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


Tuesday, January 29, 2019

Big Brother And The Holding Company - Sex, Dope and Cheap Thrills (1968 us, fantastic blues psych rock, alternate takes and rehearsals, 2018 double disc remaster)

Janis Joplin’s time in the San Francisco blues crew Big Brother and the Holding Co. was relatively short, only a couple of years — just long enough to record two albums and become an era-defining flashpoint at the Monterey Pop Festival. Their second album, 1968’s Cheap Thrills, became an acid-rock landmark thanks to the barnburner “Piece of My Heart,” a sultry cover of “Summertime” and the crushing, epic cover of Big Mama Thornton’s “Ball and Chain.” It went to Number One and was certified gold and within a few months of its release, Joplin quit to become a solo star.

The new compilation, Sex, Dope & Cheap Thrills, takes its title from the band’s original pitch for the name of the LP (the squares at the record label weren’t having it) and contains nearly two-and-a-half hours of alternate takes and live recordings from the Cheap Thrills era. Most of them are previously unreleased. The live recording of “Ball and Chain” sports a heavier beat and Joplin’s double-fried vocals — a stunning performance — followed by unreasonably polite applause. The three alternate takes of “Piece of My Heart” have a similar energy to the more familiar version, but show just how vibrant Joplin was at the sessions. And the second disc’s first take of “Summertime” captures a brilliant performance that would have been a thing of legend if the band hadn’t fallen apart at the end.

Other standouts include the foot-stomping “How Many Times Blues Jam,” an extended, wailing take on “I Need a Man to Love” and a charging, soulful take of “Combination of the Two.” There’s also studio banter, like Joplin cackling gloriously and saying, “I knew it was gonna take us all night,” before the ninth take of the oddball “Harry” and three takes of “Turtle Blues” on which Joplin talks out the feel of the song.

Also notable are the liner notes. The Jefferson Airplane’s Grace Slick remembers Joplin as a vivacious, joyful force and the Big Brother band as having a “down home” vibe. Meanwhile, drummer Dave Getz offers lively accounts of making the album and working with illustrator Robert Crumb on its problematic, iconic cover – and how the latter was stolen only to be sold at auction for a quarter of a million dollars. It’s the Janis Joplin bonus content you never knew you wanted.
by Kory Grow

Disc 1
1. Combination Of The Two (Take 3) (Sam Andrew) - 5:33
2. I Need A Man To Love (Take 4) (Janis Joplin, Sam Andrew) - 8:06
3. Summertime (Take 2) (Dorothy Heyward, George Gershwin) - 4:11
4. Piece Of My Heart (Take 6) (Bert Berns, Jerry Ragovoy) - 4:56
5. Harry (Take 10) (Dave Getz, James Gurley, Janis Joplin, Peter Albin, Sam Andrew) - 1:12
6. Turtle Blues (Take 4) (Janis Joplin) - 4:47
7. Oh, Sweet Mary (Janis Joplin) - 4:24
8. Ball And Chain (Live) (Big Mama Thornton) -  (7:29
9. Roadblock (Peter Albin, Janis Joplin) - 5:43
10.Catch Me Daddy (Take 1) (Dave Getz, James Gurley, Janis Joplin, Peter Albin, Sam Andrew) - 5:34
11.It's A Deal (Take 1) (Dave Getz, James Gurley, Janis Joplin, Peter Albin, Sam Andrew) - 2:42
12.Easy Once You Know How (Take 1) (Dave Getz, James Gurley, Janis Joplin, Peter Albin, Sam Andrew) - 4:35
13.How Many Times Blues Jam (Dave Getz, James Gurley, Janis Joplin, Peter Albin, Sam Andrew) - 5:27
14.Farewell Song (Take 7) (Sam Andrew) - 5:03

Disc 2
1. Flower In The Sun (Take 3) (Sam Andrew) - 3:14
2. Oh Sweet Mary (Janis Joplin) - 6:55
3. Summertime (Take 1) (Dorothy Heyward, George Gershwin) - 3:14
4. Piece Of My Heart (Take 4) (Bert Berns, Jerry Ragovoy) - 4:07
5. Catch Me Daddy (Take 9) (Dave Getz, James Gurley, Janis Joplin, Peter Albin, Sam Andrew) - 3:16
6. Catch Me Daddy (Take 10) (Dave Getz, James Gurley, Janis Joplin, Peter Albin, Sam Andrew) - 4:22
7. I Need A Man To Love (Take 3) (Janis Joplin, Sam Andrew) - 7:09
8. Harry (Take 9) (Dave Getz, James Gurley, Janis Joplin, Peter Albin, Sam Andrew) - 1:11
9. Farewell Song (Take 4) (Sam Andrew) - 4:28
10.Misery'n (Takes 2, 3) (Dave Getz, James Gurley, Janis Joplin, Peter Albin, Sam Andrew) - 3:58
11.Misery'n (Take 4) (Dave Getz, James Gurley, Janis Joplin, Peter Albin, Sam Andrew) - 4:58
12.Magic Of Love (Take 1) (Mark Spoelstra) - 3:19
13.Turtle Blues (Take 9) (Janis Joplin) - 4:00
14.Turtle Blues (Last Verse Takes 1, 3) (Janis Joplin) - 4:35
15.Piece Of My Heart (Take 3) (Bert Berns, Jerry Ragovoy) - 4:32
16.Farewell Song (Take 5) (Sam Andrew) - 5:13

Big Brother And Holding Company 
*Peter Albin- Bass, Vocals
*Sam Andrew - Guitar, Vocals
*David Getz - Drums
*James Gurley - Guitar, Vocals
*Janis Joplin - Vocals

1968/70  Janis Joplin - Joplin In Concert (2007 japan blu spec hard paper sleeve two discs set remaster)
1970-71  Big Brother And The Holding Company - Be A Brother / How Hard It Is (2008 acadia reissue) 

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Thursday, January 24, 2019

Sandra Rhodes - Where's Your Love Been (1973 us, miraculous soulful country rock, 2014 extra tracks remaster)

Sandra Rhodes was a country girl who landed in Memphis rather than Nashville, which means she ended up singing a lot more than just country music. Rhodes, along with her sister Donna Rhodes and husband Charlie Chalmers, did session work with some of the biggest names in both soul and country music, from Conway Twitty to Al Green, and as a singer and songwriter she walked a tightrope between the two sides of Southern music through the '60s and '70s (which were never as different as people liked to believe). Rhodes' love of both country and soul is evident on her first and only solo album to date, 1973's Where's Your Love Been, which was cut at the Sam Phillips Recording Studio in Memphis; while this music is clearly informed by country music, with pedal steel guitar, lonesome harmonicas, and massed vocal choruses playing into the arrangements, there's a deeply soulful note in Rhodes' vocals and melodies that suggests the average C&W radio station wasn't going to play this stuff, no matter how much "No Such Thing as Love" and "No One Else Could Love You More" sound like great country singles.

When Rhodes felt like showing off her soulful side, she did it right; "The Best Thing You Ever Had" and the title track cut a top-notch groove, suggesting classic Hi Records sides, and the gospel feel that permeates "Never Grow Old" is clearly not of the bluegrass variety. If Rhodes didn't easily fall into a generic category, this record sounds like Memphis through and through, with its easy fusion of styles and potent yet comfortable grooves delivered by a crack session band. Where's Your Love Been isn't quite a lost classic, but it shows Sandra Rhodes was a gifted vocalist who could have had a great solo career with better breaks and a more supportive label, and it's a pure product of a city where soul comes as easily as breathing. [In 2014, Omnivore Records gave Where's Your Love Been an expanded and remastered reissue, with seven excellent outtakes from the original sessions included as bonus tracks, and fine liner notes from Bill Dahl. Fans of country-soul will clearly enjoy this set, and it's a splendid tribute to an overlooked talent.
by Mark Deming

While Sandra Rhodes made a name for herself singing behind Al Green on his classic Hi Records sides and writing songs including Conway Twitty’s #1 single, “The Clown,” her best work missed the public eye. And ear.

Where’s Your Love Been was Sandra’s 1972 album, recorded at Sam Phillips Recording Studio in Memphis and originally released on Fantasy Records. Just as her backing vocals (usually performed with sister Donna and then husband Charlie Chalmers) appeared on recordings of every genre, Where’s Your Love Been moved from Country to sweet Memphis Soul. The same reason her songs have been recorded by artists as diverse as Skeeter Davis to Isaac Hayes.

Co-Produced by Sandra and Chalmers, the ten tracks on Where’s Your Love Been include originals like the title cut to a cover of The Rolling Stones’ “You Can’t Always Get What You Want.” To make this album’s CD debut even more special, seven bonus tracks from the sessions have been unearthed—all previously unissued!

With liner notes from Bill Dahl in a full color booklet, Where’s Your Love Been is ready for the audience that missed out on it over four decades ago. Like many other great “unheard” albums, Omnivore Recordings is proud to tell everyone that the question of Where’s Your Love Been has finally been answered.

1. No One Else Could Love You More (Sandra Rhodes, Charles Chalmers) - 4:01
2. I Think I Love You Again (Irwin Levine, Toni Wine) - 2:41
3. No Such Thing As Love (Sandra Rhodes, Charles Chalmers) - 3:08
4. Sho' Is Rainin' (Sandra Rhodes, Charles Chalmers) - 4:12
5. It's Up To You (Sandra Rhodes) - 2:45
6. Where's Your Love Been (Sandra Rhodes, Donna Rhodes) - 4:28
7. You Can't Always Get What You Want (Mick Jagger, Keith Richards) - 4:17
8. Never Grow Old (Sandra Rhodes, Donna Rhodes) - 3:11
9. The Best Thing You Ever Had (George Jackson) - 3:13
10.Sowed Love And Reaped The Heartache (Dickey Lee, Allen Reynolds) - 3:10
11.Double Dealing Woman (Sandra Rhodes, Charles Chalmers, Morris Tarrant) - 2:20
12.Someday Sweet Baby (Donna Rhodes) - 3:23
13.Baby Don't Go (Sonny Bono) - 3:50
14.I'd Rather Hurt You Now (Sandra Rhodes, Charles Chalmers) - 3:03
15.Linda Was A Lady (Sandra Rhodes, Charles Chalmers) - 3:37
16.Jingo (Sandra Rhodes, Donna Rhodes, James Brown) - 4:04
17.I Don't Play The Game (Sandra Rhodes) - 3:09

*Sandra Rhodes - Vocals, Acoustic, Electric Guitar
*Donna Rhodes -  - Congas, Maracas, Tambourine
*James Brown - Organ, Piano
*Butch Johnson - Guitar
*Ben Cauley - Trumpet
*Charles Chalmers - Tenor Sax
*Steve Holt - Drums
*The Joint Ventures - Choir
*Leo La Blanc - Steel Guitar
*James Mitchell - Baritone Sax
*Roland Robinson - Bass
*Sylvester Sample - Bass

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Sunday, January 20, 2019

Glass Harp - Synergy (1971 us, amazing guitar bluesy psych rock, 2015 remaster)

Synergy opens with two of Keaggy’s heaviest guitar statements on record: ‘One Day At A Time’ (which begins as a baroque acoustic melody before transitioning into hard rock), followed by the blistering Pecchio track ‘Never Is A Long Time’. ‘Special Friends’ and ‘Dawn Of A New Day’ also have convincing rock-and-roll energy. Some of Keaggy’s best songwriting is featured here, including the moody textured classic rocker ‘Song Of Hope’ (strongly propelled by Pecchio’s bass), the bright acoustic ‘The Answer’ (again revealing classical influences) and the lighthearted ‘Mountains’. The latter is one of the few Keaggy compositions that didn’t make it onto the later Song In The Air compilation.

Keaggy’s guitar drifts into dreamy spaced soft-psych realms on the beautiful mesmerizing Sferra ballad ‘Just Always’. Also on the quieter side is Pecchio’s ‘Child Of The Universe’. Very little outside help listed in the credits for this effort – and as the title suggests the album truly does capture the “synergy” of three members at their best. Comes in a very attractive gate-fold cover with lyrics and photo of the band in concert on the inside. 
by Ken Scott

1. One Day At A Time (Phil Keaggy) - 3:39
2. Never Is A Long Time (Daniel Pecchio) - 3:26
3. Just Always (John Sferra) - 5:02
4. Special Friends (Daniel Pecchio, John Sferra, Phil Keaggy) - 2:43
5. Coming Home (Daniel Pecchio, John Sferra) - 3:32
6. Song Of Hope (Phil Keaggy) - 4:23
7. Child Of The Universe (Daniel Pecchio) - 3:01
8. Mountains (Phil Keaggy) - 4:01
9. The Answer (Phil Keaggy) - 2:40
10.Dawn Of A New Day (Daniel Pecchio, Phil Keaggy) - 2:58
11.Look In The Sky (Dan Pecchio, John Sferra, Phil Keaggy) - 10:34
12.Never Is A Long Time (Daniel Pecchio) - 3:39
13.Do Lord (Phil Keaggy, Daniel Pecchio, John Sferra) - 4:19
14.Changes (John Sferra) - 6:23
15.Let The Bells Ring (John Sferra) - 6:47
Bonus Tracks 11-14 Live 1971
Bonus Track 15 Demo recording

The Glass Harp
*Phil Keaggy - Guitars, Vocals
*John Sferra - Drums, Vocals, Guitars, Tambourine
*Daniel Pecchio - Bass, Vocals, Flute
*Ralph MacDonald - Percussion,  Congas, Bells, Triangle
*Mary Smith - Vocals

1970  Glass Harp - Glass Harp (2014 remaster) 
1971  Glass Harp - Live! At Carnegie Hall
1972  Glass Harp - It Makes Me Glad (2005 remaster)

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Wednesday, January 16, 2019

Salloom Sinclair - Salloom Sinclair (1969 us, magnificent folkish bluesy psych rock, 2013 korean remaster)

The second great album from the duo of Roger Salloom and Robin Sinclair – issued by Chess Records like the first one, but much more of the kind of album you'd expect to hear coming from the south – on labels like Capricorn, Ardent, or Enterprise! Like some of the best on those, the approach here is a mixture of rock and roots, served up with plenty of soul – recorded down in Tennessee with some great help from Charlie McCoy – whose harmonic and strong basslines really help shape the sound of the record, and who also produced the whole thing too. 

There's a few currents of psych around the edges, and the mixture of the two singers is great – on titles that include "Violence Blam Blam I'm Sorry", "Lesson At The Delicatessen", "Motorcycle", "One More Try", "I'm Comin Home Again", "Sleep", "Faith Has Been Given", and "Animal".

1. Lesson At The Delicatessen - 2:39
2. Motorcycle - 3:47
3. One More Try - 3:42
4. I`m Comin Home Again - 3:02
5. Violence, Blam Blam, I`m Sorry - 4:03
6. Animal - 5:22
7. Faith Has Been Given - 3:24
8. Let`s Be Right - 4:06
9. Exhaustion - 2:06
10.Sleep - 2:21
All songs by Roger Salloom except track #9 by Robin Sinclair

*Robin Sinclair - Guitar, Vocals
*Roger Sinclair - Vocals, Rhythm Guitar
*David Briggs - Piano
*Kenny Buttrey - Drums
*Mac Gayden - Electric Guitar
*Jim Isbell - Percussion
*Charlie McCoy - Bass, Guitar, Harp, Mellophonium, Percussion, Producer
*Wayne Moss - Engineer
*Iodine Muscatel - Tambourine
*Weldon Myrick - Steel  Guitar
*Norbert Putnam - Bass
*David Satterfield - Vocals
*Buddy Spicher - Cello, Viola
*Bob Wilson - Organ

1968  Salloom Sinclair And The Mother Bear - Salloom Sinclair And The Mother Bear (2014 korean remaster) 

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Sunday, January 13, 2019

Merkin Manor - Music From Merkin Manor (1973 us, fabulous west coast psych rock, with fuzzed out jangly guitars and melodic, floating harmony vocals)

Provo, Utah in March 1967 was not like the many other American towns during this period. While the air was a buzz elsewhere with new sounds of garage, psychedelic, and hard rock music and long hair was becoming the norm amongst rebellious youth, the small town of Orem remained staunchly Mormon and Conservative. Rocky Baum and Ralph Hemingway were buddies in High School and from time to time, Ralph would vocalize tunes to Rocky's accompaniment. But there was something missing; They sorely needed a beat and other instruments to complete their sound. By the summer of 1969, they enlisted the services of Alan Newell on drums, Kent Balog on bass, and Doug Hinkins on lead guitar. And they needed a name: Rocky tells me this came from flipping through countless pages of an unabridged dictionary until the name “Merkin” jumped out at the band; Rod conveys quite a different story; the name was derived from an obscure offbeat movie,"Can Huronyomous Merkin Succeed with Mercy Hump?".

As in the case in any developing band, someone's parents house became the rehearsal hall for the band; in this instance it was Doug's living room. Despite all the antics that teenagers would go through (like a friend sticking his head in the bass drum to hear better), it wasn't long before they realized playing original music was much more exciting than copying the popular songs of the day. It was soon after this that their high school friend Rod Olsen assumed the part of manager, getting them jobs at the local schools, colleges, bowling alleys, etc. He also got the band more structured by providing them business cards, posters, flyers, promo tapes, and all the other things to promote a band.

It was obvious as things progressed that Ralph was the consummate entertainer. As lead vocalist, he became the conduit between the band and the audience. His rapport with the audience was outstanding and engaging. He had an uncanny ability to entertain(and shocking with the ad lib song about Mary Ellen walking under a bridge at a Halloween dance). Ralph would swing the mic over his head wildly never losing control.One time he had himself auctioned off as a door prize and dressed up inside a wrapped box wearing leotards and big lips!!

In 1970, Al was replaced by Kent's twin brother Gary to continue on as their drummer and Doug was replaced by Robert Barney as their lead guitarist. They then added a sixth member, Richard Leavitt, on keyboards through a want ad. Merkin was now emerging with a new and fuller sound, and the close bond between the Balog twins gave them a stronger foundation. It was becoming evident that Robert, though youngest & smallest, was the best musician and Richard had been trained as a classical pianist. It was at this time the bonus and previously unreleased tracks "Maybe Someday" and "Cry On My Shoulder" were recorded at Brigham Young University Recording Operations Department on a 4 Track system.

By 1971,Rod felt it was time to get them more exposure, and soon after embarked on a project to record them live, and send out tapes to potential producers and record companies. In late January that year, they were contacted by gay Young of Kommittee Productions and were on their way to Los Angeles for a recording session at Walden Sound Recorders in Redondo Beach. It was an exciting experience tor them; all the instruments, recording gear, and talented engineers, etc. Rocky recalls an engineer by the name of Rolf who did an outstanding job on special effects. The sessions were completed in just 4 days and the band did their best to minimize the drug intake. The first documented airing of the LP came soon after in San Francisco. Sundaze Music arranged a tour of Colorado which included stops in Vail,and Leadville.

New Year's Eve 1972 was the crowning moment of their trip;20 below outside, bikers, local, tourists, and even a few friends from Utah showed up-the place was packed! Rocky thinks someone may have slipped something into the kegs of beer, as everyone was dancing wildly and the girls were climbing onstage to dance with the band. The band returned to Utah and began playing the ski areas (Snowbird), local colleges and clubs. In February 1973 the Merkin Manor album was finally released. When the band reviewed the song writing credits, it became apparent that the other members were upset that Rocky was solely given this credit. 

To this day, Rocky believes he did nothing wrong; he had written the lyrics and melodies but never intended the other members to be left out. However the band's feelings were could not be changed, and Rocky was asked to leave the band. Rocky's pending prediction of this sentiment can be heard on Track 9 "We're all here together., through all this bad weather". The band played on for a few years under the name Merkin but broke up in 1974. Ralph, Kent and Gary started a new band, Robert started his own group. Rocky went back to school, Robert returned to the church, and Rod became a ski bum at a local ski resort. The final track on this record, "A Father's Song" was written by Rocky during the recording sessions but not included on the LP. Rocky recorded this in 1983 with "The Rocky Baum Project". It is a stunning recollection of his relationship with his father. Rocky put it very eloquently "A Father's Song" exemplifies some of the emotions that arose between fathers and their hippie sons during that very difficult time of social realignment.(i.e., long hair, loud music, differing political views, and recreational drugs).
by Roger Maglio, December 1997

1. Ruby - 3:39
2. Take Some Time - 3:52
3. Todaze - 3:48
4. Sweet Country - 3:54
5. Goodbye - 4:59
6. Watching You - 4:00
7. Kind Of Down - 4:00
8. The Right One - 3:22
9. Here Together - 3:37
10.Walkin' - 3:45
11.Maybe Somebody (Kent Balog, Gary Balog, Richard Leavitt, Robert Barney, Ralph Hemingway, Rocky Baum) - 6:43
12.Cry On My Shoulder (Kent Balog, Gary Balog, Richard Leavitt, Robert Barney, Ralph Hemingway, Rocky Baum) - 5:10
13.A Father's Song - 2:48
All compositions by Rocky Baum except where indicated

The Merkin Manor
*Kent Balog - Bass
*Gary Balog - Drums, Percussion
*Richard Leavitt - Keyboards
*Robert Barney – Lead Guitar
*Ralph Hemingway – Lead Vocals
*Rocky Baum – Rhythm Guitar, Vocals

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Sunday, January 6, 2019

Accolade - Accolade (1970 uk, splendid folk jazzy psych with prog shades, 2016 korean remaster)

Accolade were one of those short-lived late-'60s / early-'70s English bands that attempted to expand musical boundaries, completely eschewing electric instruments to mix traditional English folk with rock influences. They recorded two albums and one single before going their separate ways, but Gordon Giltrap remained for only this one album.

In one respect the band (bassist Eden Abba, woodwind player Brian Cresswell, singer / guitarist Gordon Giltrap, drummer Ian Hoyle and guitarist Don Partridge) was quite different from many of their contemporaries - namely they were brimming with talent.

Prior to their collaboration in Accolade, both Giltrap and Partridge had enjoyed some solo recognition. Giltrap had released a pair of critically praised solo albums, while Partridge (who was actually working as a busker ) enjoyed a fluke UK hit with the song "Rosie".

Unfortunately, Accolade's pastoral stylings guaranteed instant obscurity in the States. In fact, it's somewhat of a mystery how they even got their 1968 debut released by Capitol (a label hardly renown for its willingness to take a chance on cutting edge sounds). Produced by Don Paul, 1969's cleverly-titled "Accolade" is hard to accurately describe. Recorded with former Artwoods bassist Malcolm Pool replacing Eden Abba, the collection exhibits a smooth and calming sound throughout. Largely acoustic (though you don't really realize it), material such as "Maiden Flight Eliza" (featuring some weird Mamas and Papas-styled harmonies ), "Prelude To a Dawn", the bluesy "Nature Boy", the surprisingly hard rocking "Gospel Song" and "Never Ending Solitude" wasn't exactly mainstream rock, nor did it fall under the banner of Fairport Convention-styled English folk.

Imagine well crafted cocktail jazz with the addition of a touch of English folk and you'll get a feel for the LP. While that doesn't sound like a ringing endorsement, the result is actually a fascinating album. 

1. Maiden Flight Eliza - 2:44
2. Starting All Over (Gordon Giltrap) - 4:48
3. Prelude To A Dawn (Instrumental) (Brian Cresswell) - 3:14
4. Never Ending Solitude (Gordon Giltrap) - 2:37
5. Nature Boy (Eden Abba) - 9:40
6. Gospel Song (Gordon Giltrap) - 3:35
7. Calico - 3:08
8. Ulysses - 12:38
9. Go On Home - 2:41
All songs by Don Partridge except where indicated

*Eden Abba - Double-Bass
*Brian Cresswell - Saxophone, Flute
*Gordon Giltrap - Guitar, Vocals
*Ian Hoyle - Drums
*Don Partridge - Guitar, Vocals, Vibraphone

1971  Accolade - Accolade 2

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Thursday, January 3, 2019

Salloom Sinclair And The Mother Bear - Salloom Sinclair And The Mother Bear (1968 us, awesome groovy bluesy folkish psych rock, 2014 korean remaster)

Salloom-Sinclair were the male-female duo of singer-songwriter Roger Salloom and vocalist Robin Sinclair. In 1968, they fronted Salloom, Sinclair & the Mother Bear, who had a Marshall Chess-produced late-'60s psychedelic album on Cadet Concept. Salloom-Sinclair's sole LP (also on Cadet Concept), 1969's Salloom-Sinclair, was recorded in Nashville and produced by esteemed session man Charlie McCoy. Unsurprisingly, the album was country-rock in flavor, unremarkably average save for Sinclair's Janis Joplin-like vocals on the more gospelish and bluesy numbers, and the devious blues-rock-psychedelia of the record's strongest cut, "Animal." 

Salloom-Sinclair and the Mother Bear is very much a 1968 period piece, a mix of blues-rock, psychedelia, and self-consciously hip literary wordplay. The band's most striking feature is the piercing, wavering voice of Robin Sinclair, who at her highest goes into Minnie Riperton-like stratospheres. Her singing is both impressive and, at times, irritating, often bearing a strong resemblance in approach to Janis Joplin's. At its most strident, sometimes, to pull in a more distant and obscure comparison.

The material (largely written, and sometimes sung, by Roger Salloom) is too often stuck in pedestrian aggressive bluesy and Dylan-ish poses, tinged with a little San Francisco psychedelic-styled freakiness. Salloom can really grate, too, when he gets in a Dylan-ish talking-blues state of mind. 
by Richie Unterberger

1. Be Born Again - 4:11
2. Conversations With Gentility - 3:16
3. Steals - 4:13
4. Griffin (Robin Sinclair) - 3:41
5. She Kicked Me Out Of The House Last Night - 4:17
6. Florida Blues - 6:43
7. Sitting On A Finger - 3:43
8. Marie La Peau - 8:29
All compositions by Roger Sinclair except track #4

*John Bolling - Bass
*Tommy Davis - Guitar
*Phil Montgomery - Drums
*Dick Orvis - Organ, Piano
*Roger Sinclair - Vocals, Rhythm Guitar
*Robin Sinclair - Vocals

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