rep>>> Help - Help (1970 us, outstanding folk psych jam rock, 2021 korean remaster)

The pleasures of record collecting aren’t always obvious. Some albums avoid the shop-front glare to modestly wait in a gloomy rack, whispering anecdotes like Dostoevsky said happens in forgotten churchyards. An interesting cover might provoke a quick pull up, thinking we knew every name under the sun, then comes decision time guided by that sweet frisson of excitement or a heavy sigh. In the case of Help, if one can get over the less-than-prepossessing moniker, the surprise will be something like “How come I missed this nugget – after all it’s on Decca for Christ’s sake?” or words to that effect. 

There are actually two Decca albums from one year to choose from (plus two lifted singles) with enigmatic sleeves: suggestions of leafy autumn side-streets coloured by summer’s recent adventures. This also fits the band’s brief life, featuring a snapshot of a great (and much-loved) musician who had one fleeting chance at the big time, snatched away as mysteriously as it was given. Jack Merrill (guitar, vocals), Ron ‘Bobby’ Rochan (bass, vocals) and Chet McCracken (drums, vocals) formed Help in 1969, in the clubs and studios of North California. It was the dawn of titanic trios such as Cream, Taste and Hendrix – but with three singers? This is just one surprise from a band with its own sound which soon led to a prestigious label deal. 

It was a natural progression for drummer Chet, who started in Skip Battin’s Evergreen Blueshoes based in LA, the band of the legendary bassist who went on to fame with The Byrds and The Flying Burrito Brothers. Their period-typical ’69 LP on Amos, The Ballad Of Evergreen Blueshoes, was picked up by London for UK release – the frolicking nudies in the wood had a lot going for it at the time (and probably later). It’s a weird potpourri: hardy perennial Dylan, Leonard Cohen’s obscure Mrs Cohen’s Little Boy, The Incredible String Band’s The Hedgehog’s Song, a track based on Poe’s Raven, and a bizarre cover of Johnny B Goode for a single. No slavish copying like Corporal Gander’s Firedog Brigade, bless ’em, just quirky originality. Chet McCracken became a sought-after sessionman before Jack Merrill appeared on the scene. 

Help’s eponymous debut first appeared in Germany in 1970, on MCA, then stateside as Decca DL-75257 with the barest of information for nine co-written originals, and a cover produced by Val Garay and Mark Hopkins MacNabb. The latter went into film music production, most notably with The Cure and The Mask, while Garay has a stellar career of Grammy Best Album Awards (Michael Jackson/Quincy Jones; Paul Simon’s Graceland; Tina Turner etc). He recalls working in ’71 with young musicians at the renowned Sound Factory on Hollywood’s Selma Avenue, and that was where Help cut their teeth too. It’s interesting that Decca issued the album soon after, as it coincided with one of their biggest declines after the Stones left them in 1970 (as did Genesis and Bowie). Help would not improve that situation. 

For some the debut is a grower, for others it hits the mark straight away. The lyrics prove the band’s name is better chosen than first assumed. They don’t proselytise against selfishness, including a still-relevant obsession with money, but let’s see this another way. It’s refreshing, but never saccharine: it was a new decade after all. There’s Merrill’s tempo-shifting wah-wah and Rochan’s innovative, hyperactive bass drive, like Grand Funk Railroad when they lived up to their name. The track Runaway boasts maracas for a bouncy samba beat, then a Stax-feel solo through the foot pedals. Shared vocals, with a tasty bass-to-the-fore interlude adding a progressive touch, convinced the label to issue it as a debut single (Decca 32783), backed with Keep In Touch, which is so melodic one can bathe in it and imagine a blue lagoon. The album closes with a speedy version of Tennessee Waltz, the King/Stewart classic but more like Leonard Cohen’s rendition on his first live album. The debut is more Man or Blossom Toes than Brinsley Schwartz in terms of a British equivalent. 

by Brian R Banks 

Tracks

1. For Sale (Jack Merrill) - 4:34

2. Open Up The Door (Bob Rochan) - 2:32

3. I Tried Too Hard (Bob Rochan, Jack Merrill) - 1:45

4. Easy To Be Free (Rick Nelson) - 3:09

5. Run Away (Bob Rochan) - 6:51

6. Keep In Touch (Jack Merrill) - 4:00

7. Take A Look At Yourself (Bob Rochan, Jack Merrill, Chet McCracken) - 4:43

8. Commit Yourself (Bob Rochan, Jack Merrill, Chet McCracken) - 2:59

9. Help Me, Help You, Help Me (Bob Rochan, Jack Merrill) - 4:06

10.Tennessee Waltz (Redd Stewart, Pee Wee King) - 4:03

Help

*Jack Merrill - Guitar, Vocals

*Bob Rochan - Bass, Vocals  

*Chet McCracken - Drums

Just Paste

Text Host

Free Text

rep>>> Emily - Emily (1972 us, amazing vocals in an acid psych folk rock trip, 2011 edition)

Emily Bindiger is a NY singer who has performed on hundreds of recordings, including commercials, movie soundtracks, industrials and records, as well as concert stages worldwide. 

She started out as a teenager playing clubs in Greenwich Village, then moved to France at 16 where she recorded and released in the spring of 1972, this extremely rare album that has been acclaimed as a psychedelic folk masterpiece. With sensitive backing from local progressive rockers Dynastie Crisis, the eight self-penned songs feature delicate arrangements and lyrics that show remarkable maturity and depth. A firmly established rarity in its original incarnation.

By her returning to US she made her Broadway debut in "Shenandoah," immediately followed by the revival of "Hair," and for seven seasons she starred as "Frannie" on the Peabody Award-winning children's TV show, "The Great Space Coaster." Emily has recorded and/or performed with such diverse artists as Leonard Cohen, Buster Poindexter, Ann Hampton Callaway, Joan Osborne, Lou Reed, Steve Van Zandt, Oscar Brand, Mary Fahl, Andy LaVerne, The Klezmatics, Peter White, Kevin Mahogany, Deodato, Michael Amante, Lesley Gore, Kathie Lee Gifford, David Friedman, Christine Lavin, Ben Vereen, Bobby Caldwell, Black 47, Laurie Beechman, Patti Austin, Ronnie Spector, Catherine Russell, Julie Gold, and the legendary Neil Sedaka, with whom she toured for several years.

Tracks
1. Confession - 2:28
2. Sunflower Seeds - 1:55
3. Jesus Said -  3:52
4. My Mother’s House - 4:00
5. Song For Steven (lyrics by Jeanne Claire Severac) - 2:35
6. Born Again -  2:39
7. Song Of Decision - 2:22
8. Old Lace (To John) - 9:26
Words and Music by Emily Bindiger except where indicated.

Musicians
*Emily Bindiger - Vocals, Guitar
*Jacques Mercier - Vocals, Guitar
*Jacky Chalard - Bass
*Philippe Lhommet - Keyboards
*Geza Fenzl - Drums

Just Paste

Text Host

Free Text

rep>>> Steppenwolf - 7 (1970 canada, classic hard bluesy rock, 2013 japan SHM remaster)

This album benefited greatly from Larry Byrom’s creative surge and contributions from George Biondo (who replaced Nick St. Nicholas on Bass) - . Larry and George had worked together in the group ‘T.I.M.E.” and were not only fine players but also excellent singers. 

We put their vocal talents to good use on the songs “Foggy Mental Breakdown”, “Who Needs Ya” and “Fat Jack” on which George also sang co-lead or solo. Those tracks as well as “Renegade” and “Hippo Stomp” were some of my favorites and featured some of Larry’s finest playing along with Jerry Edmonton’s imaginative arrangement ideas. I found that these tracks stimulated my lyric/melody writing and I was quite pleased with our finished collaboration. 

Since I was busy working on vocal parts for tracks the guys were laying down, I found myself playing guitar only on “40 Days and 40 Nights” and “Snowblind Friend”, however Larry more than picked up the slack in that department. During these sessions, I developed an ear infection and remember doing vocals with one ear out of commission. All in all “7” remains as one of my favorite Wolf albums to this day.

Steppenwolf

Tracks

1. Ball Crusher (Larry Byrom, John Kay) - 4:53

2. Forty Days And Forty Nights (Bernie Roth) - 3:04 

3. Fat Jack (Larry Byrom, George Biondo) - 4:52

4. Rengade (Larry Byrom, John Kay) - 6:07

5. Foggy Mental Breakdown (Larry Byrom, John Kay) - 3:54

6. Snow Blind Friend (Hoyt Axton) - 3:55

7. Who Needs Ya (Larry Byrom, John Kay) - 3:00

8. Earschplittenloudenboomer (Larry Byrom) - 5:01

9. Hippo Stomp (Larry Byrom, John Kay) - 5:45

10.Screaming Night Hog (John Kay) - 3:18

11.Snow Blind Friend (Hoyt Axton) - 3:20

12.Hipop Stomp (Larry Byrom, John Kay) - 3:22

Bonus Tracks 11,12

Steppenwolf
*John Kay - Guitar, Vocals,   Harmonica
*Larry Byrom - Guitar, Vocals
*Goldy Mcjohn - Keyboards
*George Biondo - Bass, Vocals
*Jerry Edmonton - Drums

1969  Early Steppenwolf (1967 Live, Japan SHM mini lp)
1969  At Your Birthday Party (Japan SHM 2013 remaster)
1969  Monster (2013 japan SHM issue)
1970  Live (2013 Japan SHM edition)
1971  For Ladies Only (Japan SHM 2013 remaster)

Just Paste

Text Host
Free Text

rep>>> Crowfoot - Crowfoot (1970 us, fascinating psych classic rock with west coast aura, 2017 remaster)

Born in Philadelphia, DaShiell lived on Oahu between the ages of three and fifteen, and took up guitar at the age of fourteen. He moved with his family to Florida in 1963, where he formed a band that played covers in the local Sugar Shack club. He then joined Doug Killmer's band The Sonics, which after the addition of drummer Rick Jaeger became The Beau Gentry in 1965; 

Originally, they played British Invasion songs, but turned more to original material as DaShiell began to write it. They were signed by manager Ken Adamany (who later handled Cheap Trick); he took them to the Midwest for a summer tour, and they continued to be based there for the next two years. In December 1968, they moved to Marin County, CA, in hopes of getting a record deal during the renaissance of San Francisco rock bands, but they eventually found success playing with others rather than in their own band. DaShiell also began working as a session guitarist, playing on A.B. Skhy's 1969 debut album, and going on to play in Harvey Mandel's band. He also played on Norman Greenbaum's Spirit in the Sky album, including the chart-topping title track, and went on to tour with Greenbaum and play on his next two albums. 

In 1970, DaShiell secured a record contract with ABC-Paramount for Crowfoot, but by then it was essentially a solo act. Nevertheless, he recorded a self-titled Crowfoot album, with Jaeger playing drums, that was released in the fall of 1970. A year later came Find the Sun, which found DaShiell backed by Sam McCue (guitar and vocals), Bill Sutton (bass), and Don Francisco (drums and vocals). Neither album succeeded commercially, and DaShiell went on to other projects. In the early 1990s, he reunited with Killmer and Jaeger for an EP under the name Mesenger that he released on his own Aerial View label. 

Tracks

1. Winter Comes - 3:41

2. Love Is Everywhere - 2:35

3. You Won't Cry - 3:13

4. Lady Fair - 1:45

5. Maybe I Can Learn To Live - 2:50

6. California Rock'n Roll - 1:59

7. Dry Your Eyes - 3:08

8. A Falling Leaf - 3:51

9. No Don't Leave - 3:39

10.Dancing Lady - 2:43

11.Groove Along - 4:01

All compositions by Russell Da Shiell

Crowfoot

*Russell Da Shiell - Bass, Keyboards, Guitar, Vocals

*Rick Jaeger - Drums

Related Act

1976  The Don Harrison Band - The Don Harrison Band (2004 edition) 

Just Paste

Text Host

Free Text

rep>>> The Marshall Brothers Band - The Marshall Brothers Band (1975 australia, fine classic rock with prog touches, 2005 edition)

The Marshall Brothers Band are lesser-known Aussie proggers, quite possibly due to their lounge-act name, but also quite possibly due to their lounge-act music, certainly when compared to the likes of Aleph or the mighty Sebastian Hardie. The Marshall Brothers Band (produced by noted 'Tronnist Chris Neal).

There aren't any Marshall Brothers on the band, their name came after Rob Scott's wish to use the word "Brothers" like Allman Bros or Doobie Bros, so they called the band after Dave’s amplifier brand! 

Classical rock music influenced by King Crimson, Vanilla Fudge and Rick Wakeman. Their 1975 sole album sold quite well, spending eight weeks in the charts. 

Tracks
1. Falcon 1959-1912 - 5:42
2. Bright Light Lady (David Hinds, Chris Browne) - 2:35
3. Pioneer Suite - 4:27
4. Mr. 'l' - 5:11
5. Come Out With Your Hands Up, Baby (Chris Neil) - 2:48
6. Flying High - 5:56
7. Summer Love (Chris Browne) - 5:28
8. Younger Now - 11:18
All songs written by Robert Scott except where indicated

The Marshall Brothers Band
*Chris Browne - Vocals
*John 'Funky' Halls - Drums
*David Hinds - Guitar
*Karl Hofman - Guitar
*John Rairty - Drums
*Robert Scott - Keyboards, Vocals
*Kevin Wyatt - Bass, Vocals

Just Paste

Text Host
Free Text

rep>>> Jaki Whitren - Raw But Tender (1973 uk, superb acoustic folk rock with country and blues overtones, 2006 Sunbeam issue)

I was born in 1953, and grew up in a pretty little Hampshire village. Music was in my blood - my grandfather played piano for silent movies, my grandmother was a cellist and mezzo soprano, my mother was a trained concert pianist who'd moved into jazz and my father (who died when I was very small) had been a drummer and dancer too. As a result, I was raised on music from Chopin right through to Georgia On My Mind, and at school I was always the kid that sang in the playground. 

From the age of 11 I was taken up by the local beatniks, who introduced me to early R’n’B and soul, John Coltrane, Doc Watson, Revd. Gary Davis, Big Bill Broonzy and many others. In those days there was brilliant new stuff coming out every week too, so I was listening to Dylan, the Beach Boys and Motown as well. I was very lucky to have such a thorough musical education. By the time I was 13 I had a repertoire of about 200 songs, and had started to sing in local clubs. Local press and TV soon heard about me, and I became quite well-known in the area. 

I eventually left home at 16 to live with my older friends in Southampton. Around this time, Van Morrison's Astral Weeks appeared, and totally blew me away. The first time I heard it, I ran straight home, grabbed my guitar and tried to write songs in the same style. I couldn't do it, though, and what came out instead was Give Her The Day, the first song I ever wrote. One day in 1972 I answered a knock at the door, and found three good looking guys from London on the doorstep. They explained that they were part of a jazz rock band who were doing a gig at Southampton University that night, but the opening act couldn't make it and could I do a half hour slot instead? I explained that 1 hadn't been gigging for a while, and didn't have a set together as such, but had started writing my own songs, and maybe this was a chance to try them out in public. 

So off I went and sang my first selfpenned songs, and got a standing ovation. Later that evening they turned up again, this time to ask if 1 wanted to join their band as a lead vocalist. I gladly consented, and it went well. A few weeks later, after more rehearsals, we did a show at the Marquee, which was another success. They were great, but their guitarist, Stuart Cowell saw me aside to suggest that he was in a strong position to get me a record deal if I wanted one. Within a matter of weeks I'd been signed to Columbia and flown to New York. They wanted to make me into a star, but I wasn't at all comfortable with it. 

At a reception over there I was introduced to the label's owner, an elderly man in a wheelchair, as 'the next Barbra Streisand,' which mortified me. To my friends and me that would have been about the least cool thing imaginable. John Hammond himself came especially to meet me, and told me he believed me to have 'one of the finest voices ever to come out of the UK.' At the time it all went over my head, I'm afraid, and it's only in retrospect that I've come to appreciate the enormity of these compliments. They offered to buy me a house  over there, which I refused, then put me in the studio with some very talented black musicians and asked me to write something in a funkier style than before. 

I came up with But Which Way Do I Go?, which summarized my feelings. I found it all too overwhelming, I was more interested in my social life than my career, and I wanted to be back in England. When I think about it now I can see what a big deal it was, and I'm grateful for their faith in me, but at the time I was still a kid and didn't know if I was coming or going. As a result, I returned home and went into the studio to make an album in the folk-blues idiom that I was accustomed to, rather than the funkier, more soulful style they'd wanted in America. I didn't have enough songs to fill an LP, but when we began recording they just poured out of me. Stuart produced the sessions, and also managed me. He was a great musician as well as an intelligent and sensitive guy, and slowly came to understand what I was about. 

The musicians were very subtle and sensitive too, and kept to the essence of what I'd written. Albert Lee was lovely, and his musicianship was a thrill to be around. The rhythm section were also really sympathetic and tolerant of my naivete. It was all very easy and quick, because I actually didn't know how not to do a perfect take. Being so young (18 years old) and unconscious is a blessing on that score. Mick Glossop was the overall producer, and remains to this day one of the most sensitive people I've ever worked with in the studio (and I've worked with some of the world's greats, like Phil Ramone and Gus Dudgeon). 

The album appeared in July 1973, and was well-received. Disc said 'genuine new talents are pretty rare, and here's a songwriter of the first order, who plays a mean acoustic guitar too.' Give Her The Day was extracted as a 45 (backed with But Which Way Do I Go?), and the NME called it 'a monster record, full of soul, feeling and emotion.' At one point it was getting 24 plays a day on the BBC, and Tony Blackburn even made it his single of the week - something I kept very quiet about in front of my friends! 

At one point Cliff Richard wanted to cover it, but nothing came of it. Another 45 appeared later in the year (Human Failure I Ain't It Funny?), but that didn't chart either. I couldn't have cared less - my friends and I weren't remotely interested in the hit parade, and I didn't like the idea of appearing on TV anyway, so I turned down all offers apart from The Old Grey Whistle Test. I gigged in support of the album for a year, both on tour with John McLaughlin, Tom Paxton, Loudon Wainwright and others, and doing one-off shows with people like Sly and the Family Stone, Genesis and Roy Harper. 

I seemed set to go full blast into a mega career, which should have been a dream come true, but for me (having been gigging since I was thirteen) the novelty was virtually non-existent, and I was pretty bored by the lifestyle that went with 'the biz'. I'd had my first child when I was 18, and looking after him wasn't compatible with the life of a touring musician. I dreamed of being able to do what I wanted with my day, instead of an endless round of trains, planes, hotels and concert halls, round and round so that you couldn't tell one from the other. I was desperate for a big change in my life, and dreamed of isolation and anonymity. 

By the middle of 19741 was getting thoroughly fed up of playing the same songs every night, and constantly moving around. I was offered the support slot on Ike and Tina Turner's forthcoming European tour, but couldn't face it and turned it down. At the same time, Joan Armatrading got in touch to say she was a big fan of the album and wanted to duet with me. She came to stay with me in Hampshire for a week, and we did a lovely gig together at the Marquee, but it was practically the last thing I did. I ended up going away for 2,1/2 years, and at the end of it I felt 1 had a far more meaningful, healthy and satisfying life. 

I've continued to sing and record since, but only on my own terms - in fact, I'm currently working on my first solo album since Raw But Tender, and its approach is similar. Since the advent of the internet, I've had lovely fan mail about the album from people all over the world, ranging from a captain of industry in South Africa to a worker on a kibbutz in Israel. I think people identify with it is because it's a truly heartfelt piece of work, and a sincere expression of a human soul at a particular point in its journey. I'm delighted that people will now have another chance to hear it.

by Jaki Whitren July 2006

Tracks
1. New Horizon - 3:13
2. Oh Little Boy (Whitren, Baker) - 2:32
3. A Little Bit Extra Please - 2:35
4. Country Life - 1:43
5. To A Friend, Through A Friend (Let Your Feelings Burn) - 3:54
6. But Which Way Do I Go? - 4:56
7. Give Her The Day - 2:52
8. Ain't It Funny? - 3:08
9. I've Thought Hard About It - 4:26
10.As That Evening Sun Goes Down - 3:29
11.Human Failure (Leslie) - 3:13
12.Running All The Time (Whitren, Baker) - 3:37
All songs by Jaki Whitren except where noted.

Musicians
*Jaki Whitren - Vocals, Guitar, Banjo
*Pat Donaldson - Bass
*Gerry Conway - Drums, Congas
*Albert Lee - Dobro
*RobYoung - Flute
*Lindsay Cooper - Bassoon
*Marie Goosens - Harp
*Henry 'VIII' Bartlett - Jug
*John Van Derrick - Violin
*Gordon Huntley - Pedal Steel
*Frank Ricotti - Congas
*Ivan Chandler - Electric Piano
*Harry Beckett - Flugelhorn
*Malcolm Griffiths - Trombone
*Stan Sulzmann - Tenor Sax
*Brian Brocklehurst - String Bass
*Stuart Cowell - Guitar
*Mike Leslie - Guitar, Backing Vocals

Just Paste

Text Host

Free Text

rep>>> Spider - Labyrinths (1972 us, incredible swamp psych folk rock, 2013 korean remaster)

Short live US band, release their only album "Labyrinths" in 1972. A great example of swamp psych rock melted with spiritual folk country and classic rock tunes, with male / female stunning vocals, also need to mention the plethora of excellent guest musicians.  

Tracks
1. May 16th (Dan Moore) - 3:03
2. Alice In Wonderland (Hoyt Axton) - 2:28
3. It's Alright (Alan Parker) - 2:58
4. Little Love Song (Michael Deasy) - 1:55
5. Tell Me That You Love Me (Michael Clough) - 4:16
6. Southwind (Jeff Thomas) - 3:48
7. Pass It On (Michael Clough) - 3:32
8. Can't Let You Go (Alan Parker) - 3:55
9. Puppets (Michael Deasy) - 2:45
10.Revival (Jeff Thomas) - 3:34
11.Burnin' (Larry Knechtel, Mike Deasy) - 3:05

Spider
*Karen Brian - Vocals
*Michael Clough - Vocals
*Rusty Cope - Bass
*Michael Crowley - Piano, Vocals
Additional Musicians
*Jim Keltner - Drums
*Lee Sklar - Bass
*Max Bennett - Bass
*Carl Radle - Bass
*Jim Gordon - Drums
*Mike Deasy - Guitar
*Alan Parker - Guitar
*Red Rhodes - Steel Guitar
*Larry Knechtel - Keyboards
*Allan Beutler - Sax
*Jim Horn - Sax, Horn Arrangements
*Jack Kelson - Sax
*Chuck Findley - Trumpet
*Ollie Mitchell - Trumpet
*Dick “Slyde” Hyde - Trombone
*Gary Coleman - Percussion
*King Errisson - Congas
*Rita Jean Bodine - Background Vocals
*Kathy Deasy - Background Vocals
*Venetta Fields - Background Vocals
*Gwen Johnson - Background Vocals
*Clydie King - Background Vocals
*Dee Barton - String Arrangements

Just Paste

Text Host

Free Text

rep>>> Steve Miller Band - Recall The Beginning...A Journey From Eden (1972 us, exceptional bluesy classic roots rock, 2018 digi sleeve remaster)

 

Steve Miller had a real ace up his sleeve and delivered it to an unsuspecting public in 1972. Miller retreated to the studio with a brace of crack studio vets and issued “Recall The Beginning…A Jounery From Eden” to critical raves. 

The record begins with a soul/funk instrumental called “Welcome” which slides effortlessly into a groovy 50’s Doo-Wop number called “Enter Maurice” this one is greasy as hell and a whole lot of fun. “High On You Mama” is a seductive down-home blues piece that features some pretty slide guitar and underwater bass guitar runs. “Heal Your Heart” goes back to the soul strut of early Miller albums such as “Sailor” and “Your Saving Grace.” The next track “The Sun Is Going Down” is a bit of fluff but nothing that offensive. Side one ends with a real winner called “Somebody Somewhere Help Me” this one re-visits the record’s opening theme then turns into a classic dose of blue-eyed soul (this would have been a bitchin’ 45 but Capitol wasn’t having it, what a bunch of squares man!!!)

In truth side one is fine uptempo groovin’ stuff but it simply does not prepare you for the brilliance of side 2, in my opinion this is one of the greatest album sides in pop history and probably the pinnacle of Miller’s career. It’s like Miller was magically transported back to the glory days of 1967–68. Side 2 begins with a gorgeous acoustic piece called “Love’s Riddle” which features dreamy strings and Miller’s eerie whispered vocals, then it’s right into another mellow down easy number called “Fandango” which explodes into technicolor during the song’s mid-section. 

“Nothing Lasts” is just plain incredible, it opens with a dramatic wash of strings and Miller’s elegant acoustic fingerpicking. The piece then takes flight in exhilirating fashion with Steve singing a majestic duet with himself, this number could be the greatest thing Miller ever recorded. But wait it gets even better, the closing track “Journey From Eden” (aka “Blackbird”) is a mind-numbing psychedelic trip ballad straight off the grooves of the group’s debut 1968 “Children Of The Future.” Wow! what a finish to a briiliant side of music. You might think I’m mad but the stuff on the second side of this record is right up there with Big Star #3, Forever Changes by Love and Starsailor by Tim Buckley and other heavies.

by Dave Furgess, Apr 2002

Tracks

1. Welcome - 1:17

2. Enter Maurice - 3:56

3. High On You Mama - 3:41

4. Heal Your Heart - 3:22

5. The Sun Is Going Down - 1:39

6. Somebody Somewhere Help Me - 2:36

7. Love's Riddle - 3:26

8. Fandango - 3:59

9. Nothing Lasts - 4:06

10.Journey From Eden - 6:41

All songs by Steve Miller

Steve Miller Band

 *Steve Miller - Guitar, Vocals

*Gerald Johnson - Bass Guitar

*Ben Sidran - Keyboards

*Dick Thompson - Keyboards

*Jim Keltner - Drums

*Roger Allen Clark - Drums

*Gary Mallaber - Drums

*Jack King - Drums

With

*Jesse Ed Davis - Guitar 

*Nick Decaro - Strings, Horns

1968  Children Of The Future (2012 digipak remaster)
1968  Sailor (2012 digipak remaster)
1969  Brave New World (2012 digipak remaster)
1969  Your Saving Grace (2012 digipak remaster)

1970  Number 5 (2012 digipak remaster)

Just Paste

Text Host

Free Text

rep>>> Steppenwolf - At Your Birthday Party (1969 us, classic third album, Japan SHM mini lp 2013 bonus tracks remaster)

The recording sessions for "At Your Birthday Party" started to show the wear and tear of the road on all of us. In addition, some band members for the first time, tried their hand at songwriting and I had run out of tunes to contribute. 

This album nevertheless includes some of my favorite Steppenwolf tracks such as "Happy Birthday", "Jupiter's Child" and "Rock Me". Nick St. Nicholas (who had replaced our original bassist Rushton Moreve) had an idea for a song titled "It's Never Too Late", which triggered me to work out the rest of the song. That one is an all time favorite of mine. Gabriel Mekler (our Producer) had his hands full trying to be fair to all band members and stay neutral to allow us to work out the difficulties on our own. 

The fact that the song "Rock Me" (which had been written for the soundtrack of the motion picture "Candy") had already been a hit single before it was included in the "Birthday album" may have reduced the impact of the album because the initial sales of the LP were not what we had hoped for, although over the years, it became quite popular with many of our fans.

by John Kay

Tracks

1. Don't Cry (Gabriel Mekler) – 3:11
2. Chicken Wolf (John Kay, Michael Monarch) – 2:58
3. Lovely Meter (Gabriel Mekler) – 3:10
4. Round And Down (Michael Monarch) – 3:19
5. It's Never Too Late (John Kay, Nick St. Nicholas) – 4:07
6. Sleeping Dreaming (Nick St.Nicholas) – 1:07
7. Jupiter's Child (Jerry Edmonton, John Kay, Michael Monarch) – 3:28
8. She'll Be Better (Jerry Edmonton, Gabriel Mekler) – 5:32
9. Cat Killer (John Goadsby) – 1:37
10.Rock Me (John Kay) – 3:45
11.God Fearing Man (Michael Monarch) – 3:55
12.Mango Juice (Jerry Edmonton, John Goadsby, Michael Monarch) – 3:01
13.Happy Birthday (Gabriel Mekler) – 2:16
14.Rock Me (J. Kay) - 3:41
15.Jupiter Child (J. Edmonton, J. Kay, M. Monarch) – 3:15
16.It's Never Too Late (J. Kay, N. St. Nicholas) - 3:10
17.Happy BirthdayIt's Never Too Late (G. Mekler) – 2:23
Tracks 14-17 Mono Single Versions

Steppenwolf
*John Kay - Lead Vocals, Guitar, Harmonica
*Michael Monarch - Lead Guitar
*Goldy Mcjohn - Organ, Piano
*Nick St. Nicholas - Bass
*Jerry Edmonton - Drums, Vocals

1969  Early Steppenwolf (1967 Live, Japan SHM  2013)
1969  Monster (2013 japan SHM issue)
1970  Live (2013 Japan SHM edition)

1971  For Ladies Only (Japan SHM 2013 remaster)

Just Paste 

Text Host

Free Text

rep>>> The Souther Hillman Furay Band - Trouble In Paradise (1975 us, fine country classic rock, 2017 japan SHM remaster)

With producer Tom Dowd, known for his work at Atlantic Records, at the helm, the Souther-Hillman-Furay Band seemed to be distancing itself a bit from its country-rock roots with its second release, the appropriately titled Trouble in Paradise. Here the band expands on the funkier aspects of its debut album, while at the same time slipping even closer to the middle of the road. On that record it was former Poco frontman Richie Furay who was responsible for the highlights, but this time out it's J.D. Souther, who penned four of the LP's nine tracks, who leads the way, with "Prisoner in Disguise" (recorded that same year by Linda Ronstadt) and the title cut the standouts. 

Still, Furay, whose two compositions were dominated by his recent conversion to Christianity, does connect with the lovely "For Someone I Love," which interestingly enough precedes the sleazy rationalizations of Souther's "Mexico." As was the case with the previous album, Chris Hillman's trio of selections, including "Love and Satisfy," which borrows the lyrics for the majority of its first two verses from his and Gram Parsons' "Train Song," are moderately successful, if in the long run somewhat forgettable.

Before the recording of the album, original drummer Jim Gordon had left and was replaced by Ron Grinel (Souther also played drums on a couple of tracks), and what must have seemed like a great idea in 1973 was showing signs of unraveling. The band was finished by 1976 following Trouble in Paradise's poor showing, with each of its primary members recording solo records for Asylum within the year. Originally released by Asylum Records in 1975 and reissued on CD in 2002 by Wounded Bird. 

by Brett Hartenbach

Tracks

1. Trouble In Paradise (John David Souther) - 5:06

2. Move Me Real Slow (Chris Hillman) - 3:03

3. For Someone I Love (Richie Furay) - 2:57

4. Mexico (John David Souther) - 3:14

5. Love And Satisfy (Chris Hillman) - 2:59

6. On The Line (Richie Furay) - 3:41

7. Prisoner In Disguise (John David Souther) - 4:52

8. Follow Me Through (Chris Hillman) - 3:50

9. Somebody Must Be Wrong (John David Souther) - 3:51

Personnel

*J.D. Souther - Vocals, Guitar, Drums On "Trouble In Paradise" And "Love And Satisfy", Bass On "Move Me Real Slow"

*Chris Hillman - Vocals, Bass, Mandolin, Guitar

*Richie Furay - Vocals, Guitar

*Al Perkins - Lead Guitar, Pedal Steel Guitar, Dobro

*Paul Harris - Keyboards, Flute

*Joe Lala - Percussion

*Ron Grinel - Drums

*James William Guercio - Guitar

*Glenn Frey - Background Vocals

*Don Henley - Background Vocals

Related Act

1972  John David Souther - John David Souther  (2008 Rhino)

Just Paste

Text Host

Free Text

Howl The Good - Howl The Good (1972 us, remarkable classic rock, 2019 korean remaster)

Howl The Good's self-titled album, originally released in 1972. During the early 1970s, Detroit rock band Howl The Good signed to Motown's prog-rock offshoot, Rare Earth. Travelling to London to record their self-titled debut album at Olympic Studios, they were fortunate to work with engineer Chris Kimsey (best known for his later work with Peter Frampton and The Rolling Stones), with ex-Spooky Tooth keyboardist Gary Wright in the producer's chair; Wright was a highly-rated session player that worked with George Harrison, Elton John, Joe Cocker, and Steve Winwood, and he also enjoyed a successful solo career. 

The resultant album is a competent slice of semi-commercial prog rock with an undercurrent of blues and the odd pastoral number; despite the obviously American feel of the material, Billboard assumed the group was British, due to the location of the album's recording. Despite the strength of "Just Pretend It's Another Day" and "Long Way From Home", both co-written by Wright, and a one-off rendition of Cat Stevens's "The Joke", the album flopped on release on both sides of the Atlantic, leading the band to remain in obscurity and ultimately break up.

Tracks

1. Things You Do (Allan Odom, Neil Faigenbaum) - 4:28

2. Just Pretend It's Another Day (Gary Wright) - 3:14

3. I Need A Friend (N. Adler, Neil Faigenbaum) - 3:05

4. The Joke (Cat Stevens) - 2:45

5. Harder Doing Nothing (Allan Odom, Dennis Harrison, Neil Faigenbaum) - 4:15

6. Why Do You Cry (I. Pack, Neil Faigenbaum) - 2:48

7. Long Way From Home (Gary Wright) - 3:52

8. Beginning Of The End (Aaron Nathanson, Neil Faigenbaum) - 3:03

9. This Moment In The Sun (Aaron Nathanson, Neil Faigenbaum) - 3:54

10.Ain't Hard To Stumble (David Rifkin) - 5:15

Howl The Good

*Neil Fayne - Bass, Vocals

*Dennis Harrison - Drums, Percussion

*Allan Odom - Vocals

*Wiley Pack - Guitar, Vocals

*Tom Schneider - Keyboards, Vocals 

Just Paste

Text Host

Free Text 

rep>>> Trees - The Garden Of Jane Delawney (1970 uk, sensitive folk rock with baroque touches, 2008 remaster and expanded)

So much has already been written in an attempt to describe the music Trees play, and Trees themselves hope that they have now reached a degree of originality that defies the usual terms such as 'folk orientated rock.'

Melody Maker writes of them, 'Their depth of character causes the group concern over categories to the extent where they are cautiously rejecting the label of 'folk rock' while still clinging to the stable foundation of traditional material. Much of this is misunderstood in the hands of more staid folk figures, and it can only be hoped that Trees' visually contemporary image will encourage audiences to pay more attention to the lyrics'. 

All one can do now is give a brief synopsis of Trees' past, tell you what they are doing at the moment and give you a quick glimpse of their future. Bias Boshell (bass guitar and keyboard), Unwin Brown (drums), Barry Clarke (lead guitar, acoustic guitar, dulcimer and mandolin), David Costa (Electric 12 string, acoustic guitar, dulcimer, and mandolin), and Celia Humphris (vocals) have always attracted a great deal of favourable attention from the press, in fact when they first formed, well before 'The Garden Of Jane Delawney' (their first album) was released they had a very good feature in Zigzag. Since then Trees have received a far wider press coverage, with features and interviews in all the leading music and 'underground' press, and also The Express, The Mail and The Times.

Despite all these good words being written about Trees, things haven't always been easy for them, not that they are for any new group, but they seem to have had more than their fair share of bad luck... Even when they first started playing together, their first public performance had to be cancelled because their van broke down 20 miles away from the gig, and David and Barry had to stay in the van all night to guard what little equipment they had.

However, things gradually improved, and Trees got some support bookings at the larger universities and colleges, and at the beginning of 1970 topped the bill for the first time at a folk concert put on by the St. Ives Art Festival, also receiving their first standing ovation.

The next major step forward in Trees' career was a bottom of the bill appearance at Queen Elizabeth Hall, appearing with Matthews' Southern Comfort in their first London concert. Although Trees playing time allowed them to do only four numbers, their performance brought them more acclaim than anything they had done to date, as most of the trade press were there. Karl Dallas, a leading expert on their type of music wrote of them 'Trees have a beautiful girl as lead singer, a lively lass who bends her rich voice round the complexities of folk ballads with increasing assurance, a hard rock guitarist and a folk-club-trained acoustic man, a good bass guitarist and a tasteful drummer... Trees are significant for a number of reasons. First, because in the persons of its three guitar-players it is introducing three virtually unknown artists on to the scene - artists who have an individual brilliance and collective rapport that is nothing less than phenomenal'.

Trees received more and more bookings, and luck seemed to be going their way, but they were to suffer another major setback. In the autumn of last year they had all their equipment stolen, and spent all the money they had earned, plus a lot more on some second-hand equipment, and carried on playing the best they could, for even their van was falling to bits. They have suffered the repercussions of this theft until very recently when they thought they had secured a reliable financial backer to a) expand the band, and b) buy new equipment. Unfortunately the backer pulled out in the middle of the university term, and Trees had to cancel some of their most precious gigs until the money was found to buy more instruments.

Don't think that this affected them as a group, for they have always been very close as people. Beat Instrumental sums them up very well: 'Trees are a tightly-knit group. They weren't assembled by some Svengali manager hoping to amass quick wealth, but had all been friends for some time when, all having musical experience and ambitions, they decided on becoming a band... The closeness also shows in the music. Trees songs are meticulously and precisely arranged, yet such is the sympathy between them that the whole thing seems as easy as pie. Anyone attempting to jam with them would be left helpless'.

Tracks
1. Nothing Special (Bias Boshell, Unwin Brown, Barry Clarke, David Costa, Celia Humphris) - 4:29
2. The Great Silkie (Traditional) - 5:13
3. The Garden Of Jane Delawney - 4:05
4.  Lady Margaret (Traditional) - 7:11

5. Glasgerion (Traditional) - 5:15

6. She Moved Thro' The Fair (Traditional) - 8:07

7. Road - 4:35
8. Epitaph - 3:23
9. Snail's Lament - 4:38
10.She Moved Thro' The Fair (Traditional) - 5:26

11.Pretty Polly (Traditional) - 4:50

12.Black Widow - 3:22
13.Little Black Cloud - 1:39
All songs written by Bias Boshell except where noted

Bonus Tracks 10-13

Tracks 12-13 recorded July 2008

Trees
Ceilia Humpris - Vocals, Keyboards
Bias Boshell - Bass, Acoustic Guitars, Backing Vocals
Barry Clarke - Lead,  Acoustic Auitars
David Costa - Acousitic, 12-String Guitars
Unwin Brown - Drums

Just Paste

Text Host

Free Text

rep>>> Influence - Influence (1968 canada, awesome psych rock, 2010 remaster)

The Influence was one of the most fascinating bands to emerge from Canada during the ‘60s. The group’s rich diversity of styles was a result of the group members’ wide range of musical backgrounds and geographical origins.

Formed in late May, the quartet, named The Influence, immediately made its presence felt and became regulars at Montreal’s Barrel during the summer of 1967. In June, Rossi and Island returned to Montreal and, after catching the band’s set, joined the line-up. The new line-up became more musically adventurous, adopting a style that was influenced by jazz musicians Sonny Murray and Archie Shepp, and with Island adding a second lead voice. After tightening up their act, The Influence moved to Toronto and became a regular sight at Boris’ Red Gas Room throughout September-December.

Tracks

1. Overture (Louis McKelvey, Rob Parkin, Walter Rossi) - 1:15

2. I Admire (Louis McKelvey) - 3:14

3. I Don't Know Why (Rob Parkin, Walter Rossi) - 4:11

4. County Fair (Rob Parkin) - 4:02

5. Pieces Of Me (Louis McKelvey) - 2:42

6. Baby That's My Bag (Rob Parkin) - 2:48

7. Sir Archibald (Louis McKelvey) - 3:23

8. We Are Here (Louis McKelvey) - 3:39

9. Natural Impulse (Andy Keiller) - 3:16

10.Dream Woman (Rob Parkin) - 3:40

11.Mad Birds Of Prey (A Mini Opera) (Louis McKelvey, Rob Parkin) - 5:53

Influence

*Louis McKelvey - Guitar, Vocals

*Andy Keiller - Vocals

*Dave Wynne - Drums

*Jack Geisinger - Bass, Vocals

*Walter Rossi - Guitar, Vocals

*Rob Parkin “Bobo Island” - Keyboards, Vocals

Related Act

1972  Charlee - Charlee  

Just Paste

Text Host

Free Text 

rep>>> Calliope - Steamed (1969 us, groovy hard rockin' psych, 2008 RDI issue)

Psychedelic band from Seattle, the driving force behind this short-lived outfit was singer/songwriter Danny O’Keefe, who later had one or two Top 20 hits (including Magdalena). They made a bit of a splash locally, but like a lot of Seattle bands, they seemed much better live than on record. 

It seems that bands from Seattle during that period did not get very good support from their record companies… obviously things have changed since then! Calliope’s first album is now a very minor collectable, and the second may have remained unissued. The Steamed album includes cover versions of Hello Hello (Lee Michaels), California Dreamin’ (with a very good psychedelic guitar solo), Hound Dog, Jimmy Bell (a traditional number), Like A Rolling Stone (Dylan), Nadine (Chuck Berry) and four originals - two by Goldsmith and two by O’Keefe.

John Simpson, who was tragically killed in a plane crash in 1973, had previously played with Scott Strong in The Bumps and may also be the guy who played drums in Christopher. Prior to joining Calliope, Scott Strong also acted as their road manager. Paul Goldsmith had earlier been in Emergency Exit, Clyde Heaton in The Dimensions and Luther Rabb later played with Ballinjack.

by Kevin Corazza

Tracks

1. Hello Hello (Lee Michaels) - 3:01

2. California Dreaming (John Phillips, Michelle Phillips) - 3:39

3. Rainmaker's Dreaming (Danny O'Keefe) - 3:44

4. Hound Dog (Jerry Leiber, Mike Stoller) - 3:05

5. Like A Rolling Stone (Bob Dylan) - 5:48

6. Jimmy Bell (Traditional) - 6:45

7. I wanna thank you (Paul Goldsmith) - 3:48

8. Nadine (Chuck Berry) - 3:58

9. How About You (Paul Goldsmith) - 2:29

10.Atlas (Danny O'Keefe) - 5:28

Calliope
*Paul Goldsmith - Guitar
*Clyde Heaton - Keyboards
*Danny O'Keefe - Bass
*John Simpson - Drums

Just Paste
Text Host

Free Text