rep>>> Think Dog - Dog Days (1969-70 us, brilliant art progressive rock with jazz, blues and folk shades, 2007 remaster)

In 1966, the whole world was drunk on the music of the Beatles and the social and cultural changes of the era. Students everywhere were dropping out of school and joining bands or becoming hippies or both. In that year, as a graduate student of music composition at the University of Illinois in Urbana, I, too, became infatuated with the notion of forming a rock and roll band. 

As a lifelong lover of chamber music, I believed then, as I still believe in the magic and power that can be summoned by a small group of fine musical minds working closely together over a period of years. I also believe that the optimum number of musicians in an ensemble is four. In my mind the Beatles were just another embodiment of the ideal represented in the model of the classical chamber music quartet - four creative souls working together to produce something immensely greater than the sum of its parts I theorized that the right combination of musicians, having deep classical background, appreciation for and experience with so-called "new music." and love for the best rock and popular music of the time, might create the chemistry necessary to produce music that was genuinely different and memorable. 

Whether that hope was naive is a moot question three decades later. The tale that follows is a greatly simplified and sanitized version of  the basic facts concerning the band finally known as Think Dog!, reconstructed to the best of my ability from memory. Some of the details, particularly regarding the sequence of events, and dates of the recording sessions, ma, be slightly jumbled. 

The band had problems throughout its existence - problems with getting enough money to live, problems with thieves stealing our means of living problems with playing well together, problems with keeping the personnel stable, problems with personality conflicts, problems with the draft, problems with drugs, problems with health, problems with our love lives - you name it. The environment we lived and worked in was not conducive to intelligent disciplined, artistic growth. 

That some took place despite it is a miracle For me the three-year history of Think Dog! is partly a story of personal failure. Suffice it to say that I bet the farm on this venture, as did at least one other member, but we were unable to make it work. Some of the blame can be put upon me, though by no means all of it. The times were hard. The year 1968 was one of the worst of the century for almost everyone. That I just happened to pick that inauspicious year to make a start in my professional life in New York City did not make it any easier. 

New York City, September 1968—Winter 1969

It was in this time frame that we changed our name from Time to Think Dog! We always had to explain that the name includes the exclamation point; it's an imperative. We struggled for months trying to create a good name. One night, while gathered at Richard's apartment, I told an anecdote about how a friend was told to write Spanish-flavored music by telling himself: "Think Spanish!" which everyone thought was hysterical. Later, for reasons I have long forgotten, someone asked: "How do you act like a dog?" I replied: "Think dog!" We thought it was funny and relevant at the time. The rest is history. 

A friend says that Think Dog! sounds like a dyslexic way of saying Thank God! While doing research for these notes I discovered on the Internet that there is now a book in print called Think Dog! - yes, with the exclamation point. Appropriately, the subject is dog training. I considered buying it just for the fun of having the title on my shelf. Something else we needed was a stronger guitarist. Richard did a fine job of learning his parts, but he was neither a rocker nor a soloist. 

It was the era of guitar bands; every group had to have a strong lead player, preferably an Eric Clapton or a Jimi Hendrix. We decided to look for a fifth person, though we did not know where we might find one. One afternoon I was working alone in the loft, when Ron Renninger, then an eighteen-year-old kid from the Bronx, walked in with his Fender Telecaster. We talked, and soon he took out his instrument and started to play. I was astonished by his spectacular talent. He wasn't just good—he was a genuine original, and he was available. I had him come back, and immediately told the others about him. 

After one session together, we invited him to join the band. We learned quickly that Ron was also a prolific songwriter, and an undisciplined but passionate singer. For the first time we started to sound like a real rock and roll band. Ron and I began playing as a duo at a small coffee house in the West Village where we would get up and do nothing but jam for a half hour or more at a time, and then pass a basket. Whatever customers saw fit to throw in would be our pay. Sometimes it barely covered subway, but it gave us a great opportunity to get to know each other's playing very well. I played mostly bass on those jobs, though I think I must have played some guitar, too.

by Lynn David Newton

Tracks
1. No Julia No - 2:29
2. Good Time Jimbo (Tom McFaul) - 2:32
3. Can't Begin To Be Happy (Ron Renninger) - 4:06
4. Very Natural - 2:28
5. For Peace (Tom McFaul) - 2:17
6. Sunday Brings Another Day (Tom McFaul) - 2:09
7. For A Dime Or So (Tom McFaul) - 1:01
8. Lovely Lady - 3:48
9. How Shall I Speak To You? - 2:30
10.Untitled - 3:18
11.We Waited For Nothing - 3:38
12.Maybe In December - 2:58
13.Let's Take It Home (Tom McFaul) - 3:09
14.The Perfect Believer - 4:30
15.I Wish I Could Cry For You - 3:56
16.Let The Sun Shine Through (Bonus Track) (Ron Renninger) - 3:44
17.Green Fields (Bonus Track) - 2:10
18.My Toy Soldiers (Bonus Track)  (Ron Renninger) - 2:45
19.I Wanna Be Free (Bonus Track) - 2:49
20.Tell Me A Story (Bonus Track) - 3:34
21.Sitting (Bonus Track)  (Bob Stuhler) - 1:49
All songs by Lynn David Newton except where indicated.

Musicians
*Tom McFaul - Lead Vocal, Wah-Wah Piano,  Organ, Guitar, Harpsichord
*Lynn David Newton – Guitar, Bass, Backup Vocal, Bass Trombone
*Richard Stanley - Guitar
*Bob Stuhler - Drums, Backup Vocal, Piano
*Ron Renninger - Lead Vocal, Guitar
*David Rosenboom - Drums, Chimes, Trumpet

Related Act
1968  Time - Before There Was

Just Paste
Text Host

Free Text

rep>>> Roger James Cooke - Study (1968-71 uk, expressive vocals and amiable orchestrated soft rock pop, 2012 RPM expanded issue)

One of Britain's most prolific songwriting professionals, Roger Cook first came to prominence during the British Invasion, usually working in tandem with Roger Greenaway. After the pair hit big with the Fortunes' oldies radio staple "You've Got Your Troubles," they continued to crank out hits for years to come, also writing numerous ad jingles (one of which, "I'd Like to Teach the World to Sing," was a massive pop hit in its own right). By the late '70s, Cook had moved to Nashville to become a successful country-pop songwriter. 

Roger Cook was born in Bristol, England, on August 19, 1940. He first sang in church choir at age 11, and performed in vocal harmony groups for much of his youth. He wrote his first song in 1958, and that same year recorded a few sides with a vocal group called the Sapphires. the Sapphires disbanded the following year, and Cook next sang with a group called the Londons, splitting off with bandmate Jill Stevens to form Jon & Julie in 1962. The duo recorded a bit for Columbia, but broke up when Stevens became pregnant. 

Cook spent about a year away from music performing in theatrical productions as a mime, but returned to singing in early 1965 when Roger Greenaway invited him to join a harmony group called the Kestrels, which actively toured the British variety circuit. They also featured future studio vocalist extraordinaire Tony Burrows, who split for a solo career not long after Cook joined up. Cook and Greenaway stuck together, forming a songwriting partnership and working as session singers in the meantime.

The two caught their big break when the Fortunes recorded their composition "You've Got Your Troubles." It was a Top Ten smash in both the U.S. and U.K., falling just one spot short of the top in the latter. In its wake, Cook and Greenaway teamed up to record as the soft pop duo David & Jonathan, scoring a transatlantic hit with their cover of the Beatles' "Michelle" in early 1966. 

Meanwhile, the Fortunes released their follow-up hit, "This Golden Ring," and Gary Lewis & the Playboys scored an American Top Ten hit with "Green Grass," both Greenaway-Cook creations. David & Jonathan landed their biggest U.K. hit that summer with the Top Ten "Lovers of the World Unite," and the two subsequently began writing advertising jingles, most notably for Coca-Cola. In late 1967, Gene Pitney scored a Top Five U.K. hit with "Something's Gotten Hold of My Heart."

Cook and Greenaway decided to end their David & Jonathan partnership in early 1968, but kept writing songs together, including Cilla Black's U.K. Top Ten "Conversations" (1969). Meanwhile, Cook made a few solo recordings under the name Roger James Cooke (culminating in the 1970 album Study, which was reissued on CD by RPM in 2012), and joined the pop band Blue Mink in 1969 as a featured vocalist. 

Blue Mink scored a succession of U.K. hits through 1973, including "Melting Pot," "Good Morning Freedom," "Banner Man," "Stay with Me," and "Randy." Meanwhile, Cook and Greenaway briefly re-teamed in the studio group Currant Kraze, and wrote a Top Ten U.S. and U.K. hit for White Plains in 1970 with "My Baby Loves Lovin'"; their "Home Lovin' Man" was also a U.K. hit for crooner Andy Williams. In late 1971, Cook and Greenaway's most popular Coke jingle was adapted into the pop song "I'd Like to Teach the World to Sing (In Perfect Harmony)" and became a hit for both the Hillside Singers and the New Seekers; the latter's version became the pair's first U.K. chart-topper. Naturally, demand for the pair's ad jingles skyrocketed during the next few years.

In the meantime, Cook and Greenaway continued to collaborate on the occasional pop hit. The Congregation had a U.K. hit in 1971 with a cover of David & Jonathan's "Softly Whispering I Love You." "Long Cool Woman (In a Black Dress)," written with Hollies lead singer Allan Clarke, became that group's biggest American hit in 1972; two years later, "Doctor's Orders" became a hit for R&B singer Carol Douglas. Meanwhile, Cook released two solo albums under his own name on Regal Zonophone, 1972's 

Meanwhile Back at the World and 1973's Minstrel in Flight. By late 1975, Cook had split amicably from Greenaway, and moved to the United States. He drifted through New York and Los Angeles before settling in Nashville, where he completed the solo album Alright in 1976. Moving into country territory, Cook scored a breakthrough with Crystal Gayle's 1978 chart-topper "Talking in Your Sleep," written with Bobby Wood. In 1980, he teamed with Sam Hogan to write another number one country hit, Don Williams' "I Believe in You." 

The year 1981 brought two country Top Fives in Gayle's "Livin' in These Troubled Times" and Williams' "Miracles." Williams landed another number one in 1983 with "Love Is on a Roll," which Cook co-wrote with folkie John Prine; the two would continue to collaborate off and on in the years to come.

Cook's writing activities tailed off as the '80s wore on, though 1989 found him back on top of the British charts thanks to Marc Almond's remake of "Something's Gotten Hold of My Heart," which featured duet vocals from original artist Gene Pitney. 

In 1991, he teamed with ex-Strangler Hugh Cornwell and guitarist Andy West to form Cornwall, Cook and West, issuing the album CCW the following year. In 1997, Cook became the first Englishman to be inducted into the Nashville Songwriters Hall of Fame; later that year, he returned to writing, collaborating with Eddie Kilgallon on George Strait's number one smash "One Night at a Time." In 1998, Strait landed another chart-topper with his cover of Cook and Prine's "I Just Want to Dance with You." 

by Steve Leggett

Tracks
1. Primrose Jill - 3:33
2. Black Paper Roses (Belle Gonzales) - 2:13
3. Teresa (Albert Hammond, Michael Hazlewood) - 2:36
4. Something (George Harrison) - 2:59
5. Ellie (George Martin, Jerry Lordan) - 2:21
6. Not That It Matters Anymore - 2:55
7. Skyline Pigeon (Elton John, Bernie Taupin) - 3:36
8. Today I Killed a Man I Didn't Know - 3:17
9. Is It You That Has the Power - 2:43
10.My Home City (Keith Drewett, Peter Dymond) - 3:17
11.3 Parnall Road, Fishponds, Bristol - 2:23
12.Ain't That a Wonderful Thing (feat. Eve Graham) - 2:42
13.Stop - 2:35
14.I'm Burning - 2:45
15.Paper Chase - 2:36
16.Smiling Through My Tears (feat. Eve Graham) (Cedric Carnal) - 2:47
17.Someday - 3:36
18.Jubilation - 3:59
19.Anticipation Grows (Rowland Barter) - 3:32
20.If You Would Stay - 4:34
21.Mama Packed a Picnic Tea (David Matthews, Peter Warne) - 4:09
22.People I've Gotta Dream - 3:39
All song by Roger Cook, Roger Greenaway except where indicated.

*Roger James Cooke - Vocals

Just Paste
Text Host

Free Text