Ariel - Rock And Roll Scars (1975 aussie, exciting progressive hard guitar rock, bonus tracks issue)

The Time: October 1974; The Place: Festival Hall, West Melbourne; The Scene: I was 15 years old and had taken my first girlfriend to see Hush, the La De Das and Stevie Wright in concert. Four guys ambled on stage unannounced and plugged in. The bass player had an enormous walrus moustache. I recognised him and lead singer Mike Rudd from Spectrum, and this was their new band Ariel. I already knew and loved their hit from 1973 'Jamaican Farewell'.

They proceeded to play a set of dynamic hard rock, all nimble riffs and adroit time shifts framed by a series of loud and biting yet fluid lead guitar solos from Harvey James, and the intensity of it all made my head spin with excitement. I can't remember the actual songs they played, but the experience was such that I became an instant convert. When the Rock & Roll Scars album appeared in April 1975 I thought the title had a decadent ring to it and I bought it immediately.

Hard edged yet melodic songs like 'Keep on Dancing (With Me)', 'We Are Indelible", 'Men in Grey Raincoats' and 'I am the Laughing Man' gave me many hours of listening pleasure. I was always intrigued by the album's sub-title, almost inconspicuously noted on the bottom of the front cover: Before the Mutant.

Many years later Mike Rudd was to explain to me the significance behind that, and thus was revealed one of the great mysteries of Australian rock'n'roll. When Harvey James and John Lee had replaced original Ariel lead guitarist Tim Gaze and original drummer Nigel Macara respectively in early 1974, Rudd had begun rehearsing the band for album number two.

The new record was to have been an ambitious science fiction concept album called The Jellabad Mutant. Ariel demoed the new material but the EMI executives rejected the concept out of hand. Abbey Road Studios in London was already booked, but here was the band left without any songs! All of which is why the new album consisted mostly of re-recorded versions of old Spectrum and Ariel material, with only three new songs thrown in for good measure.

The EMI suits should have let the visionary Mike Rudd play out his grand concept and record the album he had wanted. But then again, we would never have had the Rock & Roll Scars album, would we? I'll leave you with that little slice of irony. Now, just turn the music up real loud and enjoy!
by Ian McFarlane
(Ian McFarlane is the author of The Encyclopedia of Australian Rock and Pop)

 Tracks
1. Keep on Dancing (With Me - 2:54
2. I'll Be Going / I'll Be Gone - 4:19
3. Rock And Roll Scars - 3:44
4. Real Meanie - 4:08
5. Men In Grey Raincoats - 3:22
6. Launching Place Part II - 2:24
7. We Are Indelible - 2:42
8. What The World Needs (Is A New Pair of Socks) - 3:16
9. Red Hot Momma - 2:36
10.Some Good Advice - 5:45
11.I Am The Laughing Man - 2:45
12.Yeah Tonight (Bonus Track) - 3:09
13.I Am The Laughing Man (Bonus Track, Alt. Version) - 2:57
All compositions by Mike Rudd

 Ariel
*Mike Rudd - Lead Vocals, Guitars, Harmonica
*Bill Putt - Bass
*Glyn Mason - Guitars, Vocals
*Harvey James - Guitars
*John Lee - Drums

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Federal Duck - Federal Duck (1968 us, soft-psych with jazzy feel and some upbeat mold-breaking tunes)

Federal Duck was the band I belonged to when I was a student at Haverford College back in the '60s. We were originally called the Stomp Jackson Quintet, and then the Guides (don't ask), but we came up with our new and final name one night when we were lying on the bank of the Haverford campus duck pond, and some ducks started waddling toward us in what looked like a purposeful manner, and as we watched them with increasing alarm -- an oncoming duck squadron in the moonlight -- the thought struck us that these ducks might be working for the government. And if you are wondering why that particular thought would have struck us, you did not experience the '60s.

We were one of many college bands formed in that era by young men with a sincere artistic desire to attract women of the opposite sex. We pretty much failed at that, but we did get hired a lot, because of a distinctive quality we had, which I would describe as "a low price." For as little as $100, or sometimes even less, you could have the Federal Duck perform at your dance, dorm mixer, fraternity party, pagan tree-worship ceremony, livestock neutering, whatever.

We would play anywhere, and we would play all night long, or until the police arrived, which happened sometimes, especially at the frat parties, where there tended to be a lot of spirited hijinks during that magical 45-minute interlude between the time the first keg was tapped and the time the last frat brother passed out in a puddle of his own bodily fluids.

The Federal Duck could play through pretty much anything, because we had a bulletproof repertoire consisting of songs containing three or fewer chords, one of which was always "E." If something distracting happened during a song -- say, a group of frat brothers suddenly appeared on the dance floor physically carrying a Volkswagen -- and you lost your place, you could always play an "E" chord, and the odds were good that this was also what the rest of the band was playing.

We did that for four years, and, although I am not proud of this fact, the Federal Duck was the single most memorable part of my college experience. I was an English major, and I studied some of the greatest works of literature the human mind has ever produced, and today I can remember virtually nothing about any of them, but I still know all the words to "Louie Louie."
by Dave Barry
(David Barry is A Pulitzer Prize winner for commentary)

Tracks
1. Knowing That I Loved You So - 2:18
2. Easy Virtue Blues (Jack Bowers) - 2:44
3. Tomorrow Waits for Today - 3:04
4. Just Like the Snow (David Koteen) - 4:22
5. Bird (George Stavis, Jack Bowers, Ken Stover) - 5:56
6. Hello - 0:17
7. While You're Away - 2:01
8. Peace in My Mind - 2:57
9. Just a Band - 0:34
10.Friday Morning - 3:09
11.Dawn Comes Slow (Jack Bowers, George Stavis) - 3:05
12.Ain't Gonna Be Nobody to Sing the Blues (Jack Bowers) - 2:11
13.Circus in the Sea - 3:33
All songs by George Stavis except where indicated

Federal Duck
*Ken Stover - Piano, Organ, Tuba
*Jack Bowers - Guitars, Dulcimer. Recorder
*George Stavis - Lead Guitars, (Vocal, on Ain't Gonna Be Nobody to Sing the Blues)
*Huck White - Guitars, French Horn, Recorder
*Timmy Ackerman - Drums, Conga, Percussion
*Bob Stern - Bass, (Vocal, on Bird)
*Tony Shaftel - Vocal, Bass

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Stone Country - Stone Country (1968 us, fabulous west coast psych, progressive country, blue-eyed soul and folk-rock, Rev Ola remaster)

Stone Country was a Hollywood, CA-based psychedelic country-rock outfit led by gifted singer/songwriter and guitarist Steve Young. Young, who grew up in the south, moved to New York City in the early '60s, where he became affiliated with the burgeoning Greenwich Village folk music scene. He later moved to Los Angeles in 1964 and began working with Van Dyke Parks and Stephen Stills while still working his day job as a mailman.

He formed Stone Country in 1967 and soon thereafter the band was signed to RCA Records. After releasing several singles, RCA issued the group's only album, Stone Country, in March 1968, produced by Rick Jarrard, who also produced Jefferson Airplane and Harry Nilsson's Pandemonium Shadow Show. (Incidentally, Stone Country appeared as themselves in Otto Preminger's 1968 film Skidoo, which features a score by Nilsson).

The group disbanded when, in 1969, Young signed as a solo artist with A&M Records. His album Rock Salt & Nails featured cameo performances by James Burton, Gene Clark, Gram Parsons, and Chris Hillman. In 1971, Young signed to Reprise, and eventually recorded a series of critically acclaimed albums in the country-rock style, his most well-known song being "Seven Bridges Road," recorded by Rita Coolidge, Joan Baez, and the Eagles.

Clark  a member of the New Christy Minstrels and the Good Time Singers before joining this band went solo and recorded for Imperial and Republic Records. Don Beck went on to join Dillard & Clark, while Denny Conway became a session drummer.

Tracks
1. Love Pslam (Hildebrand, Lottermoser) - 2:31
2. 'Lizbeth Peach (Byrne, Ferrell) - 2:25
3. Magnolias (Young) - 4:19
4. Mantra (Hildebrand, Lottermoser) - 2:21
5. Everywhere I Turn (Dunn, Lottermoser) - 2:15
6. Woman Don't You Weep (Young) - 3:35
7. Time Isn't There Anymore (Brooks, Lottermoser) - 2:55
8. Life Stands Daring Me (Beck) - 2:25
9. The Ballad of Bonnie and Clyde (Brooks, Lottermoser, McCashen) - 3:04
10.The Love You Save (May Be Your Own) (Tex) - 3:19
11.Why Baby Why (Edwards, Jones) - 1:54
12.Angelica (Mann, Weill) - 3:08
13.This Wheels on Fire (Danko, Dylan) - 2:56
14.Million Dollar Bash (Dylan) - 2:18

Stone Country
*Dann Barry - Bass, Vocals
*Steve Young - Vocals, Lead Guitar
*Don Beck - 12 String Guitar, Banjo
*Dennis Conway - Drums, Percussions
*Richard Lockmiller - Rhythm Guitar
*Doug Brooks - Rhythm Guitar

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Folly's Pool - Folly's Pool (1977 us, beautiful progressive folk rock, pre-americana vein)

 Folly's Pool was formed in 1974 by Doug Carlson (Guitar and Lead Vocals)and Steve Ono (Bass and Vocals). The original band also included Jeff Carlson (Guitar and Vocals) and Jim Arhelger (Drums). Ono and Arhelger left in 1975 and were replaced by Jim Reap on Bass and Jeff McCutchen on Drums. The first Album was recorded over 4 months at Kenjo Studios in Fresno. The first two tracks recorded were Just a Memory and Fallen Poney. These were released and got airplay on KFIG and a few other Central Valley Radio Stations.

The rest of the album was recorded with Jeff Bryon replacing Jeff McCutchen on Drums. The band toured throughout California, mostly in College towns until 1982. in 1986, a second album was produced; Bathing Caps Required. The band dispersed for several years and reunited in 2003 and began playing occasionally and created an new album called Road To Independence released in 2008. After several successful live performances, Doug, Jeff, and Jeff are back recoding again with a large circle of musician friends adding parts. You can find more at the web site follyspool.com
by Warren Lewis (Folly's Pool Engineer)

Tracks
1. Folly's Pool (Doug Carlson, Steven Ono) - 4:55
2. Fallen Pony (Doug Carlson) - 7:00
3. Just A Memory (Doug Carlson, Steven Ono) - 4:43
4. Jig In A (Doug Carlson, Steven Ono) - 4:25
5. Before The Gates Of Elessaar (Doug Carlson) - 6:55
6. Kathleen (Doug Carlson) - 5:10
7. West Of The Skies (Doug Carlson, Steven Ono) - 7:15

Folly's Pool
*Doug Carlson - Electric, Acoustic Guitar, Vocals
*Jeff Carlson - Acoustic 12string Guitar, Vocals, Percussions
*Jeff Bryon - Drums, Percussions
*Jim Reap - Bass, Vocals
*Larry Ohl - Lead Guitar
*Danny Jordan - Flute
*Jeff McCutchen - Drums on "Fallen Pony" & "Just a Memory"

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Pacific Sound - Forget Your Dream (1972 swiss, spectacular heavy phychedelia with hard rock elements, remastered with extra tracks)

Legendary Swiss heavy psychedelic/progressive band with their sole album originally released in 1972 on Splendid Records. First official reissue on Long Hair limited to 500 units. Touches of Procol Harum and obviously inspired by the U.S. westcoast sound, this album is a real killer.

Val-De-Travers lies in the French speaking Swiss canton of Neuchatel. Thus began the story of Pacific Sound. Four friends, Chris Meyer (vocals), Mark Treuthardt (guitar, bass), Diego Lecci (drums) and Roger Page (keyboards) were practising there for their next gig at the Ballroom in their birthplace of Motiers.

Yves Dubois, a friend and fan of the band, was urging the band to "stop playing ballrooms, start writing your own songs, form a pop band!!" The band decided he was right as they were fed up with playing covers of international hits and began to work on their own ideas. Yves started to look after the band's organisational matters and became a sort of a manager.

On Roger's suggestion, the band called themselves Pacific Sound and within a few months began to take shape with a set of almost all original compositions. After playing gigs in their own region the band gained confidence and played nearby France.

The next step on the ladder of success was to release a record. Yves invited Rare Records (from La-Chaux-De-Fonds) producer J. P. Louvin to a gig. Louvin was impressed and offered the band to record a single for his label.

At the end of 1970, the band recorded "The Drug Just Told Me" and "The Green Eyed Girl" at the Stephan Sulke Studio in Biel. The single was a success. Pacific Sound were on a roll and a couple of weeks later they went back to the same studio and producer to record "Ballad To Jimi" and "Thick Fog" for release next year on Splendid Records.

Fans and critics applauded the single, the band's originality and creativity was praised. The single won the first prize at the 1971 European Pop Jury in Cannes and was Pacific Sound's breakthrough. It was also released in 18 countries on 8 different labels including Decca, Phillips, CBS and RCA.

Following the release of the prize-winning single "Ballad To Jimi", the popularity of the band increased dramatically and they were showered with gig offers. The band toured successfully throughout Switzerland. Louvin suggested the band record an LP. Early in 1972, they went back to the Sulke Studio and recorded 7 new songs which, in addition to "Thick Fog", made up the LP "Forget Your Dream!", which was released in 1972 on Splendid Records.

The LP was well received and a European tour was arranged with gigs in Belgium, England, Holland, Germany and France. The band needed to upgrade their equipment for larger gigs, so Roger took out a bank loan, but just as the tour was about to start, the rest of the band, including manager Yves, left Roger in the lurch. Louvin suggested to Roger to look for replacement musicians and a new line-up was created

However, it never recaptured the old Pacific Sound spirit. The new line-up didn't gel musically and Roger was left with his debts which were paid with the money made on the tour. And that is the end of a wonderful story. Nowadays Roger lives in a small village near Neuchatel and is a professional musician
by Roger Page

A truly spectacular heavy psychedelic album and pure classic of it's time. Flying acid leads, roaring keyboards, strange vocals. This CD issue has 3 bonus tracks from 1971, extensive liner notes and lots of nice pictures of the band. 

Tracks
1. Forget Your Dream - 2:27
2. Erotic Blues - 8:00
3. Drive My Car - 2:35
4. Thick Fog (Roger Page, Chris Meyer) - 2:34
5. Gily Gily - 2:26
6. Ceremony for a Dead - 5:22
7. If Your Soul Is Uncultivated - 3:37
8. Gates of Hell - 5:45
9. The Drug Just Told Me (Roger Page, Chris Meyer) - 2:51
10.The Green Eyed Girl (Roger Page, Chris Meyer) - 2:44
11.Ballad to Jimi (Roger Page, Chris Meyer) - 2:00
All songs by Roger Page, Mark Treuthardt, Chris Meyer except where indicated.

Pacific Sound
*Chris Meyer - Vocals
*Mark Treuthardt - Guitar, Bass
*Diego Lecci - Drums
*Roger Page - Organ, Piano

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Timbercreek - Hellbound Highway (1975 us, great west coast country rock with some funky rural vibes)

This Santa Cruz-based outfit formed in the mid-1970s, featuring Frank Gummersal, bassist Jon Hicks, drummer Carl Holland, Larry Ross, and pedal steel guitarist Doug Osburn. Looking like your standard early-1970s stoner band hey enjoyed some success on San Francisco's club circuit, even opening for nationally known outfits such as Kingfish and The Sons of Champlin. They also managed to score a contract with the small California-based Renegade label and released "Hellbound Highway"  in 1975, a rural rock album in the style of Dead meets the Eagles variety.

The opening title track has a beautiful psychy lead guitar hook and great melody throughout.This is mellow country rock with great steel guitars and the appropriate tuneful vocals,with the occasional fuzz guitar putting in a welcome appearance. Back in 1975, a bunch of dudes from Boulder Creek, California, found themselves in a recording studio and decided to make a rural rock album of a sort of Dead-meets-Eagles variety. The result, Hellbound Highway, an obscure private pressing made its appearance on Renegade Records the same year, but as only about 100 copies were pressed, very few have experienced the delights of this laidback recording.

Some of the songs are terrific, particularly the opener and title track, with its psychy lead guitar hook, a clever twist in the chorus and a great melody, and the side-closers are both outstanding. In between, we're treated to some mellow country rock of the Outlaws variety, with some excellent steel guitar and some highly appropriate and surprisingly tuneful vocals, and the occasional fuzz guitar putting in a welcome appearance."

Tracks
1. Hellbound Highway - 4.42
2. Tantra Queen - 3.42
3. Pass The Bottle' - 3.46
4. Just One Quart - 3.58
5. Nobody On The Streets - 4.39
6. Stoned Cold Turkey - 3.58
7. Fallen Angel - 4.05
8. Tom Haley - 2.48
9. If I Had The Trength - 3.23
10.Hell In The Hills - 6.19
All Song by Larry Ross, Jon Hicks, Carl Holland, Doug Osburn, Frank Gummersal, Frank Andrick

 Timbercreek
*Larry Ross - Vocals, Guitar, Piano
*Frank Gummersal - Vocals, Guitar, Piano
*Doug Osburn - Pedal Steel Guitar
*Carl Holland - Vocals, Drums, Clarinet
*Jon Hicks - Vocals, Bass

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Tymepiece - Sweet Release (1971 australia, outstanding fuzz-out garage blues with psych folk touches, remaster with bonus tracks)

The story of Tymepiece encompasses a musical transition that commenced with mid-60's garage punk and ended seven years later in the realms of full blown progressive rock. Tymepiece's collectable 1971 album 'Sweet Release' is a prime example of where psychedelic pop, folk and country elements combined with a progressive edge to create a unique blend. The album is a fine example of early seventies 'head' music. Tymepiece originated in the Blue Mountains area around Lithgow (NSW), and comprised an incredibly accomplished bunch of musicians.

They began life in 1965 as The Black Diamonds, one of the most ferocious garage/punk outfits Australia ever produced. Witness the bands 'I Want, Need, Love You' on the Ugly Things 60's punk compilation. The Black Diamonds line-up featured Glenn Bland (vocals, harmonica), Allan 'Olly' Oloman (guitar, vocals), Brian 'Felix' Wilkinson (organ, piano), Alan Keogh (bass) and Colin McAuley (Drums). They issued two singles on Festival during 1967 and were equally adept at producing both jubilant pop and tough punk on either side of the one disc. In 1968 Darcy Rosser replaced Keogh on bass, the band changed its name to Tymepiece and made the permanent move to Sydney.

At that point producer Pat Aulton approached the musicians to record under the name of Love Machine. Their version of 'The Lion Sleeps Tonight' was a hit, but the band members soon tired of playing under two different names doing entirely divergent sets. Tymepiece moved on, issuing two flower-pop singles. The third Festival single was a taster for the forthcoming album. Issued on Festival's progressive subsidiary label Infinity, 'Sweet Release' (February 1971) was an ambitious album of contrasting moods and styles, ranging from hard-psych 'Why?', 'Nuts' , folk 'Reflections', 'Home Song' , wild R'n'B 'I Love, You Love' and country flavoured 'Sweet Release' , 'Take Me Back' to the heavy progressive-blues sound of 'Shake Off'.

As the albums centrepiece, 'Shake Off' is an incredible eight minutes of rumbling bass, pounding drums, wildly demented fuzzed-out blues riffing, wailing harp and heavy, pulsating organ soloing. It's all quite left field, but impeccably played nonetheless. After such an astonishing debut album Tymepiece should have progressed to the next level, but inexplicably broke up before the year was out. All that remains are a few choice tracks, an albums worth of listening pleasure and the memory of a great band.

Tracks

1. Why - 2:20

2. I Love, You Love (Alan "Olly" Oloman, Chris Kristopher, Colin McAuley, Darcy Rosser, Felix Wilkinson) - 5:04

3. Sweet Release - 2:57

4. Nuts - 3:18

5. Won't you Try (Alan "Olly" Oloman, Chris Kristopher) - 2:40

6. Reflections - 2:59

7. Shake Off  - 8:11

8. Take Me Back (Alan "Olly" Oloman, Chris Kristopher, Darcy Rosser) - 4:34

9. Joseph Straite (Alan "Olly" Oloman, Chris Kristopher) - 1:49

10.Home Song - 3:36

11.Bird In The Tree - 3:18

12.I Gotta Know What You're Like (Tymepiece) - 3:16

13.Become Like You (Steve Marriott, Ronnie Lane)- 3:05

14.Give A Little More - 2:23

15.Down And Out  -  3:29

All songs by Alan "Olly" Oloman except where stated

Tymepiece
*Glenn Bland (aka Chris Kristopher) - Vocals, Harmonica
*Colin McAuley - Drums
*Alan "Olly" Oloman - Vocals, Guitar
*Darcy Rosser - Bass
*Felix Wilkinson (aka Brian Williamson) - Keyboards, Accordion

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Ashes - Ashes (1965-71 us, marvellous psychedelic folk rock with essential female vocals)

The Ashes were a folk-rock group formed in 1965 that included John Merrill (guitar/ vocals), Alan Brackett (bass/ vocals), Barbara Robison (vocals), Spencer Dryden (drums) and Jim Cherniss (guitar/ vocals). Before they were known as the Ashes, the group called themselves the Young Swingers and released two long lost 45s under that name: "Love Her Every Day" b/w "Or Else You'll Cry" (Courtney 746) and "Let's Take Our Love" b/w "The Winds Up High" (Portafino 901) .

From the summer of 1965 up until May of 1966, the Ashes served as the house band at a club in Santa Monica called the Waleback. They released their first single under their new moniker in 1966: "Is There Anything I Can Do?" b/w "Every Little Prayer" (Vault 924). The a-side was written by Jackie DeShannon and featured a fine lead vocal from Barbara Robison. This 45, along with its follow-up "Dark on You Now" b/w "Roses Gone" (Vault 936), also appeared on the 1967 compilation WEST COAST LOVE-IN (Vault 7980). Around the time of the first Ashes single, Spencer Dryden left to replace Skip Spence in Jefferson Airplane. Jim Cherniss also exited the group at this time.

 With the addition of two new members, the band was transformed into the Peanut Butter Conspiracy, who of course recorded two albums for Columbia in 1967. John Merrill resurrected Ashes in late 1968, around the same time that Alan Brackett was working on the tracks that would ultimately constitute the PBC's FOR CHILDREN OF ALL AGES album. The new Ashes recorded their debut LP for Vault Records that year; it stands today as a staple of the collector's market, routinely fetching $50 or more on eBay. The album also featured singer Pat Taylor standing in for Barbara Robison (who could not appear on the record due to contractual obligations). The LP's release was delayed until 1970, while two songs from the record-- "Homeward Bound" b/w "Sleeping Serenade" (Vault 975)-- were issued as a 45 in 1971.
by Jason Penick

Tracks
1. Gone To Sorrow (Jackson Browne) - 3:07
2. Sleeping Serenade (John Merrill) - 2:48
3. Homeward Bound (Paul Simon) - 2:34
4. Sands of Love (John Merrill) - 2:18
5. My Life Has Changed (John Merrill) - 3:14
6. Return Home (Alan Brackett) - 2:23
7. Her Invention (John Merrill) - 2:14
8. Look Around Rock (Penny Nichols) - 2:34
9. The Now (John Merrill) - 2:52
10.Rainbows (John Merrill) - 2:17
11.Simple Complexities (John Merrill) - 2:06

Ashes
*Al Brackett - Bass, Vocals (1965-)
*Jim Cherniss - Guitar, Vocals (1965-66)
*Spencer Dryden - Drums (1965-66)
*John Merrill - Guitar, Vocals (1965-)
*Barbara Robison (aka Sandi Robison, aka Sandi Peanut Butter) - Vocals (1965-66)
*Pat Taylor - Vocals (1968-)
*Jim Voight - Drums (1968-)

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The Feminine Complex - Livin' Love (1969 us, excellent all girl teenagebeat, rev ola remaster with bonus tracks)

The Feminine Complex formed 1966 while the girls were attending Maplewood High School in Nashville, Tennessee. They released two singles and one album, "Livin' Love". There was even a rumour that they were a fictional band, and the material had been recorded quite recently by various American indie luminaries! This despite the original 1969 Athena Records album undoubtedly existing, and fetching astronomical figures

In fact, The Feminine Complex were an all-girl garage band, a rarity in Nashville, to be sure. They were even heavily featured on various TV shows including the nationally-syndicated "Showcase '68" and the local "Nashville Now". The Feminine Complex made one of the few genuine girls-in-the-garage albums (all original songs too!) in a time when the 45 was king (queen?), and an extraordinary album it is too, as extraordinary indeed as the story of the band.

Livin' Love is a breathtaking album of raw passion and energy. Astonishingly, it contains all original Feminine Complex songs, penned mostly by Mindy Dalton. Recorded in 1968, there is a strong sense of mind-altering musing displayed throughout Dalton's prose, which she denied carried with it any drug connotations. Even though the record is a polished outing, due mainly to the experienced backing-band brought in, there is no question that Dalton's songs demonstrated a considerable emerging talent, deserving of an "A-list" ranking in the league table of late-sixties' female rock stars. Sadly, Livin' Love came and went unnoticed; the original all-girl roster of the Feminine Complex disbanded amicably, and that was that.

Collecting valuable collector's points over the years by reaching a 'very-rare' status, Livin' Love has finally been re-released on compact disc by saviours-of-all-reissues Rev-Ola, and they have bestowed upon us a fabulous package that expertly extends the Feminine Complex appreciation.

The original album featured eleven songs, and yet this reissue contains a further eleven bonus tracks which greatly extend Livin' Love's charm. The album's opening three numbers are delicately alluring, with a brooding seductiveness that betrays Livin' Love's punch on later numbers. Now I Need You is a swirling cry of desperation, whilst the refraining Are You Lonesome Like Me? possesses a startling songwriting maturity from Dalton; the song could feature on any of Dusty Springfield's better albums and you'd believe it were penned by Lieber & Stoller.

I Won't Run powers up the tempo scales with dashing freneticism and powerful rhythm chords. Exemplary throughout the album are the backing vocals - drenched in reverb, which add a very welcome leftfield edge. Run That Through Your Mind, I Don't Want Another Man and the powerhouse I've Been Working On You signal the very best late-sixties Aretha, suggesting the band’s versatility. It's Magic has a psychedelic ambiance that is ripped apart by a delicious chorus, complete with off-kilter vocal backing. Only the Jean Williams songForgetting shows its age, with too much twee emphasis.

The Feminine Complex would have been better advised to replace Forgetting with another Williams song, Love Love Love, which was more fitting to the musical tones of the album and has thankfully been included as a bonus track on this reissue. Time Slips By is certainly the most experimental song on the original album lineup, and yet the overt panning of shimmering sound effects and the rhythmic borrowings of Love’s The Daily Planet form an especially interesting closer to Livin’ Love.

The original eleven songs on Livin’ Love do enough to justify high praise, and yet this expanded Rev-Ola package pushes the boundaries even further. The eleven bonus tracks comprise of unreleased songs by the Complex and some worthy stripped-down demos. Many of them deserve a place on the original Livin’ Love, particularly Hold My Hand. The stark two-track demos, featuring vocals on one channel and a sole electric guitar on the other, are simplistic, unrefined beauty and demonstrate a splendid raw talent that sadly was not given the chance to develop.

At least the album is “out there” again, back in the public awareness section where it undoubtably belongs. From late-sixties bands such as Jefferson Airplane to modern bands across the Atlantic such as Electrelane, there are traces of The Feminine Complex’s sound. Whilst they never were allowed to be influential, they certainly showed that they were one of the most innovative. Livin’ Love is easily one of the best reissues we have yet to see from Rev-Ola.
by Raphael Pour-Hashemi

Tracks
1. Hide And Seek - 3:46
2. Now I Need You - 3:36
3. Are You Lonesome Like Me? - 2:59
4. I Won't Run - 3:24
5. Six O'Clock In The Morning - 3:28
6. Run That Through Your Mind - 2:35
7. It's Magic - 2:40
8. I Don't Want Another Man - 2:34
9. Forgetting (Jean Williams) - 2:17
10. I've Been Workin' on You - 2:40
11. Time Slips By - 4:25
Bonus Tracks
12. Hold My Hand - 3:45
13. Love Love Love (Jean Williams) - 2:32
14. I've Been Workin' on You (Demo) - 2:52
15. Hold Me  (Demo) - 3:38
16. Now I Care - 3:06
17. Summer Morning - 2:37
18. Warmth of Your Smile - 2:02
19. Are You Lonesome Like Me?  (Demo) - 2:38
20. Time Slips By  (Demo) - 2:26
21. Is This a Dream? - 2:57
22. Movin' - 2:08
All Songs Written by Mindy Dalton, except where indicated.

The Feminine Complex
*Mindy Dalton - Guitar, Vocals
*Judi Griffith - Tambourine, Vocals
*Lana Napier - Drums, Vocals
*Pame Stephens - Organ, Vocals
*Jean Williams - Bass, Vocals
 
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Sugar Bear - Sugar Bear (1970 us, rural rock with blues, country and folk psych blinks)

Another private pressing from the 70s, this time a charming chunk of rural rock from the sunshine state. Originally released on No Label Recordings, this four-piece from Florida (named after the hip American 70s singin'n'guitar-playin' cartoon character, Sugar Bear) have managed to produce an album of high originality which defies categorization.

In terms of musical styles, the ''rural rock'' probably covers just about everything, from rock'n'roll to the blues and plain ol' country rock in the style of The Outlaws or Pure Prairie League, of course there are some psychedelic touches, think a cross line betwwen Jefferson Airplain and Byrds with drops of Santana.

Today’s “Sugarbear” consists of Ivan Bailey on bass, John McLaughlin on lead guitar, and Eric Chick on drums. Ivan and John have been together about 44 years. Started out in Miami as “The Goldtones”, later changed to “The Roustabouts”. Moved to the Ocala area and became “The Merger” and in 1972 changed the name to “Sugarbear”.

Tracks
1. Playing Music (John McLaughlin) - 2:14
2. Honey Love (Ivan Bailey) - 4:34
3. Moccasin Mona (H.C. Perryman) - 5:03
4. Sweetest One Around (H.C. Perryman) - 3:31
5. Play Me a Song (John McLaughlin) - 3:18
6. Let It Roll (John McLaughlin) - 3:12
7. Seasons for Love (John McLaughlin) - 4:39
8. Garden (John McLaughlin) - 3:19
9. Move out in the Country (John McLaughlin) - 4:06
10. Hip! Hip! Hooray for Today (John McLaughlin) - 1:58

Sugar Bear
*John McLaughlin - Vocals, Lead, Rhythm, 12 String Guitars, Harmonica
*Ivan Bailey - Vocals, Fender Bass, Harmonica
*H.C. Perryman - Vocals, Rhythm Guitar, Harmonica
*Trent Slemmer - Drums, Percussion

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Jacksons Garden - How Do I Get Into Jacksons Garden (1968 denmark, standout beat psych blues rock, 2002 remastered with bonus tracks)

The Jacksons Garden formed as The Candy Boys in Odense Denmark round 1965, September 1967 changed their name to Jackson's Garden. Their style was a mix of Soul, R & B, Beat & Roll, they had also many of self-composed songs. Jacksons Garden quickly became very popular with the burgeoning on underground audience that had enjoyed their share of the traditional 60's music and was hungry for something new.

Jacksons Garden played in the beginning mainly on Funen and Jutland, but in October 1967 the band took part in Hit House Beat Grand Ppix won the competition (1st from 41 bands - primarily from Copenhagen and Zealand) and got away with the prize £ 1750 in cash and a record contract. A Copenhagen journalist wrote: " Jacksons Garden is so great that without blushing can place them in the same class as their American same act bands." The victory sparked - in addition to a cash prize - including a recording contract with the Jutland record label "STOA". The resulting was a LP "How do I get into Jacksons Garden?".

Jacksons Garden also got the pleasure to play as support band for The Crazy World of Arthur Brown "in Hit House. They where also the opening band in Fyens Forum, for many foreign top names. Until February 1969 - when Jacksons Garden disbanded- they were full speed and always on the highways for gigs.

Tracks
1. Jump The Fence (Eric Werner) - 0:20
2. Turn On Your Lovelight (Deadric Malone, Joseph Wade Scott) - 3:34
3. Coloured Birds (Eric Werner) - 2:28
4. Close To The Earth, But .. (Jacksons Garden) - 7:53
5. Paddington Station (Eric Werner) - 4:05
6. Morning After (Per Stan) - 2:33
7. Nobody (Eric Werner) - 4:06
8. Work Song (Nat Adderley, Oscar Brown Jr) - 4:13
9. Tales From A Nervous Wreck (Eric Werner) - 4:14
10.Goodmorning Blues (Bent Hangaard, Eric Werner, Per Stan, Erling Andersen, H.P. Sondergard) - 6:02
11.Fever (John Davenport, Eddie Cooley) - 4:38
12.Harlem City Blues (Eric Werner) - 3:07
13.Pretty Woman (A.C. "Moolah" Williams) - 2:32
14.Love Me Two Times (Jim Morrison, John Densmore, Ray Manzarek, Robby Krieger) - 3:22
15.John Wesley Harding (Bob Dylan) - 2:50
16.Help Me Baby (Sonny Boy Williamson) - 3:19
17.Bummer In The Summer (Arthur Lee) - 3:44
18.All Night Long (Eric Werner, Per Stan) - 5:09
19.Butterfly Fly (Eric Werner, Per Stan) - 10:35
Tracks 1-12 from the original 1968 album "How do I get into Jacksons Garden"
Tracks 13-19 Bonus Live recordings at "Blomsterpistolen" 1968

The Jacksons Garden
*Bent Hangaard - Lead Guitar
*Eric Werner - Vocals Harmonica
*Per Stan - Drums
*Erling Andersen - Bass, Vocals
*H.P. Sondergard - Piano, Organ, Flute
 

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Blood Sweat And Tears - Mirror Image (1974 us, lovely jazzy funky rhythm and blues tunes, 2005 edition)

In March and April 1974 the band spend most of the time in the studio for their forthcoming album and in July, "Mirror Image" is released. A song called,"Tell Me That I'm Wrong" is released as a single but only reaches #83. The album flops at #149. Jerry LaCroix didn't feel comfortable within the band, and he couldn't' handle Bobby Colomby.

Basically he didn't care for Blood, Sweat and Tears style and he did not like to share lead vocal duties. He was more interested in his solo album "The Second Coming", that he recently had recorded. He once said that one of the reasons for him to join was that they ware going on a world tour and he hadn't seen the world. While they were in Australia he decided to quit.

When they came back, he left the group after a gig in Central Park. Luther Kent, a blues singer from New Orleans was recruited as a new leadsinger, together with Jerry Fisher. Luther Kent had been singing with The Greek Fountains, a busy, popular band in demand regionally, then criss-crossed America with his own, 9-piece r&b band, "Blues, Inc". His voice could be described as powerful, rough and whiskey-drenched. Blood, Sweat and Tears never did any recordings with Luther Kent, who eventually quit to form "Trick Bag" with guitarist Charlie Brent.

Mirror Image is a  pleasant album with catchy jazzy tunes, a late night friend who will give you generously, few moments to escape...

Tracks
1. Tell Me That I'm Wrong (Patricia Crosby) - 2:27
2. Look Up To The Sky (Anthony Klatka, Jerry LaCroix, Julian LaCroix) - 4:39
3. Love Looks Good On You (You're Candy Sweet) (Sharon Brown, Patricia Cosby) - 3:19
4. Hold On To Me (Dave Bargeron) - 4:10
5. Thinking Of You (Anthony Klatka, Jerry LaCroix) - 4:25
6. Are You Satisfied (Dave Bargeron, Jerry Fisher, Jerry Lacroix, George Wadenius) - 4:01
7. Mirror Image (Larry Willis, Ron McClure, Anthony Klatka, Dave Bargeron, Jerry Lacroix, George Wadenius)- 11:14
8. She's Coming Home (Jerry Fisher, George Wadenius) - 3:11

Blood Sweat and Tears
*Jerry Fisher -Vocals
*Jerry LaCroix - Vocals, Tenor Sax
*Bobby Colomby - Drums, Percussion
*Dave Bargeron - Trombone, Tuba
*Larry Willis - Piano, Electric Piano, Synthesizer, Organ
*Geroge Wadenius - Guitar, Vocals
*Tony Klatka - Trumpet, Piccolo Trumpet, Fleugelhorn
*Bill Tillman - Alto, Tenor, and Bari-Sax, flute
*Ron McClure - Fender Bass, Acoustic Bass
*Arnold Lawrence - Alto Sax on "She's Coming Home", Soprano Sax on "Thinking of You."

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rep>>> Kensington Market - Aardvark (1969 canada, great psych fusing folk with baroque, prog and jazz elements, 2008 remaster)

Kensington Market - Aardvark 1969

Mel Brown - Chicken Fat (1967 us, great electric guitar blues funk, remastered edition)

Mississippi-born, West Coast-based guitarist Mel Brown flexed his slinky fingers with blues god T-Bone Walker before going out on his own for this seriously funky 1967 session. The hot studio band here also includes versatile L.A. pianist Gerald Wiggins and none other than six-string legend Herb Ellis, who dishes up fiery exchanges with Brown on the backbone-slipping “Greasy Spoon” and the Down-South, down-home title cut. In addition to handling arrangements on the date, composer supreme Oliver Nelson (“Stolen Moments”) contributed two tunes; the tricky, frenetic “Anacrusis” and the wah-wah-covered “Hobo Flats.”

But it’s the blues that form the rich and juicy marrow of Brown’s soulful style, and Chicken Fat’s pair of late-night, down-tempo workouts—the sultry original “Home James” and the Ellis-composed “I’m Goin’ to Jackson”—will have you licking your lips with deep delight. Guitar chops meet pork chops on this gorgeous gatefold repress of the original Impulse! LP, one that’s sure to water the mouths of not only jazz and blues fans but of anyone who can’t get enough of that good ol’ raw, funky, Booker T.-style soul. Pass the sauce!

Tracks
1. Chicken Fat (Brown) - 4:16
2. Greasy Spoon (Brown, Ellis, Humphrey) - 5:53
3. Home James (Brown) - 6:34
4. Slalom (Chaikin) - 2:31
5. Hobo Flats (Nelson) - 2:18
6. Shanty (Brown, Wright) - 4:40
7. Sad But True (Ellis) - 5:01
8. I'm Goin' to Jackson (Ellis) - 4:24
9. Blues for Big Bob (Brown) - 4:25

Personnel
*Mel Brown - Guitars
*Ronald Brown - Bass
*Paul Humphrey - Drums
*Gerald Wiggins - Organ
*Herb Ellis - Guitar (on Tracks 1, 2, 3, 7 ,8)
*Arthur Wright - Guitar (on Tracks 4, 5, 6, 9)

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rep>>> Trees - On the Shore (1970 uk, beautiful progressive folk, 2nd album 2008 double disc remaster)

Trees - On the Shore 1970 (Sony 2008)

rep>>> Fantasy - Paint A Picture (1973 uk, essential progressive rock, full of delightful twists and turns, 2005 remaster with bonus tracks)

  Fantasy - Paint A Picture 1973

The Primitives - Maladjusted (1964-67 uk, excellent mod freak beat, 2001 release)

Like most of their equally obscure mid-60s R&B/freakbeat brethren, THE PRIMITIVES are principally namechecked these days for the value - both in fiscal and artistic terms - of their vinyl legacy. Their trio of singles for the Pye label, the Italian-only album Blow Up and a unique-to-France EP currently have a combined value on the collectors circuit of over £1000, an accurate representation of their standing amongst freakbeat connoisseurs.  But while their records have long been coveted by 60s collectors, the story of the Primitives has remained shrouded in mystery, with only vague rumours ci rc u lati ng about the relationship between the band's early UK career and their subsequent exploits in Italy.

Maladjusted rounds up their work during this 1964-67 period, featuring everything from those previously-mentioned releases plus an alternate version of the French EP's lead track, 'Oh Mary', the entire Blow Up album and a couple of related solo 45s from the group's long-term frontman Mal Ryder who, along with early fan John Taylor, has provided invaluable help in piecing together the legend of the band.

The Primitives evolved in 1964 out of British beat boom hopefuls The Cornflakes (previously known as The Rising Sons), whose typically cheesy post-Beatles handle didn't prevent them building up a sizeable fan base on the Oxford live circuit. As the Cornflakes, they won the Plaza Cinema beat group contest in Northampton, a competition that proved to be of twofold importance in their embryonic career: the contest's first prize was a two-year contract with the Pye label, while Cyd Cipin, who ran the local Plaza, was so impressed by the group that, in conjunction with his brother Mayer and their associate Leslie Jaffa, he became their manager.

While The Primitives were experiencing the slings and arrows of outrageous fortune, a teenage rock'n'roll fan by the name of Paul Bradley Couling had been invited to rehearse with The Meteors, who also worked the Oxford iive circuit. Accepting their invitation, Couling quickly began to attract attention as The Meteors' frontman, and he was duly approached by prominent local band The Beatniks, whose lead singer Peter Cox had just been called up for National Service. Couling didn't need to think twice about accepting their offer: he left The Meteors, his job at the Southern Electricity Board, Oxford and his old identity behind. Adopting the stage name of Mal Ryder, he and his new colleagues - by now rechristened the Spirits moved north to Doncaster, appointing Martin Yale (who also handled Hull R&B band The Rats and Sheffield's Joe Cocker) as their manager.

Yale helped Mal Ryder and The Spirits find work in working men's clubs, but his influence was most apparent in brokering a recording deal. With the aid of future Tom Jones producer Peter Sullivan, two singles were cut both for Decca and Decca's Vocalion Pop labels: 'Cry Baby' / 'Take Over' (Decca F 11669, June 1963) and 'See The Funny Little Clown' / 'Slow Down' (Vocalion V 9219, May 1964). When these failed to garner attention, the band changed managers, the London-based David Stones setting in motion a move to Pye subsidiary Piccadilly. That led to the November 1964 release, 'Forget It' b/w 'Your Friend' (a Marty Wilde song), and a follow-up single - the Carter/Lewis composition 'Lonely Room' (also recorded by Carter/Lewis's own band, The Ivy League) backed by 'Tell Your Friend'appeared as a Mal Ryder solo single in April 1965.

Stones also arranged for the group to follow the well-worn UK/Germany export route, including a stint on the Storyville Club circuit that found The Spirits playing for up to six hours a night. Exhausted by their schedule, The Spirits fulfilled their contractual commitments in Germany before returning to England in spring 1965, when they promptly split up. As stressed as the rest of his former colleagues, Mal Ryder went back to work with his father on building sites, his hopes of pop stardom apparently over.

The Primitives stayed with Mal until the early 70s, by which stage their line-up had gone through several changes. Pick Withers returned to England, playing with various low-profile progressive acts before finally hitting paydirt in the late 1970s with Dire Straits. His replacement in The Primitives, Scottish-born drummer Robbie Mcintosh, came to the group from the Brian Auger Trinity before going on to international success with the Average White Band, though he died at a tragically early age in 1974. A more pivotal Primitives member, Jay Roberts/Jeffrey Farthing, is also sadly no longer with us, having died of an overdose in the 1990s.

The late 60s line-up of the Primitives continued to contribute to Italian albums like "Sua Eccelenza" and "Mal Dei Primitives", but their musical output had become increasingly erratic. Sparkling psychedelic performances of 'Dear Mr. Fantasy', 'Race With The Devil' and the Small Faces track 'Song Of A Baker' were buried cheek-by-jowl alongside such mainstream fare as 'Love Letters In The Sand', 'Somewhere Over The Rainbow' and 'You'll Never Walk Alone' as Mal opted for the traditional showbiz route. For that reason, our anthology ends in 1967, thereby capturing both Mal and the Primitives during their mid-60s artistic apex, with fire in their teenage bellies and an unshakable commitment to the life-affirming qualities of raw, belligerent, adenoidal British R&B. Maladjusted? The Primitives?!? You'd better believe it.

by David Wells

Tracks

1. Help Me (Mort Dixon, Ralph Bass, Sonny Boy Williamson) - 3.39

2. Let Them Tell (Jeffrey Farthing, John E. Soul) - 2.14

3. You Said (Geoff Tindall) - 2.17

4. How Do You Feel? (John E. Soul) - 2.23

5. Every Minute Of Every Day  (Frank Catana) - 2.10

6. Pretty Little Face (John E. Soul) - 2.07

7. Forget It (Irving Martin, Jack Daw) - 2.01

8. Your Friend (Mal Ryder) - 2.37

9. Lonely Room (John Carter, Ken Lewis, Perry Ford) - 2.02

10.Tell Your Friend (Mal Ryder) - 2.27

11.Oh Mary (Jackie Edwards) - 2.48

12.Oh Mary (Jackie Edwards) - 2.05

13.I Don't Feel Myself (Dave Sumner) - 2.42

14.Mr. Heartache (Jay Roberts) - 2.36

15.Tears In My Eyes (Dave Sumner) - 3.47

16.Gimme Some Loving (Muff Winwood, Spencer Davis, Steve Winwood) - 4.21

17.L'Ombra De Nessuno "Standing in The Shadows Of Love" (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 2.55

18 .No Response (Anderson) - 3.08

19.Johnny No "Thunder & Lightning" (Hoyt Axton) - 3. 10

20.Cara-Lin (Bob Feldman, Jerry Goldstein, Richard Gottehrer) - 3.32

21.Yeeeeeeh! "' Ain t Gonna Eat My Heart Out Anymore" (Lori Burton, Pam Sawyer) - 3. 12

22.Gira, Gira "Reach Out, I'll Be There"  (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 3.07

23.Every Minute Of Every Day (Frank Catana) - 2.16

24.Mister Heartheache (Jay Roberts) - 2.19

25.Ma Beata Te (Jay Roberts) - 3.08

26.Sookie, Sookie (Don Covay, Steve Cropper) - 2.51

27.Mohair Sam (Dallas Frazier) - 2.43

28.L'lncidente "Soul Finger" (Ben Cauley, Carl Cunningham) - 2 .52

Tracks 5,6,11 as Mal And Primitives

Tracks 9,10 as Mal Ryder

Musicians
*Jay Roberts - Vocals, Bass, Organ
*Geoff Eaton (aka Geoff Tindall) - Lead Guitar,
*John E. Soul - Rhythm Guitar, Harmonica
*RogerJames - Bass
*Mike Wilding - Drums
*Mal Ryder - Vocals
*Stuart Linnell - Lead Guitar
*Mick Charleton - Drums
*Dave Sumner - Guitar
*Bruce Finley - Drums
*Pick Withers - Drums
*Robbie McIntosh - Drums

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Love Sculpture - Forms and Feelings (1969 uk, 2nd great album with early Dave Edmunds, 2008 esoteric remaster with bonus tracks)

Love Sculpture made an amazing leap forward in a relatively short space of time from their album of raw blues and soul covers (Blues Helping) to the much more advanced psychedelic pop and quasi classical structures of Forms and Feelings. It starts with two memorable singles “In The Land of the Few”, complete with Byrds like jangly guitars and an early expression of environmental concerns in their take of Paul Korda’s “Seagul”, a sensitive, somewhat dramatic ballad as it turns out.

The creative leap forward taken by the band is also demonstrated on the remarkable version of “Nobody Talking” (written by Finesilver and Ker famous for their composition “Fire” for the Crazy World of Arthur Brown) with some blistering guitar breaks seguing into a 7:43 tour de force entitled “Why (How-Now)”, also by Finesilver and Ker but to my ears a remake of George Harrison’s It’s All Too Much. Just when you think you’re moving forward it’s back in time to a cheeky Edmunds arrangement of Bizet’s “Farandole”- “sacre blue” to some but a kind of Cossack dance that might make you dance around the living room with your Dyson to others!

By the way Edmunds can’t resist a Clapton blues guitar quotation in the middle of this sounds like Fresh Cream to me! While the Chuck Berry cover (“You Can’t Catch Me”) seems out of place, there’s another Finesilver/Ker number “People, People” that restores the flow: a sardonic, psychedelic, Ray Davies type of ballad featuring some incendiary guitar. Few people familiar with the hit single “Sabre Dance“ (included as a bonus track) would realise that an interpretation of Holst’s “Mars” segues into the full album version.

There are other worthwhile bonus tracks like the b-side of “Sabre Dance”, a rare Edmunds solo composition (“Think of Love”) mixing blues with psychedelic but mostly an “I Hear you Knocking” trying to get in with a bit of “River Deep, Mountain High” as well! The single version of “Seagull” with a truncated “Farnadole” is also included along with “In The Land of the Few” and its b-side “People People”. There’s a lot to enjoy on Forms and Feelings, a quantum leap from Love Sculpture’s tentative debut and one of the most enduring and exciting releases of the period.
by Phil Jackson

Tracks
1. In The Land of the Few (Dave Edmunds, Mike Finesilver, Peter Ker)
2. Seagull (Paul Korda)
3. Nobody's Talking (Mike Finesilver, Peter Ker)
4. Why (How-Now) (Mike Finesilver, Peter Ker)
5. Farandole (Georges Bizet, arranged by Dave Edmunds)
6. You Can't Catch Me (Chuck Berry)
7. People, People (Mike Finesilver, Peter Ker)
8. Mars (Gustav Holst)
9. Sabre Dance (Aram Khatchaturian, arranged by Dave Edmunds)
10.Think of Love (Dave Edmunds, Bonus Track)
11.Seagull (Paul Korda, Single Version, Bonus Track)
12.Farnadole (Georges Bizet, arranged by Dave Edmunds, Single Version, Bonus Track)
13.In The Land of the Few (Dave Edmunds, Mike Finesilver, Peter Ker, Mono Single Version, Bonus Track)
14.People, People (Mike Finesilver, Peter Ker, Single Version, Bonus Track)
15.Sabre Dance (Aram Khatchaturian, arranged by Dave Edmunds, Single Version, Bonus Track)

Love Sculpture
*Dave Edmunds - Guitar, Vocals
*John Williams - Bass
*Bob 'Congo' Jones - Drums
*Terry Williams - Drums (arrived late 1969 and replaced Bob )
*Mickey Gee - Guitar (arrived late 1969)

1968  Love Sculpture - Blues Helping (2008 remaster)

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Love Sculpture - Blues Helping (1968, fine blues rock with early Dave Edmunds, 2008 esoteric remaster)

Long before he produced legendary albums by artists like Brinsley Schwarz and the Flamin' Groovies; before he had formed a musical partnership with pop/rock singer/songwriter Nick Lowe; even before he enjoyed a brief - albeit moderately successful - career as a solo artist during the 1980s, guitarist Dave Edmunds was a bluesman.

Yup. You read that correctly...singer, songwriter, guitarist, producer Dave Edmunds, who has worked with such artistically disparate artists as k.d. lang and the Stray Cats, Rockpile and Johnny Cash, and whose solo work was a maddening mish-mash of 1950s-styled rockabilly, vintage '60s British rock, and the 1980s-era infatuation with synths and keyboards and slick production...that Dave Edmunds was a blues-rock guitarist the equal of contemporaries like Eric Clapton, Peter Green, and Rory Gallagher. And you wondered why the Fabulous Thunderbirds chose Edmunds to produce their breakthrough 1986 album Tuff Enuff?

Before he wore any and all of the abovementioned musical hats, Edmunds cut his teeth with the long-lost British blues-rock outfit Love Sculpture. Formed in 1966 in response to England's ongoing love affair with the blues, and inspired by the popularity of John Mayall's Bluesbreakers with Eric Clapton and Peter Green's Fleetwood Mac, Love Sculpture was an early power trio consisting of Edmunds on vocals and guitar, John Williams on bass, and drummer Bob "Congo" Jones.

All three members of Love Sculpture had played together for years in bands such as the rockabilly-oriented trio the Raiders, and the blues-influenced Human Beans (who recorded one single for Columbia and shouldn't be confused with the Youngstown, Ohio frat-rock band the Human Beinz).

Signed to EMI's Parlophone label, the band released its 1968 debut album into a thriving British blues-rock scene that included Cream and Savoy Brown, among many other bands. A collection of blues and R&B standards, with a lone original song in the title track, Blues Helping was designed as a showcase for Edmund's underrated six-string pyrotechnics.

Although Edmunds has since stated that he knew little about the blues when recording Blues Helping, you couldn't tell it from the results. With his instrument slung low, Edmunds leads the band through a breakneck cover of Freddie King's "The Stumble," the sped-up instrumental proving the guitarist's mettle and fretboard dexterity. The set includes a smoky cover of Ray Charles' "I Believe To My Soul" that features bassist Williams belting out the vocals, accompanied by Edmunds' stinging leads. Elmore James' raucous "So Unkind" is provided a Chicago blues-styled rhythm and Edmunds' spry guitarwork.

An odd cover of the George Gershwin song "Summertime" provides one of those hippy-dippy 1960s flashback psych-pop moments, with lush instrumentation, echoed vocals, and delicate, tho' decidedly un-bluesy guitarplay. The old blues chestnut "On The Road Again" was based on Canned Heat's cover of the song earlier in the year, and it even sounds like Bob Hite, Al Wilson, and crew save for Edmunds' distinctive guitar tone and blistering solos. Otherwise, from the vocals down to the potent, driving rhythm, you'd swear that you were listening to the boogie kings from California.

An inspired cover of Willie Dixon's "Wang Dang Doodle" lopes along at an acceptable tempo, Williams' sly vocals peppered by shards of swaggering fretwork and supported by a hearty bassline as sticky and wide as two lanes of freshly-paved blacktop. Going back to the deep well that is Ray Charles' song catalog, "Come Back Baby" is a smoldering R&B bonfire with Jones' subtle brush-and-cymbal work and one of Edmunds' most dynamic solos. The album's title track, the instrumental "Blues Helping," features heaps of six-string notes that fly by with the speed and power of a tornado.

Four bonus tracks were tacked onto the end of Blues Helping, including an engaging cover of Tim Rose's folk-rock classic "Morning Dew (Take Me For A Walk)" by the pre-Love Sculpture line-up of the Human Beans, the 'A' side to their lone 7" single release. It's a fine cover, too, more in a psychedelic vein than blues-rock, but an impressive and original performance nonetheless. The 'B' side of the long-lost Human Beans single is a somewhat strained reading of the Isaac Hayes/Dave Porter gem "It's A Wonder" that offers inspired instrumentation but weak vocals. Another pair of tracks, from an obscure pre-Love Sculpture single, are interesting, but unremarkable pastiches of Beatlesque psych-pop.

More of a measure of Dave Edmunds' chameleon-like musical talents than a true artistic statement, Love Sculpture's Blues Helping is an obscure relic of an era past. The band would release a second, less bluesy and far less energetic album in 1969, and they would even score a hit in the U.K. with a speed-demon cover of the classical composition "Sabre Dance." Although he'd slap a bluesy lick into a song now and then throughout his lengthy solo career, Edmunds never quite walked the blues-rock path the same way again.
Still, Blues Helping is a rockin' collection of spirited blues covers with plenty of verve and more than enough guitar-wrangling to please even the most diehard Stevie Ray fan.

It's also a lot of fun, the band loose-limbed and brash in their musical aggression, playing off the power trio aesthetic with a recklessness and joy that they'd never find again. Edmunds' fretwork is a thing of amazement, and it makes one wonder what might have been if he'd followed Clapton down that lost highway towards the crossroads.
By Keith A. Gordon

Tracks
1. The Stumble (Freddy King, Sonny Thompson) - 3:03
2. Three O' Clock Blues (B.B. King, Jules Taub) - 5:08
3. I Believe To My Soul (Ray Charles) - 3:47
4. So Unkind (Elmore James, Marshall Sehorn) - 2:56
5. Summertime (DuBose Heyward, George Gershwin) - 4:02
6. On The Road Again (Floyd Jones, Will Shade) - 3:35
7. Don't Answer The Door (Jimmy Johnson) - 6:02
8. Wang Dang Doodle (Willie Dixon) - 3:31
9. Come Back Baby (Ray Charles) - 2:45
10.Shake Your Hips (James Moore) - 3:19
11.Blues Helping: Instrumental (Bob Jones, Dave Edmunds, John Williams) - 3:46
12.Morning Dew: Take Me For A Walk (Bonnie Dobson, Tim Rose, 1967 Single Release as Human Beans) - 2:52
13.It's A Wonder (Isaac Hayes, David Porter, 1967 Single Release as Human Beans) - 2:41
14.River To Another Day (Charles & Kingsley Ward, 1968 Single Release) - 2:36
15.Brand New Woman (Crick Feather, 1968 Single Release) - 2:21

Love Sculpture
*Dave Edmunds - Guitar, Organ, Piano, Lead Vocals
*John Williams - Bass, Piano, Vocals
*Bob 'Congo' Jones - Drums, Vocals

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