 1:01
8. Lovely Lady - 3:48
9. How Shall I Speak To You? - 2:30
10.Untitled - 3:18
11.We Waited For Nothing - 3:38
12.Maybe In December - 2:58
13.Let's Take It Home (Tom McFaul) - 3:09
14.The Perfect Believer - 4:30
15.I Wish I Could Cry For You - 3:56
16.Let The Sun Shine Through (Bonus Track) (Ron Renninger) - 3:44
17.Green Fields (Bonus Track) - 2:10
18.My Toy Soldiers (Bonus Track)  (Ron Renninger) - 2:45
19.I Wanna Be Free (Bonus Track) - 2:49
20.Tell Me A Story (Bonus Track) - 3:34
21.Sitting (Bonus Track)  (Bob Stuhler) - 1:49
All songs by Lynn David Newton except where indicated.

Musicians
*Tom McFaul - Lead Vocal, Wah-Wah Piano,  Organ, Guitar, Harpsichord
*Lynn David Newton – Guitar, Bass, Backup Vocal, Bass Trombone
*Richard Stanley - Guitar
*Bob Stuhler - Drums, Backup Vocal, Piano
*Ron Renninger - Lead Vocal, Guitar
*David Rosenboom - Drums, Chimes, Trumpet

Related Act
1968  Time - Before There Was

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rep>>> Roger James Cooke - Study (1968-71 uk, expressive vocals and amiable orchestrated soft rock pop, 2012 RPM expanded issue)

One of Britain's most prolific songwriting professionals, Roger Cook first came to prominence during the British Invasion, usually working in tandem with Roger Greenaway. After the pair hit big with the Fortunes' oldies radio staple "You've Got Your Troubles," they continued to crank out hits for years to come, also writing numerous ad jingles (one of which, "I'd Like to Teach the World to Sing," was a massive pop hit in its own right). By the late '70s, Cook had moved to Nashville to become a successful country-pop songwriter. 

Roger Cook was born in Bristol, England, on August 19, 1940. He first sang in church choir at age 11, and performed in vocal harmony groups for much of his youth. He wrote his first song in 1958, and that same year recorded a few sides with a vocal group called the Sapphires. the Sapphires disbanded the following year, and Cook next sang with a group called the Londons, splitting off with bandmate Jill Stevens to form Jon & Julie in 1962. The duo recorded a bit for Columbia, but broke up when Stevens became pregnant. 

Cook spent about a year away from music performing in theatrical productions as a mime, but returned to singing in early 1965 when Roger Greenaway invited him to join a harmony group called the Kestrels, which actively toured the British variety circuit. They also featured future studio vocalist extraordinaire Tony Burrows, who split for a solo career not long after Cook joined up. Cook and Greenaway stuck together, forming a songwriting partnership and working as session singers in the meantime.

The two caught their big break when the Fortunes recorded their composition "You've Got Your Troubles." It was a Top Ten smash in both the U.S. and U.K., falling just one spot short of the top in the latter. In its wake, Cook and Greenaway teamed up to record as the soft pop duo David & Jonathan, scoring a transatlantic hit with their cover of the Beatles' "Michelle" in early 1966. 

Meanwhile, the Fortunes released their follow-up hit, "This Golden Ring," and Gary Lewis & the Playboys scored an American Top Ten hit with "Green Grass," both Greenaway-Cook creations. David & Jonathan landed their biggest U.K. hit that summer with the Top Ten "Lovers of the World Unite," and the two subsequently began writing advertising jingles, most notably for Coca-Cola. In late 1967, Gene Pitney scored a Top Five U.K. hit with "Something's Gotten Hold of My Heart."

Cook and Greenaway decided to end their David & Jonathan partnership in early 1968, but kept writing songs together, including Cilla Black's U.K. Top Ten "Conversations" (1969). Meanwhile, Cook made a few solo recordings under the name Roger James Cooke (culminating in the 1970 album Study, which was reissued on CD by RPM in 2012), and joined the pop band Blue Mink in 1969 as a featured vocalist. 

Blue Mink scored a succession of U.K. hits through 1973, including "Melting Pot," "Good Morning Freedom," "Banner Man," "Stay with Me," and "Randy." Meanwhile, Cook and Greenaway briefly re-teamed in the studio group Currant Kraze, and wrote a Top Ten U.S. and U.K. hit for White Plains in 1970 with "My Baby Loves Lovin'"; their "Home Lovin' Man" was also a U.K. hit for crooner Andy Williams. In late 1971, Cook and Greenaway's most popular Coke jingle was adapted into the pop song "I'd Like to Teach the World to Sing (In Perfect Harmony)" and became a hit for both the Hillside Singers and the New Seekers; the latter's version became the pair's first U.K. chart-topper. Naturally, demand for the pair's ad jingles skyrocketed during the next few years.

In the meantime, Cook and Greenaway continued to collaborate on the occasional pop hit. The Congregation had a U.K. hit in 1971 with a cover of David & Jonathan's "Softly Whispering I Love You." "Long Cool Woman (In a Black Dress)," written with Hollies lead singer Allan Clarke, became that group's biggest American hit in 1972; two years later, "Doctor's Orders" became a hit for R&B singer Carol Douglas. Meanwhile, Cook released two solo albums under his own name on Regal Zonophone, 1972's 

Meanwhile Back at the World and 1973's Minstrel in Flight. By late 1975, Cook had split amicably from Greenaway, and moved to the United States. He drifted through New York and Los Angeles before settling in Nashville, where he completed the solo album Alright in 1976. Moving into country territory, Cook scored a breakthrough with Crystal Gayle's 1978 chart-topper "Talking in Your Sleep," written with Bobby Wood. In 1980, he teamed with Sam Hogan to write another number one country hit, Don Williams' "I Believe in You." 

The year 1981 brought two country Top Fives in Gayle's "Livin' in These Troubled Times" and Williams' "Miracles." Williams landed another number one in 1983 with "Love Is on a Roll," which Cook co-wrote with folkie John Prine; the two would continue to collaborate off and on in the years to come.

Cook's writing activities tailed off as the '80s wore on, though 1989 found him back on top of the British charts thanks to Marc Almond's remake of "Something's Gotten Hold of My Heart," which featured duet vocals from original artist Gene Pitney. 

In 1991, he teamed with ex-Strangler Hugh Cornwell and guitarist Andy West to form Cornwall, Cook and West, issuing the album CCW the following year. In 1997, Cook became the first Englishman to be inducted into the Nashville Songwriters Hall of Fame; later that year, he returned to writing, collaborating with Eddie Kilgallon on George Strait's number one smash "One Night at a Time." In 1998, Strait landed another chart-topper with his cover of Cook and Prine's "I Just Want to Dance with You." 

by Steve Leggett

Tracks
1. Primrose Jill - 3:33
2. Black Paper Roses (Belle Gonzales) - 2:13
3. Teresa (Albert Hammond, Michael Hazlewood) - 2:36
4. Something (George Harrison) - 2:59
5. Ellie (George Martin, Jerry Lordan) - 2:21
6. Not That It Matters Anymore - 2:55
7. Skyline Pigeon (Elton John, Bernie Taupin) - 3:36
8. Today I Killed a Man I Didn't Know - 3:17
9. Is It You That Has the Power - 2:43
10.My Home City (Keith Drewett, Peter Dymond) - 3:17
11.3 Parnall Road, Fishponds, Bristol - 2:23
12.Ain't That a Wonderful Thing (feat. Eve Graham) - 2:42
13.Stop - 2:35
14.I'm Burning - 2:45
15.Paper Chase - 2:36
16.Smiling Through My Tears (feat. Eve Graham) (Cedric Carnal) - 2:47
17.Someday - 3:36
18.Jubilation - 3:59
19.Anticipation Grows (Rowland Barter) - 3:32
20.If You Would Stay - 4:34
21.Mama Packed a Picnic Tea (David Matthews, Peter Warne) - 4:09
22.People I've Gotta Dream - 3:39
All song by Roger Cook, Roger Greenaway except where indicated.

*Roger James Cooke - Vocals

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rep>>> Mephistopheles - In Frustration I Hear Singing (1969 us, remarkable classic acid tinged psych rock, 2009 issue)

Taking its name from 16th century Faustian legend—Mephistopheles was the devil to whom Faust sold his soul—this six-piece outfit emerged from the psychedelic underground and recorded one album, the strangely titled In Frustration I Hear Singing. This 12-song lp, lost and found from the vaults of Reprise Records, is prototypical late ‘60s psychedelia, a musical exercise in odd song titles (“The Cricket Song,” “The Girl Who Self-Destroyed”), bizarre lyrical content (“Listen to the crickets/listen everyday/listen to the crickets/tell me what they say”) and awkward rock instrumentation (“Do Not Expect a Garden” features a trumpet; “Vagabond Queen” is saddled with a flute). 

Mephistopheles features an expert ensemble of skilled musicians with a strong sense of melody. The guitar work, especially on songs like “Dead Ringer” and the title track, is particularly impressive. Guitarist Fred Tackett has been a member of Little Feat since 1988. 

KWM 

Tracks
1. Take A Jet (Mephistopheles) - 2:37
2. Collections (Steven Simone) - 2:18
3. Dead Ringer (Steven Simone) - 3:17
4. Vagabond Queen (Fred Tackett) - 2:48
5. Do Not Expect A Garden (Steven Simone) - 3:46
6. In Frustration I Hear Singing (Fred Tackett) - 2:39
7. Make Up Your Mind (Fred Tackett) - 3:08
8. Searching In The Night (Fred Tackett, Gordon Grant) - 2:08
9. The Cricket Song (Daryl Burch, Fred Tackett) - 3:01
10.Sleeping Deeply (Steven Simone) - 3:20
11.The Girl Who Self Destroyed (Bob Siller) - 3:27
12.Elizabeth (Bob Siller, Gordon Grant) - 4:00

Mephistopheles
*Daryl Burch - Drums
*Gordon Grant - Organ, Piano
*Skip Mosher - Bass, Flute
*Bob Siller - Acoustic Guitar, Vocals
*Steven Simone - Guitar, Vocals
*Fred Tackett - Guitar, Piano, Trumpet, Vocals

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rep>>> Whiskey Howl - Whiskey Howl (1972 canada, marvelous jazzy blues rock, roots 'n' roll, 2008 remaster)

Canadians have long had a love affair for the blues. In the 1970s, artists from Vancouver’s Powder Blues and Halifax’s Dutch Mason to Montreal’s Offenbach and Winnipeg’s Big Dave McLean thrilled audiences with their interpretations of the 12-bar form. The blues feeling has always been especially strong in Toronto, where a close proximity to Chicago and Detroit and regular appearances by major U.S. blues artists fostered a deep connection with the music. Three of Canada’s earliest and most successful blues groups hailed from Toronto and nearby Hamilton, including Downchild Blues Band, McKenna Mendelson Mainline and Crowbar with King Biscuit Boy. Into this blues-loving milieu came Whiskey Howl.

Formed in 1969, Whiskey Howl emerged from Toronto’s suburbs to become one of the premier acts of the CanCon era of the early ’70s. Led initially by harmonica player John Bjarnason, the group landed some highly prestigious gigs, opening for Led Zeppelin, performing with American blues legends and appearing with John Lennon’s Plastic Ono Band and many others at the historic Toronto Rock & Roll Revival show. During its incarnation fronted by Bjarnason’s replacement, Michael Pickett, Whiskey Howl scored an enviable major-label deal with Warner Bros. and recorded an acclaimed self-titled album in 1972, issued here for the first time on CD. A quarter of a century after its release, the recording still packs a formidable punch.

Bjarnason was one of Toronto’s earliest blues aficionados, studying the styles of Muddy Waters and Howlin’ Wolf whenever they performed at the Colonial Tavern on Yonge Street. Two local musicians provided him with further education. “I got my background in the blues from Chris Whiteley, who I went to school with at Don Mills Collegiate,” Bjarnason recalls. “The first band I play in was actually called the Don Mils Blues Band, which was just a neighborhood group.” Before long, the aspiring musician was down in Yorkville’s hippie haven, taking guitar lessons from Joe Mendelson. Bjarnason’s next band, The Back Door, went further afield, playing larger venues like the Broom & Stone with the likes of Shawne and Jay Jackson & the Majestics.

Whiskey Howl grew out of the ashes of yet another Bjarnason outfit, the popular Yorkville band Sherman & Peabody. Joining Bjarnason and guitarist Peter Boyko was a robust singer named John Witmer, who brought along bassist Gary Penner and drummer Ron Sullivan, with whom he played in a Downsview group called Harry’s Blues Band. With the initial lineup intact, Whiskey Howl debuted at Yorkville’s Night Owl coffeehouse on July 28, 1969. Before the band was even a month old, it was opening for Led Zeppelin when the British band appeared at Toronto’s Rock Pile, before a sold-out audience of 1,200 frenzied fans. One month after that, Whiskey Howl joined Lennon’s Revival show at Varsity Stadium, which infamously featured Alice Cooper, who allegedly bit the head off a chicken. The Toronto band, with new drummer Wayne Wilson replacing Sullivan, appeared twice on the bill, playing its own set and backing the eccentric British singer Screaming Lord Sutch.

In the spring of 1970, Whiskey Howl entered the Toronto Sound recording studio to lay down four songs, including two blues standards and a pair of original songs by Witmer. Financed by the band itself, these recordings were strictly demos and never released. However, the group, a big favorite of Globe and Mail rock critic Ritchie Yorke, came close that summer to landing a record deal. Whiskey Howl’s record deal didn’t come for another year. In the meantime, Bjarnason left the group, opting to pursue a career as a chiropractor. Michael Pickett, a talented blues harmonica player who’d played with Witmer in Harry’s Blues Band, stepped in to fill the void. More lineup changes were to follow. A new chapter in the group’s blues odyssey was about to begin.

The group had undergone more personnel changes. Boyko and Penner departed, with guitarist Dave Morrison and bassist Rick Fruchtman coming in as their replacements. The new quintet entered Eastern Sound studios with Sandlin and a collection of blues covers and original tunes. Warner gave the band plenty of artistic freedom. “Pozer told us, ‘We don’t want to get in your way and stifle your creativity,’” recalled Morrison. “He basically said to us, ‘As long as you’re not stark raving maniacs in the studio, we’re happy to let you do your thing.’” Sandlin, meanwhile, was the epitome of a laid-back southern gentleman. “Johnny had worked in Muscle Shoals, Alabama, where they make real records,” says Pickett. “The main thing that he did with us was he kept telling us to lay back. He’d say, ‘Don’t push it, don’t rush the groove.’ That helped to define our sound on the album.”

Sandlin brought in a young hotshot pianist named Chuck Leavell, who later became a keyboard session player for Eric Clapton and The Rolling Stones. The producer also added a horn section, made up of local players Keith Jollymore, Dave Woodward and Phil Alperson, to help round out the Howl sound on Louis Jordan jump-blues standards like “Caldonia,” “Early in the Morning” and “Let the Good Times Roll” and a down-tempo blues number by Memphis Slim called “Mother Earth.” Witmer-penned originals like “Down the Line” and “Jessie’s Song,” about his first-born son, feature Witmer’s bluesy howl and Morrison’s rootsy guitar picking respectively, while Pickett shines on harmonica and vocals on his own “One Hot Lady.”

Two of the album’s highlights are the band’s composition “Pullin’ the Midnight,” featuring dazzling solos from Pickett and Leavell, and the group’s rendition of “Rock Island Line.” It was a brave move for an electric blues band to sing the Leadbelly standard in acapella four-part harmony. “We didn’t think of ourselves strictly as a blues band,” insists Pickett. “None of us were purists. We loved all kinds of music, from folk and blues to jazz and r&b. We were very roots-oriented and that always showed in our sound.”

When Whiskey Howl’s self-titled album came out in the summer of ’72, with a cover shot of the group standing on Spadina Avenue outside of Grossman’s, it quickly garnered rave reviews and airplay on FM stations across the country. The band gigged extensively following its release, with many trips to Sudbury and other parts of northern Ontario and a national tour with Dr. Music, performing at autumn fairs like Toronto’s CNE, Vancouver’s PNE and Edmonton’s Pioneer Days. In particular, Morrison fondly recalls shows in Banff and a week-long gig in Vancouver that turned into a month-long residency at the Pharaoh’s Retreat club in Gastown. “The thing about our band was that we dug each other and loved working together,” says Morrison. “It was real ensemble playing.”

Sadly, the band had a short life, breaking up in 1974 and reforming briefly in ’76 and again in ’81 before finally calling it quits. Glinert had parted ways with the group before the album release, leaving Whiskey Howl without experienced management to take it to the next level. Momentum was lost and another promising Canadian band group with potential to become major stars on the U.S. circuit fell by the wayside. “We were young and stupid,” admits Morrison, “and had no idea of the business. But we had a good time while it lasted.”

Whiskey Howl remains one of the great success stories of the early CanCon era, a blues band that enjoyed a large, loyal following, appeared on legendary concert bills and left one memorable studio album. So sit back and relax, ’cause Whiskey Howl is back in town. Let the good times roll.

by Nicholas Jennings

Tracks
1. Caldonia (Fleecie Moore) - 2:15
2. Early In The Morning (Hickman, Jordan, Bartley) - 3:59
3. Mother Earth (Peter Chatman, Lewis Simpkin) - 5:39
4. Rock Island Line (Huddie Ledbetter, Alan Lomax) - 1:44
5. Down The Line (John Witmer) - 2:30
6. Let The Good Times Roll (Theard, Moore) - 3:08
7. One Hot Lady (Michael Pickett) - 3:07
8. Pullin' The Midnight (Fruchtman, Morrison, Pickett, Wilson, Witmer) - 5:35
9. I'm Not Talking (Mose Allison) - 2:47
10.Jessie's Song (John Witmer) - 2:46

The Whiskey Howl
*John Witmer - Vocals
*Michael Pickett - Harp, Vocals
*Richard Fruchtman - Bass, Vocals
*Dave Morrison - Guitar, Vocals
*Wayne Wilson - Drums
With
*Chuck Leavell - Piano
*Phil Alpertson - Alto Sax
*Dave Woodwar - Tenor Sax
*Keith Jollimore - Baritone Sax

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