rep>>> Various Artists - Mind Expanders Vol.2 (1965-72 international, instrumental, kinetic bombastic raga multi freaked up outer spacial groove, 2009 release)

Vol 2 of the Mindexpanders series brings you more of the rarest, most funky, weird and downright excellent tracks in existence. It’s an intriguing CD, and undoubtedly one that will encourage collectors & creators alike to explore the lost world of strange recordings. 

Another great set of rare tunes from the ‘70s - a mother lode of cuts with lots of strings, fuzzed out guitars, sexy eastern-esque tabla-clarinet duets, sitar, Hammond organs and even steel drums. Cover tune award on this one goes to The Soulful Strings for their sitared and feathered version of the Beatles Within You Without You. This album is a must for fans of Vampyros Lesbos and sundry other erotic soundtracks, as well as just general musical weirdness!

Artist - Track - Composer

1. Didier Vincent - Jerk Avec Nous (Unknown) - 2:09

2. The Renegades - Mad Dog (Kim Brown, Graham Johnson, Ian Mallett, Michael Webley) - 2:51

3. Robert Gretch - Galaxie Guitar (Jean Aptal, Robert Gretch, Serge Charoff) - 2:27

4. Jaime Perez - Tema Arabe (Jaime Perez) - 2:18

5. Penahi - Dance Music (Unknown) - 3:45

6. Timezone - Spacewalker (Mort Garson) - 2:46

7. The Soulful Strings - Within You Without You (George Harrison) - 4:27

8. Thomas Natschinski Und Seine Gruppe - Kosmos 354 (Thomas Natschinski, Hartmut König) - 4:07

9. The Stradivarius - Walkin’ In The Bach’s World (Ariane Buyst, Hartmut König) - 2:50

10.The Flying Guitars - Electronics (André Shore) - 2:59

11.Acker Bilk - Acka Raga (John Mayer) - 2:22

12.Emery Deutsch And The Astro Sounds - You Tried To Warn Me (Piero Umiliani) - 2:30

13.The Scottmen - Sitar Sitter (John Scott) - 2:53

14.The Dynatones - The Fife Piper (Eddie Evans, Gary Van Scyoc, Ray Figlar) - 2:53

15.Bauer Productions - High Life (Unknown) - 3:15

16.Shell Street Orchestra - Groovy Beat (F. De Gourville) - 2:27

17.Incredible Bongo Band - Congo (M. Bly, Dave Burgess) - 2:20

More Past and Present compilations
1967-74  Psych Bites Vol.1
1968-74  Psych Bites Vol.2
1969-73  Up All Night

Just Paste
Text Host

Free Text

rep>>> Grit - Grit (1972 uk, superb heavy psych rock. 2022 japan reissue)

Born from the ashes of a London band called Merlyn, Grit consisted of Frank Martinez (lead guitar, vocals), Paul Christodoulou (bass/vocals), Tom Kelly (drums, vocals) and Jeff Ball (vocalist).

Frank, nicknamed “Spider”, has an interesting story: at the beginning of his musical career he auditioned for Joe Meek at his Holloway Road studio. Later, he also played with a band called Grand Union - who supported Pink Floyd in 1968 - and with members of the John Dummer Band. An electronic wizard, Frank also worked building amps and electronic equipment at Nolan Amps, MIDAS, etc. He built the Twin Stacks and PA’s that later would form part of Grit's equipment.

Tom Kelly came from a band called Connexion and Paul Christodoulou had played in Merlyn along with Frank. After some attempts, the definitive line-up of Grit was born when Frank and Paul convinced drummer Tom Kelly to join them, after assisting to a Nazareth concert. They also recruited powerful singer Jeff Ball after an ad in Melody Maker.

On Christmas Eve, 1972, Grit recorded a demo at SWM Studios and four copies of a one-sided 12” acetate (one for each member) were pressed for promo purposes. It featured four self penned songs: the killer “Mineshaft” (pure underground fuzz hard-rock) and two lengthy numbers: “Child and The Drifter” (with some furious drumming, stunning leads and hard-prog moves) and the hard-psychedelic “What Do You See In My Eyes” / “I Wish I Was”.

Armed with the acetates, the band visited some music agents in London but nobody was interested. But while looking for a manager, they found a company who secured them a Greek tour. This was a true adventure and they managed to appear on television and play with big names from the Greek psych-prog scene like Socrates and Peloma Mpoklou in big festivals. Sadly, due to a family problem, Frank had to leave the band and return to England. That was the end for Grit.

40 years later, one of the original Grit acetates was found at a flea market in Germany, which led to its inclusion in the 7001 Record Collector Dreams book by famous collector Hans Pokora. The band still remained a mystery until 2019, when, by pure chance, Alex Carretero from Guerssen found Frank Martinez and he opened his vault, which included the original master tape of the Grit acetate and several tapes with rehearsals from Grit and Merlyn. 

Grit Official

Tracks

1. Mineshaft - 3:54

2. The Child And The Drifter - 8:57

3. What Do I See In My Eyes / I Wish I Was - 9:23

4. 1000 Miles - 3:24

5. Across The Windowsill - 4:38

6. What Do I See In My Eyes / I Wish I Was - 7:52

7. Down In The Mine - Mineshaft - 3:44

All songs by Frank Martinez, Jeff Ball, Tom Kelly, Paul Christodoulou

Tracks 4-7 rehearsalls

Tracks 5 as Merlyn

Grit

*Frank Martinez - Guitar, Vocals

*Jeff Ball - Lead Vocals

*Tom Kelly - Drums, Vocals

*Paul Christodoulou - Bass, Vocals

Just Paste

Text Host

Free Text

rep>>> Various Artists - The Electric Asylum Vol. 1 (1970-74 uk, rare acid freakrock, 2009 release)

20 blasts of long-forgotten British Freakrock. The Glorious British Psychedelic music scene did not cease to exist at midnight on December 31st 1969, it took on the previous decade with furore, new gadgets and studio gimmicks, but with some of the same key players. 

From the hard and loud sound of J.C. Heavy, Rainbow Family and Steel Mill to the sublimely bonkers Asylum, Monsoon, Mighty ‘Em and Galahad interspersed with spoonfuls of Psychedelia, Doom and Acid Rock.

Artist - Track - Composer

1. Mighty 'Em - Jekyll And Hyde (Bob Wright, Ralph Murphy) - 3:23

2. Asylum - Suzy's Back (John Burton, Sev Lewkowicz) - 2:36

3. Iron Horse - Magic Love (Eddie Seago) - 3:04

4. Monsoon - Night Of The Fly (Eddie Seago, Geoff Stephens) - 3:01

5. Galahad - Rocket Summer (Gerry Morris) - 3:06

6. J.C. Heavy - Is This Really Me (John Needham, Kenny Anders, Josephine Levine Musaphia, Neil Levine, John Hajok) - 3:12

7. The Rainbow Family - Travellin' Lady (Manfred Mann) - 2:49

8. Puzzle - Do You Feel The Pain (Dion Wesley Martin) - 2:48

9. The Grumbleweeds - In A Teknicolor Dreem (Alan Hawkshaw, Albert Sutcliffe, Carl Sutcliffe, Don Preston, Edgar Winter, George Harrison, Leon Russell, Maurice Lee, Robin Colvill) - 3:44

10.The Explosive - Hey Presto, Magic Man (Bill Dale, John Melton, Sid Cade) - 3:05

11.J.C. Heavy - Do What You Like (Michael Schepior) - 3:15

12.Choc - The Devil (Alain Arnaud, Keith Fawcett) - 3:07

13.Danta - Queen Of Sheba (Kenny George) - 4:17

14.Vincent Crane's Atomic Rooster - O.D.(Vincent Crane) - 3:19

15.Renegade - Never Let Me Go (Shepherd, Russell) - 2:34

16.Satisfaction - Love It Is (Lem Lubin) - 3:01

17.Audience - Eye To Eye (Trevor Williams) - 2:33

18.Steel Mill - Get On The Line (Dave Morris, John Challenger) - 4:17

19.Kirk St. James - Tears I Cry (Kirk St. James) - 3:55

20.Legs - So Many Faces (Elmer Gantry) - 2:54

The Past and Present compilations
1969-75  Various Artists - The Electric Asylum Vol. 5 (2009 P&P)

1965-69  Floor Filler Killers / New Directions Vol. 3

Just Paste
Text Host

Free Text

rep>>> Guy Clark - Old No1 (1975 us, wonderful folk country rock, 2016 japan remaster)

Guy Clark waited a long time to get himself on record, despite a proven pedigree as a songwriter penning sometimes joyous, sometimes bittersweet, frequently autobiographical, always poetic narratives of Western life. Jerry Jeff Walker had cut Clark’s “L.A. Freeway” and “Desperadoes Waiting For A Train” for his eponymous 1972 album, whilst Townes Van Zandt included “Don’t Let The Sunshine Fool Ya” on his sublime The Late Great Townes Van Zandt the same year. Meanwhile, Monahans, TX, native Clark had held down a day job as a TV station art director in Houston whilst playing the city’s folk clubs with the likes of Townes and K.T. Oslin, and, during a brief unhappy spell in Los Angeles, worked as a staff songwriter for Sunbury Music and as a luthier building Dobros. It wasn’t until several years after he moved to Nashville that he finally signed to RCA and released his own first album in 1975, effectively “covering” some of his own tunes that others had put down years earlier.

Under his RCA contract Clark turned out two country-meets-folk albums of such homely, unassuming beauty that it’s amazing in retrospect to think it took him so long to find his own voice on vinyl. On the first, Old No. 1 , Clark’s own belated versions of “Desperadoes” and “Freeway” proved peerless, and other future classics such as “Texas 1947”, “Let Him Roll” and “A Nickel For The Fiddler” rounded out a faultless ten-track set taking in folk, bluegrass, honky-tonk and the most lonesome of torch ballads in a respectful, authentic fashion that contrasted with both the bland country-pop of Chet Atkins’s Nashville roster and the hyperactive rawk’n’roll of Waylon Jennings’s Outlaw clique. 

Alongside Clark’s own masterful acoustic guitar picking, the album featured gorgeous, restrained accompaniments from a bevy of Music Row sessioneers including Reggie Young (guitar), Johnny Gimble (fiddle), Micky Raphael (harmonicas), David Briggs (piano) and Hal Rugg (pedal steel and Dobro) plus almost all of Emmylou Harris’s entourage as guest backing vocalists, with Harris’s own crystal soprano harmonies embellishing Clark’s warm, cracked Texas brogue in similar fashion to the way she’d counterpointed the fragile warblings of Gram Parsons.

None of which, sadly, provided Clark with a hit; there were no singles released and the album itself struggled only to a lowly 41 on the Billboard country chart. The next year’s follow-up Texas Cookin’ similarly made no commercial impact despite being of nearly as high a quality and including such wonderful waxings as “Virginia’s Real”, “Don’t Let The Sunshine Fool Ya” and the incomparable “The Last Gunfighter Ballad”, and that did it for Clark’s RCA contract. 

It would be another two years before he resurfaced on Warner for his third long-player, since when he’s put out infrequent albums on that and no fewer than seven other imprints with no-better-than-modest sales all the way. Yet his songs have been repeatedly covered by country royalty: Johnny Cash, Emmylou Harris, Ricky Skaggs, Vince Gill, Brad Paisley, Rodney Crowell, Alan Jackson, Bobby Bare, Jimmy Buffett and the Highwaymen. In 2011 a slew of the aforementioned plus Steve Earle, Joe Ely, Roseanne Cash, Willie Nelson, Kris Kristofferson, Ron Sexsmith, Townes’s son John and others returned the compliment with a double CD of Clark’s best known tunes entitled This One’s For Him: A Tribute To Guy Clark. Rarely has such a tribute been so genuinely justified, but if this sounds just too gratulatory, treat yourself instead to the twofer CD containing Old No. 1 and Texas Cookin’.

by Len Liechti

Guy Clark died in Nashville on May 17th, 2016, following a lengthy battle with lymphoma.

Tracks
1. Rita Ballou - 2:51
2. L. A. Freeway - 4:57
3. She Ain't Going Nowhere - 3:27
4. A Nickel For The Fiddler - 2:46
5. That Old Time Feeling - 4:12
6. Texas - 1947 - 3:10
7. Desperados Waiting For Thetrain - 4:30
8. Like A Coat From The Cold - 3:17
9. Instant Coffee Blues - 3:15
10.Let Him Roll - 4:04
All songs by Guy Clark

Personnel
*Guy Clark – Lead Vocals, Guitar
*Mike Leach - Bass
*Jerry Kroon - Drums
*Larrie Londin - Drums
*Chip Young - Guitar
*Pat Carter - Guitar, Vocals
*Steve Gibson - Guitar
*Jerry Carrigan - Drums
*Dick Feller - Guitar
*Jim Colvard - Guitar
*Reggie Young - Guitar
*Hal Rugg - Dobro, Pedal Steel
*Jack Hicks - Dobro
*David Briggs - Piano, Vocals
*Chuck Cochran - Piano
*Shane Keister - Piano
*Johnny Gimble - Fiddle
*Mickey Raphael - Harmonica
*Lea Jane Berinati - Vocals, Piano
*Rodney Crowell - Vocals
*Emmylou Harris - Vocals
*Gary B. White - Vocals
*Florence Warner - Vocals
*Steve Earle - Vocals
*Sammi Smith - Vocals

1976  Guy Clark - Texas Cookin' (2016 Sony Japan)

Just Paste

Text Host

Free Text

rep>>> Blind Willie - Blind Willie (1972/74 us, spectacular blues psych classic country rock, 2023 japan remaster)

Blind Willie formed in Spokane (Washington) in 1972 and featured terrific guitar player Frank Trowbridge from hard-psych legends Sleepy John.

They carved out a unique niche in the Northern Idaho/Eastern Washington rock scene in the early to mid-’70s, performing original music in a time when doing so wasn’t widespread for regional bands. Within weeks of the group’s formation, they commanded stages with a potent smattering of hard-rock, country-rock and psych.

The band’s history includes a brief courtship with the Doobie Brothers’ Dave Shogren on bass, as well as major label interest from Columbia and Epic Records.

Blind Willie’s original lineup of Craig Karp (guitar, vocals), Frank Trowbridge (guitar), Charlie Bieker (bass, guitar, vocals) and Jim Griffith (drums) is represented via slices of incendiary rock ‘n’ roll pomp recorded on a 4-track tape machine in a friend’s apartment in 1972.

Live in the studio tracks from 1974 feature later drummer Mike Garland and bassist Joe Johnson for a fiery radio set at the legendary Kaye-Smith Studios in Seattle.

The album’s selected tracks navigate Blind Willie’s wide-ranging sonic explorations, anchored by formidable guitar-forward rockers that stand the test of time, and hold up to any of the more well-known work of their peers from the ’70s. Writhing in the rock ‘n’ roll milieu, Blind Willie’s musical tributaries run deep, steeped in a spectrum of styles that range from hard blues-rock scorchers like the incendiary “Georgia,” to heartfelt ballads (“I’m Wondering If”) and into the upper echelons of sci-fi psych (“Zolly”), a comet ride through wah-wah geetar spacedust, replete with Rocky Horror cinematic sheen. It’s also easy to imagine songs like the choogle-heavy “Somebody Help Me” illuminating the vibe of parties, bars and theaters all over North America. 

Guerssen

Tracks

1. Georgia - 2:57

2. Try - 6:17

3. Somebody Help Me - 2:59

4. I’m Wondering If - 3:32

5. Too Much Darkness - 6:10

6. Zolly  - 3:29

7. Mildred (Don’t Let Your Friends Get You Down) - 3:58

8. California Woman - 2:49

9. I Might Be The One - 6:06

10.Rainbow Lorraine - 3:32

11.I Want To Know - 3:15

12.Please Don’t Walk Away - 4:18

13.Lost My Reason For Living - 2:41

14.Again (Charlie Bieker) - 3:06

15.Georgia - 4:40

16.Somebody Help Me - 3:26

17.I Might Be The One You Need - 3:33

18.I’m Wondering If - 3:31

19.Zolly (Instrumental) - 3:33

Tracks 1,3,6,10,12,17,19 recorded 1972 and written by Craig Karp, Frank Trowbridge, Charlie Bieker, Jim Griffith

Tracks 2,4,5,7,8,9,11,13,14,15,16,18 recorded Live at Kaye-Smith Studios, 1974 and were written by Craig Karp, Frank Trowbridge, Charlie Bieker, Joe Johnson, Mike Garland

Blind Willie

*Craig Karp - Guitar, Vocals 

*Frank Trowbridge - Guitar 

*Charlie Bieker - Bass, Guitar, Vocals

*Jim Griffith - Drums (1972)

*Joe Johnson - Bass (1974)

*Mike Garland - Drums (1974)

Just Paste

Text Host

Free Text

rep>>> It's A Beautiful Day - Creed Of Love (1971 us, classy prog psych rock, recorded live in san francisco)

San Francisco psychedelic folk-rock unit It's a Beautiful Day was primarily the vehicle of virtuoso violinist David LaFlamme, born April 5, 1941 in New Britain, CT but raised in Salt Lake City, UT. After beginning his musical education at age five, LaFlamme later served as a soloist with the Utah Symphony, following an army stint by settling in the Bay Area in 1962. There he immersed himself in the local underground music scene, jamming alongside the likes of Jerry Garcia and Janis Joplin; after his short-lived Electric Chamber Orchestra splintered, LaFlamme also co-founded an early incarnation of Dan Hicks & His Hot Licks before assembling It's a Beautiful Day in mid-1967. 

The group -- which originally included LaFlamme's keyboardist wife Linda, vocalist Pattie Santos, guitarist Hal Wagenet, bassist Mitchell Holman, and drummer Val Fuentes -- issued its self-titled debut LP on Columbia in 1969, scoring their biggest hit with the haunting FM radio staple "White Bird." Linda LaFlamme left It's a Beautiful Day soon after, going on to form Titus' Mother; keyboardist Fred Webb signed on for the follow-up, 1970's Marrying Maiden, while Holman exited prior to 1971's Choice Quality Stuff, recorded with new guitarist Bill Gregory and bassist Tom Fowler. In 1973, ongoing disputes over royalties forced LaFlamme out of the group he created, and upon installing new violinist Greg Bloch, the remaining members issued It's a Beautiful Day...Today before dissolving in the wake of 1974's 1001 Nights. LaFlamme mounted a solo career in 1977 with White Bird, continuing his protracted legal tussle with ex-manager Matthew Katz for years to follow.

Creed of Love is a live set recorded in Frisco's Fillmore West, on July 1st 1971, band in full form playing some of their classic stuff, with David's  unique violin expressiveness, the tapes have been remastered and the sound quality is very good.

Tracks

1. Creed Of Love - 4:27

2. Good Lovin' (Fred Webb, Mitchell Holman, Marilyn Brodie) - 5:45

3. Imagine (John Lennon) - 4:45

4. White Bird (Linda LaFlamme, David LaFlamme) - 8:44

5. Don And Dewey (Don Bowman, David LaFlamme) - 8:34

6. Wasted Union - 11:41

7. Bulgaria - 7:12

8. Time Is - 10:47

Songs 1,6,7,8 written by David LaFlamme

It's A Beautiful Day
*Pattie Santos - Percussion, Vocals
*Val Fuentes - Drums, Vocals
*Fred Webb - Keyboards, Vocals
*David Laflamme - Violin, Vocals
*Hal Wagenet - Guitar
*Bill Gregory - Guitar
*Tom Fowler - Bass

1968  It's A Beautiful Day - Live At The Fillmore (2013 release)

1969-70  It's A Beautiful Day - It's A Beautiful Day • Marrying Maiden

Just Paste
Text Host
Free Text

rep>>> Warhorse - Red Sea (1972 uk, great hard rock heavy psych, 2010 remaster with bonus tracks)

Within weeks of Nick Simper's final show with Deep Purple on July 4th 1969, he had played the Isle Of Wight Festival as part of singer Marsha Hunt's backing band White Trash, and was beginning to plan a new group of his own.

After just a couple of gigs with Marsha, Nick realised that the rest of her band weren't really up to the job, said as much, and found himself with the job of finding suitable replacements. He roped in Ged Peck on guitar (with whom he'd toured with The Flowerpot Men and Billie Davis), and his old Pirates band-mate Roger Pinner (aka Roger Truth) on drums. Pinner was soon replaced by Mac Poole. While this was going on Nick still found time for outside work, playing BBC sessions with The James Royal Set, and also putting together his own extracurricular band.

Ged Peck and Mac Poole were first on board, followed by singer Ashley Holt, who had auditioned for Deep Purple back in 1968. The James Royal Set's keyboard player Rick Wakeman took part in early rehearsals but proved unreliable, and when the band's first demo was recorded in April 1970 he was replaced by Frank Wilson. Very soon afterwards the band became a full time operation when Marsha Hunt folded her group due to the fact that she was pregnant by Mick JaggerInitial events made it look as if Warhorse's starting path would be similar to that of Deep Purple. A record contract quickly arrived (with the new Vertigo label), an album was recorded, and the band made their debut live show - supporting Mott The Hoople in Hemel Hempstead.

'Warhorse' was released in November 1970, sounding pretty much like a heavier version of Deep Purple Mk1, and fully illustrating how much Nick Simper had contributed to both bands. However, Vertigo's promotion concentrated more on the label than the album, and it undeservedly failed to chart, as did the belated single 'St.Louis' (an Easybeats song which had been in Deep Purple's live repetoire until August 1969). Around the same time, Ged Peck made his exit, apparently after increasing difficulty in dealiing with Simper's pre-eminence in the group. His replacement was Pete Parks from Black August, a band who had been sharing Warhorse's rehearsal room.

Warhorse had built up a healthy live following inside their first year, and continued to do so when Pete Parks seamlessly stepped in on guitar, but the band's fortunes had already peaked.They were forced to rush the recording of their second album 'Red Sea', which nevertheless received favourable press reviews, and pushed the band's heavy credentials forward by being more guitar based than its predecessor. However, it received very little label promotion, and soon after its June 1972 release Warhorse were dropped from the roster. Around the same time Mac Poole decided to throw his lot in with Gong, after having deputised with them for a few shows.

Drummer Mac Poole was replaced by Barney James, and Warhorse picked themselves up yet again, this time beginning to incorporate soul elements into their music.After a time Rick Wakeman appeared back in the scene. He produced a set of demos for the band, and then borrowed Holt and James to help record his UK #1 'Journey To The Centre of The Earth' solo album. Despite the fact that a new record contract for Warhorse was in the offing, both men decided to throw their lot in permanenty with Wakeman, and in June 1974 Nick Simper decided to bring the band to a close.

DP-net

Tracks
1. Red Sea - 4:16
2. Back In Time - 7:47
3. Confident But Wrong - 4:42
4. Feeling Better - 5:29
5. Sybilla - 5:30
6. Mouthpiece - 8:41
7. I (Who Have Nothing) (Carlo Donida, Jerry Leiber, Mike Stoller) - 5;11
8. Ritual (Live Version) (Warhorse) - 4:17
9. Bad Time (Demo) (N. Simper) - 4:37
10.She Was My Friend (Demo) (N. Simper) - 4:52
11.Gypsy Dancer (Demo) (N. Simper) - 4:05
12.House Of Dolls (Demo) (N. Simper) - 4:17
13.Standing Right Behind You (Demo) (N. Simper) - 4:29
All songs by P. Parks, M. Poole, A. Holt, N. Simper, except where indicated.

Warhorse
*Ashley Holt - Vocals
*Mac Poole - Drums
*Nick Simper - Bass
*Frank Wilson - Keyboards, Piano
*Peter Parks - Guitar

1970  Warhorse - Warhorse (2010 Repertoire)

Related Act

1979-80  Fandango - Slipstreaming • Future Times

Just Paste
Text Host

Free Text

rep>>> Aubrey Small - Aubrey Small (1971 uk, beautiful elegant smooth prog rock, 2015 remaster with bonus tracks)

Aubrey Small formed in 1969 with a line-up that featured 5 part harmonies, twin guitars & flute which was quite pioneering for those times! Very soon they were attracting considerable interest in heady musical circles. Ronnie Scott’s Jazz Club took the band under their management followed by numerous regular sessions on BBC Radio 1’s “Sounds of the Seventies” for Bob Harris & John Peel. The band were soon performing at landmark venues such as London’s Marquee, Flamingo, Samantha’s, Thatched Barn at Chalk Farm & the Roundhouse with Ronnie Scott’s becoming their “second home”. Tour gigs with major names including Status Quo, Supertramp, Edgar Broughton, Colosseum, Hawkwind, Pink Fairies, Robin Trower and many others were a growing part of the band’s new world.

Record companies were fast becoming aware of the band’s growing reputation and within a short time a recording contract was signed as well as a publishing contract with Radio Luxembourg MD Alan Keen of Louvigny Marquee, for their songs. An album was released in 1971 followed by a single some months later.

Although the band were together only four short years, they created a legacy of interest with the people their music reached, which has lasted until the present day. Recently unearthed long lost recorded material was returned to the band, prompting them to tell their short but colourful story. 

They performed for the first time on Valentine’s Day 1970 at South Parade Pier, Southsea however within a few weeks, guitarist Marc Tuddenham had decided to leave. As the band was generating much interest they embarked on an immediate search for a replacement and by the end of March Peter Pinckney joined fresh from winning an NME national band contest. The song-writing became instantly prolific with members writing individually & collectively.

Another bizarre gig came along on 6th November when the band played the Flamingo in Wardour Street. It was an “all-nighter” with Hawkwind and Pink Fairies and they were due to play at about 3 am. When they arrived at the venue they had to wait around for several hours and then eventually were told that due to the venue being packed to capacity they had to pass the equipment over the heads of the crowded audience to the stage, set up and play! No sound check, no frills but a terrific gig!

The recording experience at Trident became intoxicating and at times even became somewhat surreal. For one number “Smoker Will Blow” John Anthony had the idea of putting orchestration on the track as it was too simple. Within a matter of days  arranger  Richard Hewson appeared together with a huge assembly of the finest jazz and orchestral musicians available. Here was another highly respected musician who had a list of high profile credits to his name including the Beatles, Bee Gees, Diana Ross, Art Garfunkel, Fleetwood Mac, Supertramp, Chris Rea among others – another who’s who! The band watched from the control room with amazement as an extraordinary and complex soundscape unfolded on their song. Ray Jackson of Lindisfarne was also invited to play harmonica on one track and Mike Vickers of Manfred Mann brought his giant Moog synthesiser in for another couple of tracks.

After the album was completed in September 1971, John Anthony went on to produce “Orange” for Al Stewart and as often happens with working relationships being fresh in mind he invited David (Bass) & Graham (Drums) to do the session work. The rest of the band were “most put out” as they hadn’t been asked to play until it was discovered that Rick Wakeman and Tim Renwick were chosen to play keyboards and guitar – no contest! Peter Pinckney and Rod Taylor were eventually invited to do some backing vocals together with Lesley Duncan who they had also met at Trident when she was working with Elton John with whom she had a long-standing connection.

Aubrey-Small

Tracks
1. Country Road (Peter Pinckney) - 4:21
2. Gardenia (Alan Christmas) - 2:49
3. Trying To Find My Way (Peter Pinckney, Rod Taylor) - 2:13
4. For My Lady (Graham Hunt) - 3:25
5. It's Morning (Peter Pinckney) - 4:00
6. Why? (Graham Hunt) - 2:23
7. Love On (Peter Pinckney) - 4:19
8. Born To Be (Peter Pinckney, Rod Taylor) - 3:23
9. If I Were You (Graham Hunt) - 3:18
10.Oh! What A Day It's Been (Graham Hunt) - 3:02
11.Smoker Will Blow (Graham Hunt) - 3:08
12.Wonderful (Alan Christmas) - 1:37
13.The Loser (Peter Pinckney) - 4:29
14.Maybe Tomorrow (Alan Christmas) - 5:05
Bonus Tracks 13-14

The Aubrey Small
*Alan Christmas - Guitar
*Graham Hunt - Drums, Guitar, Vocals
*Peter Pinckney - Lead Guitar, Vocals
*Rod Taylor - Keyboards, Vocals
*David Yearley - Bass

Just Paste

Text Host

Free Text

rep>>> Climax Blues Band - Stamp Album (1975 uk, fantastic funky blues rock, 2013 remaster with extra tracks)

England's Climax Blues Band saw their first taste of mainstream acceptance with 1975's Stamp Album, a solid mix of blues rock, funk, and jazzy pop that paved the way for their eventual platinum success with Gold Plated a year later. Led by the stellar guitar work & vocals of Pete Haycock, the band was completed by Colin Cooper (sax, clarinet, flute, keyboards), Derek Holt (bass, vocals), Richard Jones (keyboards, bass, guitar, vocals), and John Cuffley (drums, vocals), in what is considered one of the strongest line-ups the band had.

Haycock's stinging guitar licks & Cooper's melodic sax drive the catchy, upbeat blues rocker "Using the Power", a great opener to Stamp Album that sets the stage for the rest of the record. "Mr. Goodtime" is a smoldering slice of bluesy, jazzy funk, littered with Jones' clavinet and Haycock's biting lead guitar, and the hook laden, rootsy "I Am Constant" was the albums hit single, a catchy rock number that will appeal to any fan of Little Feat or the Doobie Brothers. "Running Out of Time" is a pulsating funk rocker with a great vocal from Cooper and more delicious clavinet & guitar. 

The band dives into melodic pop on the engaging "Sky High", a song I'm surprised the band didn't release as a hit single, and burst through with scorching Lynyrd Skynyrd styled southern rock on the nasty slide guitar attack of "Rusty Nail/The Devil Knows". Haycock really nails it with some searing slide on this gritty bluesy hard rock song, and the tune also features some wild Jethro Tull inspired flute from Cooper and Jones' great piano lines. Jones and his honky tonk piano & Cooper's soaring sax are all over "Loosen Up", and the closing instrumental "Cobra" sees the band combining rock, blues, and jazz-fusion styles for an exciting, yet brief ride.

As with most of Esoteric's CBB reissues, there are a wealth of bonus tracks here on Stamp Album. The BBC Radio One John Peel session tracks are especially enjoyable, and include songs from this album as well as the previous Sense of Direction release. "Before You Reach the Grave" is especially funky, and "Reaching Out" is given smoldering treatment, with Haycock & Cooper reaching deep with some ripping guitar & sax. The remaster treatment on the original album is crisp and clear, and the booklet contains a wealth of information about the sessions and plenty of photos. A splendid reissue of a great band from the always dependable folks at Cherry Red. 

by Pete Pardo

Tracks
1. Using The Power - 4:29
2. Mr. Goodtime - 5:16
3. I Am Constant - 3:10
4. Running Out Of Time - 5:23
5. Sky High - 5:07
6. Rusty Nail  The Devil Knows - 4:15
7. Loosen Up - 4:56
8. Spirit Returning - 2:54
9. Cobra - 2:18
10.Before You Reach The Grave (BBC Radio One John Peel Session) - 4:36
11.Reaching Out (BBC Radio One John Peel Session) - 4:53
12.Spirit Returning (First Version) - 4:20
13.Rusty Nail  The Devil Knows (First Mix) - 4:28
14.I Am Constant (BBC Radio One John Peel Session) - 3:11
15.Running Out Of Time (BBC Radio One John Peel Session) - 4:51
All songs by Climax Blues Band
Bonus Tracks 10-15

The Climax Blues Band
*Colin Cooper – Vocals, Soprano, Alto, Tenor Saxes, Clarinet, Flute
*Peter Haycock – Vocals, Lead, Slide, Acoustic Guitars
*Derek Holt – Vocals, Bass, Vibes
*Richard Jones – Vocals, Keyboards, Bass, Acoustic Guitars
*John Cuffley – Drums, Percussion

The Climax Long Hard Road
1969  The Climax Chicago Blues Band (2013 remaster and expanded)
1969  The Climax Blues Band - Plays On (2013 remaster and expanded) 
1970  A Lot Of Bottle (2013 remaster and expanded)
1971  Tightly Knit (2013 remastered with bonus tracks)
1972  Climax Chicago - Rich Man (2013 bonus track remaster) 
1973  Climax Blues Band - FM Live (2013 remaster)
1973-79  Climax Blues Band - Live Rare And Raw (2014 Release)
1974  Climax Blues Band - Sense Of Direction (2013 remaster and expanded)

Just Paste

Text Host
Free Text

rep>>> The Lemon Fog - The Psychedelic Sound Of Summer (1967-68 us, pure texas garage psych, 2011 cicadelic release)

In 1967, Jimmy Duncan sent a tape of demos by The Lemon Fog to Ray McGinnis of Orbit Records. Duncan was a producer and songwriter, out of Houston. He also owned a local club called "The Living Eye" (featuring an immense, pulsing eye in the middle of the ceiling). 

Ted Eubanks, keyboardist and songwriter for The Lemon Fog, recalls "we named the band Lemon Fog at the request of Duncan. He wanted us to help him remain relevant and to make the progression into the

rock world so we became the house band at "The Living Eye". "Our live act consisted of original songs and many covers of popular hits. We opened for The Electric Prunes, The Moving Sidewalks, The 13th Floor Elevators, Question Mark and the Mysterians, and Fever Tree. Mike Knust, Fever Tree's guitar player, went to the same high school that we did, and most of the band lived in the neighborhood. 

Scott Holtzman wrote their hit "San Francisco Girls" and managed them. He eventually managed us as well." The first Lemon Fog recording session was at Doyle Jones studio in Houston, during the summer of 1967. Five songs were completed, "Lemon Fog", "Summer", "Yes I Cry", "Girl From The Wrong Side Of Town", and "Echoes Of Time". The songs were sophisticated psychedelic numbers written by Duncan and Eubanks. The oldest member of The Lemon Fog was seventeen year Chris Lyons, a senior in high school, the rest of The Fog were juniors. 

The first single from the sessions was "Lemon Fog" b/w "Echoes Of Time" released in November, 1967. "Lemon Fog" was alternately titled "The Living Eye Theme" to tie in with Duncan's club (he also wrote the lyrics). For "Echoes Of Time" Eubanks wrote the music and played the keyboards, which sounded like a Mellotron. In reality it was the Farfisa and phasing. The engineer would manipulate the tape as it moved across the heads to get that phasing sound. The master tape reveals that "Echoes Of Time" was taped for ten times, before the right band track was found on which to overdub Simmon's lead vocals. As first singles go for a band, The Lemon Fog were mi les ahead of the other bands with their unique sound and style of mixing spacey lyrics with even spacier psychedelic music. 

The second Lemon Fog single, "Summer" b/w "Girl From The Wrong Side Of Town" was released right before school let out, in May, 1968. Eubanks wrote "Summer" when he was sixteen and this was no typically written upbeat teen summer song, it was about alienation and boredom. The single mixed version was edited by almost two minutes, with the verse that includes "My bird has flown" omitted (the unedited complete version is track one on this album). 

The second Fog single was another winner, but according to Eubanks didn't make the charts! II the Fog weren't hitting the charts with their singles, they did get on The Larry Kane TV show. The first time on, they performed "Lemon Fog" with a yellow tinted see-through sheet layered over the video and a foggy mist on stage. Their next and final appearance on Larry King was to perform "Summer". The next Lemon Fog session was for the recording of "Day By Day", and The Prisoner". By now Eubanks was writing all the band's material and he recalls, "we recorded "Day by Day" and "The Prisoner" at Huey Meaux's studio". The single is a existential example of the far out sound of The Lemon Fog, with obscure, philosophical lyrics and observances of life. Unfortunately this was to become 

The Lemon Fog's third and final single. The band members graduated high school in June 1968 and went onto divergent paths. Eubanks says that "when I left The Lemon Fog I joined Duncan at his new Soundville recording studio where we recorded as "Wichita" in 1970". Wichita cut one single and an unreleased album before breaking up in 1971.

Tracks

1. Summer - 3:48

2. Lemon Fog - 2:52

3. Echoes Of Time - 2:33

4. The Prisoner - 4:04

5. Day By Day - 3:31

6. Yes I Cry (Jimmy Duncan, Ted Eubanks, Ray McGinnis) - 2:49

7. Girl From The Wrong Side Of Town - 3:08

8. Summer - 2:42

9. Echoes Of Time - 1:26

10.Echoes Of Time - 3:38

11.Echoes Of Time - 2:46

12.Lemon Fog - 3:15

13.Day By Day - 3:25

14.The Prisoner - 3:30

15.Girl From The Wrong Side Of Town - 2:52

16.Girl From The Wrong Side Of Town - 0:22

Songs 1,4,5,8,13,14 written by Ted Eubanks

Songs 2,3,7,9,10,11,12,15,16 written by Jimmy Duncan

The Lemon Fog
*Ted Eubanks - Keyboards, 12 String Guitar
*Bill Simmons - Lead Vocals
*Terry Horde - Lead Guitar
*Chris Lyons - Drums
*Danny Ogg - Bass
*Keith Manlove - Guitar (Left the band before the recordings)

Related Acts

1966-68  Various Artists - Three O'Clock Merrian Webster Time

Just Paste
Text Host

Free Text

rep>>> Smith - A Group Called Smith • Minus Plus (1969-70 us, marvelous rhythm 'n' blues psych rock, 2014 remaster)

Smith were discovered in an L.A. nightclub by none other than Del Shannon, who got them signed to ABC-Dunhill and arranged their smash hit cover of “Baby, It’s You.” They also boasted one of the best albeit largely unknown female singers of the ‘60s in the person of Gayle McCormick, who, with her blonde good looks and powerful, bluesy voice, seemed destined to lead Smith to big things (she did go on to record a series of solo albums for Dunhill). 

Featuring three lead singers and a B-3 Hammond organ, their strongest asset was their most frequent vocalist, Gayle McCormick, an accomplished female blue-eyed soul belter. Most of their material consisted of covers of popular rock and R&B tunes, and they broke up after a couple of albums, though the singles "What Am I Gonna Do" (co-written by Carole King) and "Take a Look Around" made the middle of the charts. McCormick had a couple of small hits in 1971 and made a few albums in the early '70s as a soloist.

by Richie Unterberger

Tracks

1. Let's Get Together (Chet Powers) - 3:31

2. I Don't Believe (Jeffrey Thomas) - 3:41

3. Tell Him No (Rod Argent) - 3:26

4. Who Do You Love? (Ellas McDaniel) - 2:57

5. Baby It's You (Barney Williams, Burt Bacharach, Mack David) - 3:27

6. Last Time (Mick Jagger, Keith Richards) - 5:35

7. I Just Wanna Make Love To You (Bob Wackett, Kenny Lynch) - 2:38

8. Mojaleskey Ridge (Dan Walsh, Kenny Lynch) - 2:33

9. Let's Spend The Night Together (Mick Jagger, Keith Richards) - 3:53

10.I'll Hold Out My Hand (Al Gorgoni, Chip Taylor) - 3:03

11.You Don't Love Me (Yes I Know) (Willie Cobbs) - 3:21

12.Born In Boston (Alan Parker, Judd Huss, Larry Moss) - 2:42

13.Comin' Back To Me (Alan Parker) - 2:58

14.Feel The Magic (Alan Parker) - 2:38

15.Jason (Jud Huss) - 3:28

16.What Am I Gonna Do (Carole King, Toni Stern) - 2:52

17.Take A Look Around (Rick Cliburn, Jerry Carter) - 2:54

18.Since You've Been Gone (Alan Parker) - 3:34

19.Circle Man (Jud Huss) - 2:29

20.Minus-Plus (Larry Moss) - 4:18

Tracks 1-10 from A Group Called Smith 1969

Tracks 11-20 from Minus-Plus 1970

Smith

A Group Called Smith 1969

*Jerry Carter - Bass, Vocals

*Rick Cliburn - Guitar, Vocals

*Bob Evans - Drums

*Gayle McCormick - Vocals

*Larry Moss - Keyboards

With

*Alan Parker - Guitar, Vocals

*Larry Knechtel - Piano

Minus-Plus 1970

*Gayle McCormick - Vocals

*Alan Parker - Guitars, Vocals

*Jud Huss - Bass, Vocals

*Larry Moss - Keyboards

*Bob Evans - Drums

Just Paste 

Text Host

Free Text

rep>>> Tim Hardin - Painted Head (1972 us, elegant passionate psych folk, japan remaster)

A gentle, soulful singer who owed as much to blues and jazz as folk, Tim Hardin produced an impressive body of work in the late '60s without ever approaching either mass success or the artistic heights of the best singer/songwriters. 

When future Lovin' Spoonful producer Erik Jacobsen arranged for Hardin's first recordings in the mid-'60s, Hardin was no more than an above-average white blues singer, in the mold of many fellow folkys working the East Coast circuit. By the time of his 1966 debut, however, he was writing confessional folk-rock songs of considerable grace and emotion. The first album's impact was slightly diluted by incompatible string overdubs (against Hardin's wishes), but by the time of his second and best LP, he'd achieved a satisfactory balance between acoustic guitar-based arrangements and subtle string accompaniment. 

It was the lot of Hardin's work to achieve greater recognition through covers from other singers, such as Rod Stewart (who did "Reason to Believe"), Nico (who covered "Eulogy to Lenny Bruce" on her first album), Scott Walker (who sang "Lady Came From Baltimore"), Fred Neil ("Green Rocky Road" has been credited to both him and Hardin), and especially Bobby Darin, who took "If I Were a Carpenter" into the Top Ten in 1966. 

Beleaguered by a heroin habit since early in his career, Hardin's drug problems became grave in the late '60s; his commercial prospects grew dimmer, and his albums more erratic, although he did manage to appear at Woodstock. 

In 1973 he released a totaly different album, one of his rarest and most interesting recordings.  For such an accomplished songwriter to record an album of all covers always makes for a compelling project.  Hardin doesn’t disappoint on this 1973 album.  The covers are esoteric and show his various influences from Randy Newman to Jesse Winchester with nods along the way to Willie Dixon and Badfinger.  It looks strange on paper, but he makes it work. 

His end was not a pretty one: due to accumulated drug and health problems, as well as a scarcity of new material, he didn't complete any albums after 1973, dying of a drug overdose in 1980. 

by Richie Unterberger

Tracks
1. You Can't Judge a Book by the Cover (Willie Dixon) - 4:12
2. Midnight Caller (Pete Ham) -3:09
3. Yankee Lady  (Jesse Winchester) - 4:27
4. Lonesome Valley (Traditional) - 4:29
5. Sweet Lady (Ralph Dino, John Sembello) - 3:47
6. Do the Do (Willie Dixon) - 4:20
7. Perfection (Pete Ham) - 3:03
8. Till We Meet Again (Neil Sheppard) - 3:13
9. I'll Be Home (Randy Newman) - 5:43
10.Nobody Knows You When You're Down and Out (Jimmy Cox) - 6:38

Musicians
*Tim Hardin – Vocals, Guitar, Keyboards
*Peter Frampton – Guitar
*Don Brooks – Harmonica
*Rebop Kwaku Baah – Percussion, Conga
*Tony Carr – Percussion
*Alun Davies – Guitar
*Tristan Fry – Vibraphone, Background Vocals
*Cissy Houston – Background Vocals
*Liza Strike – Background Vocals
*Bobbie Whitaker – Background Vocals
*Dennis Lopez – Percussion
*Tony Meehan – Organ, Piano, Percussion, Chimes, Drums, Vibraphone, String, Horn, Choir, Woodwind*Rod Murfield – Percussion
*Larry Packer – Fiddle
*Alan Ross – Guitar, Mandolin
*Jean Roussel – Organ, Piano, Keyboards
*Bruce Rowland – Drums
*Jeff Schwartz – Pedal Steel Guitar
*Neil Shepherd – Piano, Harmonium
*Chris Stewart – Bass
*Twenty-First Century Singers – Choir

1969-70  Suite For Susan Moore / Bird On The Wire

Just Paste
Text Host

Free Text

rep>>> Velvet Opera - Ride A Hustler's Dream (1969 uk, fascinating psych blended with exotic folk bluesy rock, 2004 akarma reissue)

Are you a sleeve-thumbing album snob? Are you at this very instant, hurtling through all the LPs in the rack marked "Groups'7 pausing only to gloat over American imports,  and rejecting lesser-known British efforts with an oath? Velvet Opera are a lesser-known British group.

Nobody would hail them as a "super group" yet, and they aren't releasing a double album in a platinum sleeve designed to reap them a billion dollars and are the praise of the Underground scene-whoever they are. Velvet Opera are the kind of group that make up the backbone of the British band scene. They maintain the high standards of a singularly competitive field, which, in recent years has produced some of the most exciting and rewarding music this side of 1900.

They are concerned with music and with getting ahead of the competition. They have worked extremelyhard on producing an album that entertains and allows them full rein to play the kind of things THEY enjoy. It is my opinion they achieve both aims. Originally the band were featured as Elmer Gantry and the Velvet Opera, and released a successful album under this name last year.

Now Elmer has left them over a disagreement on musical policy and this is the group's first recorded indication of the direction they wish to take on their own. Between Johnny Joyce (lead vocals, acoustic and electric guitars), Paul Brett (lead vocals, acoustic and electric guitars), John Ford (bass) and Richard Hudson (drums, sitar and tabla), they have a tremendous store of musical ammunition.They manage to cover an enormous amoun of territory, from country style/to blues rock and ragas.

Yet strangely, each trad flows into the other without too mucf adjustment of ear drums being necessaryIt shows how much our appreciation o different styles has been widened over the years by the efforts of band like the OperaListening to the high humour and energy o "Raga (And Lime)" it is obvious they mear everything they play. "Eleanor Rigby" is thei major tour de force.

I thought it was c number relatively played out over the years but the Opera work up a new excitemen over those dramatic, mood chordsParticularly impressive here is the speed drumming of Richard Hudson and the powerful guitars of John and Paul. Much of the material is self-written however and thi is always vital to establishing a truly origina sound and making a real contribution to modern group music.

"Supergroup... underground"? Perhaps not, but how man of those people are REALLY together when you analyse a lot of the product under this banner? Velvet Opera are more together than most. This album contains lots of good things. So don't be an album snob and point this one at the deck.

by Chris Welch

Tracks
1. Ride A Hustler's Dream (Paul Brett) - 0:57

2. Statesboro Blues (Blind Willie McTell) - 3:39
3. Money By (Paul Brett, Richard Hudson, John Joyce, John Ford) - 3:56
4. Black Jack Davy (John Ford) - 3:35
5. Raise The Light (Hudson, Paul Brett) - 4:09
6. Raga (Richard ) - 5:29
7. Anna Dance Square (Paul Brett, John Ford) - 3:01
8. Depression (John Ford) - 4:01
9. Don't You Realize (Paul Brett, Richard Hudson, John Joyce, John Ford) - 3:37
10. Warm Day In July (Paul Brett) - 5:06
11. Eleanor Rig by (John Lennon, Paul McCartney) - 5:54
12. She Keeps Giving Me These Feelings (Dave McTavish) - 2:39
13. There's A Hole In My Pocket (Dave McTavish) - 3:45

Velvet Opera
* Paul Brett - Lead Guitar, Vocals
* Richard Hudson - Drums
* John Joyce - Acoustic Guitar, Vocals
* John Ford - Bass

Related Acts
Paul Brett's Sage 1970 (2007 Japan Remaster)

Just Paste

Text Host

Free Text

Fred - Live At The Bitter End (1974 us, notable progressive jazz rock, 2004 World In Sound release)

"The group as a whole Is to these ears more enjoyable than either the Mahavlshnu Orchestra or the new Billy Cobham band. In fact they are providing the kind of solid rhythmic electric music that I didn't think existed In pop circles anymore. Even the Bitter End, under Interim management, seemed more congenial than usual. Any band that can do that must be all right,"

by Peter Occhiogrosso, August 1.1974

They say good things come in 3’s. So it is with the 3rd CD in the Fred trilogy on World in Sound "Live At The Bitter End". Recorded over Summer 1974 while Fred were headlining at NYC’s world famous nightspot The Bitter End, these are raw, in your face live performances that will lift you up and blow you away. It is high octane, aggressive electric instrumental music with a pulse pounding beat, wailing gutsy guitar, and wild violin pyrotechnics. 

"Live At The Bitter End” features all new original music, ranging from tender to tortured, demented to delirious, always energetic, edgy, enigmatic, and full of surprises. With strong melodic themes over innovative rhythms, six pieces of the puzzle are carefully arranged into a seemingly endless variety of combinations, and then each is set loose over elegant structures for solo flights in the twilight zone of improvisation. 

Influenced by Mahavishnu, Zappa, Jethro Tull, Yes, Spirit, King Crimson, Bartok, and Stravinsky, as well as inspired by musicians like Jean-Luc Ponty, Jerry Garcia, Bill Bruford, Herbie Hancock, John Bonham, Jerry Goodman, Robin Trower, Joe Zawinul, Chris Squire, and Stephane Grappelli, Fred had by 1974 assimilated and fused a staggering array of disparate elements into their sound.

WIS

Tracks
1. Variations - 3:46
2. Nocturnal - 12:06
3. Freefall - 2:11
4. Morose Code - 4:39
5. Pachanga - 7:44
6. Cathode Ray Fantasy - 2:51
7. Immersions - 6:59
8. Mucous Music - 6:38

Fred
*Joe DeCristopher - Electric Guitar
*Mike Robison - Fretless Bass
*Bo Fox - Drums, Percussion
*Peter Eggers - Fender Rhodes
*Ken Price - Farfisa Organ
*David Rose - Electric Violin

1971  Fred - Fred
1974  Fred - Notes On A Picnic

Just Paste

Text Host
Free Text