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Plain and Fancy

Music gives soul to universe, wings to mind, flight to imagination, charm to sadness, and life to everything.

Plato

Sunday, June 28, 2026

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

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Friday, June 26, 2026

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.


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)
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Thursday, June 25, 2026

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

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Wednesday, June 24, 2026

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)

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Tuesday, June 23, 2026

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)

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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

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Monday, June 22, 2026

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

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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)

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Sunday, June 21, 2026

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

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Saturday, June 20, 2026

Markley - A Group (1969 us, superb psychedelia with delicate arrangements, 2011 edition)



The roots of this album lie in a band formed by Californian teenagers Shaun and Danny Harris, together with their friend Michael Lloyd. Having joined forces with the much older Bob Markley (who paid for new equipment) in late 1965, they were renamed The West Coast Pop Art Experimental Band, and issued some home recordings on the tiny Fifo label in early 1966. They soon won a contract with Reprise, though Lloyd was replaced by guitarist Ron Morgan. Their first proper album, Part One, was issued in February 1967, followed by Volume Two in November, but both sold poorly. Live work was hard to find and press interest was small, but Reprise still issued Volume III - A Child's Guide To Good And Evil in May 1968. 

It was perhaps their best, but sales were still small, and they parted with the label following its release. Markley's weird lyrics and musical ineptitude had long frustrated the Harris brothers, and, given their lack of live work and record sales, they splintered at around the same time. Morgan went on to play with Three Dog Night and The Electric Prunes, while the Harris brothers got involved with The California Spectrum, who toured and issued a couple of rare 45s. 

A living proved hard to make, however, and by 1969 the WCPAEB had reformed to make another LP, this time for the small Amos label (owned by Jimmy Bowen, co-producer of their early Reprise work). A strange blend of leftovers and newer tracks, with clear involvement from Michael Lloyd and Ron Morgan (neither of whom are shown on the cover), Where's My Daddy? was less adventurous and more pop-orientated than their previous efforts, but still contained intriguing and unsettling material. Upon its July release it sold no better than their previous LPs (and nor did a 45 pairing the title track and Free As A Bird). Bizarrely, the album also appeared in New Zealand.

Still searching for a hit, Markley convened the band (largely without Shaun Harris) once more that autumn to record a final LP, which appeared at the end of the year as Markley: A Group (with accompanying lyric insert). It contains some lovely songs, with delicate arrangements but Markley's insistence on naming the project after himself doomed it to abject commercial failure, and Lloyd (who'd arranged the deal with the small Forward label, an MGM subsidiary) has since said that he went along with the name change simply so as to be shot of him. Having produced obscure albums for JJ Light and Goodness & Mercy, Markley went on to become a considerable enigma. 

By the mid-70s his interest in young girls had brought him to the attention of the police, and in ensuing years he seemingly lost his mind, shocking old acquaintances with his increasingly bedraggled appearance. By the late 1980s he was a physical ruin, going in and out of hospitals and asylums and totally unable to look after himself. To some it seemed like karma, though his unique combination of ambition and eccentricity made an major contribution to the remarkable music made by the various configurations of The West Coast Pop Art Experimental Band.
Liner Notes



Tracks
1. Booker T. And His Electric Shock. (Bob Markley, Dan Harris) - 2:22
2. Next Plane To The Sun. (Bob Markley, Michael Lloyd) - 2:13
3. Markley - A Group. (Bob Markley, Dan Harris) - 2:44
4. Elegant Ellen. (Bob Markley, Dan Harris) - 2:18
5. Little Ruby Rain. (Bob Markley, Dan Harris) - 3:01
6. Message For Miniature. (Bob Markley, Michael Lloyd) - 0:26
7. Sarah The Bad Spirit. (Bob Markley, Dan Harris) - 2:35
8. Truck Stop. (Bob Markley, Dan Harris) - 3:19
9. Zoom! Zoom! Zoom! (Bob Markley, Dan Harris) - 2:11
10.Sweet Lady Eleven. (Bob Markley, Michael Lloyd) - 2:18
11.The Magic Cat. (Bob Markley, Dan Harris) - 2:58
12.Outside/Inside. (Bob Markley, Shaun Harris) - 2:39

Musicians
*Dan Harris - Vocals, Guitar 
*Shaun Harris - Vocals, Bass 
*Michael Lloyd - Vocals, Keyboards, Guitar 
*Bob Markley - Vocals, Percussion

Related Acts
West Coast Pop Art Experimental Band

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Friday, June 19, 2026

Thunder And Roses - King Of The Black Sunrise (1969 us, raw warm fuzz hardrock, 2022 remaster)



Led by explosive guitar player Chris (later Christa) Bond, Thunder and Roses was a power-trio from Philly in the best tradition of Cream or the Jimi Hendrix Experience. This is their sole album, originally released in 1969. A cult psychedelic hard-rock classic, including “White Lace and Strange”, famously covered by Nirvana.

Thunder and Roses (named after a story from The Astounding Science Fiction Anthology) started to take form when genius 18-years old guitar player Chris Bond and bassist Tom Schaffer met heavy drummer George Emme (previously of The Electric Power House). Rehearsing six days a week the trio gelled quick and soon they were playing memorable shows at venues like Electric Factory and the Trauma.

Recorded at Sigma Sound by Joe Tarcia, “King of the Black Sunrise” was released by United Artists in 1969. Dominated by Bond’s outstanding fuzz-wah guitar playing, the album featured seven original songs plus a storming cover of Hendrix’s “Red House”. Sadly, the record label took a wrong decision when refused to release the killer “White Lace and Strange” as a 45 to promote the album, choosing the mockery “Country Life” instead.

After Thunder & Roses split, guitar player and main songwriter Chris Bond had a successful career as producer, songwriter, arranger and session musician, working closely with Daryl Hall & John Oates as well as other top artists. Later in his life, Chris eventually transitioned from male to female and changed her name to Christa. She sadly passed away in 2019.
Guerssen


Tracks
1. White Lace and Strange - 3:16
2. I Love a Woman - 4:43
3. Country Life - 2:51
4. Red House (Jimi Hendrix) - 5:40
5. Moon Child - 4:14
6. Dear Dream Maker - 3:33
7. King of the Black Sunrise - 3:51
8. Open Up Your Eyes - 7:26
All song by Chris Bond, except where noted.

Thunder And Roses
*Chris Bond - Guitars, Vocals
*Tom Schaffer - Bass, Vocals
*George Emme - Drums

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Thursday, June 18, 2026

Mountain ‎- Setlist The Very Best Of Mountain Live (1969-73 us, stunning bluesy hard rock, 2011 release)



The largest stack of amplifiers onstage at Woodstock didn't belong to The Who, Jefferson Airplane, The Grateful Dead or even Jimi Hendrix. It belonged to the then- unknown Mountain. The new band was playing only its fourth live show when it appeared at the legendary 1969 rock festival.

On that muddy Saturday - August 16, 1969- Mountain was in the unenviable position of not only being unknown, but of following, among others, an outstanding set by Santana that had throngs dancing, plus a hit-punctuated set by fellow blues rockers Canned Heat. The latter debuted an improvised "Woodstock Boogie" in honor of the fest.

Then Mountain's Leslie West unleashed his growling, bruiser voice and blistering guitar attack. Although the band was unfamiliar, "the crowd loved them," recalled festival co- creator Michael Lang in his 2009 book The Road To Woodstock. "Not to be outdone by Canned Heat, they came up with their own song at the festival" - "For Yasgur's Farm."

That baptism-by-concert was as it should have been. Few bands of the era were as superb in performance as Mountain. From Woodstock, the band went on to establish itself at the 1970 Atlanta Pop Festival and New York's Randall's Island Festival, also in 1970.

Prior to forming Mountain, Leslie West thought he was a pretty good rock guitarist - until he saw Cream's Eric Clapton. Multi-instrumentalist and fellow New Yorker Felix Pappalardi was Cream's producer. So who better to produce West's 1969 album, titled Mountain? The guitarist liked the experience so much that he recruited Pappalardi to form a band, also called Mountain. With keyboardist Steve Knight and drummer Norman D. Smart, the young group stormed the Woodstock stage.

The first Mountain LP, Climbing!, was issued in early 1970. It included the group's biggest hit, "Mississippi Queen." Smart was soon replaced on drums by Corky Laing. The dynamics of the group were created by the interplay between West's blazing and highly amplified vibrato guitar and Pappalardi's sophisticated and jazz inflected bass, particularly live.

Wisely, the group's third LP, Flowers Of Evil (1971), was half comprised of material recorded in concert at The Fillmore East. The follow-up was fully live, 1972's Mountain Live: The Road Goes Ever On. By then, the band had broken up. In 1974, West and Pappalardi re-formed Mountain. Again playing to the group's strength as a visceral live ensemble, Twin Peaks was issued as a double live LP. Then a second breakup occurred.

In 1983, Felix Pappalardi was shot. to death by his wife, Gail Collins Pappalardi. She had designed many of Mountain's album covers and written several of its song lyrics. West and Laing formed a new Mountain and dedicated its comeback album to their deceased comrade. In various incarnations, the group has continued ever since.

The legacy of the classic Mountain sound endures. Today, the band's music is heard in several video games. The live recording of Mountain's "Long Red" is one of the most sampled tracks in hip-hop, having been used by such stars as A Tribe Called Quest, Nas, and Kanye West, among others. Tracks like "Blood Of The Sun" and "Nantucket Sleighride" continue to influence hard-rock musicians.

More importantly, Mountain marked the true birth of American heavy metal. In Britain, Jimi Hendrix, Cream, Led Zeppelin and Deep Purple had paved the way during the late 1960s. In the U.S., bands such as Blue Cheer and the MC5 had adopted feedback and other metal traits prior to Mountain. But in Leslie West, America found its first real metal-guitar god.
by Robert K. Oermann


Mountain
Felix Pappalardi - Bass, Vocals
Leslie West - Guitar, Vocals
Corky Laing - Drums (Tracks 1-3, 7-12)
Steve Knight - Organ (Tracks 1-3, 7-12)
David Perry - Rhythm Guitar (Tracks 1-3)
Norman D. Smart - Drums (Tracks 1-3)
Bob Mann - Guitar, Keyboards (Tracks 4-6)
Allan Schwartzberg - Drums (Tracks 4-6)

1970  Mountain - Climbing! (2013 blu spec edition) Related Acts
1965-68  Vagrants - I Can't Make a Friend (2011 remaster)
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rep>>> Mountain - Nantucket Sleighride (1971 us, fantastic blues soaked hard rock, 2013 japan blu spec remaster)



Mountain's follow-up to the very successful Climbing! is another tour-de-force of heavy rock styles, mixed this time even more effectively with an increased sense of experimentalism. Columbia/Legacy has once again put together a nice little remaster package here, with liner notes from Leslie West and Corky Laing, photos, and vibrant sound.

The hard rock sounds of "Don't Look Around" start the CD off in head-banging fashion, with West's throaty growl and rampaging guitar riffs backed by the rhythm section of Laing and Felix Pappalardi, and contrasted by the lush Mellotron notes from Steve Knight. The epic title track is an early 70's classic, featuring melodic vocals from Pappalardi, huge pounding guitar parts from West, and Knights cascading keyboards. West assaults the listener with stinging lead lines and churning rhythm guitar on the rocking "You Can't Get Away", and angry song that just screams to be played live, and "Tired Angels" features some wicked pentatonic licks (listen to this song and hear where Michael Schenker and Uli John Roth might have gotten some inspiration) and layers of organ and piano from Knight. 

"The Animal Trainer and the Toad" is a funky but heavy blues-rocker, while "My Lady" has a hint of psychedelia as well as good early 70's pop. The CD ends with the metal-meets-prog of "Travellin' In The Dark (To E.M.P.)" and the electric blues of "The Great Train Robbery", highlighted by some nasty slide guitar from Leslie West. The bonus track on this reissue is a live version of "Travellin' In The Dark (To E.M.P.)", that suffers a bit from the bass and organ being way too high in the mix, but is neat to hear nevertheless.

While not the out-and-out ball-buster that Climbing! is, Nantucket Sleighride is a great follow-up, and an important album in hard rock history that cemented Mountain as a force to be reckoned with and Leslie West a bona-fide guitar hero. 
by Pete Pardo


Tracks
1. Don't Look Around (Leslie West, Sue Palmer, Felix Pappalardi, Gail Collins) - 3:47
2. Taunta (Felix Pappalardi) - 1:00
3. Nantucket Sleighride (To Owen Coffin) (Felix Pappalardi, Gail Collins) - 5:55
4. You Can't Get Away (Leslie West, Gail Collins, Corky Laing) - 3:28
5. Tired Angels (To J.M.H.) (Felix Pappalardi, Gail Collins) - 4:42
6. The Animal Trainer And The Toad (Leslie West, Sue Palmer) - 3:29
7. My Lady (Corky Laing, Felix Pappalardi, Gail Collins) - 4:36
8. Travellin' In The Dark (To E.M.P.) (Felix Pappalardi, Gail Collins) - 4:27
9. The Great Train Robbery (Leslie West, Corky Laing, Felix Pappalardi, Gail Collins) - 5:50
10.Travellin' In The Dark (To E.M.P.) (Live) (Felix Pappalardi, Gail Collins) - 5:10

Mountain
*Leslie West - Guitar, Vocals
*Felix Pappalardi - Bass, Rhythm Guitar, Piano, Vocals
*Steve Knight - Organ, Handbells
*Corky Laing - Drums, Percussion


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