Cream - Live Cream (1967-68 uk, superb heavy blues psych rock, 2010 japan SHM remaster)

Cream was a band born to the stage, a fact that the band and their record label realized the public fully understood by the number one U.S. chart placement for Wheels of Fire, with its entire live disc, and the number two chart peak for Goodbye, the posthumous release that was dominated by concert recordings. And in response to those success, we got Live Cream, Vol. 1 (originally known simply as Live Cream) in the spring of 1970, nearly 18 months after the trio's breakup. This could well be their most consistently brilliant album for sheer musicianship, though it is also a peculiar one on a couple of counts, some of which probably prevented it from reaching quite as wide an audience as it might have otherwise. 

Released in April 1970 and derived from tapes made at three May 1968 California shows, all of the live tracks here consist of songs originally featured on the group's least ambitious and most rudimentary album, Fresh Cream, dating from 1966 -- and as it happens, there's not a hit represented among the five songs, a fact that probably made this release seem more appealing to hardcore fans than to casual and curious listeners (who didn't know what they were missing). 

The performances here show how far the group had come in the nearly two years since laying down the studio originals -- take side one of the original LP, where they stretch out their playing, as well as boost it to new levels of intensity, on "N.S.U." and "Sleepy Time Time," so that the renditions here are the definitive ones, and by themselves should have made this album an essential acquisition back in 1970. But that brings us to the original side two and the 15-minute rendition of "Sweet Wine," an excursion by all three players that is worth the quarter-hour time commitment of the listener. 

The live portion of the album ends with their searing, rollicking high energy rendition of Muddy Waters' "Rollin' and Tumblin'." And then, for reasons not clear -- except perhaps simply that it was there, in the vaults, and seemed like a valuable piece of property, which it was (and what else were they going to do with it?) -- the producers close Live Cream with a studio cut, "Lawdy Mama," an Eric Clapton-inspired take on a traditional tune that subsequently evolved into the hit "Strange Brew" during what became the Disraeli Gears sessions. It's not a match for everything we've heard, but in the spring of 1970 no one was exactly complaining over being handed a previously unissued studio track by the Cream, as a bonus to the concert performances here. 

As it turned out, there were more live tracks from some of these same shows to draw on in future releases and reissues, which would include a couple of the group's hits; but Live Cream offers the overall highest quality, both in terms of clarity and fidelity, and the performances, which, in addition to the essential great playing (better in some ways than what was heard on some of the much-vaunted live tracks from Wheels of Fire), include excellent vocalizing by Clapton and Jack Bruce. 

Not that vocalizing looms that large here -- the live tracks are all given extended jazz-based treatment, and the dialog among the three musicians as the jams develop is fascinating. Foreground and background seem to dissolve as all three musicians take charge, using the full range of their instruments. And where Bruce goes with his bass, especially on "Sweet Wine," is every bit as rewarding as the places that Clapton's guitar takes us; and Ginger Baker's playing is a trip all its own. Performances like this single-handedly raised the stakes of musicianship in rock. 

by Bruce Eder

Tracks
1. N.S.U. (Jack Bruce) - 10:15

2. Sleepy Time Time (Jack Bruce, Janet Godfrey) - 6:49
3. Sweet Wine (Ginger Baker, Janet Godfrey) - 15:16
4. Rollin' And Tumblin' (Muddy Waters) - 6:42
5. Hey Lawdy Mama (Traditional) - 2:48
Recorded May 1967 at Atlantic Studios, New York City,  7 March 1968 at The Fillmore, San Francisco, 9 and 10 March 1968, Winterland, San Francisco

Cream
*Jack Bruce - Bass, Harmonica, Vocals
*Eric Clapton - Guitar, Vocals
*Ginger Baker - Drums

1972  Cream - Live II (2010 Japan SHM-CD)

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rep>>> Cream - Live Cream II (1972 uk, classic heavy blues psych rock, 2010 japan SHM remaster)

An oft-overlooked curio, Live Cream, Vol. 2 appeared at a very odd time, with very little warning, almost two years after its predecessor -- and at virtually the same time as the related (though not overlapping) History of Eric Clapton. And both showed up, not coincidentally, at a point when Clapton, unbeknownst to most of the public, was sidelined with a crippling heroin addiction -- this album helped keep him in the public eye, as a singer as well as a guitarist. 

On its face, Live Cream, Vol. 2 is a more ambitious album that its predecessor, offering more songs and including concert versions of two of the group's AM radio hits (as opposed to the album tracks that comprised the repertory on Live Cream, Vol. 1). And it is just about essential listening for anyone who wants to understand what Cream was about, which was live performance. Utilizing -- for the time -- state of the art mobile recording equipment, it was a significant achievement at the time in capturing the genuine sound of a high-wattage power trio on-stage, playing away at full volume; and the overall sonic excellence here must surely be credited to engineers Tom Dowd and Bill Halverson. 

The feeling that you are in the front row is very much in evidence, and this is largely due to their ability to capture the band's live fury with clarity and intimacy, down to every nuance of Ginger Baker's playing. As for the performances, this record does capture the band at their peak, though perhaps not at the very best moments of that peak -- the group made their reputation as a live act with epic, lengthy jams that verged on jazz, but the repertory represented here (as opposed to that on Live Cream, Vol. 1) is more focused on their pop/rock efforts, such as "White Room," "Sunshine of Your Love," "Tales of Brave Ulysses," etc., which don't lend themselves as easily (or at all) to opening out in extended jams, in the manner of, say, "N.S.U." or "Sweet Wine," or the legendary "Spoonful"; additionally, numbers such as "Sunshine of Your Love" and, in particular, "White Room," require more vocal dexterity than Clapton and bassist/singer Jack Bruce could muster in this kind of concert setting -- their singing, especially on "White Room" comes close to breaking down ("Sunshine of Your Love" fares better), whereas their playing holds together, almost better than perfect at times.

"Deserted Cities of the Heart" -- which opens the album -- comes off exceptionally well as a concert piece, the bass and guitar actually combining to overcome the absences of swooping cellos, acoustic guitars, and other accompanying instruments from the studio rendition. And there is one priceless example of Cream in a full-tilt jam, on the 13-plus-minute closing cut, "Steppin' Out" -- the band's sheer energy overcomes what minor deficiencies there are in the overall sound quality. And coupled with the compact, four- to five-minute versions of "Deserted Cities of the Heart" and "Tales of Brave Ulysses," among others, the album is a vital, intense, and enjoyable listen that is ultimately rewarding. The original LP had its sonic limitations,  but this remastered version offers the best sound ever heard for this album. 

by Bruce Eder

Tracks
1. Deserted Cities Of The Heart (Jack Bruce, Pete Brown) - 4:32
2. White Room (Jack Bruce, Pete Brown) - 5:38
3. Politician (Jack Bruce, Pete Brown) - 5:06
4. Tales Of Brave Ulysses (Eric Clapton, Martin Sharp) - 4:45
5. Sunshine Of Your Love (Eric Clapton, Jack Bruce, Pete Brown) - 7:20
6. Steppin' Out (James Bracken) - 13:38 (Mistitled As Hideaway)
Track 5 recorded 9 March 1968 at the Winterland, San Francisco
Tracks 4, 6 recorded 10 March 1968 at the Winterland, San Francisco
Tracks 1 - 3 recorded 4 October 1968 at the Oakland Coliseum Arena, Oakland

Cream
*Eric Clapton - Vocals, Guitar
*Jack Bruce - Vocals, Bass, Harmonica
*Ginger Baker - Drums

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rep>>> Climax Blues Band - FM Live (1973 uk, superb hard blues rock, 2013 remaster)

If you were looking for a band with substantial blues roots, technically excellent playing both individually and collectively, and a live excitement that grabs and never lets go, you couldn't do much better than the Climax Blues Band. This English quartet has been around in roughly the same form ever since Rod Stewart and Long John Baldry were obscure blues singers; and FM Live is a fine sampler of their live act, using uptempo blues-rockers to establish a primal intensity sustained throughout a spirited set.

Colin Cooper's booming baritone vocals and inventive sax blowing (he plays lines like pre-Thirties Chicago blues guitarists) are spectacularly well-blended with Pete Haycock's tastefully flashy guitar, all of which is intertwined around the urgent poundings of a highly sympathetic rhythm section. The result is a lengthy but not excessive show that's highly enjoyable -- the product of a tight, talented professional unit. 

by Gordon Fletcher, Rolling Stone, 4/11/74

Tracks
1. All The Time In The World - 5:48
2. I Am Constant - 3:35
3. Flight - 11:14
4. Seventh Son (Willie Dixon) - 4:44
5. Standing By A River - 5:20
6. So Many Roads (Paul Marshall) - 11:06
7. Mesopopmania - 7:04
8. Country Hat - 6:22
9. You Make Me Sick - 3:35
10. Shake Your Love (Richard Gottehrer, Climax Blues Band) - 3:00
11. Goin' To New York (Full Version) (Jimmy Reed) - 10:25
12. Let's Work Together (Wilbert Harrison) - 6:54
All songs by Climax Blues Band except where indicated.

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

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

1969  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) 

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rep>>> Bob Lind ‎- You Might Have Heard My Footsteps • The Best Of (1965-72 us, glorious baroque folk psych)

This 25-song compilation includes the entire contents of his two 1966 LPs, as well as a 1967 single and two previously unreleased tracks. This period piece is highlighted by "Elusive Butterfly," the original versions of "Counting" and "Cheryl's Goin' Home," "Mr. Zero" (covered by Yardbird lead singer Keith Relf on a flop single), and the previously unreleased, gorgeous baroque rock song "English Afternoon." 

by Richie Unterberger

Tracks
1. Elusive Butterfly - 2:46
2. Mister Zero - 3:43
3. You Should Have Seen It - 2:55
4. Counting - 2:54
5. Drifter's Sunrise - 3:26
6. Unlock The Door - 4:06
7. Truly Julie's Blues (I'll Be There) - 2:51
8. Dale Anne - 3:01
9. The World Is Just A “B” Movie - 3:57
10.Cheryl's Goin' Home - 2:06
11.It Wasn't Just The Morning - 2:50 -
12.I Can't Walk Roads Of Anger (Unedited Version) - 4:28
13.San Francisco Woman - 2:54
14.A Nameless Request - 2:15
15.West Virginia Summer Child - 2:12
16.Go Ask Your Man - 2:30
17.Remember The Rain - 2:47
18.I Just Let It Take Me - 2:35
19.The World Is Just A “B” Movie Meets Reno, Funtown, U.S.A. - 2:48
20.We've Never Spoken - 2:09
21.Oh Babe Take Me Home - 3:34
22.Eleanor - 3:33
23.It's Just My Love - 2:44
24.I Fall To You - 2:02
25.English Afternoon - 2:37
All songs by Bob Lind

*Bob Lind - Vocals, Guitar

1966  Bob Lind - The Elusive Bob Lind (Vinyl)
1971  Bob Lind - Since There Were Circles

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rep>>> Motherlode - When I Die The Best Of Motherlode (1970/72 canada, magnificent brass jazzy classic rock, 2008 bonus tracks remaster)

The roots of the original Motherlode can be traced back to some of Toronto's hottest club acts in the late '60s. Despite the rave reviews and loyal following, The Soul Searchers were spinning their wheels. Steve Kennedy (sax & harmonica) and William Smith (keyboards), who's resume also included some time with David Clayton Thomas's bands prior to BST, decided to go out on their own, and joined another hot commodity on Yonge Street, Grant Smith & The Power.

But that band was mostly playing everyone else's material, and the majority of the 9-piece ensemble was growing restless, and parted ways in 1968. Kennedy and Smith, along with guitarist Ken Marco and drummer Wayne Stone, decided to go out on their own. They packed up their gear and their bongs, and moved to London to escape the pressures and rat race of living in Toronto.

They began playing on the local circuit there while writing their own material, and barely scratching out a living, when they caught the attention of Mort Ross, president of Revolver Records. He signed them to a deal and the band spent the spring of '69 in the studios with producers Doug Riley (Dr Music) and Terry Brown, who would later be producer of Rush, among a million other credits.

With US distribution through Neil Bogart's (KISS, Donna Summer) Buddha Records, the debut album, WHEN I DIE, was released that summer. But amid a considerable amount of hype, the title track eventually climbed in the top 10 in Canada and went gold, and pleasantly surprising, peaked at #18 Stateside. The follow-up single "Memories Of A Broken Promise" stalled at #25, but with a heavy tour schedule to back the product, record execs were happy, and paid for some recording time that fall.

For some reason RPM Magazine, based out of Toronto coincidentally, decided to declare them Canada's first 'supergroup' ... perhaps a bit premature, as they split up only a couple of months later, in January 1970 with eveyone except Smith became Dr Music's revised backup band. But Mort Ross and Revolver Records owned the name 'Motherlode,' And since he hadn't yet recouped the vested financial investment he'd made in the group, Ross decided to produce and release a second album. TAPPED OUT was in the stores that spring, but only in the US, and unfortunately not many copies left those store shelves.

Although following the same basic funk/soul rock to it, the record was generally perceived as disjointed, sounding incomplete. Because there was minimal material to work with, the songs had to be extended as much as possible, and only seven made the album. With the songs too long for radio play and station PDs not all that interested, it went nowhere.

But ever the opitimist, Ross installed revolving doors in the dressing rooms and studio, and over the next year several incarnations of Motherlode came and went. He convinced Smith to come back on board for one version that played a few smaller dates together, and released a pair of singles, "Dear Old Daddy Bill" and "I'm So Glad You're You." Neither song lit up the charts, and since it was a makeshift marriage destined to fail anyway, everyone went their separate ways.

Another version of the group centred around singer Breen LeBoeuf (ex of Chimo, Soutchote, Studebaker Hawk) and guitarist Gord Waszek (ex of Leigh Ashford), which released the single "All That's Necessary." With no money to back the project, that too didn't fare well. Interestingly, the b-side to that song was "The Chant," a reworking of "Hiro Smothek" from the second album. That version split up, and LeBoeuf retreated to mostly studio work over the years, as well as working on some French projects, then later joining Offenbach and then April Wine.

Bassist Mike Levine (later of Triumph) was among the remnants when a third lineup was formed only months later, this time centering around singer Wayne St John (THP Orchestra, Domenic Troiano Band). The final lineup to bear the name 'Motherlode' came in the spring of '71, the shortest lived version yet, which featured George Olliver on vocals.

The original lineup reunited in '76 to record and tried to release the song "Happy People" under the Motherlode monikor. Mort Ross still owned the name, and therefore naturally vetoed the idea, and the song was released as a Kenny Marco solo project. The name stayed dead until a reunion was scheduled for Club Bluenote in Toronto in late 1989. This sparked a renewed interest in recording some new material, but those sessions have yet to be released. 

Canadian-Bands

Tracks
1. When I Die (Steve Kennedy, William Daniel Smith) - 3:18
2. Oh! See The White Light (Steve Kennedy, William Daniel Smith) - 2:38
3. You Ain't Lookin' In The Right Place Baby (Ken Marco, Steve Kennedy, William Daniel Smith) - 3:47
4. Help Me Find Peace Of Mind (Ken Marco) - 3:20
5. Hard Life (Steve Kennedy, William Daniel Smith) - 4:00
6. Child Without Mother (Ken Marco, Steve Kennedy, William Daniel Smith) - 3:50
7. Dear Old Daddy Bill (Ken Marco, Steve Kennedy, William Daniel Smith) - 2:51
8. Memories Of A Broken Promise (Dianne Brooks) - 2:26
9. Soft Shell (Steve Kennedy, William Daniel Smith) - 4:59
10.Living Life (Ken Marco) - 3:54
11.What Does It Take (To Win Your Love) (Harvey Fuqua, Johnny Bristol, Vernon Bullock) - 2:20
12.Can't You Find Love (Steve Kennedy) - 2:37
13.Quality Of Leadership (Steve Kennedy, William Daniel Smith) - 2:41
14.Righteous Land (Ken Marco) - 3:45
15.Been So Long (Steve Kennedy, William Daniel Smith) - 5:43
16.Robert E. Lee (Louis Muir, Wolf Gilbert) - 1:51
17.Black Cat (Steve Kennedy, William Daniel Smith) - 3:26
18.Hiro Smothek (Steve Kennedy, William Daniel Smith, Ken Marco, Wayne "Stoney" Stone) - 6:20
19.Lilac Wine (James H. Shelton) - 8:52

Motherlode
*Ken Marco - Electric Guitar, Vocals
*William Daniel Smith - Organ, Piano, Harpsichord, Vocals
*Wayne "Stoney" Stone - Drums
*Carol Kaye - Bass, Acoustic Guitar
*Steve Kennedy - Tenor Saxophone, Harmonica, Vocals
*Dave Young - Bass (Track #11)
*Paul "Mickey" MacCallum - Congas (Track #11)
*Andy Cree - Percussion (Track #7)

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rep>>> Dave Mason - Headkeeper (1972 uk, amazing classic rock with psych blues and folk tinges, japan SHM-CD 2010 remaster)

Tommy Li Puma, Dave Mason's coproducer at Blue Thumb, has notified by mail various radio stations and record distributors across the country to go ahead and promote Headkeeper, in spite of the fact that Mason has brought a lawsuit against the label. For those of you who do not boycott the album, Headkeeper has plenty of moments to justify your purchase, and yet leaves you feeling that it is an incomplete, unfinished album.

Each of all the five songs on side two is a live recording of material Mason had recorded elsewhere. "Pearly Queen," a song that here is attributed to Mason and on the Traffic album is credited to Winwood and Capaldi, got itself a better treatment the first time around, simply because Winwood's vocal was funkier, grittier, more edged with irony. 

The song itself has enough propulsion in it that it doesn't need the extra added bit of soul that Winwood gives it, but then why not? Mason's interpretation here of "Feelin' Alright" is different from the one he delivered on Traffic. Then he sang with a whimpering, quaveringly insecure voice which, when joining the chorus, instantly picked up sarcastic strength. The change was always sudden and dramatic as Clark Kent leaping out of a broom closet dressed as Superman. 

In the present version, latin jazz rhythms open the song and right from the beginning all the way through, Mason sings with extroversion and authority. Now he even takes a supposedly humbled line like "Well, boy, you sure took me for one big ride," and turns it inside out to read like a gorgeous put-down. Whatever Chris Wood offered in the way of bluesy saxophone on the first version, Mark Jordan matches well with his jazz electric piano on this. 

Maybe if Headkeeper had had two sides of new material rather than just one, Mason as an artist to our view would have been standing less like "a mist upon the shore." He never has been an easy one to figure out, in his public life or in his music. With Headkeeper he by no means has painted his masterpiece, but instead has left us with some fine sketches and life studies.

by David Lubin, Rolling Stone, 4-13-72.

Tracks
1. To Be Free  - 3:19
2. In My Mind  - 3:19
3. Here We Go Again  (Solomon Burke, Cass Elliot, Bryan Garo, Jerry Gray) - 1:56
4. A Heartache, A Shadow, A Lifetime - 3:35
5. Headkeeper - 4:39
6. Pearly Queen (Jim Capaldi, Steve Winwood) - 3:32
7. Just A Song - 3:01
8. World In Changes - 4:47
9. Can't Stop Worrying, Can't Stop Loving - 3:04
10.Feelin' Alright - 5:40
All titles by Dave Mason, except where noted.

Musicians
*Dave Mason - Electric, Acoustic Guitar, Vocals
*Mark Jordan - Piano, Keyboards
*Lonnie Turner - Bass
*"Dr." Rick Jaeger - Drums
*Felix Falcon aka "Flaco" - Conga, Percussion
Special thanks to:
*Rita Coolidge - Vocals
*Spencer Davis - Vocals
*Graham Nash - Vocals
*Kathi McDonald - Vocals

1970  Dave Mason - Alone Together (2010 Japan SHM-CD) 
1971  Dave Mason And Cass Elliot (2008 remaster)

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rep>>> Dave Mason - Alone Together (1970 uk, fabulous classic rock with drops of psych folk, 2010 japan SHM remaster)

Like Traffic's album "John Barleycorn Must Die", former Traffic member Dave Mason's Alone Together is a good album -- careful, well played, occasionally brilliant and well-conceived -- but like John Barleycorn, Alone Together never breaks its vinyl bonds and soars. The songwriting talent of Mason remains undiminished on Alone Together, and his easy fluid voice, long in Traffic vocalist Stevie Winwood's giant shadow, is used to maximum effect.

This is, of course, the marbled LP, a brilliant burst of color spinning on the turntable, the grooves barely discernible so the needle seems to be floating across the record. Maybe the next step could be a little cartoon around the edge of the record, like those flip-the-pages funnies, or a slow inward spiral so you could be literally hypnotized by the record.

The music is vintage Mason, veering here and there towards commercialism but never quite getting there, slick but not offensive. Falling in line with the rest of Great Britain, Mason chose old Delaney and Bonnie sidemen for the session, including Leon Russell, Jim Keltner, Carl Radle and Rita Coolidge, plus old Mother Don Preston. Russell, as always, is much in evidence, and his piano (if it is him -- the album doesn't say and we have only internal evidence), particularly on "Sad and Deep As You," is masterful.

The high point of the album is clearly "Look at You Look at Me," a song Mason wrote with Trafficker Jim Capaldi, whose tight, urgent drumming on the cut moves the song along with descretion and skill. Mason's singing is simply superb. The other exceptional cuts are "Shouldn't Have Took More Than You Gave" (Mason is not, between you and me, a great song titlist), which features the best wah-wah guitar since Clapton's initial exposition on "Tales of Brave Ulysses"; and "World in Changes," with Mason's deceptively simple lyrics pulled along by some brilliant organ work.

High commercial potential on the album is represented by "Only You Know and I Know," which has a rick-ticky rhythm reminiscent of "You Can All Join In." It's really a trivial song (like others on the album, particularly "Waitin' On You" and "Just A Song"), but it will sound great on a tinny AM radio at 60 miles an hour.

by Jon Carroll, Rolling Stone, 9/3/70.

Tracks

1. Only You Know and I Know - 4:05  

2. Can't Stop Worrying, Can't Stop Loving - 3:02  

3. Waitin' on You - 3:05  

4. Shouldn't Have Took More Than You Gave - 6:00  

5. World in Changes - 4:30  

6. Sad and Deep as You - 3:35  

7. Just a Song - 2:59  

8. Look at You, Look at Me - 7:22  

All songs by Dave Mason except track #8 co-written with Jim Capaldi

Musicians
*Dave Mason - Guitar, Vocals
*Delaney Bramlett - Guitar, Vocals
*Bonnie Bramlett - Vocals
*Leon Russell - Keyboards
*Carl Radle - Bass
*Chris Ethridge - Bass
*Larry Knechtel - Bass
*Jim Capaldi - Drums
*Jim Gordon - Drums
*Jim Keltner - Drums
*Michael DeTemple - Guitar
*Don Preston - Keyboards
*John Simon - Keyboards
*John Barbata - Drums
*Rita Coolidge - Vocals
*Mike Coolidge - Vocals
*Claudia Lennear - Vocals
*Lou Cooper - Vocals
*Bob Norwood - Vocals
*Jack Storti - Vocals

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rep>>> P.F. Sloan - Precious Time / The Best Of (1965-66 us, impressive protest folk, vinyl edition)

A seminal figure in the evolution of West Coast pop, singer/songwriter P.F. Sloan composed and produced some of the most enduring records of the 1960s. While his solo efforts remain folk-rock cult classics, they were barely promoted by longtime label Dunhill, and his subsequent exit from the company was the start of a fall from grace that culminated in a three-decade absence from the studio. Born Philip Gary Schlein in New York City on September 18, 1945, he spent the lion's share of his adolescence in Los Angeles. While browsing the Sunset and Vine music store Wallich's Music City, the 12-year-old met Elvis Presley, who agreed to an impromptu introductory guitar lesson. Within a year Sloan signed to Aladdin Records, issuing his debut single, "All I Want Is Loving," to little notice. 

The Mart label effort "She's My Girl" met a similar fate, but in 1961 he resurfaced as a staff songwriter with Screen Gems, which teamed him with fellow composer Steve Barri under the supervision of producer Gary Usher. As the Fantastic Baggys, Sloan and Barri capitalized on the budding surf craze with "Tell 'Em I'm Surfin'." They also co-wrote the Round Robin hit "Kick That Little Foot, Sally Ann," and when Screen Gems exec Lou Adler broke ranks to found his own label, Dunhill, he brought Sloan and Barri with him to write and produce. Throughout the mid-'60s, the Sloan/Barri partnership proved a hitmaking force to rival the likes of Bacharach/David or Goffin/King. Smashes like Johnny Rivers' "Secret Agent Man," the Turtles' "You Baby," and the Grass Roots' "Where Were You When I Needed You" were instrumental in defining the sound of Southern California rock 'n' roll.

Sloan's most influential composition was the Bob Dylan-inspired "Eve of Destruction," a number one hit for Barry McGuire in the fall of 1965. The song, which drew fire from conservatives and liberals alike, nevertheless became one of the defining protest anthems of the growing counterculture movement, and its success spurred Sloan to renew his own recording career in full. His comeback effort, "Sins of a Family," a bleak, poignant tale of teen prostitution, spent less than two weeks on the pop charts in late 1965, and the LP Songs of Our Times suffered backlash from a folk-rock community that dismissed Sloan as little more than a studio hack jumping on the latest commercial trend. Moreover, Dunhill execs blanched at the thought of losing their most successful songwriter, and spent virtually nothing on promoting his solo career. 

A 1966 follow-up set, Twelve More Times, fared no better, and a frustrated Sloan demanded release from his contract. Dunhill finally agreed, but forced him to sign away all songwriting royalties past, present, and future. Sloan's talent and integrity inspired fellow pop tunesmith Jimmy Webb to write a glowing tribute, "P.F. Sloan," but he remained persona non grata on the pop charts. His 1968 Atco debut, Measure of Pleasure, tanked, and he relocated to New York City, moving in with his parents and plotting his next move. Sloan did not resurface until 1972, releasing the much-maligned Raised on Records on the tiny Mums label. In the decade to follow, he battled depression and catatonia, finally resurfacing in 1985 with a handful of New York club dates. Sloan nevertheless resisted overtures to cut a new LP until 2006, teaming with producer Jon Tiven and guests including Lucinda Williams and Frank Black to record the Hightone release Sailover. 

by Jason Ankeny

Tracks

1. This Precious Time (P.F. Sloan, Steve Barri) - 2:41

2. Eve of Destruction - 3:08

3. The Sins Of A Family - 3:01

4. Here's Where You Belong (P.F. Sloan, Steve Barri) - 3:02

5. This Is What I Was Made For (P.F. Sloan, Steve Barri) - 2:17

6. What Exactly's the Matter With Me - 2:27

7. I Get Out Of Breath - 3:13

8. From A Distance - 3:04

9. The Man Behind The Red Balloon - 2:15

10.What Am I Doin' Here With You (P.F. Sloan, Steve Barri) - 2:41

11.Take Me For What I'm Worth - 2:45

12.Lollipop Train (You Never Had It So Good) (P.F. Sloan, Steve Barri) - 3:08

13.When The Wind Changes - 4:23

14.Halloween Mary - 2:32

All songs by P.F. Sloan unless otherwise.

Musicians

*P.F. Sloan - Vocals, Guitar

*Bones Howe - Drums

*Hal Blaine - Drums

*Joe Osborne - Bass

*John Phillips - Guitar, Vocals

*Larry Knechtel - Bass, Keyboards

1972  P.F. Sloan - Raised On Records

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rep>>> Doctor K's Blues Band - Doctor K's Blues Band (1968 uk, fabulous electric psych blues rock, japan 2007 remaster)

Electric urban blues, particularly of the hard-hitting Chicago variety, became big news in Britain in the middle of the 1960's, not so much as performed by its American originators, but rather like the beat music and R&B which preceded it - via home grown interpretation by enthusiasts who began as fans and developed their enthusiasm as musicians.

Among the initiates on this post-R&B scene were Dr K's Blues Band, formed in Muswell Hill, North London (Kinks country!) by Ashley Hutchings, who was destined to find his folkier roots and considerably more success a couple of years later with Fairport Convention. When Hutchings moved on, the line up eventually stabilised as Mick Haase on vocals and harmonica, the enigmatic Dr. K. on piano, Geoff Krivit on lead guitar, Roger Rolt on slide and rhythm guitar, Harold Vickers on bass and Eric Peachy on drums.

Dr. K's Blues Band played the London/home counties circuit initially, but soon started to move around the country as the blues circuit spread and eventually even found himself playing gigs abroad in Italy and Denmark. Their original forte was the small club and music-featuring pub - the natural homes as it were, of an electric blues quintet in their transatlantic equivalents (honky tonk/dive). After a couple of years, however some of these smaller venues were supplanted by the university and college circuits which became very much their spiritual home.

Their successful career on the live circuit did not translate automatically into a recording deal for the band until 1968. Espying a growing musical boom. Spark Records decided to board the bandwagon by signing up some of the non-contracted groups on the blues circuit and approached Dr. K's manager, Roger Simpson. But Spark Records lacked the experience and expertise in promotion and distribution to ensure widespread press coverage, media exposure or high street stocking of their albums.

Eventually and inevitably, the original band started to break up as the decade drew to a close. Eric the drummer was the first to leave, being replaced by Jeff Alien. By the middle of the 1970's, only Mick Haase and Roger Rolt remained of the original members. The whole team decided to call it a day and split up.

Tracks

1. I Can't Lose (Geoff Krivit) - 2:50

2. Walking (Geoff Krivit, Mick Hasse) - 3:26

3. Key To The Highway (Eric Peachey, Richard Kay, Geoff Krivit, Mick Hasse, Roger Rolt) - 6:26

4. Crippled Clarence (Richard Kay) - 2:45

5. Pet Cream Man (Roger Rolt) - 2:09

6. Messin' With Kid (Richard Kay, Geoff Krivit, Mick Hasse, Roger Rolt) - 2:02

7. Don't Quit The Man You Love, For Me (Mick Hasse, Richard Kay) - 2:24

8. Rolty's Banjo Shuffle (Geoff Krivit, Richard Kay, Roger Rolt) - 2:10

9. Strobe Lemming's Lament (Richard Kay) - 1:46

10.Long Distance Call (Richard Kay) - 4:30

11.I Feel So Bad (Richard Kay) - 2:49

Dr K's Blues Band
*Mick Hasse - Harmonica, Vocals
*Geoff Krivit - Bass, Guitar
*Eric Peachey - Drums
*Roger Rolt - Guitar, Rhythm Guitar, Slide Guitar, National Steel Guitar
*Harold Vickers - Bass
*Richard Kay - Piano

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rep>>> Julian's Treatment - A Time Before This (1970 uk, gorgeous epic art prog rock, with sci fi lyrics, 2017 japan SHM remaster)

Julian's Treatment is yet another forgotten and obscure gem of progressive and psychedelic rock. Not very often does a sci-fi author involve himself with music. Michael Moorcock's involvement with Hawkwind is one of the best examples. And Julian Jay Savarin is another author who involved himself in music, with this band Julian's Treatment. Savarin played the organ and he had an Australian named Cathy Pruden to handle the vocals, with some other guys to handle the guitar, bass, drums, and flute (no liner notes were included, unfortunately).

A Time Before This, released in 1970, was the one and only album by this band (Savarin released an album under his own name called Waiters on the Dance, which varying sources say was released in 1969, 1971, or 1973). Unsurprising, the album is a sci-fi concept album, a bit difficult for me to follow when a lyric sheet wasn't even included, but it seems to involve the destuction of the Earth in which a Terran ends up on a planet inhabited by strange, blue-skinned people, and an evil megalomaniac. Musically, it's late '60s sounding psychedelic with progressive rock with great spacy organ and a cosmic feel to the whole album. Great female vocals as well with the occasional spoken dialog. Highlights include "Phantom City", "The Black Tower", "Altarra, Princess of the Blue Women", "Twin Suns of Centauri", "Alkon, Planet of Centauri", "The Terran", "Fourth From the Sun", and "Strange Things".

All the music sounds like it should belong on some campy sci-fi film from the late 1960s, but that should not come as any surprise. One band that Julian's Treatment gets compared to is The United States of America, the American band that released an self-entitled album in 1968 that featured Joe Byrd and Dorothy Moskowitz. Also comparisons to such prog rock bands lead by female vocalists like Analogy, Sandrose, and Holland's Earth & Fire are pretty common as well. Which is safe to say, if you're a fan of any of these groups, chances are you'll like Julian's Treatment, a great lost gem that sure to grow on you. The original LP (released in Britain by Young Blood and in the U.S. on Decca) isn't exactly easy to come by, but regardless, this album is another excellent obscure gem to add to your collection. 

by Ben Miler

Tracks

1. First Oracle - 1:30

2. The Coming Of The Mule - 3:52

3. Phantom City - 5:18

4. The Black Tower - 5:01

5. Alda, Dark Lady Of The Outer Worlds - 3:52

6. Altarra, Princess Of The Blue Woman - 4:14

7. Second Oracle - 1:39

8. Part One: Twin Suns Of Centuari - 2:59

9. Part Two: Alkon, Planet Of Centauri - 2:58

10.The Terran - 4:00

11.Fourth From The Sun - 2:48

12.Strange Things - 4:58

13.A Time Before This - 8:55

All compositions by Julian Jay Savarin

Julian's Treatment

*Julian Jay Savarin - Keyboards, Vocals

*Cathy Pruden - Vocals

*Del Watkins - Guitar, Flute

*Jack Drummond - Drums

*John Dover - Bass

1971  Julian Jay Savarin - Waiters On The Dance (2001 edition)   

1974  Julian Jay Savarin - Beyond The Outer Mirr  (2025 remaster)

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rep>>> Mott The Hoople - Mott (1973 uk, electrifying glam rock, 2006 remaster and expanded)

All the Young Dudes actually brought Mott the Hoople success, but you wouldn't know that from its sequel, Mott.  Ian Hunter's songs are a set of road tales fraught with exhaustion, disillusionment, and dashed dreams, all told with a wry sense of humor so evident on Mott's earlier work. This is no ordinary road album where a band whines about the perils of traveling -- it's more of a wry commentary on rock 'n' roll itself, which, as Hunter notes, is a loser's game. Mott doesn't sound that way, though -- it's as winning and infectious as rock 'n' roll gets. 

Even with the undercurrents of ironic despair and restrained hostility, this is a fun record (partially because of that despair and hostility, of course). This sounds better, looser, than All the Young Dudes, as the band jives through All the Way from Memphis and Honaloochie Boogie, beats the living hell outta Violence, swaggers on Whizz Kid, and simply drives it home on Drivin' Sister. 

Apart from the New York Dolls (who, after all, were in a league of their own), glam never sounds as rock as it does here. To top it all off, Hunter writes the best lament for rock ever with Ballad of Mott the Hoople, a song that conveys just how heartbreaking rock & roll is for the average band. If that wasn't enough, he trumps that song with the closer I Wish I Was Your Mother, a peerless breakup song that still surprises, even after it's familiar. It's a graceful, unexpected way to close a record that stands as one of the best of its era. 

by Stephen Thomas Erlewine

Tracks
1. All the Way from Memphis - 5:02
2. Whizz Kid - 3:25
3. Hymn for the Dudes (Verden Allen, Ian Hunter) - 5:24
4. Honaloochie Boogie (Ian Hunter, Mick Ralphs) - 2:43
5. Violence (Ian Hunter, Mick Ralphs) - 4:48
6. Drivin’ Sister - 3:53
7. Ballad of Mott the Hoople (26th March 1972, Zurich) (Ian Hunter, Dale Buffin, Peter Watts, Mick Ralphs, Verden Allen) - 5:24
8. I’m a Cadillac/El Camino Dolo Roso (Mick Ralphs) - 7:51
9. I Wish I Was Your Mother - 4:52
10.Rose (Ian Hunter, Mick Ralphs, Peter Watts, Dale Buffin) - 3:56
11.Honaloochie Boogie (Ian Hunter, Mick Ralphs) - 3:07
12.Nightmare (Verden Allen) - 3:36
13.Drivin' Sister (Ian Hunter, Mick Ralphs) - 4:30
All songs written by Ian Hunter, except where indicated
Track 10 B-side of Honaloochie Boogie; produced by Mott The Hoople
Tracks 11-12 Demo recordings
Track 13 Live 1973 at the Hammersmith Odeon; produced by Dale Buffin Griffin

Mott The Hoople
*Ian Hunter - Vocals, Piano, Guitar
*Mick Ralphs - Vocals, Guitar
*Pete Overend Watts - Bass Guitar, Vocals
*Dale Buffin Griffin - Drums, Vocals, Percussion
Additional Personnel
*Paul Buckmaster - Electric Cello
*Morgan Fisher - Backing Vocals, Piano, Synthesizer
*Mick Hince - Bells
*Andy MacKay - Saxophone
*Graham Preskett - Violin
*Thunderthighs (Karen Friedman, Dari Lalou, Casey Synge) - Backing Vocals

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rep>>> Redeye - One Man`s Poison(1971 us, marvelous swamp folk rock, 2013 korean remaster)

Redeye's  second album "One Man`s Poison" released in 1971, is an extension of the first, with swamps and west coast folk-rock elements, but with more laid-back and mature music than the debut work. 

Includes the hit single  ‘Redeye Blues’, was issued in the spring of 1971, although it was banned in many radio markets owing to its lyrical content - some programmers objected to the song’s story-line about a person getting stoned and then unable to find his drug stash. 

Nevertheless, the single charted at number #78. The group was unable to follow it with another hit and split up in 1972.  

Tracks

1. I`m Going Blind - 2:48

2. Red Eye Blues - 2:51

3. The Seeker - 3:20

4. I`ll Get Better - 3:16

5. The Making Of A Hero - 5:02

6. You Don`t Need It - 2:58

7. Walter Why Knott - 2:22

8. Someone - 3:02

9. Beginning To End - 2:39

10.Cold In The Night - 3:21

All songs by Dave Hodgkins

Redeye

*Douglas "Red" Mark - Vocals, Guitar 

*Dave Hodgkins - Guitar, Vocals

*Bill Kirkham - Bass, Vocals

*Bob Bereman - Drums, Percussion

1970  Redeye - Redeye (Big Pink 2013)  

Related Acts

1967-68  The Sunshine Company   

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Liner-Notes

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

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

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

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