In The Land Of FREE we still Keep on Rockin'

I was so much older then, I'm younger than that now

Plain and Fancy

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


Thursday, June 10, 2021

Colosseum - Live In Montreux (1969 uk, remarkable prog experimental jazz blues rock, 2020 digi pak)


Following their successful appearance here on the Golden Rose TV Festival in April 1969, the band was invited back to play the Montreux Jazz Festival in June to a more youthful audience. The hot sunny weather saw the boys play an impromptu afternoon matinee by the pool, which culminated in a topless Dick Heckstall-Smith diving in to cool down! During that time bootlegs were a big part of the scene.

1. January's Search (Dave Greenslade, Jon Hiseman) - 6:56
2. February's Valentyne (Dave Greenslade, Jon Hiseman) - 4:21
3. Beware the Ides of March (Dave Greenslade, Dick Heckstall-Smith, Jon Hiseman, Tony Reeves) - 6:47
4. Mandarin (Dave Greenslade, Tony Reeves) - 9:03
5. Butty's Blues (James Litherland) - 10:23
6. The Time Machine (Jon Hiseman) - 6:03

*Dave Greenslade - Organ, Vibraphone, Piano
*Dick Heckstall-Smith - Saxophones
*Jon Hiseman - Drums
*James Litherland - Guitar, Vocals
*Tony Reeves - Bass Guitar

1969 Colosseum - Valentyne Suite (2004 deluxe expanded edition) 
1969  Colosseum - Those Who Are About To Die Salute You (2004 remaster and expanded)
1970  Colosseum - Daughter Of Time (remaster with bonus track)
Related Acts
1969  Sweet Pain - Sweet Pain
1969  Jack Bruce - Songs For A Tailor (expanded edition)
1970  Keef Hartley Band - Overdog (extra track remaster edition)
1970  Mogul Thrash - Mogul Thrash
1970 Chris Farlowe With The Hill - From Here To Mama Rosa (2010 Flawed Gems extra tracks remaster)
1972  Dick Heckstall Smith - A Story Ended (2006 Japan Remaster)
1973  Tempest - Tempest
1973-82  Bob Theil - So Far...

Saturday, June 5, 2021

Charge - Charge (1973 uk, stunning hard acid psych downer blues rock, 2013 xpanded eition)

Some treasures take a while to reveal themselves. When South Coast-based underground heavy rock trio Charge decided to record a 99-copies-only demo album at the beginning of 1973, sadly it failed to set in motion a chain of events that would culminate in fame, fortune and all manner of rock star excess. Instead, the album was ignored by the major record companies to whom copies were sent. Though they never recorded again, the band continued to play the local live circuit for a further couple of years before calling it a day after the tragic death of their drummer, Pete Gibbons. That terrible event seemed to represent the final chapter in the brief and highly obscure Charge story - just another local rock band who'd achieved a measure of regional popularity, enjoyed some good times and been left with numerous fond memories, but were destined to remain completely unknown by the wider world.

And that's the way it was until the best part of two decades later, when a  battered copy of the band's album was sold at a car boot fair for the price of a few pennies. Serendipitously falling into the hands of an individual who was looking to start a reissue record label specializing in obscure late Sixties/early Seventies rock and folk albums, the Charge LP was deemed to fit the bill perfectly. No attempt was made to trace the band: instead, the composer credits that had been on the original LP were removed, one song title that may have given a clue as to the band's whereabouts was altered, and an additional track was artificially created by a crude remix of elements from the side-long suite 'Child Of Nations'. Housed in an irrelevant 17th Century art print, the album was offered to the public for the first time {the original 1973 pressing had never been commercially available}. Only pressed at this stage on vinyl, the album obviously only reached a very limited number of people - mainly early Seventies progressive rock enthusiasts who were hankering after a new thrill. But sales were considered to be good enough to justify a CD release, which appeared in 1995. This version removed the 1992 remix track and was housed in a slightly different detail of the same painting, with a sleeve note that consisted of Tolstoy extracts and an anonymous, jingoistic note on the back cover about "the genius of the British race'.' 

Despite the fact that the demo album they had recorded in their youth was now on sale in both vinyl and CD formats, the surviving members of Charge - guitarist/singer Dave Ellis and bassist Ian MacLaughlin – remained blissfully unaware of the fact. Until, that is, one day in 2010, when Ian decided on a whim to visit a record fair for the first (and, thus far, last) time. Flicking in a distracted manner through the vinyl racks, he was surprised to find an album by a group who shared the same name as his early Seventies band. He was even more taken aback when he turned over the front cover to discover from the song titles that it was actually the album that he, Dave and Pete had recorded in a Luton demo studio nearly forty years earlier. And even that was nothing compared to the surprise he got when, on telling the stall-holder that he was a member of the band who'd recorded it, he discovered that it would cost him £15 to buy a bootleg pressing of his own album...

But everything happens for a reason (or so they say) - and here we are, o that original demo alburn's 40th anniversary, with the first-ever authorized reissue of the Charge LR Furthermore, it transpires that, twelve months before they'd recorded that alburn, a previous incarnation of Charge – at that point called Baby Bertha - had cut an even more limited (just 50 copies) album at the same derno studio. Another fearsome slab of early 1970s bluesy hard rock, the Baby Bertha LP has now been included in its entirety as a bonus offering on this new and definitive version of the Charge album... finally available legitimately after all these years.

Charge and Baby Bertha had their late Sixties roots in  areham, a Hampshire market town situated between the cities of Southampton and Portsmouth. In mid-1969, guitarist and singer Dave Ellis formed his first band, Relative, since returning from overseas, where he'd been a serving member of the British army. With a name inspired by Family (who'd been thinly disguised as Relative in Jenny Fabian's notorious novel Groupie], the band were primarily a product of the British blues rock boom that had sprung up over the previous year or two. Personnel changes were fairly frequent, with Dave Ellis the only real constant until the arrival of bassist Ian MacLaughlin. The two men would strike up a personal and musical rapport that, more than forty years later, continues to endure.

In late 1971, Relative gave way to Baby Bertha, whose line-up was Dave Ellis (guitar, vocals), Roger 'Prof Perry (rhythm guitar), Ian MacLaughlin (bass) and Des Law (drums). By now Dave had been writing songs for some time, and the band decided to make a demo album to showcase their live sound. In January 1972, they booked some time at SRT Studios, a Luton-based operation who advertised in Melody Maker. Playing live in the studio, Baby Bertha cut nine tracks: a mean and moody version of Fleetwood Mac's 'Looking For Somebody' was joined by a playful cover of the Fats Domino chestnut 'Blueberry Hill', but the remaining seven songs were original Dave Ellis compositions. Several tracks - most obviously 'Blues ForYou', 'The Struggle' and the Chicken Shack-style 'Lost My Woman' - confirmed that Baby Bertha were still essentially a heavy blues band, but the likes of 'Song For The Nights' and the thunderous closing track 'Can You? Will You?' suggested a gradual shift to Led Zeppelin/Deep Purple/Free-inspired hard rock territory. There were even occasional hints of a commercial sensibility, with 'Goodbye Good-Day' and 'Now You're Out Of My Life' boasting as many radio-friendly pop hooks and melodic ideas as anything that Slade were doing at the time.

Charge still stands as one of the buried treasures of the early Seventies British underground scene. Notwithstanding the fluff-on-the-needle production, there's a vitality and rawness to the album that suggests that Charge must have been a sensational live band. The opening track, 'Glory Boy From Whipsnade' (truncated to 'Glory Boy' on those unauthorised reissues), is a perfect encapsulation of the band's sound, with Dave's Lemmy esque vocals to the fore over a maelstrom of Hendrix-esque, hard-riffing downer rock. (Some forty years later, Dave has no idea why he referenced Whipsnade in the title - although, given that Whipsnade Zoo was just a few miles down the road from SRT, it's entirely likely that he simply saw the name and liked it when the band were travelling to or from the studio.)

Side One of the Charge album was completed by To My Friends' and 'Rock My Soul' - two further superb slabs of heavy progressive rock which confirm that, in addition to the band's extraordinary blend of power and swagger, they also boasted an outstanding songwriter in Dave Ellis. They also had a greater sense of ambition than many of their rivals, as can be heard on the epic anti-war song suite that took up Side Two of the album. Clearly inspired by Dave's time in the army, 'Soldiers', 'Battles' and 'Child Of Nations' could easily have fallen into the trap of maudlin sentimentality or awkward crassness, but they retain a sureness of touch that's bolstered by the band's sheer instrumental energy and drive.

All that, of course, is an outsider's point of view, delivered some forty years after the album was made. At the time of the recording, the band felt it to be a deeply unworthy document of their live sound, while they were also aware that the total running time of about thirty minutes was a bit on the miserly side (apparently they briefly considered re-recording a couple of tunes from the Baby Bertha LP simply to flesh out the LP, but in the end decided against it). Whereas Baby Bertha had been limited to 50 copies, Charge was pressed in a total quantity of 99 copies (100 or more would have left the band liable for Purchase Tax, the forerunner of VAT), though once again the albums were manufactured without any outer sleeves. As with the Baby Bertha set, a few copies went to family and friends, while the remainder were despatched to record companies in what proved to be a vain attempt at earning a recording contract.

Although record company interest wasn't forthcoming, Charge did become a very popular live band on the South Coast, building up a sizeable fan-base in the two or three years that they were active. However, tragedy struck in mid 1975 when Pete Gibbons - still only 25 years old at the time - suffered a fatal asthma attack. Crushed by the death of a dear friend and a great musician, Dave and Ian couldn't even contemplate continuing the band without him, and Charge were also laid to rest.

Both Dave and Ian went on to play in numerous other bands, but we leave the Charge story at that point. As already mentioned, it took a bootleg release in the early Nineties to belatedly bring their music to a slightly wider audience than it received during the band's lifetime. Hopefully this first-ever legitimate issue of the Charge album, coupled with its previously-unknown-to-exist predecessor, will widen that net still further. After all, music this good really does deserve to reach as many people as possible...
by David Wells, October 2013

1. Glory Boy From Whipsnade - 4:02
2. To My Friends - 5:04
3. Rock My Soul - 3:45
4. Child Of Nations - 16:54
5. Looking For Somebody - 4:28
6. Goodbye Good-Day - 4:18
7. Lost My Woman - 2:29
8. The Struggle - 5:06
9. Song For The Nights - 5:03
10.Blues For You - 3:37
11.Now You're Out Of My Life - 2:39
12.Blueberry Hill - 1:53
13.Can You? Will You? - 4:18
All songs by Dave Ellis except track #5 by Peter Green
Tracks 5 - 13 as Baby Bertha

*Dave Ellis - Vocals, Guitars, Vox 
*Ian McLaughlin - Bass  
*Pete Gibbons - Drums

Baby Bertha
*Dave Ellis - Vocals, Guitars
*Ian McLaughlin - Bass  
*Roger "Prof" Perry - Rhythm Guitar
*Des Law - Drums

Sunday, May 30, 2021

Privilege - Privilege (1969 us, fascinating groovy hard classic rock, 2011 edition)

With Leonetti and Venturini responsible for all of the material, "Privilege" rocked way harder than anything in their earlier Soul Survivors catalog.  In fact anyone looking for another slice of 'Expressway To Your Heart' styled blue-eyed soul will be severely disappointed.  Neither Leonetti or Venturini handled vocals while in The Soul Survivors and it showed on tracks like 'Traitor' and the proto-punkish 'The Quiz', though that actually wasn't a major distraction given the set's raw hard-rock orientation. These guys were also smart enough to vary the sound with 'Circling' and the closer 'Sojourn' slowing the tempo down with a couple of power ballads. Leonetti acquitted himself particularly well, turning in some blazing guitar work throughout.  Highlights included the fuzz-guitar propelled rocker 'People' and the Hendrix-influenced 'Purple Dog', though George Thorogood should've covered 'It's Yesterday'.  Certainly not the year's most original album, but well worth hearing and one of the more pleasant surprises I've come across.  T-Neck also tapped the album for a single in the form of ''Taking Care of You' b/w 'People'

An acid rock LP on the Isley Brothers’ T-Neck label? Yes, the unlikely collaboration resulted from a Jimi Hendrix concert at New York’s Syracuse University, supported by the Isleys and mixed soul-rock group, Soul Survivors, who had worked with Tom Bell and Gamble and Huff. When Soul Survivors morphed into Privilege, they convinced the Isleys to sign them to T-Neck, the result being this rare self-titled album, a fine set of hard-rocking originals, expertly produced by the Isleys with plenty of stereo panning, blistering guitar from frontman Edward Leonetti, atmospheric organ from Paul Venturini and melodic bass lines from Jack Douglas, later an engineer for Aerosmith, Lou Reed and Cheap Trick. A true classic.

1. Traitor (Edward Leonetti) - 4:42
2. It's Yesterday - 3:59
3. The Quiz - 2:52
4. Circling - 4:26
5. People - 3:52
6. Going Down - 2:44
7. Purple Dog - 2:32
8. Easter - 3:04
9. Taking Care Of You (Edward Leonetti) - 3:18
10.Sojourn (Edward Leonetti) - 4:15
All songs  by Edward Leonetti, Paul Venturini except where stated.

*Edward Leonetti - Guitar, Vocals
*Paul Venturini - Organ, Vocals
*Jack Douglas - Bass
*Tommy Brannick - Drums

Related Act
1967  The Soul Survivors - Expressway To Your Heart 

Thursday, May 27, 2021

Mind Garage - Again / The Electric Liturgy (1969-70 us, awesome garage psych roots 'n' roll with spiritual references, 2007 reissue)

There's truth to the old adage that everything old is new again but you don’t have to take my word for it. Google will happily give you almost half a million hits to prove it: everything from fashion to books to politics to music, music and more music. It seems especially apropos to music because good music never goes out of style. It may fade away for a bit, but will always find a way to be heard again, and again.

Such is the case with a regional rock 'n' roll, or garage, band from the 1960's in West Virginia. Living between Charleston and Morgantown, the Mind Garage was inventive, talented and not afraid to go to new places. The most prominent new place they went was off to church. The Mind Garage invented the concept of Electric Liturgy, the forerunner of today’s popular Christian Rock. That isn’t necessarily what they intended, but like the best of such things, it just happened that way.

They started out as The Glass Menagerie (not to confused with the UK band by the same name), and for the most part, all of them were students at West Virginia University in Morgantown. They covered songs of the Stones, the Beatles, the Animals and Jefferson Airplane, but more and more, they wrote their own material. They toured the Midwest, playing Wisconsin and Minnesota. Touring isn’t all that wonderful, and they just sort of disbanded.

A couple of personnel changes and suddenly, together they were better than any of them had ever been when all alone. It was lead guitarist John Vaughan who led the band to the young minister who supported their music: the Reverend Michael Paine. It was Mrs. Paine who came up the band’s new name, as they became the Mind Garage and their collaboration put the Catholic church’s new Liturgy (then first delivered in English rather than the traditional Latin) to rock music, known as "the Electric Liturgy" (appearing as side two of Mind Garage Again, their second RCA album). Actually, it was more Lutheran or Episcopal, harking back to the music of Bach. It almost didn’t happen, either, because a photograph of the minister with the band caused a major ruckus among the townsfolk, and the band ended up moving the music to a Methodist church. Once the music had been performed, however, the criticism melted away like snow in the sunshine.

A lot of folks called it the Electric Mass, but it was never Catholic, in that sense of the word. The only performances were in churches, mostly in the Midwest or along the Eastern seaboard, and the band never charged a fee for their performance. It was a major success, resulting in invitations to return for more.

After several starts and stops, and name changes, the band had ended up with five guys, all of whom liked classical music but played rock. They played hard, they wrote their own songs for the most part, toured a bit, made a record or two and then one day, for no reason, they just walked away in 1970.

In 1983, they found themselves all in the same place at the same time, at the anniversary of a friend’s marriage. Someone asked them to play and they did, on borrowed instruments. A few weeks later, they did it again in a recording studio, which resulted in the Carolina Session. And then, nothing for another twenty years.

Fast forward to 2005 or so. Larry McClurg, the front man for the band, who sang and addressed the audiences between songs (and still does) decided to see if he could find the other guys, with whom he’d had only that one contact since 1970. “It was surprisingly easy,” he says. He’s now in Florida, not quite retired, but busily planning for the band’s reunion next year. He quickly found Jack Bond, keyboards, also mostly in Florida, with occasional forays back home again in WVa. Jack’s been busy for the last few years on Caribbean cruise ships, as a singer/pianist/entertainer in Japan and Mexico, as well as many parts of the US and Canada.

Norris Lytton is also still in West Virginia, having spent the last 35 years in the chemical industry. He was singing bass and also played sax. John Vaughan was the lead guitarist and had been in a country and western band in the Stanford, California area, where he also worked in environmental situations. Michigan resident Ted Smith was (and still is) a percussionist, having spent a bunch of years as the tour drummer with the Spinners and other big bands, while holding down a job with the post office. He’s considered by Ziljian Cymbals to be one of the best drummers in the world.

It was surprising easy to find all the guys, but what really knocked Larry and the others for a loop was the band’s continuing popularity in far-flung areas of the world, even after all these years! It seems that their records were pressed where ever RCA had a plant, so while the band thought they were history, they were really becoming quite well-known to a new generation of fans throughout Europe, Japan, Russia, South America, Australia and Canada. The guys hadn’t even known about the foreign pressings, believing they were released only in the US. They were even included on a compilation disc made by the armed forces in company with Bob Segar, Percy Faith and the other big names of 1969. Their featured song was “What’s Behind Those Eyes."
by Kelly Ferjutz, December 2006

1. Ruby Rose - 3:18
2. Life - 3:57
3. Back Down Home - 3:09
4. Further Back Down Home - 1:56
5. There Was A Time - 3:18
6. Sweet Potato - 4:00
7. Doctor John - 6:11
8. Never Leave Me - 1:47
9. Angel Asks - 5:14
10.What's Behind Those Eyes - 2:41
11.Tobacco Road (John D. Loudermilk) - 2:06
12.Lucille (Albert Collins, Richard Penniman)  - 2:51
13.Circus Farm - 1:28
14.Emotions - 2:08
15.Isle Of Ely - 4:37
16.Jailhouse Rock (Jerry Leiber, Mike Stoller)  - 1:23
17.Paint It Black (Keith Richards, Mick Jagger)  - 3:35
18.Processional / Kyrie / Gloria - 5:05
19.Offeratory (Sunday Christian) - 2:20
20.The Lord's Prayer - 2:14
21.Communion (Water) - 4:12
22.Recessional - 2:28
All songs by Larry McClurg, John Vaughan, Ted Smith, Jack Bonasso, Norris Lytton except where stated

The Mind Garage
*Larry McClurg - Lead Vocals, Vocals
*John Vaughan - Lead Guitar
*Ted Smith - Drums, Vocals
*Jack Bonasso - Keyboard, Vocals
*Norris Lytton - Bass Guitar, Vocals

Sunday, May 23, 2021

Horn - On The People's Side (1972 canada, extraordinary prog jazz rock, 2015 remaster)

Largely forgotten, even among the crate-diggers, Horn was a Toronto jazz/rock outfit that seems to have fallen off the musical map even though the band contained drummer Bill Bryans (M.G. and the Escorts, the Government, the Parachute Club) and trumpeter Wayne Jackson (Downchild Blues Band). What's more, it appears that TV mogul Moses Znaimer had his fingers in this pie, right about the same time that he was launching Citytv, and starting up the late-night Toronto airwaves with those soft-core Baby Blue Movies.

The band's only release, On the People's Side melds socially conscious lyrics with the then cutting-edge sounds of jazz fusion - that means plenty of Rhodes pianos, vibraphones and trumpet. And though lyrically the record has aged poorly, with its hoary "brothers and sisters" references, the galloping Zappa-esque signatures and Bitches Brew-era riffs raise the stakes somewhat. The lead-off 'Things in Themselves' and the spry 'Vibrations (vee-bra-syohn)' are cases in point, straddling both prog and jazz, and thus infinitely more interesting than the pedestrian fare of the title track or the seventies rock cliches of 'Free All My Brothers'.
by Michael Panontin

1. Things In Themselves (Bruce Burron, David deLaunay) - 3:49
2. Free All My Brothers And Sisters (Bruce Burron, Gary Hynes) - 2:34
3. Roach (Bruce Baron) - 3:46
4. Vibrations (Gary Hynes, Les Clackett, Pierre Martin) - 3:10
5. Pony Buns (David deLaunay, Bruce Burron, Gary Hynes, Les Clackett,  Alan Duffy, Bill Bryans, Wayne Jackson) - 9:37
6. Working Together (David deLaunay) - 5:53
7. On The People's Side (David deLaunay) - 5:36

*Les Clackett - Lead Vocals
*Bruce Burron - Guitar
*Gary Hynes - Guitar
*David deLaunay - Keyboards
*Wayne Jackson - Trumpet
*Bill Bryans - Drums
*Alan Duffy - Bass

Wednesday, May 19, 2021

Dr. Music - Dr. Music (1973 canada, remarkable jazz fusion rock, 2005 remaster)

Douglas Riley began playing music with the R&B group the Silhouettes in Toronto. Throughout the late '60s and '70s he worked in Canadian television as a musical director and arranger for various music and variety shows, including Music Machine and The Wolfman Jack Show. The jazz group Dr. Music, that included saxist Steve Kennedy who played in a pre-Hawkins group with Robbie Robertson, began on The Ray Stevens Show, touring and recording after the show was cancelled in 1970.

Dr. Music released two eponymously-titled albums, in 1972 and 1973, both on the same label. The 1973 album included a cover version of The Band's "Where Do We Go From Here" from Cahoots, described by Canadian musicologist Bill Munson as "more effective" than The Band's version.

For the first 1972 LP, the group had about 16 members - half of them singers - doing what might be called gospel-rock, not so much in content, but in feel. All of the singers, aside from those who also played instruments, were gone by the time the second LP came out in 1973. By then the gospel was gone, replaced by more jazz-tinged rock, and the next album, Bedtime Stories (1975?) is all jazz, with just one vocal. When Dr. Music Circa 1984 came in 1985, Dr. Music was no longer a group, just whoever Doug Riley chose to use. Riley released the solo album Freedom in 1990 for PM, he passed away on August 28, 2007 of heart failure.
by John Bush

1. Long Time Comin' Home (Doug Riley) - 3:58
2. On The Road (Keith Jollimore, Larry Smith) - 5:55
3. In My Life (Doug Riley) - 5.46
4. 6-5 (Steve Kennedy) - 6:35
5. Tryin' Times (Doug Riley) - 3:38
6. Doctor Doctor (Doug Riley) - 5:35
7. Rollin' Releases (Doug Riley, Steve Kennedy) - 7:00
8. Where Do We Go From Here (Robbie Robertson) - 6:40

Dr. Music
*Doug Riley - Organ, Piano
*Doug Mallory - Acoustic, Electric Guitars, Lead Vocals
*Wayne Stone - Drums
*Steve Kennedy - Tenor, Alto Sax, Flute, Vocals
*Barrie Tallman - Trombone
*Keith Jollimore - Baritone, Tenor, Alto Sax, Flute,  Vocals
*Michael Kennedy - Percussion, Vocals

1974  Dr. Music - Bedtime Story

Saturday, May 15, 2021

Woody Kern - The Awful Disclosures Of Maria Monk (1969 uk, fascinating blues prog psych rock, 2013 remaster and expanded)

Woody Kern had its beginning with trio Rik Kenton (who was the focal point during live performances), Mick Wheat and Steve Harris forming the band in 1967 in their hometown of Nottingham. As the pivotal figure, Kenton was often mistakenly identified as the mythical 'Woody' by individuals in the audience at gigs as well as promoters. Later that year, John Sanderson was invited to join the group and the foursome played the Working Men's Club circuit in the Nottingham area.

Their music was a mix of blues, jazz, soul and psychedelia. At the beginning of 1968, after the previous year's psychedelic 'summer of love', recording labels were looking for blues bands to sign. The British Blues Boom was considered the next big thing about to happen in the music world. Woody Kern would travel down the M1 to play at the Marquee. Spotted there at a gig one night, Birmingham agency, Inter City Artists, offered to represent them.

The agency, with other artists such as the Velvet Fogg in its fold, presented Pye records with a package lot of groups that the agency represented, including Woody Kern for recording purposes. In the summer of 1968, Pye requested an album from the group. The album title "The Awful Disclosures of Maria Monk" was inspired by a book of the same name published in 1836 and written by a nun (or, as has been attested, her ghostwriters) describing forced sexual encounters by the priests who lived in the seminary next door.

The original album cover concept, as conceived by Pye, involved a 'nun' (actually a stripper named Lucy) whose habit was falling away from her body in a lurid fashion. (Pye had produced a similarly trashy album cover for the Velvet Fogg.) The finished photos for the projected Woody Kern release looked ridiculous and farcical and as a result Pye used a close-up photo of Steve Harris instead.

The band were teamed with Jack Dorsey, formerly a big band leader, as producer and the album was created in an almost live fashion. The group wanted to overdub additional instrumentation but as John Sanderson relates, all Jack Dorsey "was really interested in was whether we could introduce him to any of the type of girls that he thought must follow a rock band". The group were dissatisfied with the final mix since Dorsey had added effects, without the group's knowledge, that interfered with the blues atmosphere. The album and a single were released but failed to achieve any sales success and the band went their separate ways. 

1. Biography - 4:25
2. Blues Keep Falling (Traditional) - 6:05
3. That's Wrong Little Mama (B.B. King) - 3:00
4. Tell You When I'm Gone - 4:11
5. Xoanan Bay - 4:34
6. Uncle John - 6:20
7. Gramophone Man (Mark Andes, Randy California, Ed Cassidy, Jay Ferguson, John Locke) - 4:01
8. Fair Maiden - 4:48
9. Vile Lynn - 5:47
10.Mean Old World (Walter Jacobs) - 2:41
11.Vegtable - 9:54
12.Biography - 4:21
13.Tell You When I'm Gone - 4:08
All songs by John Sanderson, Mick Wheat, Rik Kenton, Steve Harris except where stated

Woody Kern
*Rik Kenton - Guitar, Keyboards, Vocals
*John Sanderson - Saxophone, Flute, Clarinet, Violin
*Mick Wheat - Bass
*Steve Harris - Drums

Monday, May 10, 2021

Toe Fat - Bad Side Of The Moon An Anthology (1970-72 uk, impressive hard classic rock with some prog shades, 2021 double disc digi pak remaster)

Motown’s Rare Earth imprint intended to bring the sound of rock to the home of The Supremes, The Miracles, Martha and The Vandellas, The Temptations, and Four Tops.  The imprint was named after a white rock band from Detroit and its artists were both home-grown and licensed from other parties.  In the latter category was Toe Fat, a U.K. psych-rock band built around the talents of Cliff Bennett, formerly of the beat group Cliff Bennett and The Rebel Rousers.  Both of Toe Fat’s albums – issued on Rare Earth in the U.S. and EMI in the U.K. – are newly collected on Bad Side of the Moon: An Anthology 1970-1972, a 2-CD set from Cherry Red’s Esoteric Recordings imprint.  It gives a welcome opportunity to reevaluate the music of the band that yielded two future members of Uriah Heep, one member of Jethro Tull, and a key collaborator of The Bee Gees.

Toe Fat’s self-titled debut arrived on Rare Earth in 1970 following albums from Rare Earth (the band), Love Sculpture, U.K. import The Pretty Things, Rustix, and Messengers.  Cliff Bennett was encouraged by EMI, with whom he’d been under contract leading the Rebel Rousers, to form a band reflecting the heavier sound of rock at the turn of the decade.  When Bennett learned that Motown was interested, as well, he set out to form the oddly-monikered Toe Fat.  (Malcolm Dome’s liner notes reveal that “Bollocks” and “Shit Harry” were two other options, so maybe Toe Fat wasn’t such a bad name, after all.)  The core line-up was poached from the ashes of band called The Gods: guitarist/multi-instrumentalist Ken Hensley, bassist John Glascock (incorrectly credited during his time in the band as John Konas), and drummer Lee Kerslake.  Pianist-lead vocalist Bennett tapped Mox Gowland on flute and harmonica as a guest musician.  Recording took place with producer Jonathan Peel at Abbey Road.

Bennett’s efforts to modernize his sound were largely successful; Toe Fat was steeped in blues, rock, and soul and wrapped up in a rather frightening Hipgnosis sleeve depicting toe people.  (Two of the four nude toe people were too much for Motown and were incongruously replaced with a sheep.)  Bennett penned most of the material on the eponymous LP, sometimes in collaboration with Hensley (uncredited due to publishing rights issues).

Some notable outside compositions were brought in, too, including Elton John and Bernie Taupin’s “Bad Side of the Moon.”  Bennett tells Dome that he’d known John as a young fan of the Rebel Rousers, so he gladly accepted the chance to record the rising star’s song.  (Elton’s rendition appeared as the B-side of his “Border Song” in 1970.)  Bennett’s deep, resonant, and gutsy vocals – which at times resemble those of Blood, Sweat and Tears’ David Clayton-Thomas – were well-suited to the guitar-dominated heavy soul approach to material such as “Bad Side” and “(Ain’t That) Just Like Me,” the Hollies oldie-but-goodie.  Ernie Shelby and Dick Cooper’s “Nobody” (introduced by Larry Williams and Johnny Watson with The Kaleidoscope and covered by Three Dog Night) showcased Hensley with ample soloing and scorching fuzz guitar.

But the album primarily consisted of melodic but aggressive Bennett originals including the strong opener, “That’s My Love for You,” the attractive midtempo harmony ballad “The Wherefors and the Why,” the Tull-esque “Just Like All the Rest” (with Mox Gowland in place of Ian Anderson on flute as well as bluesy harmonica), the powerfully-rocking “I Can’t Believe,” and boogieing “You Tried to Take It All.”  Hensley’s riffs complemented and added an edge to Bennett’s straightforward, hook-laden songs.

Despite lackluster sales upon the album’s May 1970 release, Toe Fat was poised for success with an opening slot on Derek and the Dominos’ U.S. tour.  But it wasn’t without drama.  Before the tour, the band’s management fired Hensley and Kerslake, much to Bennett’s surprise.  They landed in Uriah Heep and were replaced in Toe Fat by future Bee Gees band member Alan Kendall on guitar and John Glascock’s brother Brian on drums.  Once the tour was completed, this line-up, again joined by Mox Gowland, reunited with Jonathan Peel at Abbey Road for the sophomore LP sought by Rare Earth.  The simply-titled Two was more eclectic than its predecessor but for consistency’s sake was adorned with another creepy-crawly Hipgnosis cover.

The opening “Stick Heat” established Alan Kendall’s bona fides.  With its spiky, abrasive guitar and foreboding atmosphere, the tune announced that Kendall was more than ready to pick up where Ken Hensley left off.  He also took Hensley’s place as Bennett’s primary co-writer, albeit with full credit.  The duo co-wrote seven of the eight songs on Two, with Kendall sole author of the moody prog instrumental “Indian Summer.”  The eight songs veered from driving hard rock (“Since You’ve Been Gone,” “Idol,” “Three Time Loser”) to a straight blues workout (“There’ll Be Changes,” boasting uncredited guitar from Fleetwood Mac co-founder Peter Green and harmonica from Mox Gowland) with psychedelia and prog flourishes laced throughout as on the slow-burning, two-part anthem “A New Way.”  The band might not have settled on a firm direction, but they played in the manner of a tight-knit unit.

While singles had been issued from Toe Fat (“Bad Side of the Moon” in both the U.S. and U.K., and then a U.S. pressing with “Bad Side” relegated to the flip of “(Ain’t That) Just Like Me”)), neither Rare Earth in the U.S. nor EMI/Regal Zonophone in the U.K. released a 45 from Two.  Before giving up the ghost, Toe Fat recorded one more single which was released in 1972 on the indie Chapter Two label.  These have been included as bonus tracks on the second disc here.  The A-side, “Brand New Band,” channeled a more rootsy sound, with barroom piano and a singalong chorus.  “Can’t Live Without You,” on the B-side, also had a lighter sound than the two albums, pointing Toe Fat in a pub-rock vein.

Bassist John Glascock would join Jethro Tull in 1976, remaining with the band until his untimely death in 1979.  Alan Kendall would form a crucial component of the Bee Gees’ band for two separate stints (1971-1980 and 1987-2001).  Brian Glascock returned to session work for a number of high-profile artists including Dolly Parton and Heart’s Nancy Wilson.  Cliff Bennett and Ken Hensley remained friends until Hensley’s death in 2020.

Esoteric’s collection is housed in a six-panel digipak containing a 20-page booklet.  In Malcolm Dome’s notes, Bennett candidly and affectionately reflects on the band’s small but potent discography.  Ben Wiseman has remastered all of the tracks here from master tapes other than the Chapter 1 sides which were sourced from a clean vinyl copy of the original single.  Toe Fat has long been a mere footnote in the histories of Cliff Bennett and The Rebel Rousers, Uriah Heep, Jethro Tull, The Bee Gees, Elton John, and Motown/Rare Earth.  Bad Side of the Moon: An Anthology 1970-1972 enjoyably places the music front and center. 
by Joe Marchese, February 25, 2021

Disc 1 Toe Fat 1970
1. That's My Love For You (Frank Allen, M. Roberts) - 4:02
2. Bad Side Of The Moon (Elton John, Bernie Taupin) - 3:25
3. Nobody (Dick Cooper, Ernie Shelby, Beth Beatty) - 6:03
4. The Wherefores And The Whys - 3:43
5. But I'm Wrong - 4:00
6. Just Like Me (Billy Guy, Earl Carroll) - 4:12
7. Just Like All The Rest - 2:32
8. I Can't Believe - 4:00
9. Working Nights - 2:33
10.You Tried To Take It All - 4:24
All songs by Cliff Bennett except where stated

Disc 2 Toe Fat II 1971
1. Stick Heat - 6:18
2. Indian Summer (Alan Kendall) - 2:08
3. Idol - 3:31
4. There'll Be Changes - 6:51
5. A New Way - 7:55
6. Since You've Been Gone - 4:47
7. Three Time Loser - 4:30
8. Midnight Sun - 4:44
9. Brand New Band (Towns) - 2:59
10.Can't Live Without You (Cliff Bennett) - 3:33
All compositions by Alan Kendall, Cliff Bennett except where noted
Bonus Tracks 9-10 released as Chapter 1 Records SGH-R 175 in September 1972

Toe Fat
*Ken Hensley - Guitar, Organ, Piano, Vocals (Disc 1)
*Cliff Bennett - Lead Vocals, Piano
*John Glascock - Bass, Vocals
*Lee Kerslake - Drums, Vocals 
*Max Gowland - Flute, Harmonica
*Alan Kendall - Guitars, Ukele Banjo (Disc 2)
*Brian Glascock - Drums, Vocals (Disc 2)

Related Acts
1968  The Gods - Genesis (2009 japan extra tracks remaster)
1969  The Gods - To Samuel A Son (2009 japan bonus track remaster)
1970  Head Machine - Orgasm (2006 digipak edition)
1971  National Head Band - Albert One (2008 remaster) 
1973  Ken Hensley - Proud Words On A Dusty Shelf (2010 remaster)

Tuesday, May 4, 2021

Chris Harwood - Nice To Meet Miss Christine (1970 uk, gorgeous jazzy folk, naked vocals ride a rock-solid back beat with clavinet funk and a wash of luscious strings sending you into a trance-like state, 2006 bonus trax remaster)

Has anybody met Chrissie Harwood?  Let us introduce to you an elusive British artiste who made an equally elusive, immaculate LP, which in the 35 years since its original release, as if by tragic magic, has materialised into thin air.

Recorded for an obscure British label it was the only record she ever made and no singles were ever released. In fact it was seldom heard beyond these shores (aside rumours of an Australian vanity pressing), and alongside Vertigo’s obscure Linda Hoyle LP, late period Transatlantic releases such as CMU’s Space Cabaret and Julie Covington’s early solo LP Beautiful Changes, it remains one of the most sought after English female folk rock records ever released. Until now it has been a mystery amongst pop-historians, DJs and record collectors alike.

For a short time in the early 90s the original LP became a regular exhibit at UK record fairs where aspiring collectors and DJs like myself would be the only buyers willing to take a gamble on this anonymous slab of vinyl housed in its uninspiring black and white sleeve which was devoid of any information likely to inspire any of the old-faire to take a punt. A record shop in Stockport called ‘The 78 Record Exchange’ was rumoured to have a whole box of these LPs sat outside in the rain throughout the late Eighties until the final copy was snapped up for the modest 50 pence asking price. The old cliche “never judge a book by the cover” couldn’t be more apt – and although, in hindsight, the LP has all the enigmatic trappings of an American private press, Smithsonian, folksploitation LP the bland packaging didn’t quite cut the mustard. Since then copies of the LP rarely crop up, only two have cropped up on the ‘necessarily evil’ eBay within the last 3 years and both have commanded figures around the £200 mark (£192 and £228 retrospectively). With a notable resurgence in vintage British folk rock it is little wonder that ‘an original Chris Harwood’ has become something of a holy grail amongst collectors, but few can say they actually know the history behind this sacred LP – the original artist, as I already mentioned, has remained somewhat elusive to say the least.

Throughout the heady summer of 1970 a regular folk tinged fixture at Rick Wakeman’s notorious ‘Brewer’s Droop’ rock pub in London was an unnamed blues-folk outfit featuring a sixteen-year-old singer called Chrissie Harwood. Spellbinding performances were warmly received by the progressive-pop cognoscenti which inspired Chrissie’s latter day squeeze and future husband and rock hack, Mark Plummer, to pursue a record deal resulting in an overnight guinea-pig contract with the launch of a CBS distributed new label owned by an uber-legendary, Mickie-Most-alike called Miki Dallon.

The first release on the short lived Birth imprint (which acted as a sister-label to Dallon’s Youngblood Records) was realised with a half baked business plan, and after a short run of break-neck off-peak studio sessions at Marble Arch (one of which witnessed a temporary power cut) – the LP, ‘Nice To Meet Christine’, was written and recorded with Plummer behind the desk and Ms. Harwood in the vocal booth. In his debut role as producer, Plummer enlisted the services of a host of up and coming progressive rock and folk stars drawing from a little black book of celebrity friends who he had previously interviewed for the likes of Melody Maker and in turn they then created the blueprint for a Rock Family tree-surgeons breakfast.

The original ‘Yes’ guitarist Peter Banks, who would later reform ‘Blodwyn Pig’ was drafted in to play acoustic and pedal steel guitar throughout the entire LP alongside a young Guitarist Dave Lambert who would go on to work with Dave Cousins in ‘The King Earl Boogie Band’ and later join ‘The Strawbs’. Lambert wrote three tracks for the album, a country-rock-boogie number ‘Ain’t Gonna Be Your Slave’, the up-tempo ‘Flies Like A Bird’ and a quasi-political intro track ‘Mama’ which included a Gainsbourg / Melody Nelson-esque choral arrangement courtesy of folk-rock vocal group ‘Design’ (craftily recording under the moniker ‘The Designettes’ to avoid legal wranglings with their new label Epic).

By contacting Joe Cocker’s Hammond organist Tommy Eyre, Plummer would inject ‘the funk’ into the proceedings, which goes some way to explaining why the LP has become a regular inclusion on record collectors wants-lists, especially sought after amongst Hip-Hop producers and die-hard Acid-Jazzers over the last ten years. Eyre (who would play on albums by ‘Juicy Lucy’, ‘The Sensational Alex Harvey Band’ and John Martyn) added sublime twinkles of Fender Rhodes and bursts of Hammond B3 to the LP, most notably on an astonishing, orchestral-funk cover of CSN’s ‘Wooden Ships’ as well as Chrissie’s self penned ‘Gotta Do My Best’ complete with pulsating backbeat courtesy of rock journalist veteran Chris Welsch drumming under the pseudonym J.K. Boots. Chris Welsch also supplied a future-DJ-friendly drum break on another of Chrissie’s original compositions ‘Never Knew What Love Was’, a stripped down arrangement exposing the raw fender bass played on the album by Roger Sutton, fresh from recording the seminal Brian Auger and Julie Driscoll LP ‘Open’.

With extra percussion from drum workshop legend Peter York, more guitars by folk-festival stalwart Mike Maran, and ‘Macdonald & Giles’ saxophonist, Ian MacDonald, contributing to a version of Traffic’s ‘Crying To Be Heard’ the LP unintentionally became an all star super-session (library music enthusiasts might revel in the fact that violins were contributed by session-man and Michel Legrand side-kick Johnny Van Derrick whilst taking a break from recording incidental music for The Pink Panther). Three further tracks were recorded in the session which have never been heard since the original recording.

After the studio bill was paid the LP was delivered, manufactured and sadly, mysteriously disappeared in to the purple ether with minimum commitment in the artwork, marketing and radio-plug department. A crest fallen Chrissie was given the cold, ambiguous explanation that ‘nothing happened’ with her only handcrafted stab at fulfiling the teenage dream. In later years Chrissie would hide her only copies of the ultra rare original release in a cupboard only to smash and tear them to pieces to save the potential humiliation of the record re-appearing at family functions like an embarrassing photo album. To this day since, the mysterious Chris Harwood has shyly put her singer songwriter days behind her and successfully covered the tracks. Fruitless, feeble attempts to track Chrissie down have lead to a string of ‘dodgy’ bootlegs from France, Italy and the UK which have only highlighted ‘Miss Christine’s’ enigmatic position in the mystery of pop history. In a topsy-turvy chain of events, the solo artist would step down the pop-ladder and become a session vocalist. Chrissie’s voice can be heard clearly on two tracks by the Peter Grant discovered ‘Stone The Crows’ backing up lead vocalist Maggie Bell on ‘Sunset Cowboy’ and ‘Crystal Palace Bowl’. The Twickenham born singer also spent extra studio time in an unnamed rock combo recording for Bell Records before a twist of fate saw her take the disappointing music industry in to her own hands and until recently she has worked behind the scenes, promoting pop music overseas.

1. Hear What I Have To Say (Chris Harwood) - 3:45
2. Never Knew What Love Was (Chris Harwood) - 2:42
3. Wooden Ships (David Crosby, Stephen Stills) - 4:58
4. Before You Right Now (Dave Lambert) - 3:47
5. Crying To Be Heard (Dave Mason) - 5:03
6. Question Of Time (Roger Sutton) - 3:43
7. When I Come Home (Chris Harwood) - 2:30
8. Gotta Do My Best (Chris Harwood) - 3:18
9. Romance (Chris Harwood) - 3:56
10.Ain't Gonna Be Your Slave (Dave Lambert) - 3:14
11.Flies Like A Bird (Dave Lambert) - 2:36
12.Mama (Dave Lambert) - 3:19
13.When I Come Home (Reprise) (Chris Harwood) - 1:25

*Chris Harwood - Vocals, Percussion
*Dave Lambert - Acoustic, Electric, Rhythm Guitar, Backing Vocals, Percussion
*Peter Banks - Acoustic Guitar
*Tommy Eyre - Hammond Organ, Piano 
*Jeff Matthews - Acoustic Guitar, Electric Guitar
*Mike Maran - Acoustic Guitar
*Ian McDonald - Flute, Saxophone
*John Russell Morgan - Stomping, Tambourine
*Jeff Starrs - Vocals
*Roger Sutton - Bass, Celli
*Johnny VanDerrick - Violin
*Pete York - Congas, Percussion 
*Chris Welch - Drums

Friday, April 30, 2021

Blues Magoos - Gulf Coast Bound (1970 us, magnificent jazz blues brass rock, 2020 korean remaster)

As original member Peppy Thielhelm and original producer Bob Wyld expanded the Blues Magoos' foray into Latin music meets mainstream blues, these May 1970 recordings take the previous years' Never Going Back a step further. Gulf Coast Bound is an improvement, retaining John Liello's vibes and percussion and pianist Eric Justin Kas, who is the major songwriting contributor here (strangely enough, he is listed as "Kas" on the album jacket and "Kaz" on the songwriting credits). "Slow Down Sundown" could be the band Chicago vamping without their horn section, some strange imitation monkey-sound vocals making their way onto the platter mixed in with Daddy Ya Ya's out-of-place tambourine as the song fades.

Erik Kas does the lead vocal on the 12-minute-plus opus "Can't Get Enough of You," which sounds like a strange marriage between Steely Dan and Traffic. The problem here is that the band is a notch or two below Traffic and Steely Dan, and despite the general improvement over the last disc and their initial dip into this musical bag, there is no Walter Becker or Dave Mason or Steve Winwood here, or, for that matter, a song as strong as Malo's "Suavecito" or Steely Dan's "Do It Again," which resembles "Can't Get Enough of You." To be fair to this new Blues Magoos, they came two full years before Malo and Fagen/Becker would all hit in 1972, so this album can be viewed as pioneering work. 

It's too bad ABC records didn't keep releasing this musical journey. Liello's vibes add a marvelous touch, and if they were given a few more chances, maybe they could have found another hit single. The seven-minute 54-second instrumental "Magoos Blues" is lightweight John Barleycorn Must Die-era Traffic, and the new rhythm section of drummer Jim Payne and bassist Cooker Lopresti is nondescript enough to not get in the way. Of the pyschedelic/garage rock bands which changed over to another format -- the Electric Prunes, H.P. Lovecraft, etc. -- in what seemed like gambles to become "respectable," this is the best of the lot. Eric Kaz takes "Tonight the Sky's About to Cry" and it, like the rest of this album, would make for good FM radio filler in the middle of the night. "Sea Breeze Express" follows suit, competent and pleasant music, but nothing outstanding, and, unfortunately, nothing as breathtaking as the Electric Prunes' "Get Me to the World on Time" or the Blues Magoos' own "We Ain't Got Nothing Yet," and that is the bottom line. 
by Joe Viglione

1. Gulf Coast Bound (Eric Kaz, Peppy Thielheim) - 3:56
2. Slow Down Sundown (Eric Kaz, John Andreolli) - 6:14
3. Can't Get Enough Of You (Eric Kaz) - 12:26
4. Magoo's Blues (Pee Wee Ellis) - 7:58
5. Tonight The Sky's About To Cry (Eric Kaz, John Andreolli) - 4:18
6. Sea Breeze Express (Eric Kaz, Peppy Thielheim, Pee Wee Ellis, Richie Dickon, Jimmy Payne, John Liello, John Cooker LoPresti) - 4:19

The Blues Magoos
*Daddy Ya Ya - Percussion, Tambourine
*Richie Dickon - Congas, Percussion
*Pee Wee Ellis - Percussion, Saxophone
*Eric Justin Kaz - Harmonica, Keyboards, Vocals
*John Liello - Percussion, Vibraphone, Vocals 
*John Cooker LoPresti - Bass
*Jimmy Payne - Drums
*Peppy Thielheim - Guitar, Vocals 

1966  Psychedelic Lollipop (expanded issue)
1967  Electric Comic Book (expanded issue)
1968  Blues Magoos - Basic Blues Magoos (2004 expanded edition)
1969  Blues Magoos - Never Goin' Back To Georgia (Vinyl edition)

Monday, April 26, 2021

Leslie West - The Great Fatsby (1975 us, awesome classic rock, 2008 reissue)

Released on Foreigner manager Bud Prager's RCA imprint -- Phantom records, it is one of two albums released by Leslie West on that label in 1975, the other being titled simply The Leslie West Band. The Great Fatsby's album cover has the rock & roll guitarist in front of a mansion surrounded by babes à la the F. Scott Fitzgerald character. It opens with a nice and bluesy Paul Kelly tune, "Don't Burn Me," and for the post-Mountain work here, that direction works best. 

"The House of the Rising Sun" features a duet with Dana Valery and is an interesting read on the traditional tune made famous by the Animals. Mick Jagger plays some guitar on a tune credited to himself, Keith Richards, West, Corky Laing, and Sandra Palmer. "High Roller" is a second cousin to "Brown Sugar," and for Rolling Stones fans, it's a must have, a rare '70s co-write and collaboration with another artist. For Leslie West fans, the album is a departure from the Mountain onslaught and a treat.

"I'm Gonna Love You Thru the Night" has an elegant guitar riff and brings West back to the blues. Though it's an original from Corky Laing and his guitarist, the influence of the band Free is obvious. West does an admirable job on Andy Fraser's "Doctor Love" on side two, as well as the Free song "Little Bit of Love." Tim Hardin's "If I Were a Carpenter" is a total diversion for the hard rock guitar slinger, and it comes off very nicely. At five minutes and 20 seconds, "Carpenter" is the album's longest track. 

The instrumental "E.S.P." might be the strongest statement here (isn't that the name of label owner Bud Prager's management firm, E.S.P.?). With 12-string guitars and superb musicianship, it's the best of West on display. Gary Wright makes an appearance on this album on piano, and The Great Fatsby emerges as a unique look at an important rock & roll artist with some surprises tucked inside. 
by Joe Viglione

1. Don't Burn Me (Paul Kelly) - 3:06
2. House Of The Rising Sun (Traditional) - 4:54
3. High Roller (Corky Laing, Keith Richards, Leslie West, Mick Jagger, Sandra Palmer) - 4:14
4. I'm Gonna Love You Thru The Night (Corky Laing, Leslie West) - 2:41
5. E.S.P. (Leslie West) - 2:44
6. Honkey Tonk Women (Mick Jagger, Keith Richards) - 3:15
7. If I Still Had You (Ira Stone, Maxine Stone, Leslie West) - 2:15
8. Doctor Love (Andy Fraser) - 2:56
9. If I Were A Carpenter (Tim Hardin) - 5:19
10.Little Bit Of Love (Andy Fraser, Paul Kossoff, Paul Rodgers, Simon Kirke) - 2:18

*Leslie West - Guitars, Vocals, Bass
*Mick Jagger - Guitar
*Joel Tepp - Guitar, Woodwind
*Howie Wyeth - Piano, Mellotron
*Gary Wright - Piano
*Marty Simon - Piano
*Corky Laing - Drums
*Nick Farrentella - Drums
*Don Kretmar - Bass
*Ken Hinckle - Bass
*"Buffalo" Bill Gelber - Bass
*Frank Vicari - Horns, Woodwind
*Sredni Vollmer - Harmonica
*Dana Valery - Solo Vocal, Backing Vocals
*Jay Traynor - Backing Vocals

1975  The Leslie West Band - The Leslie West Band (2008 reissue)
Related Acts
1965-68  Vagrants - I Can't Make a Friend (2011 remaster)
1969-73  Mountain ‎- Setlist The Very Best Of Mountain Live (2011 release)
1970  Mountain - Climbing! (2013 blu spec edition) 
1974  Mountain - Twin Peaks (2005 digi pak remaster)

Wednesday, April 14, 2021

Chad And Jeremy - Sing For You (1964-65 uk, delightful baroque folk rock, 2007 japan extra tracks remaster)

Generally relegated to footnote status, folk/rock duo (heavier on the folk) Chad & Jeremy nonetheless managed a certain level of influence among a group of navel-gazing sensitive types who couldn’t totally commit to either the Beatles or Stones camps. And yet they still managed to make something of a splash riding the crest of a wave that was the British Invasion. At a time when it seemed every artist was copping the sound of the Beatles and/or Stones, Chad & Jeremy remained (relatively) committed to their folk origins. The trouble with this was their particular brand of folk was slowly falling out of favor following the arrival of Bob Dylan.

As if an attempt to split the difference, they embraced an approximation of the British Invasion sound while still attempting to adhere to their folk roots. But it didn’t quite suit the soft folk within which they best operated, and their attempts at continued relevance beyond a few early singles (“Yesterday’s Gone” and the song for which they are perhaps best known, “A Summer Song”) sound forced. They only truly succeeded when sticking closest to their roots; any venture into mainstream pop tended to fall short, sounding like a feeble attempt to tap into a commercial market quickly losing interest in them

Yet throughout, they prove to be fine interpreters of contemporary folk and standards of the genre. They take on Ewan MacColl’s perennial folk classic “Dirty Old Town”, giving it a decidedly country bent. “No Tears for Johnny”, while sounding feather-light, possesses a lyrical profundity and anti-war stance that far surpasses anything Simon & Garfunkel and their ilk ever attempted. It is within these unexpected moments that the music of Chad & Jeremy rises above much of the filler that weighed down their studio albums and prevented them from finding the favor they perhaps deserved. And while they would eventually surrender to the times with their generally well-regarded psychedelic albums Of Cabbages & Kings and The Ark, these early recordings show the pair trying desperately to get their music heard

Unfortunately the music of Chad & Jeremy has been unfairly overlooked by all but the most ardent fans of ‘60s pop music. The duo stands as a fine reminder that the pop landscape wasn’t all Beatles, Stones, Dylan, and Motown.
by John Paul, 14 September 2016

1. Yesterday's Gone (David Stuart, Wendy Kidd) - 2:31
2. If She Was Mine (Bobby Goldsboro, Buddy Buie) - 2:02
3. Willow Weep For Me (Ann Ronell) - 2:35
4. No Tears For Johnny (Tom Springfield) - 2:17
5. The Truth Often Hurts The Heart (Clive Metcalfe, Keith Noble) - 2:51
6. If I Loved You (Oscar Hammerstein II, Richard Rodgers) - 2:18
7. September In The Rain (Harry Warren) - 2:31
8. Like I Love You Today (Chad Stuart) - 2:41
9. Donna Donna (Aaron Zeitlin, Sholom Secunda) - 3:00
10.A Summer Song (Chad Stuart, Clive Metcalfe, Keith Noble) - 2:39
11.Dirty Old Town (Ewan MacColl) - 3:08
12.From A Window (John Lennon, Paul McCartney) - 2:16
13.If I Had My Way (Traditional) - 2:22
14.The Morning (Traditional) - 2:22
15.Ain't That Just Like Me (Traditional) - 0:50
16.If I Had A Hammer (Lee Hays, Pete Seeger) - 2:13
17.Yesterday's Gone (David Stuart, Wendy Kidd) - 2:20
18.Stanley And Dora (Traditional) - 1:38
19.A Summer Song (Chad Stuart, Clive Metcalfe, Keith Noble) - 2:41
Tracks 13-18 Live recordings

*Jeremy Clyde - Vocals, Guitar
*Chad Stewart - Vocals, Guitar, Keyboards
*Russ Savakus - Bass
*Charles McCracken - Cello
*Lucien Schmit - Cello
*Gary Chester - Drums
*Al Caiola - Guitar 
*Willard Syuker - Guitar  
*George Devens - Percussion
*Al De Risi - Trumpet
*Irvin Markowitz - Trumpet
*Harold Coletta - Viola 
*Harry Zaratzian - Viola
*David Nadien - Violin 
*George Ockner - Violin  
*Harry Katzman - Violin 
*Leo Kruczek - Violin  
*Max Pollikoff - Violin  
*Paul Gershman - Violin  
*Paul Winter - Violin 

1967  Chad And Jeremy - Of Cabbages And Kings (2006 japan bonus tracks remaster) 
1968  Chad And Jeremy - Three In The Attic (2013 edition) 

Saturday, April 10, 2021

NRBQ - All Hopped Up (1977 us, outstanding jazzy roots 'n' roll bar rock, 2018 remaster and expanded)

The music on All Hopped Up covered a period of a few years, 1974-1976. The LP was released in the Spring of 1977 by Red Rooster Records. NRBQ has released several fine albums but this has to rank as one of their very best – a minor masterpiece. Released during the height of the new wave/punk era, it sounds like nothing else from the time.

In fact, none of these 13 songs sound alike. NRBQ cover an enormous amount of ground on this release, from rockabilly, country, folk rock, power pop, jazz, and more. Even more amazing that they make it work as well as they do. It’s pointless to list highlights as the album is strong all the way through but a few special tracks need to be singled out. Al Anderson’s Ridin’ In My Car is a timeless pop classic. It Feels Good and That’s Alright are excellent power pop tracks on par with the best from this era. Call Him Off Rogers is a weird, offbeat country rock number with a melodic guitar solo. Things to You, a Terry Adam’s original that would later resurface on NRBQ’s country outing with Skeeter Davis (a great record), is another outstanding track.

NRBQ never took themselves too serious and for this reason they are never ranked among the important bands of the classic rock era. But when one reviews their body of work and its consistency, you can definitely pose the argument for NRBQ being one of America’s great rock n roll/roots bands. 
by Jason Nardelli, May 12th, 2020

1. Ridin' In My Car (Al Anderson) - 2:55
2. It Feels Good (Terry Adams) - 2:36
3. Cecilia (Harry Ruby, Dave Dreyer) - 2:57
4. I Got A Rocket In My Pocket (Jimmy Logsdon, Vic McAlpin) - 2:40
5. Call Him Off, Rogers (Terry Adams) - 2:55
6. Doctor's Wind (Joey Spampinato) - 2:37
7. Things To You (Terry Adams) - 3:29
8. Help Me Somebody (Al Anderson) - 4:09
9. Still In School (Joey Spampinato) - 2:25
10.Honey Hush (Lou Willie Turner) - 4:30
11.Queen Talk (Terry Adams) - 2:09
12.Bonanza (Jay Livingston, Raymond Evans) - 0:43
13.That's Alright (Joey Spampinato) - 3:13
14.Chicken Hearted (Bill Justis) - 2:16
15.Do The Bump (Terry Adams) - 3:05
16.She's Got To Know (Joey Spampinato) - 2:23
17.Start It Over (Terry Adams) - 2:31
Bonus Tracks 14-17

*Joey Spampinato - Bass, Acoustic Guitar, Vocals 
*Terry Adams - Clavinet, Harmonica, Keyboards, Hammond Organ, Piano, Trumpet, Vocals
*Tom Ardolino - Drums, Vocals
*Al Anderson - Guitar, Vocals
*Keith Spring - Bells, Tenor Saxophone
*Donn Adams - Trombone, Vocals, Percussion

Tuesday, April 6, 2021

The Sorrows - Old Songs New Songs (1966-80 uk, awesome mod freakbeat bluesy psych rock, 2009 double disc remaster)

Long after Fardon split, however, some of the band grabbed a last chance (for an extended holiday, at least) and relocated to Italy in 1966 to try and cash in on an Anglophilic scene. During this footnote era, they did achieve some squealing success as a placebo live draw, and hung around for years playing Family and Traffic songs, plus numbers by the ex-pat rockers who made up a bewildering, revolving cast list (two relatively major players are remembered only as “Kit” and “Rod”). 

They recorded singles for a tiny Italian indie label and, eventually, an LP. Old Songs New Songs is rare, inevitably hailed as a legendary cult classic. This two-disc set contains a complete bonus demo album and various 45 sides, including the sole outstanding track Ypotron – feedbacking freakbeat recorded in ’66 for an Italian spy caper movie.
by Derek Hammond , 21 August 2009

The first-ever official reissue of this legendary Italian-only late sixties album! British freakbeat/garage R&B giants the Sorrows relocated to Italy in 1966, recording the album Old Songs New Songs a couple of years later for a small independent label based in Milan. Now extremely rare as an original pressing, the album has been shoddily bootlegged a couple of times, including a CD pressing that slowed down the recordings and also managed to chop off the final minute of the album's title track! 

This new, band-approved reissue features the fully restored album in sparkling sound quality and adds an extra 100 minutes of music, nearly all of which is previously unreleased. Among the highlights are the magnificent heavy psychedelia of the band's aborted early 1968 Pye single 'Which Way'/'My Way Of Thinking,' the theme song to the cult Italian spy caper Ypotron, a couple of movie collaborations with soundtrack maestro Ennio Morricone, and even an entire late 1968 demo album that, following the departure of two group members, was eventually scrapped and replaced by Old Songs New Songs!

Completed by a previously unheard live gig from 1980 that proved the Sorrows' savage garage band instincts were fully intact a decade later, this package features new, extremely detailed sleevenotes concerning their time in Italy, with fresh band quotes and some superb, previously unpublished photos. Forget what you may have read and heard elsewhere, this incredible 2CD package is the final word on the band's lengthy but previously little-documented Italian sojourn!" Includes 16-page booklet.

Disc 1
1. Same Old Room (Chuck Fryers) - 3:13
2. Hey Mr. Policeman (Charlie Whitney, Roger Chapman, Rick Grech) - 3:28
3. Heaven Is In Your Mind (Jim Capaldi, Steve Winwood) - 4:03
4. Mary J (Chuck Fryers) - 2:12
5. Hey Hey (Chuck Fryers) - 2:51
6. The Makers (Chuck Fryers) - 6:24
7. Io Amo Te Per Lei (Which Way) (Bruce Finley, Chuck Fryers) - 2:56
8. Dear Mr. Fantasy (Jim Capaldi, Steve Winwood, Chris Wood) - 5:01
9. Rollin' Over (Ronnie Lane, Steve Marriott) - 3:01
10.Per Una Donna...No! (Listen To Me) (Claudio Fontana, Tony Hazzard) - 2:47
11.6 Ft. 7½ Inch Shark Fishing Blues (Chuck Fryers) - 1:59
12.Old Songs New Songs (Charlie Whitney, Roger Chapman, Rick Grech) - 4:38
13.Per Una Donna...No! (Listen To Me) (Claudio Fontana, Tony Hazzard) - 2:40
14.Amore Limone (Each And Every Day) (Mike Hugg, Vito Pallavicini) - 2:33
15.Hey Hey (Chuck Fryers) - 2:47
16.6 Ft. 7½ Inch Shark Fishing Blues (Chuck Fryers) - 2:47
17.Which Way (Chuck Fryers) - 2:36
18.My Way Of Thinking (Chuck Fryers) - 3:00
19.Pioggia Sul Tuo Viso #1 (Carlo Nistri, Ennio Morricone, Luciano Salce) - 2:26
20.Pioggia Sul Tuo Viso #2 (Carlo Nistri, Ennio Morricone, Luciano Salce) - 2:28
21.Ypotron (Nico Fidenco) - 3:41

Disc 2
1. Hey Hey (Chuck Fryers) - 3:12
2. New York Mining Disaster 1941 (Barry Gibb, Robin Gibb) - 4:48
3. Answer My Questions (Chuck Fryers) - 2:57
4. Dear Mr. Fantasy (Jim Capaldi, Steve Winwood, Chris Wood) - 5:04
5. We Can Work It Out (John Lennon, Paul McCartney) - 4:19
6. The Makers (Chuck Fryers) - 6:41
7. Heaven Is In Your Mind (Jim Capaldi, Steve Winwood) - 3:35
8. Dogs And Cats (Chuck Fryers) - 3:14
9. Don't Let Me Be Misunderstood (Bennie Benjamin, Gloria Caldwell, Sol Marcus) - 5:51
10.Move Da Show (Nevada) - 3:17
11.Matchbox / Rock And Roll Music (Carl Perkins / Chuck Berry) - 5:40
12.Baby What You Want Me To Do (Jimmy Reed) - 3:04
13.Bye Bye Bird (Willie Dixon, Sony Boy Williamson) - 3:27
14.Let Me In (Miki Dallon) - 3:06
15.What'd I Say (Ray Charles) - 3:11
16.Dizzy Miss Lizzy (Larry Williams) - 3:05
17.No Reply (John Lennon, Paul McCartney) - 3:12
18.A Little Rock 'n' Roll (Pip Witcher, Roger Lomas) - 2:07
19.5-4-3-2-1 (Manfred Mann, Mike Hugg, Paul Jones) - 2:20
20.Take A Heart (Miki Dallon) - 3:28

The Sorrows
*Chuck Fryers - Vocals, Organ, Guitar
*Simon Catlin - Vocals
*Chris Smith - Keyboards, Vocals
*Mick Bradley - Drums
*Rod Davies - Guitar, Vocals
*Pip Witcher - Vocals, Harp, guitar 
*Wez Price - Guitar
*Philip Packham - Bass
*Bruce Finlay - Drums

Thursday, April 1, 2021

Heads Hands And Feet - Tracks...Plus (1972 uk, stunning classic rock with blues 'n' roll shades, 2009 remaster and xpanded)

Although the core personnel had been together in a variety of incarnations since the mid-'60s, most notable of which was the brilliant and criminally short-lived Poet & the One Man Band, Tracks (1972) was only the second long player from Heads Hands & Feet. The U.K. quintet of Pete Gavin (drums/vocals), Albert Lee (guitar/keyboards/vocals), Ray Smith (bass/guitar/vocals), Charles "Chas" Hodges (bass/guitar/violin/vocals), and front man Tony Colton (vocals) had gained significant notice stateside during a week-long residency at the Troubadour in Los Angeles after the release of their self-titled double-LP debut Heads Hands & Feet (1971).

For their second outing, Tracks, they continue their quest for exceptionally crafted country-flavored material. They waste precious little time, as the fiery "Let's Get This Show on the Road" is a high-energy, good-time ode to the rigors and foibles of live performing and concert touring as exemplified in the chorus "Maybe I'll see Margo/Down in Chicago/And I've got a dancer down in New Orleans." Lee's multi-tasking musicianship is particularly noteworthy as his rollicking keyboard work on both acoustic piano and Hammond organ, coupled with the catchy, if not slightly twangy lead electric guitar lines, rhythmically tie the verses to the chorus. "Roadshow" demonstrates quite a different side to the band, examining Lee's capacity for emotive singer/songwriter balladry. His temperate vocals and melodic piano runs recall that of Jackson Browne or early folksy Tom Waits.

Further demonstrating Heads Hands & Feet's wide-ranging musicality is "Hot Property." Remarkably, the combo fuses an energetic bluegrass-inspired instrumental introduction to a funk-driven melody that would not have been too out of place coming from southern rockers Lynyrd Skynyrd. Of equal (if not arguably greater) prowess is the downhome, organic "Jack Daniels," which returns the sound to a loose groove mirroring the Band's rural rockers "Up on Cripple Creek" or "Life Is a Carnival." Tracks...Plus (1996) reissues both the original ten-song platter with a pair of additional non-LP sides, "Silver Mine" and "Warming Up the Band." 
by Lindsay Planer

1. Let's Get This Show On The Road (Albert Lee, Chas Hodges, Pete Gavin, Ray Smith, Tony Colton) - 3:53
2. Safety In Numbers (Ray Smith, Tony Colton) - 3:36
3. Roadshow (Albert Lee) - 3:16
4. Harlequin (Ray Smith, Tony Colton) - 4:26
5. Dancer (Albert Lee, Chas Hodges, Ray Smith, Tony Colton) - 3:21
6. Hot Property (Pete Gavin, Ray Smith, Tony Colton) - 4:58
7. Jack Daniels (Albert Lee, Chas Hodges, Ray Smith, Tony Colton) - 3:30
8. Rhyme And Time (Albert Lee) - 2:41
9. Paper Chase (Ray Smith, Tony Colton) - 3:54
10.Song And Dance (Albert Lee) - 5:26
11.Silver Mine (Tony Colton, Ray Smith, Albert Lee) - 3:48
12.Warming Up The Band (Albert Lee, Chas Hodges, Pete Gavin, Ray Smith, Tony Colton) - 3:26

Heads Hands And Feet
*Tony Colton - Vocals
*Pete Gavin - Drums, Percussion, Vocals
*Chas Hodges - Bass, Fiddle, Banjo, Guitar, Vocals
*Albert Lee - Lead Guitar, Keyboards, Vocals
*Ray Smith - Rhythm Guitar, Vocals, Bass
*Gerry Hogan - Steel Guitar