This very rare 1973 private press hard rock record in that Primevil, Magi, Wedge vein but even more primitive and down and dirty with filthy acid guitar like you love.
Euphoria formed Wiscons round 1973, showed amazing songwriting talent plus musical ability Classic midwest American heavy psych with somewhat biker vibe Raging agressive Fuzz-guitar leads with great echoey-reverb effects ,true sledgehammer bass ,crunching drums ,very melodic tunefull vocals. A Must for all 70 s heavy psych enthusiasts.
This is a heavy rock album with lots of fine guitar work, particularly on the title track, Lost In Trance, the most psychedelic cut, and Enchanted. All the songs on the album were written by lead guitarist D. Walloch.
Tracks
1. Brotherhood - 5:00
2. Just for a Moment - 6:35
3. Lost in Trance - 6:32
4. Oriental News - 5:15
5. Enchanted - 4:51
6. Middle Asian Lament - 6:09
The music of the turn of the 60 -
and 70-these can say almost anything, but certainly not that it was boring and
uninteresting. The fifth album (and yes with hand at heart - last really good)
recorded in February 1974 in Escape Studios, Smarden, Kent,but released a year
later,only the German effort EMI Harvest.
In March 1974 the musicians finish
work on a new album, in which he helped them to Jeff Beck.
-Martin Fisher - "Mr. Beck,
lived closely, and came by the studio, in Kent, most days"
-Jeff Allen - "The engineer
Tony Taverner also worked a lot with Jeff Beck who dropped in now and then when
we were recording."
The session finishes a month later,
in March 1974 (info from New Musical Express). But the group aren't content
with their work :
- Joe O'Donnell - "At the end
of the session, we put all the material for the development of the ... Colon
Music. (?) But we were not satisfied with their work and release the LP is
paused."
- Martin Fisher - "Actually, we
were not happy with the album. Should write and record more material, more
fine-tune it, but it was pressure from the label, although the album, in our
opinion was not yet ready."
Recordings wander on the shelf, to
be released officially on sale in 1975, the LP "Another Eden" EMI
Harvest (C06297101). The team suspended operations, and individual musicians
centered on their private activities.
This LP, however, only shows itself
in Germany. Jeff Allen remembers edition of the album: "Another Eden. We
did not have control over the release of the album. Decisive factor for the
label. Did not have any bearing on the cover of which is" Nicky Debus.
"Then it was my girlfriend."(Under the pseudonym, Nicky Debus, hiding
Nicky Coleman, who in the mid-70s participated in numerous photo shoots for
female nudes.)
New songs have been little to do
with jazz-rock and oriental variations from the "Mercator Projected".
But no one thought about it in the meantime to take care of the new the corresponding music .
by Adamus67
Tracks
1. Mandarin's Daughter - 3:45
2. Hey Zimmerman - 4:01
3. Kensington Cowboy - 3:06
4. Catalina Troubour - 3:55
5. What's Happening - 5:51
6. Summer Days - 3:32
7. Hey Baby - 5:00
8. Fancy Nancy - 3:43
9. Sin City Girls (UK Single A-side, 1973) - 3:37
10.All Our Yesterdays (UK Single B-side, 1973) - 2:47
11.Kensington Cowboy (BBC Session, July 1973) - 3:06
12.To Mrs. V (BBC Session, May 1971) - 4:39
13.Wonderful Feeling (BBC Session, May 1971) - 5:49
14.Brand New Day - 4:49
15.Wonderful Feeling - 4:12
16.Instrumental - 4:04
17.What Can I Do - 2:57
18.She Wants Your Love - 4:46
19.Instrumental Jig - 2:04 Bonus tracks 9-19 Tracks 14-19 Live in Germany 1972
East Of Eden
*Garth Watt-Roy - Guitar Vocals
*Jeff Allen - Drums
*Joe O'Donnell - Violin
*Martin Fisher - Bass, Keyboards, Vocals
*Dave Arbus - Violin
*Davy Jack - Vocals, Bass
*Jim Roche - Guitar
The year was 1970 and Dave Williams was done with his stint at one of Texas's finest barbed wire facilities. The same path that had landed Roky Erickson at Rusk Stale Hospital had put Dave behind bars. Five years earlier, Dave was a founding member of the Headstones, McAllen Texas's answer to teen angst driven rock music. Not content with being the usual 'cover’ band, Dave began to write original tunes and worked long and hard in rehearsal sessions to perfect them.
After releasing legendary singles on the Pharaoh label and being courted by numerous major labels, the band called it quits in 1968. Dave formed the short-lived band The Meat" in 1969 just prior to his marijuana possession conviction that made him a guest of the State of Texas for the next year. Always an innovator, Dave formed SEOMPI as a three piece, 'no guitar* band, with Dave and Patrick Rockhill on bass, and Bill Reid on drums. Seompi was an acronym for 'Serf Expression On Musically Potential Instruments" and a synonym for 'loud’.
This dual bass attack released their first 45 "Summer's Comirv On Heavy” b/w "Lay On The Floor' on the Black Star label and later re-cut it adding guitarist Mitch Watkins to the mix for a more accessible sound. Mitch was a phenomenal guitarist and stayed who with the band and can be heard on their other material on this CD. During 1971, the band moved to Austin which would remain their home base. They built a solid local following and were best known for their awesome sound system, loud playing, and Purple Tour Bus.
Local soundman David Gardner worked closely with the the band, manning the soundboard lor their many live gigs which included opening for ZZ Top, Buddy Miles, Foghat, and Trapeze. Their sound system included the heavy duty Kustom triple 15" woofer, "Ice Box' style amps and later added an even more powerful Altec Lansing Sound System to allow for the vocals to catch up to the levels of the instruments. Dave also recorded many of the band's tedious rehearsals at which they would experiment with intricate time changes and 30+ minute songs.
This was NOT your typical three chord heavy rock band. By 1974. Seompi was ready to call it quits. Just prior to their final demise Mitch Watkins had been replaced by Billy "Skirt" Rowe on guitar. Other band members included Lee Manley on drums. Mitch has gone on to have a very successful career in the "New Age" music field and has a large following in Europe. Drummer Bill Reid moved back to his hometown of McAllen where he remained close to the music biz by working in speaker design and manufacturing. Pat Rockhill could not be contacted to participate in this project but was last known to be on trie West Coast and out of the music business.
Dave Williams continued to play in 'The Remaining Few* from 1974- 1978 with Lance Woodbum on guitar, and ex-Headstone Winston Logan on drums. Today, Dave plays with his band "Free Wine' and is looking forward to his final release from incarceration in the near future. His efforts have spanned a period of over 30 years and, represent some of the finest music the State of Texas can claim as their own. While he may not have received the recognition that some of his Lone Star brethren received, those who were lucky enough to see or play with Dave appreciate his awesome talent. Hopefully, with this release his music will live on and entertain future generations of music.
Tracks
1. Summer's Comin On Heavy (D.Williams, P. Rockhill) - 3:41
2. Slide, Slide (D. Williams, P. Rockhill) - 3:22
3. Almost In The Hole (D. Williams, P. Rockhill) - 3:36
4. Lay On The Floor (D. Williams, P Rockhill) - 3:11
5. Kittens (D. Williams, M. Watkins) - 3:56
6. Awol (Williams, Rockwell, Reid) - 5:59
7. A Question Of Nobility (Williams, Rockhill, Watkins) - 7:07
8. Voodoo Chile (J. Hendrix) - 7:02
9. Summer's Comin' On Heavy (D.Williams, P. Rockhill) - 3:24
10.Slide, Slide (D. Williams, P. Rockhill) - 4:43
11.Almost In The Hole (D. Williams, P. Rockhill) - 3:19
12.Lay On The Floor (D. Williams, P. Rockhill) - 3:09
13.And I Ain't Seen Him Since (D. Williams, P. Rockhill) - 5:53
14.Do You Hot Know? (Williams, Rockhill, Watkins) - 3:40
15.Sticky Situation (Rockhill, Watkins) - 7:20
16.Elijah (Williams) - 2:55
17.What Is The Reason? (Williams, Rockhill) - 4:49 Tracks 5-17 previously unreleased
In love with the British band Traffic and full of Latin American feeling, brothers Charles and Jorge Spiteri decided to move to London at the start of the 70s and try their luck as musicians. In that adventure they did all Kinds of things: washing dishes, studying cinema, flirting, drifting around and honing their instruments and songwriting style. The tracks that make up this album were born in the middle of the cold weather, poverty and the contact with the epicenter of London's rock scene.
'Spiteri' - or 'the snake record', as it was known in Venezuela in 1973 - became a cult record for Venezuela's rock. They were Venezuelans recording in Europe and making fusion rock that hadn't been heard before: it was Venezuelan music but in a completely contemporary format, almost before its time. Jorge and Charles rubbed shoulders with Georgie Fame. Alan Price, Steve Winwood. Bob Marley. Osibisa and the whole UK underground Scene. They soon became the British answer to the Santana phenomenon.
35 years later, 'Spiteri' still sounds fresh. We can listen to this record and travel to a specific moment in rock's evolution, but we can equally appreciate how some of its elements could be taken up again, like a DNA that must be passed on.
Tracks
1. Campesina (Stelio Bosch Cabruja. Arranged Jorge Spiteri) - 5:26
2. Hey Tono (Jorge Spiteri) - 5:07
3. Monday Morning (Jorge Spiteri) - 4:34
4. Barlovento (Eduardo Serrano, Arranged Charlie Spiteri) - 1:53
5. Don't You Look Behind (Jorge Spiteri) - 2:53
6. No Time For Hesitation (O Mai O Mai) (Jorge Spiteri) - 2:28
7. Soul Inside (Joe Romero) - 8:30
8. Summer After Winter (Jorge Spiteri) - 3:14
9. Piroro (Jorge Spireri) - 2:45
10.Girl (Jorge Spiteri) - 3:33
11.Stop Now You' Re Wasting My Time (Jorge Spiteri, R Valera) - 4:14
12.Retorno #2 (Charlie Spiteri) - 4:40
13.I'm A Man (Winwood, Miller, Arranged Spiteri) - 4:22
14.Voz Charlie - 0:14
15.Piroro (Demo) (Jorge Spiteri) - 2:44
16.Knowing Someone (Jorge Spiteri) - 2:31
17.Girl (Demo) (Jorge Spiteri) - 4:43
18.Summer After Winter (Demo) (Jorge Spiteri) - 2:28
19.Voz Charlie - 0:46 Bonus Tracks 12-19
Spiteri
*Jorge Spiteri - Acoustic Guitar, Some Piano, Lead Vocals
*Charlie Spiteri - Congas, Lead Vocals
*Joe Romero - Electric Guitar, Timbales, Sax, Lead Vocals on 'Soul Inside'
*Chema - Bass Guitar
*Micho - Flute
*Bernardo Ball - Drums, Percussion
*Barry Kirsch - Piano
Shawn Phillips shares with Tim Buckley and Van Morrison the passion for black music and a constant innovation in vocal techniques.
Texas-born, Phillips began his career as a folk-singer in California, where he recorded his early albums Favourite Things - I'm a Loner (Columbia, 1965), that included only three original compositions, and First Impressions (Columbia, 1966), which was a little bolder but basically also in the tradition of the New York folksinger. After living in England and Paris, Phillips settled in Italy. Sessions with Steve Winwood, Chris Wood and Jim Capaldi of the Traffic yielded the material for Contribution (A&M, 1970), a much more original work.
First of all, the material was entirely composed by Phillips. Second, it included three lengthy songs (L Ballad, Withered Roses, Screamer For Phlyses) that looked more like jams. Third, Phillips mixed folk, rock, psychedelia, jazz, classical and Indian music. The opening Man Hole Covered Wagon was the only conventional song. Withered Roses was closer to a raga than to a ballad. L Ballade was virtually a classical sonata.
The pieces on Second Contribution (1970) were even more abstract, free-form, disjointed. Phillips was no longer restrained in his innovative use of the guitar and the sitar, and was even self-indulgent in his display of his three-octave vocal range. Orchestral arrangements by Paul Buckmaster enhanced the magic. The impressionistic power of Steel Eyes, The Ballad Of Casey Deiss (vibraphone, horns), Song For Sagittarians and She Was Waitin' For Her Mother was unique.
by Piero Scaruffi
Original Vinyl Album Liner Notes
The Shawn Phillips music. Kaleidoscopic and organic. Flowing. Living for a time. Incorporating every musical style from Bulgarian to quarter tone to African. But going its own way. Fulfilling one of the prerequisites of art -- It doesn't leave you feeling quite the same.
"If I had to describe my music in a few words, I would say it's about freedom -- the frequency of intensity that any individual being feels in a moment of unselfish experience."
"I'm trying to take a musical sound heard by the ear -- and then take the sound which continues from the ear to the mind -- and try and paraphrase that sound through electronics."
"I believe every bit of the music I play is within each individual already."
"My music is an attempt to move the inner self, in each individual who listens to it. I've tried to cover the beauty and the ugliness."
"It takes a musician to translate it from the mind into the mechanical."
"I want everyone who hears my music to experience the sadness, perplexity, the great thoughts, the grave thoughts, the joy, the freedom, the fullness of the experiences I've had, which in turn, were expressed to create the music."
"Some of my music tries to create a crisis in the mind of the individual who listens to it, and leave it to him to resolve it ... it requires both intellectual and emotional response -- the two tied together."
"In Mexico with Donovan -- my music began to come out. I threw off all the crap and I played with twice the energy and drive I ever had before. It was funny. I just suddenly came into harmony with all things."
"I'm in Italy standing on the outside looking in. But I'm not in a hermitage."
"No -- not a hermitage. But right in the middle of everything that's happening."
"It's all created for people."
"As my self arrived at harmony -- I don't like the word spiritual, but I guess that's what it is -- my music arrived there too. When I recorded the album, I told the musicians: I'm a man. I've created this much. You're men. I want you to put what you feel to it."
Tracks Contribution
1. Man Hole Covered Wagon - 4:34
2. L Ballade - 6:47
3. Not Quite Nonsense - 1:45
4. No Question - 3:37
5. Withered Roses - 8:18
6. For JFK RFK & MLK - 4:54
7. Lovely Lady - 4:56
8. Screamer for Phlyses - 6:09 Second Contribution
9. She Was Waiting for Her Mother at the Station in Torino ... - 4:54
10. Keep On - 3:21
11. Sleepwalker - 1:32
12. Song for Mr. C - 3:49
13. Ballad of Casey Deiss - 6:12
14. Song for Sagittarians - 3:43
15. Lookin' Up Lookin' Down - 3:55
16. Remedial Interruption - 1:56
17. Whazz At - 1:56
18. Schmaltz Waltz - 1:44
19. F Sharp Splendor (Paul Buckmaster) - 0:36
20. Steel Eyes - 4:18
All titles written by Shawn Phillips except where noted.
Linn County were formed in Iowa, round 1967. They moved to San Francisco prior to recording their first album in 1968.
The third and last Linn County LP, came out in 1970. Their sound follows the steps from their previous release, tasty psychedelic blues with slices of soul, and bit more mature essence. Though the band had slightly changed it's name by the time this LP was released.
They split up in 1970. A solo album released by band member Stephen Miller the same year included 4 tracks recorded by the final Linn County line-up.
Tracks
1. Tell The Truth (R. Charles) - 5:02
2. Monkey Man (Stephen Miller) - 3:38
3. TV Free (Stephen Miller) - 3:10
4. Wine Take Me Away (T. Collins, M. Haggard) - 3:00
5. Next Time You See Me (Forest, Harvey) - 4:21
6. Let The Music Begin (Stephen Miller) - 3:03
7. Black Nights (Legenross) - 4:52
8. Further On Up The Road (Veasey, Robey) - 2:19
9. Boogie Chillun (J. L. Hooker) - 8:41
10.'Till The Break Of Dawn (Stephen Miller) - 1:48
Musicians
*Stephen Miller - Organ, Vocals
*Larry Easter - Saxophone, Flute
*Dino Long - Bass
*Clark Pierson - Drums
*Fred Walk - Guitar, Sitar
Edward Bear’s sophomore lp came in the form of Eclipse the summer in 1970. Featuring a healthy dose of well-written tight folk-inspired pop, it was an obvious continuation of the first album. The first single "You Can't Deny It" was issued amid high hopes.
Also a graphic artist, Weldon designed a sleeve for the 45 that actually had something for the buyer to look at, one of rock's first 45 sleeves to have some actual thought put into it. Again the group received a good critical response and decent airplay.
Soon after their second release, Danny Marks left the band and their got more softened but gained much more popularity.
Tracks
1. Four Months Out to Africa (Paul Weldon) - 3:13
2. Chris' Song (Larry Evoy) - 6:23
3. You Can't Deny It (Danny Marks) - 4:40
4. Pickering Tower (Larry Evoy) - 2:57
5. T-1 Blues (Danny Marks) - 3:24
6. Pirate King (Larry Evoy) - 3:23
7. Long Forgotten Day (Danny Marks) - 4:55
8. Monday (Danny Marks) - 5:40
Can you imagine paying $100,000 for a group and then hiding it away for over a year?" So ran the first line in an article about Archie Whitewater back in August 1970. in the Free Lance-Star newspaper out of Fredericksburg. Virginia. "Well, that's exactly what Chess Records did with the group..." Not that Chess's eventual publicity campaign made stars out of the nine musicians in the band. In fact. Archie Whitewater's lone album for Chess's cool spin-off label Cadet Concept, is a best-kept secret among collectors - and this reissue, remastered from the original tapes, marks its first-ever appearance on CD.
Copies of Archie Whitewater now sell for upwards of £100. fuelled chiefly by the plethora of funky drum breaks and beats scattered across the album. The album's most acknowledged track is probably 'Cross Country', a mellow funk track with some sublime electronic piano and serene vocals, because it was exhumed by Chicago hip-hop artist Common (or Common Sense. as he then called himself) for the track 'Chapter 13 (Rich Man Vs Poor Man)' on his second album Resurrection from 1994.
Another Archie Whitewater song. 'Hulk', was borrowed by 90s New York hip-hop act Blahzay Blahzay. Other rap artists followed suit, usually recycling some aspect of 'Cross Country' within their music. Since the 90s. the cult status of Archie Whitewater's sole album has grown steadily: a quick glance at websites like Popsike reveals just how many copies of the album have sold for silly money on eBay and the record is praised by numerous blogs which pride themselves on their crate digging credentials.
And yet despite the plethora of information now available about myriad acts via the internet, precious little has been documented about their story. Simply put, Archie Whitewater adopted the big band 'horn rock' mould pioneered by the likes Blood Sweat And Tears in the late sixties, fusing elements or funk soul. psychedelic rock and jazz into their songs. Also some debate dwelt on their possible association with other acts on the Cadet Concept labels (namely Rotary Connection and the productions of Charles Stepney) or even whether they were black or white.
Archie Whitewater captures a period in American music when musicians adopted a carefree approach to combining their influences. In so doing, they created some idyllic music which sounds unrestrained by the usual straitjacket imposed on artists on major labels. After some forty years. RPM is proud to usher this fine record into the digital age.
by John Reed. November 2011
Tracks
1. Don't Be Short (Bob Berkowitz, Travis Jenkins) - 2:09
2. Northstar (Bob Berkowitz, Charles Hyams) - 4:17
3. Mist Of The Early Morning (Bob Berkowitz, Charles Hyams) - 3:52
4. Life Is A River (Travis Jenkins) - 3:23
5. Friends And Neighbors - 3:46
6. Country To The City - 4:27
7. Home Again - 4:09
8. Cross Country - 3:21
9. Lament For The Walking Dead (Travis Jenkins) - 4:35
Alun Davies is one of the most highly respected session guitarists in the United Kingdom. A founding member, along with childhood friend Jon Marks and Nicky Hopkins, of pop-jazz group Sweet Tuesday, Davies made his greatest mark as accompanist for British singer/songwriter Cat Stevens from 1970 until Stevens' conversion to Islam and retirement from music in 1977. Davies subsequently collaborated with ex-Small Faces vocalist Ronnie Lane, co-writing the opening track "One Step" and a second tune, "She's Leaving," on Lane's 1979 album See Me.
Davies launched his musical career in a duo that he shared with Marks (then known as Michael Burchell) in 1963. The duo's sole album, Relax Your Mind, was produced by American producer Shel Talmy, best known for his work with the Who, the Kinks, Manfred Mann, Chad & Jeremy, and Ralph McTell. After busking in Paris and the south of France, in 1964, the two musicians returned to England and signed with an agent, who secured them a gig on a Cunard Line ship.
After 16 voyages across the Atlantic ocean, Davies and Mark went their separate ways. Davies, who had gone on to work as a session musician for Fontana Records and tour with Marianne Faithful, Spencer Davis, and Jeremy Taylor, reunited with Mark to form Sweet Tuesday in 1968. Although they recorded one memorable album, the group disbanded after Fontana declared bankruptcy and went out of business.
Returning to session work, Davies was recruited to perform on Cat Stevens' album, Mona Bone Jakon, in 1970. The session proved so successful that Stevens invited Davies to join him on tour following therecording of his groundbreaking album, Tea for the Tillerman. Davies' involvement with Stevens was reciprocated when he recorded his debut solo album, Waste of Time in 1972. The album, which showcased seven tunes written or co-written by Davies, featured Stevens on piano and was co-produced by Stevens and Paul Samwell Smith. Davies' second solo effort, Daydo followed two years later.
by Craig Harris
Daydo is a poem: A Sweet Thursday album: is telling me to play louder when the heavy trucks rolled by: is a friend of Cat Stevens songs: V song ts living for today, laughing at yesterday, and writing for tomorrow. in this album, long awaited by friends and the first of many, are reflected the feelings and experiences, the joys and sorrows of time spent in the market place with Alex Campbell, Spencer Davis, Gerry Lockran, a host of others including myself, and, more recently, Cat Stevens, who perhaps more than anyone is responsible for introducing Alun as a major artist who stands alone and steps to his own tune.
It's rare these days that my path crosses Alun's, for different groups travel different routes, but when we do meet again I have a feeling it wi!l be in a concert hall on his own tour, sitting in the front row alongside all the other friends he's worked with. It is impossible for words to describe the music as they would serve only to confuse and you who listen will find your own words, no doubt better than mine as the only things you need for this album, are ears and plenty of them!
by Mark Almond, Summer 1972
Tracks
1. Market Place - 3:46
2. Old Bourbon - 4:51
3. Portobello Road (Cat Stevens, Kim Fowley) - 2:23
4. Poor Street - 4:28
5. Abram Brown Continued (Alun Davies, Jeremy Taylor) - 3:59
6. Waste Of Time - 4:07
7. I'm Gonna Love You Too (Joe Mauldin, Norman Petty, Niki Sullivan) - 2:41
8. Vale Of Tears - 5:07
9. I'm Late (Sammy Fain, Robert Hilliard) - 2:39
10.Young Warrior - 2:59
All songs by Alun Davies except where indicated.
Driven by the momentum, liberating and creative May 68, many groups inspired by the French Anglo-American pop that bloomed on the hexagon. Total Issue formed in 1970, made its way into jazz circuits accompanying jazzmen French and American way. Released their eponymous album on the United Artists label in 1971.
"Total Issue" is the reflection of their time and merges the French song and singing in English. "La Porte Ouverte" is undoubtedly one of the highlights, it starts as jazzy folk reminds "Cadence and Cascade" by King Crimson less melancholy, melt quickly in an environment where tribal flute warm absorbs us, and with the wah – wah acid guitar, turns into a creepy trip.
When we listen to these psych prog jazz influences, we could easily believe that this work could have a different fate if it was released in the States or Britain,. In fact, we are dealing with an album that lacks coherence can be endearing, easy to listen to but the default will be the work of a French quintet.
When they disbanded the following year, every member took his own road more or less successful. Texier and Romano made a solid reputation on the European jazz scene, both in their own discography and in collaborations with artists such as John abercrombie, Didier Lockwood Beck and Gordon (note that Romaro is sponsoring and honorary chairman Archie Shepp Jazz Festival of Porquerolles Island since its inception in 2002).
by Jimmy James
Tracks
1. Les Marins - 3:30
2. La Porte Ouverte - 8:20
3. Come Down - 2:55
4. Over The Shadow - 3:05
5. Rustique - 6:25
6. Quiet Place - 2:25
7. Dis-Mais-Dis - 4:03
8. Résurrection - 3:45
9. Instrumental Jam I - 1:13
10.Instrumental Jam II - 5:55
Total Issue
*Henri Texier - Bass, Percussion, Vocal
*Aldo Romano - Lead Vocal, Drums, Guitar
*Georges Locatelli - Lead Guitar, Percussions, Vocal
*Michel Libretti - Violin, Guitar, Drum, Percussion, Vocal
*Chris Hayward - Flute, Keyboards, Percussion, Vocal
Like every scene, the 70s British prog rock movement had its bands that came and went without creating a ripple – some justifiably, some inexplicably – and unfortunately Steel Mill were one such victim. Jewels Of The Forest (Green Eyed God Plus...) neatly brings together their sole album, 1972’s Green Eyed God, along with the two singles that comprised the band’s entire output. Also included are recently discovered demos, and, most surprisingly, a brand new track recorded earlier this year.
Green Eyed God was only released in Germany upon its completion in 1972 and it wasn’t until 1975, long after the band’s demise, that it appeared on domestic shores. Listening now to this little progressive masterpiece it is truly mystifying as to why any label would sit on this little gem, with its quintessentially English mix of prog, folk, hard rock and blues that at once has a broad enough spectrum to draw in fans of Black Sabbath, Jethro Tull and Led Zeppelin, and yet is a unique and characterful album brimming with great songs.
The riffs in the likes of opener ‘Blood Runs Deep’, highlight ‘Black Jewel Of The Forest’ and the fine title track have an edge and darkness not unlike Iommi’s finest, yet take on a calmer, more unsettling air amongst the rural atmospheres that quickly emerges as distinctly Steel Mill. Green Eyed God has that quality so rare in progressive music in that it is all done in a much understated manner – there are no self-indulgent wig-outs or flamboyant displays of showmanship and virtuosity; the album just leaves behind a warm glow of satisfaction, and some damn good hooks stuck in the brain.
Going beyond the original album and into the rest of Jewels Of The Forest, the two b-sides, whilst nice in and of themselves, were rightly left off the album; both ‘Get On The Line’ and ‘Zangwill’ are catchy, upbeat numbers, but are very much at odds with the centrepiece. The five newly unearthed demos date from two years previous and show the very interesting evolution of Steel Mill from their bluesy, Cream-like, late 60s scene origins. These curios are a long way from where the band ended up, and with good reason: all the positives of Green Eyed God are missing from these non-descript, derivative slabs of blues rock.
Last, but by no means least, we have ‘A Forgotten Future / A Future Past’, the first recording by a newly reformed Steel Mill – complete with all five original members. It is both comforting and disconcerting that it is barely noticeable that this and the first eight tracks on the disc were recorded some 38 years apart. ‘A Forgotten Future/A Future Past’ has that wonderful laid back Steel Mill sound with a great crunching riff at its epicentre; but are the band just trying to recapture a long lost past? Perhaps that is a question for the future. For now revel in the timely re-release of the lost classic that is Green Eyed God.
by Dominic Hemy
Tracks
1. Blood Runs Deep - 5:05
2. Summer's Child - 4:25
3. Mijo and the Laying of the Witch - 7:52
4. Treadmill - 4:00
5. Green Eyed God - 9:45
6. Turn the Page Over - 3:52
7. Black Jewel of the Forest - 6:04
8. Har Fleur - 0:48
9. Get on the Line - 4:15
10.Zangwill - 3:43
11.Green Eyed God - 3:46
12.Confusion - 3:50
13.Monday Arrives - 3:15
14.Super Clean Man - 3:33
15.Keep Working - 3:56
16.Growing Bald - 3:52
17.A Forgotten Future/A Future Past - 5:00 Track 9 Bonus single 1972 Tracks 10-11 Bonus single 1971 Tracks 12-16 Previously Unreleased Demo/Acetate Recordings, April 1970 Track 17 new song 2010
Formerly Fat Harry are one the forgotten greats of late '60s British rock. The band was formed in London in 1969 by ex-Country Joe & the Fish bassist Bruce Barthol and two old friends from the Berkeley California folk music scene, Gary Petersen and Phil Greenberg. Fat Harry was soon signed up by the original Pink Floyd management company.
Playing a highly idiosyncratic brand of Americana that frequently experimented with jazz time signatures, the band played at two of the now legendary free concerts in Hyde Park, the 1970 Bath Festival, Phun City and many of the clubs of the era such as The Marquee in London.
A quartet of 'musician's musicians', admired by everyone from Ralph McTell to Edgar Broughton and Michael Chapman, the group made only one LP for Harvest Records before disbanding in 1972. Though reflecting their musical and song-writing abilities, that record failed to capture their true flavour.
Now, this previously unreleased collection of studio demos and live recordings (taken from the band's own archive) finally sets the record straight, delivering a heady mix of country, folk, blues and psychedelia, as well as including for the first time ever a version of their much-loved live favourite, 'Mariachi Riff'.
The accompanying 16 page CD booklet includes comprehensive liner notes, featuring interviews with the band, plus rare photographs from their own archive.
Tracks
1. Wild Side Of Life (Thompson) - 3:11
2. Funky 8 (Peterson) - 3:41
3. Corelia Correll (Peterson, Greenberg) - 8:39
4. Tell Me All About It When You See Me (Peterson) - 6:46
5. Girl On A Bicycle (McTell, Peterson) - 4:03
6. Zurich Blues (Barthol, Greenberg, Peterson) - 6:25
7. As The Rain Falls (Peterson) - 4:44
8. Goodbye For Good (Greenberg) - 7:04
9. Seulbe (Peterson) - 6:14
10.Time Slips By (Greenberg) - 7:24
11.I'd Rather Be A Newsboy (Kuhn, Kuhn, Branen) - 1:47
12 Mariachi Riff (Barthol, Greenberg, Peterson) - 16:50 Track 3, Demo tape, recorded at Sound Techniques studios, London. Tracks 2, 5, 7, 9 and 10, London demo studio work tapes Tracks 1, 4, 6, 8,11 and 12, Live recordings
This great debut album was originally released in 1969 by Riviera label and at the time was one of the earliest French rock records!! LP consisted a powerful collection of largely instrumental jazz blues-rock tracks with strong psychedelic and fiink influences with electric guitars, Hammond organ, electric violin and saxophone parts being backed by very busy rhythm section and strong, vocal of Joel Dayde.
This twisted musical mixture is pretty hard to describe, but it should appeal to the fans of Electric Flag, early Funkadelic, Chicago Transit Authority, early Family and Larry Coryell. It's worth noting that popular US vinyl version released by Mercury Records in 1970 (with the same cover design) was a compilation of tracks from first two albums.
Tracks
1. If You Lose Your Woman (Joël Daydé, Michel Bonnecarrère) - 4:10
Not much known about this quartet (Harley Baker, Bill Combest, Joe Krasomil and Bob Wall). Signed by Imperial, their self-titled 1969 debut teamed them with producers Charles Greene and Brian Stone (whom we're more familiar with producing soul and R&B acts).
Including a set of late-'60s hard rock, material such as "Not Foolin' Me", "Race with the Devil" and an extended cover of The Buffalo Springfield's "Mr. Soul" had a Steppenwolf-styled feel to them (aka manic vocals, walls of keyboards and an occasional screaming guitar).
With Wall and Baker responsible for most of the material, among the more interesting tracks were the acoustic "Only For You" which offered up their prettiest melody, the country-rocker "What Are Those Things", and "Blue Bones and Ashes" which benefited from a mild psychedelic feel.
Tracks
1. Not Foolin' Me (Bob Wall) - 3:58
2. His Eye Is On the Sparrow (arranged and adapted by Houston Fearless) - 3:10
3. Only For You (Bob Wall) - 3:40
4. Blue Bones and Ashes (Harley Baker) - 2:43
5. Race with the Devil (Adrian Gurvitz) - 2:26
6. Mr. Soul (Neil Young) - 4:58
7. What Are Those Things (Dallas Frazier, A.L. Owens) - 2:11
8. Knock Knock (Bob Wall, Joe Krasomil, Bill Combest, Harley Baker) - 3:12
9. Joshua (arranged and adapted by Houston Fearless) - 2:10
10.Love Has A Habit (Bob Wall) - 3:16
11.Hold Me (Bob Wall) - 2:53
"This album attempts to explain in musical form not only what the youth of today are against but also what they are for. It shows that they are not attacking the ideals of American Democracy as much as wanting them realized. Their beliefs have been woven into a story of related songs.
It is impossible to categorize, as it is similar to nothing else on the music scene. It is simply - today. It is a musical expression against the war, racism, violence, poverty, the destruction of our natural environment, inequality, puritanism and the imbalance of power."
from Rear sleeve-note
With a call-and-response style between the Musical Theatre and an omnipotent voice, the Revolutionary Revelation is a journey which asks questions and provides answers. Protest/leftie/anti-establishment concept album with elements of funk-rock, psychedelia and sunshine pop. Lots of excellent spoken word sections between tracks with weird effects and sounds.
Tracks include ‘Reflections In The Life Of An Assassin’ and ’I’ve Seen God In Many Places'. Very funky with beats all over the place, such as the “we’re gonna turn the Pentagon into a discotheque” section - spoken word/laughter over massive B-Boy drums. Interesting stuff, a real period piece and a completely unique listening experience!
Tracks
1. Revolution - 2:24
2. We Want (Gloria Shayne, Jason Darrow) - 2:03
3. Computer World - 2:45
4. You Only Reap What You Sow (Gloria Shayne, Jason Darrow) - 1:36
5. Reflections In The Life Of An Assassin (Gloria Shayne, Jason Darrow) - 3:05
6. There Must Be A Better Way Of Life - 3:04
7. A Love Pill - 3:35
8. Before The Apple (Jason Darrow, Noel Regney) - 2:35
In 1964 I was a sophomore in high school, and like everyone else, was in awe of the Beatles. I had been playing guitar for a year or so and was having the usual problems keeping a band together for more than a week. I somehow managed to steal the best players from several groups that I had been practicing with. I finally had a band that was good enough to actually play gigs. The group was called "The Spectres". I played lead guitar, my high school classmates Bill Tullis and Bill Turner were lead singer and bass guitar respectively. Danny Marshall, a friend from another school, played rhythm, and Glenn Howerton played drums. That same year, a band known as "The Oxfords" was getting a lot of attention in Louisville.
In 1965 a rift between the Oxfords' leader and drummer Jim Guest and the other four members caused that group to split up. Because we had all seen each other's bands, Jim asked us if we'd like to play with him and become the Oxfords. This worked well, since the other guys in Jim's group liked our drummer better. The two bands swapped drummers and we became the Oxfords. The other guys with Glenn became the Rugbys. They chose this name because they wore rugby shirts when they played.
In 1966 the Oxfords entered a recording studio for the first time. Bill Turner had been replaced by bassist Ray Barrickman, and Danny Marshall had been replaced by guitarist Ronnie Brooks. The first thing we recorded was the Burt Bacharach/Hal David song "(There's) Always Something There To Remind Me". Gene Synder, our booking agent sent a rough mix to Nashville producer Buzz Cason. Buzz liked it, came to Louisville to help us finish it, and most importantly, got us a record deal with Bell Records.
Ray Barrickman sang the lead vocal on this song, but in the fall of 1966 he left the band to attend college out of town. Ronnie Brooks then switched to playing bass, and Bill Tullis started playing rhythm guitar. So when the song was finally released, we had to try to cover the record on gigs with Bill Tullis singing the lead vocal. This worked (more or less), since PA systems weren't all that good in those days. However, shortly after the record's release, the song was quickly recorded by another group and our air play all but stopped.
We recorded our second record "Sun Flower Sun", which was also released on Bell records in 1967. This record made an appearance on Dick Clark's American Bandstand in the "Rate the Record" segment. With a score of only 65, the single was effectively doomed.
Later in 1967 Ronnie left the band and was replaced by bassist Garry Johnson. Garry then left after several months to play bass in the newly-formed Louisville group Elysian Field, with guitarist Frank Bugbee and drummer Marvin Maxwell.
A few years ago Ronnie Brooks wrote several songs for Hank Williams, Jr. Ronnie was invited to the recording session, and as he was talking with Hank he heard someone call out his name. It was Ray Barrickman, who was playing bass in Hank Williams, Jr.'s band.Ronnie is now a music producer in Nashville and was the voice of the middle Budweiser Frog in the TV commercials.
Ronnie's older brother Randy, was a high school classmate and good friend of mine. A few years ago Randy wrote the timeless Christmas classic "Grandma Got Run Over By A Reindeer".
Meanwhile back in the 60's, there was an all-girl band in Louisville known as The Hearby. Jim Guest and I liked their sound and helped them make their first and only record. I was particularly interested in their lead singer Jill DeMarco.
In 1968 our group evolved again. This time, drummer Jim Guest was replaced by Donnie Hale, Dill Asher became the bass player, and most significantly, I asked Jill to join the group.
This was the group that recorded the bulk of the LP material. Donnie's friend Keith Spring was a brilliant musician and orchestrator. Keith agreed to do the orchestrations for the album cuts and played on the recording sessions. Keith, also played in the group for a short time in 1968. However, the musical direction we were going with Keith was far too esoteric for the gigs we were playing (we actually played regularly at Fort Knox during the Viet Nam War). Keith later went on to work with actor/musician Martin Mull and legendary rock group NRBQ. That year we got to open for Frank Zappa and the Mothers at a Louisville rock club and for The Grateful Dead at Bellarmine College.
In 1969, Dill Asher was replaced by bassist Larry Holt, and Donnie Hale was replaced by drummer Paul Hoerni (brother of the Rugby's bass player Mike Hoerni). We recorded several more album cuts and the group's last single "Come On Back To Beer", which was inspired by our contact with Frank Zappa. This single was released on Paula Records and made it to number one on rock radio in Louisville.
In 1970 the album was finally finished. Although we had offers from two record labels, we were uncomfortable with both deals. The labels wanted total control, along with buy-outs of all materials and rights. We decided to release and promote the record ourselves.
In 1971, out of the frustration of not being able to play enough original songs on our gigs, I got heavily involved with a theatrical production that I had written. My show was a rock musical called "Grease". It happed simultaneously with another more-famous production by the same name that was just starting in Chicago. The Oxfords got all greased up and became the pit band for the show. It ran for several weeks on the University of Louisville campus and was also performed in Atlanta and at the University of Kansas.
At that same time, I had gotten a notice from Selective Service to report for a draft physical. I fasted for two weeks and weighed only 117 pounds (10 pounds underweight for my 5'-11" height) at the time of the physical. Because of this, however, I didn't have enough strength to support the weight of my guitar and also sing. I decided I'd switch to playing keyboards and flute and we added guitarist Jerry Canter to the group. We recorded "The City" with this group, but it was never released on vinyl.
Finally in 1972, Paul, Larry, and Jerry all left the band. Quentin Sharpenstein, became the bass player. Quentin had played tuba on the orchestra overdub session for our album four years earlier. Guitarist Tony Williamson, a good friend of Larry, and jazz drummer Bobbie Jones also joined the group. Jill played both guitar and clavinet at various times, and I played a Hammond organ and Rhodes piano.
That same year, Danny King, a friend of mine, opened a recording studio. I volunteered the band's services in trade for studio time, and soon became the studio's engineer. I wasn't paid, but I used this opportunity to record most of the later cuts on the CD.
By this time, it was becoming obvious (even to me) that the Oxfords were not on the road to rock stardom. Jill was especially tired of the situation, the other musicians had opportunities to play with other groups, and I had discovered that my passion was working in a recording studio.
The group disbanded for good in the summer of '72. But hey, that's the cool thing about recording...the music lives on!
by Jay Petach
Tracks
1. My World (Jay Petach, Jill DeMarco) - 3:18
2. Lighter Than Air (Jay Petach, Jill DeMarco) - 2:50
3. Sung At Harvest Time (Quechua Indian Song P. D.) - 3:47
4. Two Poems by e.e. Cummings (Music by Keith Spring) - 4:37
5. Flying Up Through The Sky (Jay Petach, Jill DeMarco) - 3:00
6. Come On 'Round (Jay Petach, Jill DeMarco) - 5:00
7. Young Girl's Lament (Traditional P.D.) - 2:38
8. Trix Rabbit (Jay Petach) - 3:10
9. (There's) Always Something There To Remind Me (Hal David, Burt Bacharach) - 2:58
10. Time and Place (Bill Tullis, Jim Guest, Jay Petach) - 2:20
11. Sun Flower Sun (Jim Guest, Jay Petach) - 2:08
12. Chicago Woman (Jim Guest, Jay Petach) - 2:48
13. Come On Back To Beer (Jay Petach, Jill DeMarco) - 2:37
14. Your Own Way (Algie, S. Jones) - 2:43
15. The City (Jill DeMarco) - 2:45
16. Flute Thing (Jay Petach) - 2:08
17. Cuttin You Loose (Tony Williamson) - 3:12
18. Sweet Lover Man (Jill DeMarco) - 2:38
19. Those Winds (Jill DeMarco) - 3:09
20. Tornado Baby (Jill DeMarco) - 5:59
