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Plain and Fancy

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


Saturday, April 20, 2024

rep> Various Artists - The Chosen Few 1-2 (1964-67 us, superb rare garage punkadelic)

Rare collection of artists  from the mid-60's and most of them have been lost in the whirl of time, but they managed to record few little pearls.  The collection is based on 45' vinyls, and from some labels who were involved in the revival of the Garage/Punkadelic sound, of the years to follow.

This release carries the sound waves and the rhythm of their time, and the booklet that accompanies gives detailed information for each song and band. We may now be surprised about the sound quality of entries but they largely manages to give us generously the position of a decade that we still love.

This was one of my first uploads (the flac rip was recently done) so the scans are only at 300dpi. If there's any request about albums or artists please feel free to ask for.
Thank you all for your support and your comments.

Musician - Title - Composer
1. Gonn - The Blackout of Gretely (Craig Moore, Rex Garrett) - 4:26
2. Tides In - Trip with Me (Fred Kamine, Patrick Durso, Ricky Rogerson) - 2:39
3. Debonaires - Never Mistake (Gene Szymusiak, John Carey) - 2:25
4. Shames - The Special Ones (Denis Trudel) - 2:22
5. Moods - I Give You an Inch (And You Take A Mile) (Larry D. Smith, Terry Smith) - 2:39
6. M.G. And The Escorts - A Someday Fool (Glenn Grecco) - 2:30
7. Chob - We're Pretty Quick (Keith Bradshaw, Quentin Miller) - 2:21
8. Nomads - Thoughts of a Madman (Bruce Evans, Larry Deatherage) - 2:59
9. Things To Come - Sweet Gina (Steve Runolfsson) - 2:47
10.Things To Come - Speak of the Devil (Steve Runolfsson) - 2:18
11.Mystic Five - Are You for Real Girl (Dave Carney, Jackson Brower, Joe Chytil) - 2:42
12.Sleepers - I Want A Love (Tom Zinser, Chris Davis) - 2:26
13.Gents - If You Don't Come Back (Winston Cabral) - 2:06
14.Thee Wylde Main-iacs - Why Ain't Love Fair (Freddie Wylde) - 2:31
15.Ty Wagner with the Scotchmen - I'm A Nocount (Ty Wagner) - 2:28
16.Romancers - She Took My Oldsmobil (Max Uballez) - 2:48
17.Sir Michael and the Sounds - Can You (Mike Elworth) - 2:07
18.Syndicate - The Egyptian Thing (Jim Kobzeff) - 2:12
19.Quadrangle - She's Too Familiar Now (Michael Konstan, Jay Fishman) - 2:31
20.Joys of Life - Descent (Danny McMullin, Jim Albrecht) - 2:07
21.Primates - Knock on My Door (John Demetrious) - 2:22
22.Brain Train - Me (Bud Mathis, Doug Lubahn) - 2:23
23.Twelfth Night - Grim Reaper (Don Hall) - 1:56
24.Terry Knight and the Pack - How Much More (Terry Knight) - 2:29
25.Mussies - Louie Go Home (Paul Revere, Mark Lindsay) - 2:18
26.Legends - I'll Come Again (Ray Vasquez, Scott Hamberg) - 2:04
27.Quests - Shadows in the Night (Bob Fritzen) - 2:33
28.Quests - I'm Tempted (Lyle Hotchkiss) - 1:37
29.Black Watch - Left Behind (John Grannis, Glenn Stout, Bill Shaw, Bob Rayce, Brad Bassett) - 2:31

Saturday, April 13, 2024

Bermuda Triangle - The Missing Tapes (1977 fascinating amalgam of country psych prog folk rock, 2007 release)

First known as the 60's indie Psych-Folk duo 'Roger And Wendy' and then the sunshine pop band 'Euphoria', Bermuda Triangle originally released this album on CD through their private label.

A great find. It is a superb collection of very rare treasures. Absolutely one of the best resurrections from a band who was pivotal in the US underground Psych-Folk scene of the late 60's into the 70's

All the recordings range from the late 60's to the late 70's.  'The missing tapes' is their best, till today, offering. Just take a listen to 'Did you love me' and 'Lost worlds' songs. Original, unique and bizzare sound not unlike their first album. 

Most of the songs are penned by Roger Penney while there are few covers on: Dennis DeYoung's 'Come sail away', Joni Mitchell's 'Circle game', Richard Farina's 'Swallow song', Fred Neil's 'Dolphin' and an exceptional 'High flying bird'.

1. Rainy Monday - 4:09
2. Come Sail Away (Dennis DeYoung) - 5:06
3. Night Train - 5:34
4. Lost Worlds - 3:48
5. My Brother (Wendy Penney) - 4:37
6. You'll Be A Star - 4:16
7. Circle Game (Joni Mitchell) - 4:56
8. Sometimes We Find It - 4:04
9. Did You Love Me - 3:58
10.Goin' Down To New Orleans - 3:09
11.High Flying Bird (Billy Edd Wheeler) - 3:20
12.Swallow Song (Richard Farina) - 2:01
13.Dolphin (Fred Neil) - 3:40
Songs written by Roger Penney except where indicated

*Wendy Penney - Vocals, Bass
*Roger Penney - Vocals, Electric Autoharp, Organ, Piano, Arp

Monday, April 8, 2024

Arthur Brown - The Story Of Arthur Brown (1965-2003 uk, classic freak psych space rock, 2003 double disc remaster)

Arthur Brown is synonymous with his 1968 hit "Fire", and the Hammond-driven "Crazy World" line-up which spawned it. However, his 'God of Hellfire' burned out fast and, in 1970, he returned with a new project: prog-festival freak-show Kingdom Come. They made three astonishing albums for Polydor, then fell apart without achieving any commercial breakthrough.

Those initial four band albums, by 'The Crazy World of Arthur Brown' and by 'Kingdom Come', are thrilling, as tend to be Brown's cameos on other peoples' projects. Obviously a great collaborator, his solo work has often been impressively poor. Without a persona, a theme, or other characters to play against in the creative process he seems to lose conviction.

To the credit of this collection, it's a goldmine of immaculately mastered rarities. Inevitably, some of these tracks prove to have deserved their obscurity. There are half a dozen pre-fame recordings which posterity could thrive without. Ditto the majority of solo tracks. But, to be fair, this set claims to be The Story Of not a Best Of. A collection of Arthur Brown's best work would discretely set aside year upon year of aimlessness and stick to the period when he found his muse.

The heart of this offering is the selection of guest vocals, oddities, and tracks from currently-deleted Kingdom Come albums. There is ''The Lord Doesn't Want You'' salvaged from an aborted 1969 Crazy World follow up, offering stunning declamatory funkadelia. There are eight  faultless Kingdom Come tracks, including rare single ''Eternal Messenger''. Then there is nutter-vs-God-of-Hellfire action from Rob Calvert's "The Gremlin", heading a clutch of collaborative gems. Sadly the provenance of some tracks is left vague by the album notes.This is currently your only option if you have Crazy World Of... and are longing to hear what came after. 
by Rob Fawcett, 2003

Disc 1
1. Prelude: Nightmare (Arthur Brown) - 3:53
2. You Don't Know (Walter Spriggs) - 3:33
3. Don't Tell Me (Jean-Pierre Bourtayre, Jean Bouchéty) - 2:30
4. Baby You Know What You're Doing (Jean-Pierre Bourtayre, Jean Bouchéty) - 1:55
5. The Green Ball (Arthur Brown) - 3:22
6. Devil's Grip (Arthur Brown) - 3:21
7. Give Him A Flower (Arthur Brown, Vincent Crane) - 3:02
8. Rest Cure (Arthur Brown, Vincent Crane) - 2:47
9. Fanfare: Fire Poem (Arthur Brown, Vincent Crane) - 2:02
10.Fire! (Arthur Brown, Vincent Crane, Mike Finesilver, Peter Ker) - 2:54
11.I Put A Spell On You (Screamin' Jay Hawkins) - 3:43
12.Child Of My Kingdom (Arthur Brown, Vincent Crane) - 7:01
13.The Lord Doesn't Want You (Arthur Brown, George Khan, Jonah Mitchell, Android Funnel, Dennis Taylor, Drachen Theaker) - 3:01
14.Eternal Messenger (Arthur Brown, Mike Finesilver, Peter Ker) - 3:49
15.Night Of The Pigs (Arthur Brown, Andy Dalby, Michael Harris, Julian Paul Brown) - 1:05
16.Sunrise (Arthur Brown, Andy Dalby, Julian Paul Brown) - 6:50
17.Creep-Creation (Arthur Brown, Andy Dalby, Michael Harris) - 4:06
18.Love Is (The Spirit That Will Never Die) (Arthur Brown) - 4:20
19.Time Captives (Arthur Brown) - 7:46
20.Spirit Of Joy (Arthur Brown, Michael Harris) - 3:15

Disc 2
1. Gypsy (Arthur Brown, Dennis Taylor) - 9:11
2. The Lord Will Find You (Lee  Robinson) - 4:15
3. Eyesight To The Blind (Sonny Boy Williamson) - 5:54
4. The Gremlin (The Song Of) (Adrian Wagner, Arthur Brown, Robert Calvert) - 3:23
5. Universal Zoo (Danny Beckerman, Wil Malone) - 2:44
6. The Lord Is My Savour (Arthur Brown) - 3:40
7. Tight Rope (Arthur Brown, Mike Finesilver) - 3:55
8. Speaknotech (Arthur Brown) - 5:15
9. The Fire-Ant Said To The Cockroach (Arthur Brown) - 5:30
10.Lord Of The Dance (Traditional) - 3:11
11.Hound Dog (Jerry Leiber, Mike Stoller) - 2:16
12.Let A Little Sunshine (Into Your Life) (Arthur Brown) - 4:11
13.Heartaches (Arthur Brown, Malcolm Mortimore, Rick Patten, Stan Adler) - 5:13
14.A Hard Rain's A-Gonna Fall (Bob Dylan) - 5:30
15.Silver Machine (Robert Calvert, Dave Brock) - 5:16
16.Fire (Die Krupps Remix) (Arthur Brown, Vincent Crane, Mike Finesilver, Peter Ker) - 3:14

The Arthur Brown Set
*Arthur Brown - Vocals
*Martin Kenny - Lead Guitar
*Robin Short - Keyboards
*Barry Dean - Bass

Crazy World
*Arthur Brown - Vocals
*Vincent Crane - Keyboards
*Sean Nicholas - Bass Guitar (later known as Nicholas Greenwood)
*Drachen Theaker - Drums

Kingdom Come
*Arthur Brown - Vocals
*Andy Dalby - Lead Guitar
*Martin Steer - Drums
*Desmond Fisher - Bass
*Julian Paul Brown - Backing Vocals
*Michael Harris - Organ
*Phil Shutt - Bass
*Victor Peraino - Keyboards

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Thursday, April 4, 2024

Randy Holland - Cat Mind (1972 us, charming mellow folk country rock, 2014 korean remaster)

There are many different kinds of records. Some latch onto you almost immediately and either stand the test of time or else slip away as easily as they came. Randy Holland’s 1972 album Cat Mind is the other kind; those unusual and sometimes uneven records that take more than one listen to fully appreciate. Released on the independent Mother Records label, it can probably be said that Cat Mind never had a chance at real commercial success. But hell, we’re not interested in the commercial success here “ we’re after good records, wherever they ended up and in whatever condition. And Cat Mind is a good record.

Looking at that stark, black and white cover shot you’re probably expecting a good deal of grit here, and the opening cut doesn’t disappoint in that department. The off-kilter flower child stomp of Bless the Naked Days also wastes no time introducing the listener to Holland’s rough and nasally voice; a voice which he tends to push to the limits, and often far beyond. Depending on where you’re coming from, I reckon this could either be an acquired taste or a real attraction.

Following this first number, Colors of Sad is bizarrely saccharine, and it’s this vivid contrast between wildness and melancholy which perhaps defines this record more than anything else. Holland tilts mercilessly between incisive, jagged rock and roll numbers and melodramatic country cuts, with very little sense of transition or artistic compromise. His uncredited backup band really shines, especially on the former, where they lay down some of the most righteous country-stained rock this side of Wray’s Shack Three Track. The hot swamp growl of Muddy Water is a real highlight, as is the weird title track, graced with scorching Davie Allan-style guitar work and an insistent rhythm section. Holland’s forays into the tamer side of Americana are more hit-and-miss, giving us both the warm and gentle Ladybug and an unfortunately overwrought reading of Mickey Newbury’s Remember the Good.

Fortunately, however, even the most underwhelming cuts are outweighed by the grittier numbers, and the overall quality and unique character of Cat Mind really does warrant it the kind of reissue treatment afforded so many other lost jewels of the period, such as Vernon Wray’s Wasted. As it stands, it isn’t all that hard to track down a used copy for a decent price. And what ever happened to Randy Holland? From what it looks like, he retired his attempts at making it in the music scene not long after cutting this record and moved to Las Vegas, where he opened an art gallery and devoted the rest of his days to painting and poetry. He passed away a few years ago, truly making this his one and only album.
by Nik Rayne, June 29th, 2011

Randy Holland passed away Jan. 7, 2011.

1. Bless The Naked Days - 3:07
2. Colours Of Sad - 4:54
3. Song For A Rainy Tuesday (Lew Alpaugh) - 3:05
4. Make Me Flowers (Randy Holland, Barbara Bishop) - 2:46
5. Muddy Water (F. Wright) - 3:18
6. I'll Remember The Good (Mickey Newburry) - 3:03
7. Cat Mind - 2:59
8. Indian Blues - 3:22
9. Ladybug (Lew Alpaugh) - 2:37
10.Take My Hand - 3:42
Songs by Randy Holland except where stated

*Randy Holland - Vocals, Guitar

Tuesday, April 2, 2024

rep> Bow Street Runners - Bow Street Runners (1970 us, marvelous fuzzy psych with west coast breeze, Sundazed release)

Sounding like a blend of Jefferson Airplane and the Doors, Bow Street Runners was a Fayetteville, North Carolina-based psychedelic band who released one eponymous album in limited quantities on B.T. Puppy Records in 1970. 

While the group was ignored at the time, Bow Street Runners became a collectible item among psychedelic aficionados during the '80s and '90s. Flushed from Fayetteville, North Carolina-where they thought they could remain comfortably obscure-by our release of their only album, the Runners have recently re-surfaced. 

Issued in ultra-limited quantity by B.T. Puppy in 1970-and now changing hands for sums more familiar to NASDAQ-this is an other-worldly blend of sweet female blotter acid harmonies, hypnotic Farfisa and high-octane fuzz guitar histrionics. 

1. Electric Star - 2:35
2. Watch - 2:12
3. American Talking Blues - 3:48
4. Leaving Grit America - 2:49
5. Another Face - 5:11
6. Eating from a Plastic Hand - 4:06
7. Rock Fish Blues - 2:13
8. Push It Through - 2:04
9. Spunky Monkey - 3:15
10.Steve's Jam - 4:05
All songs by Frank Hardwick and The Bow Street Runners

The Bow Street Runners
*Steve Darling - Guitar, Vocals
*David Guy - Keyboards, Vocals
*George Graham - Drums, Percussion
*William Simkiss - Bass, Guitar, Vocals
*Frank Hardwick - Bass
*Mike Dees - Guitar

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Thursday, March 28, 2024

Sundance - Chuffer (1974 uk, fascinating blend of prog glam classic rock, 2023 korean remaster)

A British group from Birmingham (not to confused with the US Californian band with the same name),  with a surprisingly no-nonsense approach for the time – neither prog, nor hard rock, glam, or anything else that might have been big during the early 70s underground – which may well be why this set never got the fame it deserved! 

There's some great guitar work on the set that almost gets funky at points, but which often just holds to rockish riffing instead – really well-fit to the offbeat vocals which are perfect for the lyrical delivery of the set – all at a level that makes the whole thing one of those great under-circulated major label efforts that's wonderfully hard to peg, and which is ripe for rediscovery all these many years later. 

John Lyman later worked with many different artists as a session player and round 2005 with his wife Mel moved to Mallorca. Drummer Alan Moore was in the early and unofficial phase of the newborn Judas Priest, he left the band to join Sundance, and about a year after the "Cfuffer" returned to Judas Priest replacing John Hinch.

1. Can't Get Over You (John Lyman) - 4:06
2. It's All For You (John Lyman) - 3:12
3. Mare Luna (Bob Bowman) - 4:01
4. Me And Virginia (Steph Griffin) - 3:14
5. It Ain't Me (Phil Savage) - 3:13
6. Coast Of Panama (Bob Bowman) - 1:49
7. Finger On The Trigger (Bob Bowman) - 4:12
8. She Said (Come On Home) (Steph Griffin) - 3:48
9. Turn Round (John Lyman) - 3:23
10.What You Gonna Do For Me (Bob Bowman) - 4:16
11.Dark Eye (Phil Savage) - 4:05

*John Lynam - Guitar, Vocals 
*Stephen Griffin - Keyboards 
*Phil Savage - Bass 
*Bob Bowman - Guitar, Vocals 
*Alan Moore - Drums

Saturday, March 23, 2024

rep> Dogfeet - Dogfeet (1970 uk, fascinating hypnotic psych blues rock, 2010 and 2014 bonus tracks remaster)

Here's one of those obscure outfits that collectors love to heavily hype. 

Bassist Dave Nichols, singer Alan Pearse, drummer Derek Perry and guitarist Trevor Povey first came together as Chicago Max, followed by brief stints as Sopwith Camel (not to be confused with the San Francisco-based outfit), Malibou and Armageddon. Working in a blues-rock vein (wasn't every early-1970s band dipping their creative toes in the genre), they were signed by the small Reflection Records, though the label immediately demanded a new name - hence the change to the deplorable Dogfeet.

At least to my ears that's way off the mark. Produced by Andrew Cameron Milla, 1970's cleverly-titled "Dogfeet" is surprisingly good. With Povey writing all of the material, the album's varied and pleasingly understated. Pearse exhibited an attractive voice, while Povey's slashing guitar was quite effective (check out some of the effects he used on 'Evil Women').

Musically 'On the Road' harkened back to the bands' blues-rock roots, but extended tracks such as 'Now I Know', the attractive atmospheric ballad 'Reprise' and the Western-inspired 'Since I Went Away' set them apart from most of their contemporaries. Not that it mattered. The album vanished without a trace, followed in short order by the band.

1. For Mary - 2:03
2. On The Road - 5:58
3. Sad Story / Reprise - 8:14
4. Now I Know - 3:05
5. Since I Went Away - 2:56
6. Clouds - 5:06
7. Evil Women - 5:00
8. Armageddon - 4:14
9. For Mary And Child - 5:39
10.Theme - 1:53
11.Armageddon - 4:33
12.On The Road - 4:56
13.Now I Know - 3:06
All songs by Trevor Povey, Alan Pearse

1. Mr Sunshine (David Lewis) - 11:08
2. Armageddon # 1 - 4:36
3. Theme # 1 - 1:55
4. On The Road # 1 - 4:57
5. Now I Know # 1 - 3:09
6. For Mary - 2:05
7. On The Road - 5:01
8. Reprise - 8:17
9. Now I Know - 3:09
10.Since I Went Away (David Lewis) - 2:57
11.Clouds - 5:07
12.Evil Women - 5:01
13.Armageddon - 5:01
14.For Mary And Child - 5:43
15.Voodoo Chile (Jimi Hendrix) - 10:57
All songs by Trevor Povey, Alan Pearse except where indicated
Tracks 1 and 15 live reordings from 1991

*Dave Nicholls - Bass
*Alan Pearse - Second Guitar, Vocals
*Derek Perry - Drums
*Trevor Povey - First Guitar, Vocals

Wednesday, March 20, 2024

rep> Chick Churchill - You And Me (1973 uk, classy prog rock, 2011 remaster)

Michael George "Chick" Churchill is a classically-trained pianist best-known as on/off keyboard man with Ten Years After, possibly the archetypal British blues/rock band, featuring Alvin Lee's lightning-fast guitar work. 

You and Me is Churchill's only solo album, is an unfairly forgotten rock gem with quite strong, progressive influences. A bevy of famous friends Jethro Tull's Martin Barre, Cozy Powell, Leo Lyons, Rick Lee, Roger Hodgson, Bernie Marsden, Garry Pickford Hopkins, it’s really hard to imagine a better configuration on one record. 

1. Come And Join Me - 5:10
2. Broken Engagement - 3:09
3. You And Me - 4:41
4. Reality In Arrears - 7:02
5. Dream Of Our Maker Man - 2:58
6. Ode To An Angel - 4:06
7. You're Not Listening - 2:39
8. Chiswick Flyover - 2:54
9. The Youth I Dreamt In Slipped Away - 4:31
10.Falling Down An Endless Day - 3:06
All songs written by Chick Churchill.

*Chick Churchill - Piano, Organ, Moog, Mellotron, Vocals (Tracks 7,10)
*Gary Pickford-Hopkins - Vocals
*Martin Barre - Guitar (Tracks 1,2,5,9)
*Rodger Hodgson - Guitar (Track 3), Bass (Tracks 3,4,6,7)
*Bernie Marsden - Guitar (Tracks 4,6,7)
*Leo Lyons - Bass (Tracks 1,2,5,8,9)
*Cozy Powell - Drums (Tracks 1,5,8,9)
*Ric Lee - Drums (Track 2)
*Rick Davies - Drums (Tracks 3,4,6,7)
*Bill Jackman - Sax (Tracks 1,3)

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Friday, March 15, 2024

Ronnie Barron - Reverend Ether (1971 us, splendid rhythm 'n' blues, swamp rock, 2022 korean remaster)

Born Ronald Raymond Barrosse in 1943, Barron worked with Rebennack during his early days as an A&R man for Specialty and Ace records in the late 1950s and early '60s. Rebennack produced Barron's first single, "Bad Neighborhood," which was credited to Ronnie and the Delinquents. The pair later recorded "Talk That Talk" under the name "Drits and Dravey" for Harold Battiste's AFO label. Barron also served some time in a group called the Prime Ministers, featuring fellow New Orleanians Freddie Staehle (drums), Bobby Lonero (guitar), Eddie Zip (bass), Jerry Jumonville (tenor sax), and Wayne DeVilliere (organ).

After moving to California and declining the Dr. John role, Barron worked for Louie Prima for several years and concocted his own mystical stage persona, "Reverend Ether," recording an album by that name for Decca.

By the 1970s, Barron had moved to Woodstock, N.Y., where he worked again with Rebennack as well as fellow Louisiana expatriate Bobby Charles, joining harmonica wizard Paul Butterfield's Better Days group. This group cut a couple of standout albums - "Better Days" and "It All Comes Back" - featuring Charles and Barron compositions like "Small Town Talk" and "Louisiana Flood," as well as great vocal performances from Barron. Besides doing some acting, Barron worked with BB King, Ry Cooder, John Lee Hooker, Big Joe Turner, Canned Heat, and Tom Waits.

He was married to Linda Kelly and had two children, Ronald Raymond, Jr. and Ava. He died in 1997 from complications of heart problems.

1. Ol' Chatnooga - 3:24
2. Duke Of Crenshaw - 3:44
3. Don't Let My Husband Catch You - 3:29
4. Sweet Simplicity - 2:35
5. Freeway Mamma - 6:06
6. Lousianna Flood - 3:08
7. Mamma's Kind Of Song - 3:26
8. Happy, Happy, Happy - 3:47
9. Let It Shine - 3:09
10.Eighteen Sixty Two - 3:39
All compositions by Ronnie Barron

*Ronnie Barron - Vocals, Keyboards

Saturday, March 9, 2024

Gillian McPherson - Poets And Painters And Performers Of Blues (1971 ireland, divine jazzy bluesy baroque folk rock, 2017 korean edition)

Gillian McPherson, was a folk singer from Northern Ireland who had her first (and only) major label release out*‘Poets, Painters and Performers of Blues’ on RCA.  She came out looking the part with long hair and long skirt.  She played a short set in a jazzy folk vein of which I can remember ‘They All Want Somebody To Blame’ with an emotive lyric and the album’s title track.  The set was received politely.  McPherson’s album was out of print for decades.

The session team on the record was the Mark-Almond band who were, coincidentally, the second show I went to, and included Tommy Eyre on keyboards who later went on to marry Scarlet Rivera of ‘Desire’ and Rolling Thunder fame. Gillie McPherson later moved to south-east France where she continues to perform and issue the occasional recording still in the jazz-folk zone.
Richard Parkinson, February 22, 2023

Just like the cool front cover photo, it is a very beautiful work that looks like it is being played on the waterside deep in the forest. Produced by Pentangle's Danny Thompson. Perhaps because of this, there's a cool, jazzy feel to the whole thing, which seems to play a role in the popularity of this work. The backing team is also gorgeous, with Marc Almond, Dave Cousins, Tommy Eyer, etc., and the string arrangements for some songs are done by Robert Kirby.

All of the songs are self-produced, the arrangement of the talented back team is also good. It's definitely a plain work compared to the top-class British female singer-songwriters, an irresistibly lovely album with an atmosphere that feels like it's a moss-covered arrangement of pop songs. 

1. Muff The Gong - 4:52
2. It's My Own Way - 3:19
3. Look What We've Got To Do - 3:52
4. They All Want Somebody To Blame - 4:36
5. Who's At The Deceiving End - 3:56
6. I Am The Runner - 3:19
7. Is Somebody In Tune With My Song ? - 5:04
8. We Can't Be The Last Line - 3:44
9. Flight - 3:40
10.Lazy Dreamer - 2:51
11.Poets And Painters And Performers Of Blues - 2:25
Music and Lyrics by Gillian McPherson

*Gillian McPherson - Vocals, Acoustic Guitar
*Jon Mark - Acoustic Guitar, Twelve-String Guitar, Congas
*Dave Cousins - Acoustic Guitar
*Spike Heatley - Double Bass
*Tony Carr - Percussion
*Brian Spring - Drums
*Roy Babbington - Electric Bass
*Tommy Eyre - Organ, Piano
*Johnny Almond - Vibraphone, Flute, Tenor Sax
*Peter Halling - Cello

Sunday, March 3, 2024

The Daily Flash - The Legendary Recordings (1965-67 us, superb electrifying blend of folk-rock, pop, blues and jazz, 2023 release)

In 1965, the “music scene” in America was often conservative yet diverse, similar throughout many regions. University students had access to international touring artists like Ravi Shankar, and the general public to Broadway musicals, ballet and orchestras. Additionally Black R&B clubs were active, and White Teen Dance clubs focused on original, local R&R/R&B bands. A folk scene in the University District brought musicians, poets, beatniks who performed evenings and sat around in coffee shops during the day. Seattle had Jazz clubs, top quality Symphony Orchestras, Opera, Ballet, etc, and radio stations were starting to widen their scope with emerging British rock groups. 

I studied music at University, played in the Seattle Symphony, with several jazz groups and joined a R&B club band called The Frantics, that owing to my injury from a car accident, the band found a new drummer. Steve Lalor and Don MacAllister found me recuperating. We talked about making new music. We located Doug Hastings, rehearsed here and there, and continued to meet at coffee houses in the University District. News of a psychedelic underground in San Francisco began to filter northward. Brave new ‘explorers’ (consciousness-pioneers) soon arrived in Seattle whereupon the University area became a gathering place for an emerging youth culture that included university students, as well as those who hadn’t figured out what they wanted to do. 

Here, musicians wanted something different; police wanted to keep abreast of it all; artists wanted to design it all; journalists wanted to publish information on it all; rich fraternity boys wanted to chop-off longhair from freaky menfolk, grab the girls and run. Despite all that there were few venues that wanted longhaired musicians, certainly not weird mixed-music groups such as The Daily Flash. Finally, The Daily Flash decided to create a series of moveable venues in Labor Union halls, and Blaise LeWark opened Seattle’s BFD club.

1. The French Girl (Ian Tyson, Sylvia Fricker) - 2:57
2. Green Rocky Road (Don MacAllister, Doug Hastings, Jon Keliehor, Steve Lalor) - 2:38
3. Queen Jane Approximately (Bob Dylan) - 4:29
4. Jack Of Diamonds (Traditional) - 2:40
5. The Bonny Ship The Diamond (Traditional) - 2:57
6. When I Was A Cowboy (Huddie Ledbetter) - 2:46
7. The Girl From North Alberta (Billy Roberts) - 2:56
8. C.C. Rider (Gertrude "Ma" Rainey) - 2:39
9. Violets Of Dawn (Eric Anderson) - 3:15
10.Again And Again (Steve Lalor) - 2:17
11.Queen Jane Approximately (Bob Dylan) - 2:54
12.Grizzly Bear (Traditional) - 3:10
13.Blackstone Ferry (Danny O'Keefe) - 2:35
14.Barbara Flowers (Steve Lalor) - 1:57
15.If I Were A Carpenter (Tim Hardin) - 2:23
16.Let Me Die In My Footsteps (Bob Dylan) - 2:37
17.Queen Jane Approximately (Bob Dylan) - 2:48
18.Birdses (Dino Valenti) - 2:46
19.Cantaloupe Island (Herbie Hancock) - 13:09

The Daily Flash
*Don MacAllister - Bass, Vocals
*Doug Hastings - Guitar, Vocals
*Jon Keliehor - Drums, Percussion
*Steve Lalor - Guitar, Vocals

Related Acts

Thursday, February 29, 2024

rep> Truk - Truk Tracks (1971 us, strong heavy psych rock, 2008 Retro Disc remaster)

Truk hailed  from Oklahoma, and played a high energy  Hard Rock magma punctuated with stunning heavy organ, there is a good cover of Gun's " Yellow Cab man", some acoustic melodic passages and few glamour glimpses.

Truk obviously had a pretty strong affinity for the trailblazing trudge of titans like Cream, and the powerful, messy drunken genius of early Guess Who.It's the kind of record where the drums and electric guitar crunch buries the sound right into the middle of your chest when it's played loud enough.

The sound was surely found at a dime-a-dozen in '71, but they sure don't make them like this today! 10 tracks, including "Country Woman", "Got To Find A Reason", "Pretty Lady", "Yellow Cab Man", "Silence Ending", "Max", "Sun Castle Magic" and more."

In 1973 Glenn Townsend resurfaced with Johnny Rivers and later Willy Daffern played with the reformation of Captain Beyond.  Truk Traks  Album cover picture shot at the East-West Truck Terminal in Orange County during a strike by the Teamsters.  The L. A. P. D.  was called by the security dude, who was not told we had permission to shoot the pictures.  

"Dewey Martin produced Truk and later became a mechanic. In the late '70s he also played sessions on a Hoyt Axton album. Buddy Emmons kept on recording hundreds of country sessions, Harvey Kegan rejoined Doug Sahm and Augie Meyer, and Steve Lefever became a session man, notably with Alexander Harvey.

1. Country Woman - 4:29
2. Got To Find A Reason - 3:02
3. Pretty Lady (James Patrick Graham) - 3:56
4. Winter's Coming On - 2:46
5. Sun Castle Magic - 5:12
6. Yellow Cab Man (Adrian Curtis, Jimmy Parsons) - 3:01
7. Five Is Together (Glenn Ray Townsend, James Patrick Graham) - 3:41
8. You (George Michael Graham, Glenn Ray Townsend) - 4:02
9. Silence Ending (Glenn Ray Townsend, James Patrick Graham) - 2:43
10.Max (Glenn Ray Townsend) - 3:52
Songs written by James Patrick Graham, Glenn Ray Townsend, George Michael Graham, J. Martin Anderson, William Daniel Daffern except where noted.

*J. Martin (Moby) Anderson - Bass, Vocals
*Danny Cornett -  Drums, Vocals (original drummer)
*William Daniel Daffern -  Drums, Vocals (on last 4 songs cut--lead vocal on Winter's Coming On)
*George Michael (Mike) Graham - Lead Vocals
*James Patrick (Pat) Graha - Organ, Vocals
*Glenn Ray Townsend - Guitar, Vocals

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Sunday, February 25, 2024

Ned - Ned (1973 us, refreshing soothing melody and harmony, 2023 korean remaster)

Ned four young men who chance brought together in a Harvard dorm in 1969. Rokko Jans and Jeffrey Parsons were attending Harvard while Nick Talantis and Norman Reim were just passing through Boston on their way to Greece. They ended up many-a-night jamming till dawn and as quickly as that plans were changed: Rokko and Jeff forsook the scholarly life and Nick and Norman have yet to make it to Greece. The four have been making music together, off and on, ever sinc

Work in a mellow, pickin', strummin' and grinnin' style more reminiscent of Poco, the Eagles and CSN&Y. Most endearing for their very casualness, whether up tempo pieces or down-to-earth ballads... It is almost impossible to dislike Ned, four smiling long-haired geeks, each holding in his arms an absolutely massive looking dog, in the picture on the back of their first album."
Rolling Stone

Ned has performed throughout the US and Canada since 1969. Very active in concert halls and on college campuses in the early seventies, they opened for a wide variety of acts, including: Sly and the Family Stone, The James Gang, B.B. King, The Supremes, Ramsey Lewis, Rare Earth, B.J. Thomas, Richie Havens, Wilson Pickett, The Dells, The Kinks, Wishbone Ash–-and many more.

1. Feelings To Hide (Jeff Parsons, Nick Talantis, Norman Reim) - 3:43
2. Above The Storm (Alaric Jans, Nick Talantis) - 2:00
3. Rosemary May (And Little Baby Blue Jeans) (Nick Talantis) - 3:38
4. Time (Alaric Jans) - 2:29
5. I Got A Conflict (Nick Talantis, Norman Reim) - 6:45
6. Matinee Movie (Alaric Jans, Nick Talantis, Norman Reim) - 3:17
7. Mississippi Streams (Alaric Jans, Nick Talantis, Norman Reim) - 6:29
8. My Heart Song (Alaric Jans, Nick Talantis) - 3:40
9. I Seen The Glory (Nick Talantis, Norman Reim) - 3:01
10 Home (Alaric Jans, Nick Talantis, Norman Reim) - 3:45

*Norman Reim - Vocals
*Jeff Parsons - Vocals, Guitar 
*Nick Talantis - Vocals, Guitar
*Alaric Jans - Vocals, Keyboards 
*Doug Mazique - Vocals, Bass
*Richie Morales- Drums 
*Paul Hornsby - Organ, Vibraphone
*Tommy Talton - Guitar 
*Sammy Creason- Drums

Tuesday, February 20, 2024

Graham Bell - Graham Bell (1972 uk, fabulous rhythm 'n' blues, 2016 korean remaster)

Bell's father, Jimmy, who died in 2010, was a well-known local singer, and his late mother, Leonora Rogers, was in show business prior to marriage, after which she was heavily involved in local music and dance.

Graham made a solo single in 1966 and one year later replaced Alan Hull as the singer of psychedelic rock band Skip Bifferty (later renamed Heavy Jelly). In 1969 he was singer in another psychedelic rock band Griffin. In 1970 he began his stint with Charisma Records, joining Every Which Way, a band formed by Brian Davison formerly of The Nice, as singer and principal writer. Musical style was jazzy progressive rock with guitar from John Hedley (who was later part of Last Exit, with Sting) playing call and response with Bell's blues shout vocals. Bell then rejoined his old mates from Skip Bifferty, now known as Arc, to form Bell & Arc in July 1971, with John Turnbull, Mick Gallagher, Bud Beadle, Kenny Craddock, Steve Gregory, Tom Duffy and Alan White. Bell was then tempted to leave the group to record an album as a solo artist in 1972. Featuring Tim Hinkley, Mel Collins and lan Wallace, it was produced by Bob Dylan associate Bob Johnston.

After Bell's appearance in the London Symphony Orchestra version of Tommy it was reported that Pete Townshend produced an album for him, but it never saw the light of day. In 1974 he contributed backing vocals on Carol Grimes' Warm Blood also featuring Tommy Eyre, Jess Roden, John 'Rabbit' Bundrick and Henry Lowther. In the late 1970s Graham Bell was featured on the front page of Sounds music paper as a "the man -most likely to", but sadly his profile was affected by the rise of punk and the new wave. Bell moved to America, where he toured with Long John Baldry, and was the co- front man along with Jackie Lomax of a band of LA Brit expatriates known as the Tea Bags, among others, before returning to his native Northeast England in the mid 1980s. He also lived for a while in Cumbria before finally heading for London again and cropping up in Snowy White's Blues Agency in 1988/89. In 2008 he died of cancer shortly after his 60th birthday.

1. Before You Can Be A Man (Graham Bell) - 4:01
2. The Thrill Is Gone (B.B. King) - 4:52
3. After Midnight (J.J. Cale) - 5:32
4. Down In The City (Graham Bell, Tim Drummond) - 5:17
5. Watch The River Flow (Bob Dylan) - 4:38
6. Too Many People (Bob Wilson, Graham Bell) - 4:18
7. How Long Will It Last (Bob Wilson, Graham Bell) - 3:09
8. The Whole Town Wants You Hung (Graham Bell) - 2:27
9. The Man With Ageless Eyes (Graham Bell) - 5:11
10.So Black And So Blue (Kris Kristofferson) - 3:54

*Graham Bell - Guitar, Vocals
*Bob Wilson - Keyboards
*Derek Quinn - Percussion
*Gaspar Lawal - Percussion
*Eddie Mordue - Baritone Saxophone
*Ian Wallace - Drums
*Mel Collins - Alto, Tenor, Baritone Saxophones
*Ron Cornelius - Guitar
*Tim Drummond - Bass
*Tim Hinkley - Keyboards
*Kenny Wheeler - Trumpet 
*Mark Charig - Trumpet 
*Nick Evans - Trombone
*Derek Collins - Tenor Saxophone

Related Acts
1966-69  Skip Bifferty - The Story of Skip Bifferty (double disc edition) 
1970  Brian Davison - Every Which Way (2010 edition) 

Saturday, February 17, 2024

rep> Blown Free - Maximum Rock 'n' Roll (1978 us, great hard, rough 'n' raw, pre stoner rock, limited release, 300 copies)

Blown Free were a Houston band active between 1978 and 1982. Their history is almost completely unknown, what is known is that the band's leader and main songwriter, David Matthews, has a long history in music. He got his start in Wisconsin, playing in some underground psyche bands as early as 1968.

When he moved to Houston he immediately put together his own band and the results of this can be heard on this disc, what recordings survived anyway. If there ever was a band that could be classified as "obscure, underground rock" this is surely one. The only known release on this band is a sole 45 released on Excelsior (the label owned by the late Bill Holford, SR. of ACA Studios in Houston).

Mr. Holford would sometimes take a band under his wing and help them through business deals and publishing deals, which is what he did with Blown Free. After the dissolution of the band, and the break-up of Matthews' marriage, David took off for greener pastures back in Wisconsin where he started his own label and put together another version of Blown Free, this time under the monniker of The Matthew Davis Project. Several tracks from that period are included here as "Lemonade and Suzie Tonight", "A Seedy Reefer", and "The Bash".

1. Baby Come Back - 2:14
2. My House - 2:57
3. Sweet Love - 3:52
4. The Wizard - 3:56
5. Come Back My Way - 4:58
6. Rock And Roll Band - 2:48
7. A Little Bit At A Time - 3:59
8. My House - 3:11
9. I Feel Free - 3:54
10. Blown Free - 5:47
11. Sweet Love - 4:14
12. Lemonade & Suzie Tonight - 5:30
13. A Seedy Reefer - 3:55
14. The Bash - 4:46
15. The Wizard - 3:18
Tracks 1-4 recorded at ACA Studios in Houston, TX. Track 4 is a different mix than the released version on the 45 (Track 15).
Tracks 5-11 are taken from a rehearsal tape recorded sometime in 1978.
Tracks 12-14 are recordings made by The Matthew Davis Project.
Track 15 taken from the band's only official release, the Excelsior Records 45 recorded at ACA Studios and engineered by Bill Holford, SR.

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Friday, February 16, 2024

rep> Birmingham Sunday - A Message From Birmingham Sunday (1968 us, nice sunny folk psych, akarma edition)

Birmingham Sunday was formed in September 1966, and they were named after the Sunday concerts that took place in Birmingham, England. The original lineup of Birmingham Sunday featured bassist John Kvam, drummer Monty Johns, guitarist (and Monty's brother) Ward Johns, organ/sax player Phil Gustafson and guitarist Joe LaChew.

Monty and Ward Johns had been in The Contrasts, who covered popular Beatles and Beach Boys tunes. John Kvam was a guitarist in the folk rock group The Scroachers, and learned bass after joining Birmingham Sunday. Phil Gustafson was the keyboardist and sax player for the rock band The Kensingtons. Gustafson was trained as a pianist and sang in the church choir, and he played sax in his high school band. Even though Phil's voice could easily handle the demands of opera, he preferred to sing background harmony with Birmingham Sunday. Joe LaChew was the guitarist and vocalist for the group The Freedom Five, who covered the blues-based output of British bands like The Rolling Stones, The Kinks and The Animals. At the age of 15, LaChew earned his stripes as a songwriter when he wrote a campaign song for the Nevada governor at the time, Grant Sawyer. The Freedom Five recorded a single of Joe's song and sold it at various campaign sites throughout the state.

Birmingham Sunday started to play teen dances throughout northern Nevada. Their biggest crowds were at the Civic Auditorium in Carson City and at Genoa Town Hall. The group put on dances and rented halls in Carson City, Genoa, Minden and Reno to cover their increasing fan base.

In 1967, Birmingham Sunday was poised for their breakthrough. Joe LaChew and Monty Johns were attending the University of Nevada in Reno, and their band had a much greater following – especially since the university dorms and fraternities now had their own party band!

That summer season, Birmingham Sunday landed a house band gig at American Legion Hall in South Lake Tahoe, California. This involved playing five days a week at the hall, plus performing as the opening act for each weekend's entertainment. The venue was filled every summer night with Californians from the Sacramento and the San Francisco Bay area. Weekend shows were extravaganzas, as well-known San Franciscan acts like The Grateful Dead and Sly And The Family Stone were frequently brought in with local favorites The Family Tree and Jim Burgett.

The American Legion Hall's weekend festival on July 28-29, 1967 was headlined by The Grateful Dead and Jim Burgett, with Birmingham Sunday, The Justice Five and Velvet Chain on the bill. This festival is where Birmingham Sunday first heard Debbie Parke sing. Debbie was performing a guest spot with The Justice Five at the shows.

A few months later, Debbie Parks joined Birmingham Sunday, adding her strong voice to the mix. She was only 15 and a sophomore in high school. Even though Debbie's voice was overpowering, she did not try to dominate the band. Instead, her voice blended well with the rest of the singers in the band. Birmingham Sunday was now playing more originals as part of their sets. They began attracting interest from numerous managers and record company scouts.

Phil Gustafson left for the summer to attend National Guard camp, and he was replaced by his younger brother Dave. Dave Gustafson was a child prodigy that could play any style from Beethoven and Bach to Jimmy Smith. In addition, Dave could read and copy nearly everything he heard. His great playing impressed crowds with a note-for-note rendition of The Doors' "Light My Fire."

Birmingham Sunday's success carried them into 1968. Everyone's favorite hipster, Pat Boone (!), co-sponsored a "Teen Scene" local battle of the bands with promoter Bruce Blaylock. This two-day event was held at Reno’s Centennial Coliseum, where groups like The Kinks, Buffalo Springfield, The Zombies, The Beach Boys and many others had played. The judges were the members of The Sunshine Company, who had recently enjoyed some success. The Sunshine Company had a similar approach and appreciated Birmingham Sunday's vocal tapestry.

Birmingham Sunday was chosen with the top bands to travel to Las Vegas for the finals. The Las Vegas judges were Strawberry Alarm Clock and their manager/producer Bill Holmes. The Las Vegas band London Fogg won the battle, but Bill Holmes greatly preferred Birmingham Sunday's original songs and he was very impressed by their vocals.

Birmingham Sunday was invited by promoter Bruce Blaylock to do some recordings in Hollywood. Blaylock was shopping the band to Nitty Gritty Dirt Band manager Bill McEuen as well as a representative of that group's label, Liberty Records. Birmingham Sunday did an audition and received a record deal from Liberty. The record label had a song that they wanted Birmingham Sunday to record – the "Love Theme From Romeo & Juliet," also known as "A Time For Us." It was later recorded by Henry Mancini, Andy Williams and Johnny Mathis.

After hearing the demos, Bill Holmes took on Birmingham Sunday as their producer and manager. Holmes turned down the Liberty deal, which proved to be a big mistake when Henry Mancini's recording became a big pop hit. Instead, Birmingham Sunday was signed to Bill Holmes' All-American label.

Meanwhile, the band had changed. Monty Wards left after the "Teen Scene" contest for a rigorous, pre-med schedule at the University of Nevada. Birmingham Sunday auditioned singing drummers, but no one materialized. With concert bookings to be fulfilled and not much time to prepare, Joe LaChew took over as the drummer. Monty had been teaching Joe all the drum parts for their original songs, so LaChew had no problem in this transition period. Since Joe gave up his guitar to play drums, the group had to find another guitarist who could sing well. They found Jean Heim, who played rhythm guitar and a little lead guitar. Heim could also sing lead with his pure, light tenor tone.

The group perfected ten original songs and recorded them in December 1968 with Bill Holmes producing at Original Sound Recording Studios. The studio was located on Sunset Boulevard in Hollywood, and it was owned by multiple award winning DJ and promoter Art Laboe. The legendary Paul Buff, who previously ran Pal Recording Studio before selling it to his recording partner Frank Zappa, was Original Sound's engineer. The album "A Message From Birmingham Sunday" was recorded in five days using Buff's own ten-track studio equipment. Paul Buff also played a Chamberlin keyboard, the American precursor to the mellotron, on the entire album. Buff's string arrangements on the Chamberlin were essential parts of each song.

All-American selected "Prevalent Visionaries" and "Egocentric Solitude" as the respective A- and B-sides of a single released in early September 1969. The album was released the same month. Before the album was released, Bill Holmes sent a tape of the single to radio stations in Nevada.

"Egocentric Solitude" was first tracked for the week ending August 16, 1969 by Reno, Nevada radio station KIST. It reached the Top 10 in Reno that September 10, and it was #5 on KCBN. Although the single did not receive wide distribution, it did well in Sacramento, Chicago, Seattle, and especially Santa Barbara, where it made #1! The lack of distribution made the album extremely rare, even at the time. About 10 to 20 copies of the original LP are known to exist today.

Many of Bill Holmes' All-American acts played concerts on July 18-19, 1969 at Kings Beach on the North Shore of Lake Tahoe. On the first day, Birmingham Sunday was the opening act. However, the popularity of the band enabled Birmingham Sunday to close the second night's show. Holmes had lost control of Strawberry Alarm Clock, so he had the replacement group Strawberry SAC play instead. Gary Solomon, the lyric writer of "Egocentric Solitude," was in that band. Birmingham Sunday ruled the weekend event!

Birmingham Sunday played concerts throughout 1969, but they split up in 1970 due to a number of forces pulling band members in different directions. Joe LaChew and Monty Johns stayed in college to continue their education. Both Joe and Monty formed the college rock band Brother Rock with Ward Johns. This nine-piece horn band opened for concerts at the college, including shows by Cold Blood, Tower Of Power, The Sons Of Champlin, and most notably, Derek And The Dominoes.

Brother Rock did a recording for the Mercury label in San Francisco, but the tracks have been lost. While influenced by Chicago and The Sons Of Champlin, Brother Rock played original songs by Monty Johns and Joe LaChew.

Debbie Parke, Jean Heim, John Kvam and the Gustafson brothers joined well-known Nevada casino lounge singer Frankie Fanelli. They recorded an album with Fanelli before splitting with him in August 1970. The band members went into different directions:

Joe LaChew continued playing guitar with The Drifters, The Coasters, Billy Preston, The Righteous Brothers, Rose and Joe Maphis, Merle Travis, Dorsey Burnett, Jimmy Dickens, Zella Lehr (an RCA artist), Kathy O'Shea (for MCA) and comedian Rich Little. Joe is now a music teacher in Nevada and still plays shows in the Reno and Lake Tahoe areas. He still enjoys writing music and has done commercials, film music and solo albums. Joe still writes songs for the more recent Birmingham Sunday reunions. Two of those tracks, "Raw Rhythm" and "C'Est La Vie Blues," are included here for the first time. The famous Birmingham Sunday parties continue to this day!

Debbie Parke became an elementary school teacher and counselor in Lewiston, Idaho. She is now retired. Phil Gustafson retired from the Nevada National Guard. John Kvam was a bartender and journeyman cabinet maker before his retirement. Jean Heim became a country musician and has also retired. Monty Johns is a doctor in West Virginia. Ward Johns was the Vice President of Missile Records. He passed away from compilations due to a stroke in December 2009. Dave Gustafson became a successful musician and very wealthy real estate agent. He passed in January 2010.
by Joe LaChew (Birmingham Sunday)

1. Egocentrick Solitude - 3:17
2. Wondering What to Feel - 2:36
3. Prevalent Visionaries - 2:51
4. You're Out of Line - 2:55
5. Medieval Journey - 2:36
6. Mr. Waters (The Judge) - 2:52
7. Fate and the Magician - 1:58
8. Peter Pan Revisted - 2:15
9. Time to Land - 3:03
10. Don't Turn Around - 2:41

Birmingham Sunday
*Ward Johns - Guitar
*Debbie Parks - Vocals
*John Kvam - Bass
*Jean Heim - Rhythm Guitar
*Joe LaChew - Drums, Guitar
*Phil Gustafson - Keyboards, Saxes
*Monty Johns - Drums

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Monday, February 12, 2024

Winterhawk - Dog Soldier (1980 us, awesome hard rock, 2021 hard sleeve remaster)

San Francisco band Winterhawk were years ahead of their time. They’re best remembered for frontman/guitarist Nik Alexander’s distinctive mashups of 70s acid rock and Cree Indian folk music. Alexander was fiercely proud of his heritage, and that connection to the land resonates potently in the band’s many politically-oriented songs. In addition to rocking out ancient folk melodies, they sometimes employed indigenous instruments like shakers and wood flute. Drummer Alfonso Kolb would frequently diverge into native rhythms as well.

On Dog Soldier, the group are tighter. Fringed leather tunics, furs, feathers, and loincloths are not the standard garb of the average rock band, and neither were many popular bands quite literally gushing with Indian blood and heritage. Likewise, few bands indeed carry high the philosophies, and traditions of their forefathers cultures as did Winterhawk. A Native American foursome that specialized in rapidfire, hard rock and roll. But the striking thing about this band is not so much the warrior beliefs, but their sincerity and genuine faith in themselves and their culture. Winterhawk appeared in the 1983 US Festival and has opened for such big names as Tina Turner, Santana, Country Joe and the Fish, Steve Miller, Van Halen and Motley Crue. The Electric Warriors LP was produced by Tom Bee of XIT, AKA Lincoln St Exit. A must have for Native American, Hard Rock, Metal music fans. Nik Alexander's song writing and guitar playing skills are the best. 

We Are the People is a towering, defiantly timeless reminder of how much more civilized the North American natives were, compared to the imperialist invaders. There’s also Crazy, shifting between hammering riffage and a spare, cantering native rhythm; We’re Still Here, a surreal attempt at politically-fueled disco; Warriors Road, a subdued acoustic freedom-fighter anthem; and I Will Remember. a stark, mystical folk tune. Good to have this distinctive band back in print.

Unfortunately, Nik Alexander passed away in July 5, 2017 after battling with cancer.  His memory lives on through the timeless compositions he created, that will surely be remembered and enjoyed by every serious music fan and collector unto the ages of the ages.

1. Our Love Will Last - 3:11
2. Honey Lady - 3:41
3. Crazy - 4:50
4. Loser - 4:14
5. Lady Blue - 4:04
6. We're Still Here - 3:46
7. Warriors Road - 3:15
8. We Are The People - 5:45
9. I Will Remember - 3:12
All compositions by Nik Alexander

*Nik Alexander - Guitar, Vocals
*Doug Love - Bass, Vocals
*Gordon Campbell - Bell
*Jon Gibson - Drums, Vocals