Sproton Layer - With Magnetic Fields Disrupted (1970 us, experimental psych early prog, 2011 issue)

In March of 1969, in Ann Arbor, Michigan, Miller brothers Roger (17), Benjamin (15) and Laurence (15) had a mind-altering improvisation session on guitar, bass and drums in their basement.  They called it "Freak Trio Electric", and none of them, or their views on music, were the same after this event.  A few days later, after repeated and amazed listening to the tape - "Sounds like Pink Floyd cut with Captain Beefheart!" wrote Roger in his journal - they decided to form a band.  

Roger wrote many songs that spring incorporating riffs and motifs from their improvisations.  Later that year they added trumpeter Harold Kirchen (brother of Bill Kirchen of Commander Cody and the Lost Planet Airmen fame) and changed their name to Sproton Layer.  Benjamin and Laurence began composing around this time.

Their music was most definitely psychedelic, with many songs based on the "Toke Mythology."  The band played approximately 20 shows in 1969 and 1970 before folding in the fall of 1970 due to the conservative direction rock music was now moving.

In late summer 1970, they recorded an album's worth of material with classmate Mark Brahce engineering, again in their parents' basement.  Good friend Arnold Lelis drew the front cover illustration. This album, "With Magnetic Fields Disrupted", was released 23 years later on New Alliance, along with a 3-song 45rpm single from their 1969 recording sessions, to very little notice.

The album was first released in 1991 by New Alliance Records, but it did not catch much recognition among the '60's collector freaks. Here is the next chance to discover the whole story of one of the ?almost forgotten? US underground art-performance groups. Forty minutes long, the album was remastered from the original tapes creating a fresh, organic and punchy sound. 

The booklet features extended band info and about four dozen artifacts including drawings, set lists, photographs, journal entries and more. After Sproton Layer, all Miller brothers contributed to numerous bands such as Destroy All Monsters, Mission Of Burma, and M3 ? Truly a mind-expanding album!

Sproton Layer

Tracks
1. Gift - 2:44
2. Pretty Pictures Now - 4:42
3. In the Sun - 2:53
4. Sister Regis - 1:58
5. Bush - 1:57
6. Tidal Wave (L. Miller, B. Miller, R. Miller) - 4:25
7. Up - 2:54
8. The Blessing Of The Dawn Source (Benjamin Miller) - 3:46
9. Nocturnal Mission - 3:30
10.Point Of View - 2:42
11.New Air - 4:08
12.The Wonderful Rise - 4:32
All songs by Roger Miller except where indicated

Sproton Layer
*Benjamin Miller - Guitars, Vocals
*Larry Miller - Drums
*Roger Miller - Bass, Vocals
*Harold Kirchen - Trumpet

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Hunger - Strictly From Hunger And The Lost Album (1969 us, spectacular heavy psych, akarma edition)

By 1968 The Hunger! were on the verge of stardom. Having already headlined with Cream, Zappa, Neil Young and The Byrds, this now relatively unknown band were scheduled to play the Hollywood Bowl with The Young Rascals and Janis Joplin.

In a cruel twist of fate their equipment was stolen twice by the mob, and the group disbanded to be left wondering what might have been. But for these misfortunes Hunger might have amounted to more than just a record collector’s relic.

Hailing from Portland Oregon, The Hunger! had moved down to Los Angeles in the late sixties where they began to gain popularity amongst the burgeoning West Coast psychedelic scene.

Their sole album, Strictly From Hunger! was released on Public! Records in 1968 and is very much in keeping with the more prominent psych-rock bands of the Californian scene, inhabiting the same musical sphere as The Strawberry Alarm Clock, The Doors and Jefferson Airplane. All of the tracks are predominately organ lead with an emphasis on a heavy “swinging sixties” groove, orchestrated by some fantastic bass work by Tom Tanory and the rock steady drumming of Bill Daffern.

That is not saying, however, that the album is cast in the mould of sunshine/flower pop. Strictly From Hunger! certainly has it’s darker and heavier moments and there is an inescapable feeling of melancholy throughout the course of the record. The vocals (Parkinson, Daffern and Morton all take turns on various tracks) move between paranoia and despondency, highlighting the subtly surreal lyrics with minor melodies punctuated by the odd frenetic fuzz-guitar solo.

The band really could play, and it shows especially the wailing guitar solo on the instrumental jam “Portland 69” or the truly marvellous change up mid way through “The Truth”. Tracks like “Mind Machine” can’t fail to bring a smile to your face, as unashamedly redolent of the late sixties as “Incense and Peppermints”.

Elsewhere “Colours” appears broodingly sinister with its militant drum beat and echo-laden vocals and Morton’s guitar rides the heavy drum break into the stratosphere on “Trying to Make the Best” which is reprised in an extended form for the album closer (this track was also bizarrely put out as a single titled “Not So Fine” by the band calling themselves The Touch).

From this sole offering, it is easy to see that The Hunger! had a terrific amount of promise and if fate hadn’t stood in their way, maybe they would have become a household name, as much respected and influential as their West Coast contemporaries. 

by  Gerard Fannon

Tracks
1. Colors (Mike Lane) - 2:04
2. Workshop (Lane, Parkinson, Daffern, Morton, Tanory, Hansen) - 4:17
3. Portland (Lane, Parkinson, Daffern, Morton, Tanory, Hansen) - 5:35
4. No Shame (Art Wayne) - 2:26
5. Trying to Make the Best (Mike Parkinson) - 5:33
6. Open Your Eyes (John Morton) - 2:25
7. The Truth (J. Morton, T. Tanory) - 3:59
8. Mind Machine (Bill Daffern) - 3:30
9. She Let Him Continue (Paul Hampton) - 5:04
10.Trying to Make the Best No. 2 (Mike Parkinson) - 7:18
11.Portland 69 (Lane, Parkinson, Daffern, Morton, Tanory, Hansen) - 5:42
12.The Truth (J. Morton, T. Tanory) - 5:33
13.Open Your Eyes (John Morton) - 3:57
14.Trying to Make the Best (Version #2) (Mike Parkinson) - 7:38
15.Workshop (Lane, Parkinson, Daffern, Morton, Tanory, Hansen) - 7:16
16.She Let Him Continue (Paul Hampton) - 5:12

Hunger
*Mike Lane - Vocals
*Bill Daffern - Drums, Vocals
*Steve Hansen - Rhythm Guitar
*Tom Tanory - Bass
*John Morton - Lead Guitar
*Mike Parkinson - Vocals, Keyboards
*Ed King - Lead Guitar, Bass

Related Acts
1967  The Strawberry Alarm Clock - Incense And Peppermints (2011 sundazed issue)
1968  Strawberry Alarm Clock - Wake Up...It's Tomorrow

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Tommy Flanders - The Moonstone (1969 us, magnificent folk psych, 2006 digi pack edition)

Tommy Flanders the singer of The Blues Project  departed the group after their first LP, "Live At The Cafe Au-Go-Go". In 1969 he released this, his own Solo Debut LP, The Moonstone, featuring: J. Bruce Langhorne (Guitarist with Bob Dylan; Joan Baez, etc); Dennis McCarthy, Michael Botts (Drummer with Hoyt Axton, Karla Bonoff, etc); Dick Rosmini (Guitarist with Hoyt Axton; Doug Dillard; etc); and Jerry Scheff (Bass with Hoyt Axton; Marc Benno; The Association). 

The faded, melancholy vibe herein is somewhat unsettling, as the ghost of a fairly straight acoustic pop album is dimly apparent, and Tommy's voice still sounds occasionally as positive as it did on his earlier "Violets Of Dawn”.

Tracks
1. Since You've Been Gone - 2:37
2. Blue Water Blue - 3:05
3. Morning Misty Eyes (G. Meckler, T. Flanders) - 2:59
4. A Detective Story - 3:52
5. Purple And Blue - 3:40
6. The Moonstone - 4:38
7. By The Mailbox We Stood - 3:16
8. Angel Of Mercy - 3:42
9. Boston Girls - 3:08
10.Sleepin' - 3:50
11.She's My Love - 4:44
All compositions by Tommy Flanders unless as else stated

Musicians
*Tommy Flanders - Vocals
*J. Bruce Langhorne - Guitar
*Michael Botts - Drums
*Dick Rosmini - Guitar, Keyboards
*Jerry Scheff - Bass

Related Act
1966  The Blues Project - Live At The Cafe Au Go Go (2013 Japan SHM double disc set)
1971-72  The Blues Project - Lazarus / The Blues Project

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Corpus - Creation A Child (1971 us, spectacular texas hard acid rock, 2011 Axis remaster)

'Underrated, partly outstanding ballsy 1970s rock album in the Texas style, which means good production, strong vocals, and solid playing all around. Some of it is rootsy blues-rock which wins out on pure class and power, but the highlights are undoubtedly two psych-flavored epics that could easily slide onto the Garrett Lund or D.R. Hooker LPs: the nocturnal, moodily jazz-tinged Mythical Dream and the even better Joy, whose combination of soaring vocals and superbly controlled feedback licks will have any fan of 70s private press sounds flip out... 

The music is given additional appeal by realistic lyrics about relationships and fatherhood, planned and unplanned, that retain a male perspective without degenerating into macho cliches. I bet these guys were local heroes among kids cruising around Corpus, and in another time and place they would have hit the big time. Despite reservations, impressive and a must hear for 1970s rock fans, while undoubtedly too much 'classic rock' for '60s guys. A marvy cosmic yet primitive sleeve adds bonus points'.

The Acid Archives

Tracks
1. Cruising - 3:51
2. Joy - 6:20
3. Marriage - 3:38
4. Creation A Child - 6:54
5. Just A Man - 3:17
6. We Can Make It, Luv - 2:30
7. Not Mine - 3:31
8. Where Is She? - 3:36
9. Mythical Dream - 4:55
All songs by W. Grate, J. Castillo, F. Lianes, R. Deleon and G. Pena Jr.

Corpus
*William Grate - Lead Guitar, Background Vocals
*James Castillo (Beaver) - Bass
*Frudy Lianes - Drums
*Richard Deleon (De-De) - Rhythm Guitar, Lead Vocals
*Gilbert Pena Jr. - Lyrics

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Elderberry Jak - Long Overdue (1970 us, terrific psych rock melted with blues and folk, Gear Fab edition)

Imagine a time: Without cable TV, when more in-home screens  were black-andwhite than color. When FM radio stations were exceptions, not rules. When interstates and other four-lane highways were  in their infancy. We're talking more than 40 years ago, when much of the world seemed far more distant than now for those of us growing up on the north end of the Appalachian coal fields. It was a time when local musicians with dreams of rock 'n' roll success weren't sure music's stars could ever shine on someone from  these parts.

Elderberry Jak changed that with the release of "Long Overdue," on Nashville-based Silver Fox Records, which was owned by singer Kenny Rogers' brother Leland. Now, anyone with a computer can put their music in front of millions of potential listeners without ever leaving home. They just record the songs and upload them to Web sites like MP3.com. Randy Worsham, a singer/songwriter I played bass for in Spingfield, Mo., a few years ago, has done that. So has Joe Cerisano, Elderberry Jak's lead vocalist, with his more recent work. 

When "Long Overdue" first made its way onto vinyl, however, home computers as powerful as the Commodore 64, the 64 standing for 64 kilobytes of random access memory, were still on the drawing board. Most of us send email photos today that are larger than 64K! Back then, the hotspots in the still-young rock universe seemed as far away from north central West Virginia as the stars in Orion's belt. Things were happening in L.A., London and New York. Geez; Pittsburgh was a two-hour trip back then! Many of us who practiced in garages to play weekends in tiny little clubs around there took heart and hope in Elderberry Jak's success. Heck, I played covers of several "Long Overdue" cuts; "Changes," "Forest on the Mountain," Wishing Well," and "Vance's Blues."

"Little Joe," the late Dave Coombs, Joe Hartman and Tom Nicholas were several years older. I started playing locally, keyboards back then, after their debut album was recorded and released, and they'd gone on the road to support it. Dozens of Volkswagens now sit in the parking lot of what was, back then, The White House - along U.S. 119, north of Morgantown, almost to the Pennsylvania state line. To this second, I can recall the butterflies I got as a teenager the night. I first played there as a member of a Fayette County, Pa., band called Brimstone. Like the guys in Jak, my bandmates were several years my senior. A couple of them had jammed with Cerisano and Coombs when they were still part of J.B. and the Bonnevilles, pre-Elderberry Jak. All night long during that first White House gig, I willed us to be as good as Jak; but not with the goal of getting a record deal. At that point, none of us had even started working on original material.

Rather, my wish simply was that we use the stage, and those four 45-minute sets, as well as Elderberry Jak did because they showed all of us that it could be done. Even coal-patch musicians from this part of the world had a shot at realizing our goals if we let the music do the talking and respected it... worked at it... as much as some of those who'd crossed that stage before us. The White House was the only nightspot I ever played that Jak had ruled around here before recording "Long Overdue." As a result, the nights spent on its stage are among my fondest musical memories. Meeting Joe Cerisano also is among them. He continues to sing songs on the soundtrack of my musical dreams.

Inspiration provided through the years by "Long Overdue" helped me achieve much of what I had hoped to in music. Some goals remain, so I keep listening to Jak to remind me that it's never too late. Some might argue; but from here, it seems Jak was ahead of its time. Listen to Hartman's pounding double-bass footwork on "Vance's Blues"and "Changes," for example. Jon Bonham, of Led Zeppelin, was playing that way back then. But most of the others - Alex Van Halen, Tommy Aldridge (Black Oak Arkansas, PatTravers and Whitesnake), Denny Carmassi (Montrose and Heart) were at least a few years away from the spotlight.

Nicholas' guitar work rivals the kind of thick, chunky and powerful hard rock riffs that helped Joe Walsh become a star with The James Gang, which he parlayed into a successful solo career and a long stint as arguably the most brash member of The Eagles. Coombs' bass made every song work. He kept the rhythm with Hartman while using every inch of his guitar's fingerboard to find just the right notes for every measure of every Jak original. Measure Cerisano's talent by the full body of his professional work. First with Jak, later with Silver Condor and as an alwaysworking studio musician, and more recently on solo releases and tours with the Trans Siberia Orchestra, "Little Joe" remains big on the ability to lend just the right touch to every lyric he sings.

What we have here is proof that these four men, together, made and played their music from the heart and soul. That this wonderful album has made its way to CD is a blessing beyond belief.

by Tim Lilley

Tracks
1. Going Back Home - 3:17
2. Forrest On The Mountain (Mike Snyder) - 2:51
3. Vance's Blues - 3:47
4. Inspired (Mike Snyder) - 3:29
5. Restless Feeling - 3:40
6. Wish Me Well (Brooker, Reid) - 3:25
7. Mr. Sun - 3:43
8. My Lady - 3:45
9. Changes - 4:51
10.You're The One (Mike Snyder) - 4:01
All songs by Elderberry Jak except where noted

Elderberry Jak
*Joe Cerisano - Vocals
*Tom Nicholas - Guitar, Vocals
*Dave Coombs - Bass, Vocals
*Joe Hartman - Drums, Vocals

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rep>>> John Sebastian - Faithful Virtue • The Reprise Recordings (1969-76 us, wonderful folk blended with various tunes, 2001 three disc set)

John Sebastian - Faithful Virtue • The Reprise Recordings 1969-76

 with Lovin' Spoonful
1965  Do You Believe In Magic
1966  Daydream (Japan remaster)
1966  Hums Of The Lovin' Spoonful (Japan remaster)
1967-68  You're A Big Boy Now / Everything Playing (2011 edition)

Sonny Flaharty And The Mark V ‎- Hey Conductor (1965-67 us, awesome fuzzy garage psych)

Dayton, Ohio’s Sonny Flaharty had been recording since the late 50s. In 1965 he helped a local band called the Rich Kids produce a demo. He ran into them again calling themselves the Mark V “direct from Toronto, Canada”! They asked Sonny to join the band but according to Sonny, “the only problem we had was with my past. I was very well known in Dayton. The band didn’t want to be associated with ‘Old Time Rock and Roll’”!

They changed their names and tried to pass themselves off as English or at least Canadian. They didn’t fool anyone for long, but there was nothing ‘old time’ about their music. Shad O’Shea of Cincinnati’s Counterpart Records asked them to record Sonny’s original, “Hey Conductor”.

There was a nine-month delay between the recording and the release of “Hey Conductor”. In the meantime Mike Losecamp (aka Haywood Lovelace), who played the distinctive organ on the record left to join the Cyrkle.

Once released Hey Conductor was a sizeable hit, selling in the thousands and immediately picked up by Phillips for national distribution. The good times didn’t last long, as its lyrics hinting at drug experiences got it banned on radio before it could break nationally. The song’s frantic pace, strange fuzz guitar and syncopated organ make it an often-heard record at dj nights even today.

by Chas Kit

"Hey Conductor" provided both a sizeable hit and new lease of life for one-time rockabilly Sonny Flaharty. Fuelled by a paper 'n' comb sounding fuzztone 12-string and a piping Farfisa organ (which candidly borrows the main riff from Ray Charles' "I Don't Need No Doctor") the discs crisp production and Flaharty's youthful voice make for a powerful, but polished, effort. Superb! The rest of this collection features a selection of songs that appear to be from the sessions the band recorded for RCA in 1967, supposedly for an album. 

These range from the frantic "Whole Lotta Shakin'," which is a wild, punkish take on the Lewis standard "Make a Woman" (a fine example of the fragmented riffed garage sound strongly inspired by the Raiders' "Just Like Me"), and the far softer "La La Song" and "When I Close My Eyes," which sound very similar to Merrell Fankhauser's psychedelic folk-rock efforts from the same time and the Strawberry Alarm Clock. Also included is the frat-instro "Coconut Stomp Part 1 & 2" by the earlier Young Americans. Pebbles and Nuggets fans will be enthralled by these rare sides. 

by Jon "Mojo" Mills

Tracks
1. Whole Lotta Shakin' (Sonny Flaherty, Ray Bushbaum) - 1:59
2. Coconut Stomp Pt. 1 - 2:05
3. Coconut Stomp Pt. 2 - 1:38
4. Make A Woman - 1:53
5. The Mark V - 2:32
6. Do It - 2:46
7. Hey Conductor - 2:32
8. For All Of Us - 3:10
9. Harmonica Man - 2:24
10.La La Song - 2:03
11.When I Close My Eyes (Jim Wyatt) - 2:26
12.Can't Buy My Soul - 2:29
All songs by Sonny Flaharty except where noted

Sonny Flaharty And The Mark V
*Sonny Flaharty - Vocals, Guitar
*Jason Hollingsworth “Jason Starbuck” - Guitar
*Jim Wyatt “Farnsworth Wyatt” - Bass
*Mike Losecamp “Mike Lovelace” – Piano, Vox Organ
*N.D. Smart - Drums
*Susan Darby - Lead Vocal

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Rex Holman – Here In The Land Of Victory (1970 us, tremendous folk psych)

Actor Rex Holman is perhaps better-known to Star Trek and Monkees fans than music enthusiasts, but connoisseurs of acid folk have long treasured this, his sole album, which originally appeared in 1970 (when he was almost 42 years old). A hypnotic blend of melodic, contemplative songs (set to acoustic guitar, sitar and tabla) and philosophical lyrics sung in a quavering voice that has been compared to Tim Buckley’s, it’s nothing short of an overlooked gem, and is sure to appeal to fans of artists such as Damon, Pat Kilroy and Mark Fry. 

Rex was a small time tv character actor who appeared on Star Trek, the Monkees, the Man from U.N.C.L.E., Gunsmoke, Charlie's Angels, etc. His weeningly smooth baritone & downer lyrics also caused local record connoisseur Rob T. to appropriately christen him 'Gordon Darkfoot'. 

Released in 1970 (when Holman was already 42), "Here In the Land of Victory" featured all original material, though the mix of  Indian-flavored instrumentation and Holman's hyper serious lyrics sounded like something that was recorded circa 1967.  Holman's vibrato-drenched vocals (which were an acquired taste) and his over-the-top lyrics certainly weren't for everyone.  Imagine Richard Harris reincarnated as Donovan and you'll have a feel for tracks like 'Listen To the Footsteps', the sitar and flute propelled 'Sit and Flatter Me' and 'Come On Down'.  Ironically if you could get over those characteristics, then the album rewarded you with quite a bit of memorable material.  

Holman's uber earnestness was somehow charming and most of the lyrics were no worse than your standard college English paper (okay, 'The Chosen One' was far worse).  Certainly a reflection of my personal tastes, but Holman was at his best when backed by a full rock ensemble.  As such personal highlights included 'Pink Lemonade', 'Today Is Almost Here', and the bluesy 'Red Is the Apple'.   The disturbing artwork including a back cover photo of Homan sitting blissed out next to a passed out drunk certainly didn't help sales.  (The inner sleeve picture showing Holman in his best psycho-killer stare is even more disturbing.)

Bad-cat

Tracks
1. Here In The Land Of Victory  - 3:19
2. Pink Lemonade  - 2:12
3. Rowin’   (Rex Holman, Terry Fulman) - 2:20
4. Today Is Almost Here - 3:49
5. Listen To The Footsteps - 2:32
6. Red Is The Apple - 4:16
7. Sit And Flatter Me - 3:30
8. Copper Kettles - 2:22
9. Come On Down - 2:28
10.Debbie - 2:27
11.The Chosen One - 2:53
12.I Can’t Read My Name - 2:26
All songs by Rex Holman except where noted.

*Rex Homan (aka Rexford Holman) - Vocals

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Elvin Bishop - Party Till The Cows Come Home (1969-70/72 us, magnificent blues rock with funky soul shades, 2004 double disc edition)

This double CD combines Elvin Bishop's first three albums (variously credited to the Elvin Bishop Group and the Elvin Bishop Band) on to two discs. Containing 1969's Elvin Bishop Group, 1970s Feel It!, and 1972's Rock My Soul, it has virtually everything he recorded for Fillmore and Epic in the late 1960s and early 1970s, serving as an overview of his entire early career as a bandleader. 

Also included are three bonus tracks: one, "Stealin' Watermelons," from a non-LP single, and two other live performances from the various-artists compilation album Last Days of the Fillmore. Although they have their merits, these are erratic albums in which Bishop didn't stick solely to the electric blues-rock he'd made his name with in the Paul Butterfield Blues Band. Instead, these also dig into soul and R'n'B, as well as what can only be called (on some of his vocal numbers) comedy. He relinquished most of the lead vocal duties to Jo Baker starting with the second album, and this saw an improvement in the sound and material. 

by Richie Unterberger

Tracks

Disc 1

1. The Things That I Used To Do (E. Jones) - 4:02

2. Tulsa Shuffle (E. Bishop) - 5:21  

3. Sweet Potato (E. Bishop) - 5:42  

4. How Much More (J. B. Lenoir) - 3:03  

5. Dad Gum Ya Hide, Boy (G. Bromley Jr.) - 2:55  

6. Honey Bee (E. Bishop) - 3:28  

7. Prisoner Of Love (P. Mayfield) - 5:22 

8. Don't Fight It (Feel It) (W. Pickett, S. Cropper) - 3:11 

9. I Just Can't Go On (J. Baker) - 3:38 

10.So Good (E. Bishop, S. Miller) - 7:38 

11.Crazy 'Bout You Baby (W Williamson) - 3:15 

12.So Fine (J. Otis) - 2:40 

13.Party Till The Cows Come Home (E. Bishop, S. Miller) - 3:22 

14.Hogbottom (E. Bishop, S. Miller) - 6:47 

15.Be With Me (E. Bishop, S. Miller) - 4:08 

16.As The Years Go Passing By (D. Malone) - 4:05 

Tracks 1 To 7 From "Elvin Bishop Group" 1969

Tracks 8 To 16 From "Feel It!"  1970

Disc 2
1. Rock My Soul (E. Bishop) - 2:46
2. Holler And Shout (E. Bishop) - 2:38
3. Let It Shine (E. Bishop) - 3:18
4. Don't Mind If I Do (E. Bishop) - 2:00
5. Rock Bottom (E. Bishop, J. Baker) - 2:58
6. Last Mile (Instrumental) (E. Bishop) - 2:50
7. Have A Good Time (E. Bishop) - 2:47
8. Wings Of A Bird (E. Bishop) - 3:36
9. Old Man Trouble (E. Bishop) - 3:47
10.Out Behind The Barn (E. Bishop) - 2:51
11.Stomp (Instrumental) (E. Bishop) - 3:12
12.Stealin' Watermelons  (E. Bishop) - 2:56
13.So Fine (Live) (J. Otis) - 3:58
14.Party Till The Cows Come Home (Live) (E. Bishop, S. Miller) - 3:07

Musicians
The Elvin Bishop Group On Tracks 1 To 7 (The Elvin Bishop Group)
*Elvin Bishop - Guitar, Vocals
*Stephen Miller - Organ
*John Chambers - Drums
*Art Stavro - Bass
*Applejack - Harp
*Alberto Gianquinto - Piano

The Elvin Bishop Group On Tracks 8 To 16 (Feel It!)
*Elvin Bishop - Guitar, Vocals
*Stephen Miller - Vocals, Piano, Organ
*John Chambers - Drums
*Jo Baker - Vocals, Percussion
*Kip Maercklein - Bass
*The Pointer Sisters (Patricia, June And Anita) - Vocals
*Chepito Areas And Mike Carabello - Timbales, Congason
*Perry Welsh - Vocals

The Elvin Bishop Band On CD 2. Tracks 1 To 11
*Elvin Bishop - Lead Guitar, Rhythm Guitar, Slide Guitar, Lead Vocals
*Jo Baker - Lead Vocals
*Stephen Miller - Organ Piano
*Kip Maercklein - Bass
*Bill Meeker - Drums
*John Chambers - Drums On Track 11 Only
*Dennis Marcellino, Mel Ellison - Tenor Sax
*Ron Stallings - Vocal And Tenor Sax On Track 2
*Milt Holland - Percussion
*Delaney Bramlett - Rhythm, Slide Guitar
*Perry Welsh - Harmonica
*Bobby Bruce - Fiddle Solo
*Jim Gordon - Clarinet
*Delaney And Bonnie (Courtesy Of Columbia Records) -  Backing Vocals
*Jo Baker, Clydie King, Vanetta Fields, Gloria Jones -  Backing Vocals
*Perry Welsh & Shirley Matthews -  Backing Vocals
Strings Arranged And Conducted By Jim Gordon

1977  Live! Raisin' Hell (2012 remaster edition)
Related Acts
1966-68  The Paul Butterfield Blues Band - Strawberry Jam
1968 Linn County - Proud Flesh Soothseer
1969 Linn County - Fever Shot 
1970  Linn County - 'Till The Break Of Dawn

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Bosom Blues Band - The Overgone Sounds of the Bosom Blues Band (1968 us, fantastic blues rock psych, 2008 Arcania Vinyl issue)

An obscure late 60s band out of Richmond, VA that evolved from an R'n'B ensemble called the Soothsayers. In 1967 the Bosom Blues Band entered a local studio and recorded several demos and finally an album's worth of material,  including the outstanding blues rocker 'Hippie Queen'. 

The song was inspired by the true story about a girl named Joan from Richmond, VA who traveled to England in an attempt to meet The Beatles. She ended up sneaking onto the grounds of John Lennon's estate and knocked on the door of his house, which was answered by Lennon himself who invited her in. She ended up getting pictures taken of herself with the Fab Four, including one of George Harrison kissing her on the cheek. This made her a local legend and "hippie queen" throughout the Richmond area.

The following year the band auditioned for Vanguard Records, but the deal came to naught. And by 1969 the Bosom Blues band were no more, with their sole LP unheard until Arcania International included their song Hippie Queen on Aliens, Psychos and Wild Things, Vol. 3. Now the entire ouvre of this remarkable group is available once again -- in the format it was meant to be heard in, glorious vinyl.

Tracks
1. Leavin' Trunk (John Estes) - 4:45
2. Milk Cow's Calf Blues (R. Johnson) - 3:25
3. Messin' With The Kid (Mel London) - 3:03
4. Divin' Duck (John Estes) - 2:48
5. You Don't Love Me Baby (Sam Maghett) - 3:25
6. Hippie Queen (Larry McCullogh) - 4:09
7. Knock On Wood (E. Floyd, S. Cropper) - 3:53
8. Walk Tall (Josef Zawinul, Esther Marrow, James Rein) -  8:48

Bosom Blues Band
*Larry McCullough - Vocals, Lead Guitar
*Allen Gay - Rhythm Guitar
*Harold Grigg - Bass
*Lynn Abbott - Drums

*Ed - Sax

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Tommy Bolin - Whirlwind (1972-75 us, superb hard fusion rock, 2013 two disc set)

The life and music of guitar legend Tommy Bolin seemed to have crashed and burned all too quickly. Prior to his drug related death in 1976, Bolin was starting to formulate solo album number three, after semi-successful stints in both The James Gang and D. Purple that saw his stock as a guitar hero in waiting rise before quickly getting snuffed out after years of heroin addiction. 

Since Bolin's death there has been a wealth of live and studio recordings to come out on the market that further prove the talents of this guitar genius. Whirlwind is the latest, a 2CD set from the folks at the Tommy Bolin Archives along with Cleopatra Records/Purple Pyramid, which contains not only some songs that were meant for that third solo record, but also rare material from Bolin's jazz-fusion band Energy as well as alternate & instrumental versions of other songs from his earlier solo albums. For fans, this is a set not to be missed.

The scorching "Cucumber Jam" from 1975 kicks things off, a sizzling number with Bolin's searing licks and solos, followed by the hard rocking "Heartlight", a tune recorded with the Energy line-up of Bolin, vocalist Jeff Cook, drummer Bobby Berge, bassist Stan Sheldon, and keyboard player Tom Stephenson. This band formed out of the ashes of Zephyr, and after you hear this tune, you'll wonder why this group didn't stick together and become huge. An excellent song, with catchy melodies and superb instrumentation, hard rock but with a jazz-fusion feel. "Hoka-Hay" is also from those same sessions, a scorching instrumental with fiery guitar & keyboard interplay that will easily appeal to all Return to Forever, Mahavishnu Orchestra, and Tony Williams Lifetime fans. 

Tommy alone with his acoustic guitar is featured on "Don't Worry 'Bout Cash", and "San Francisco River" is a sizzling instrumental from 1975 that also features Berge & Sheldon, but it's Bolin's heavy riffs and amazing lead technique that steals the show. Another Energy tune that could have easily been a hit is "Rock-A-Bye", a Bob Seger styled rocker with great vocals from Cook and Stephenson's honky tonk piano lines.

"Dungeon" is an instrumental track that was planned for the third solo record, and it's another stellar hard rock/fusion piece with killer lead guitar work that shows just how savage Bolin could get when he wanted to. From a 1973 session comes "Alexis", a moody blues/pop rocker that was recorded just after the Billy Cobham Spectrum album and immediately prior to the guitarist joining the James Gang. In fact, most will remember that this tune actually made it to the James Gang Bang album, but it's here in its infancy, a tad more atmospheric but no less as powerful, complete with the hard rocking finale and Bolin's effects laden guitar work. "Gotta Dance" is a little tight jam that was being worked on for the third solo album in early 1976; there are some good ideas here on this funky rocker but you can tell it's mostly unfinished. "Spanish Lover" is another 1973 recording that also eventually made it to a James Gang album, the 1974 release Miami. CD 1 ends with the blistering "Sooner or Later", a melodic hard rocker that was being worked on just prior to his death, and finished up posthumously with Max Carl & Mike Finnegan trading off on lead vocals. Bolin's phased out, soul searching lead guitar work on this track is just sensational.

Over on CD2 you get an early instrumental version of "Red Skies", another tune that eventually wound up on Miami over a year later. Tommy's skills as a lead guitarist are in full force on this heavy yet atmospheric rocker, and "Way It's Always Been" is an early 1972 recording featuring Bolin on acoustic guitar & vocals doing a sort of Bob Dylan styled folk tune. Another song that eventually made it to Miami is "Sleepwalker", here once again in instrumental demo format. 

The monstrous 26-minute "Marching Bag" is performed by Bolin with other members of Energy, and this tune eventually morphed into "Marching Powder" for the Teaser solo album. To say it's a fusion lovers dream is a complete understatement, so look for all sorts of incredible jams and sizzling guitar work here on this epic. Another Teaser track, "Wild Dogs", shows up here in lovely acoustic format, and the blistering funk rocker "From Another Time" from 1973 was also recorded just prior to him joining the James Gang, and sees Max Carl delivering some powerful vocals alongside Bolin's snappy licks & riffs and groove laden rhythms courtesy of Berge and Sheldon. A real workout of a tune, and not all that different from the music Bolin would help create in his short time with Deep Purple a few years later.

The whole set comes housed in a nice looking digipack, with a booklet containing full track information, photos, and an essay from Cook who talks about the sessions and the legend that is Tommy Bolin. My only gripe is that there are plenty of mistakes on the track information, such as songs where there are vocals and no vocal listed, songs where you hear keyboards and no keyboard player listed, and some typos, but otherwise this is a must have set for any serious Tommy Bolin fan. The sound quality on most of these tracks are pretty decent, a few sounding close to a good bootleg, but the musicianship throughout is stellar as you would expect. Simply a mandatory purchase for any Bolin aficionado. 

by Pete Pardo

Tracks

Disc 1

1. Cucumber Jam - 5:27

2. Heartlight (T. Bolin, J. Tesar) - 4:24 

3. Hoka-Hay! - 6:59

4. Don’t Worry ’Bout Cash (Acoustic Version) - 3:20

5. San Francisco River - 2:45

6. Rock-A-Bye - 3:31

7. Dungeon - 7:31

8. Alexis (T. Bolin, J. Cook) - 5:02

9. Gotta Dance (Take 2) - 4:49

10.Spanish Lover (Instrumental Version) (T. Bolin, J. Cook) - 3:42

11.Sooner or Later (T. Bolin, J. Cook, G. Hampton) - 4:19

Disc 2
1. Red Skies (Instrumental Version) - 3:26
2. Way It s Always Been - 3:12
3. Sleepwalker (Instrumental Version) - 4:30
4. Leave Other People Alone - 1:57
5. Marching Bag (Original Version) - 26:22
6. Wild Dogs (Acoustic Version) - 4:46
7. From Another Time (T. Bolin, J. Tesar) - 3:26
All songs by Tommy Bolin except where noted

Band
*Tommy Bolin - Guitar, Vocals
*Bobby Berge - Drums
*Stan Sheldon - Bass
*Tom Stephenson - Keyboards
*Mike Finnigan - Vocals, Organ
*Max Carl - Vocals

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The Music Machine - The Ultimate Turn On (1966-67 us, enormous garage punkadelic, 2006 two disc set with unissued material)

Some years ago, Sean Bonniwell, the charismatic leader of the Music Machine, penned an evocative memoir of his life and music days, "Beyond The Garage". The book's title was no doubt in deference to the Machine's posthumous definition in rock histories as a 'garage band', a classification the singer/songwriter admits took him some time to comprehend. But the truth is, the Music Machine were nothing of the sort. They could only be considered a garage band because they happened to rehearse in one, and that garage was, equally, a sonic foundry, psychoanalyst's couch, philosopher's salon and boot camp. 

The Machine certainly articulated the frustration central to the restless spirit of mid-1960s grass  roots Rock 'n' Roll, both musically and lyrically, but their expression of it came as much from the mind as the heart. The truth is, the Music Machine defy categorisation, because they simply did not sound like anyone else, before or since. Similarly, the fleeting chart status of Talk Talk', the group's ode to lack of selfesteem, has relegated the Music Machine in the minds of the myopic to that of one-hit wonders; for those who understand, however, the record was the brilliant opening salvo in a catalogue that has yet to be surpassed. 

More than anything, the sheer quality of the group's songs, arrangements and performances, speaks for itself. Each member was necessary to making the whole thing work, and together they shared a purpose and a drive that made the group unbeatable, and should have made them superstars. 'Ahead of their time' is a cliche but with hindsight their individuality is clearer than ever. The Machine's time was one of tremendous upheaval in pop music, particularly on the west coast. When flower power was raging the Music Machine was the weed killer. 

The saga of the Machine has been told before, not least by Sean Bonniwell in his autobiography, but it is hoped that what follows present a fresh perspective on the incandescent fourteen month lifespan of the initial Music Machine. That is the purpose of "The Ultimate Turn On": to celebrate the original, definitive line-up of this once-in-a-lifetime combo. Ninety per cent of what they decanted to tape is present and, in its monophonic state, correct - mono being the best way to appreciate the Machine, and preferably at a loud volume. 

Disc One, comprising their entire Original Sound output, is the essential Music Machine. The rehearsals, demos and alternate mixes on Disc Two are offered as an illuminating adjunct, an insight into the workings of this incredible band. They also approximate how a second album for Original Sound might have shaped up, had they stayed together. These offcuts are gems that any other combo of that era would gladly trade their fuzzbox for. 

Finally, the footage of a black-clad Machine on the rarely-glimpsed "Boss City" TV show, pounding through Talk Talk', gives the neophytes amongst us an inkling uf what all the fuss was - and is - about. To be sure, Bonniwell and producer Brian Ross went on to create further fine records, such as 'Dark White'. 'Me, Myself & I' and 'You'll Love Me Again', under the Bonniwell Music Machine imprimatur, but in many ways these were still variations on the theme wrought in iron by the first line-up. 

The experience of being a cog in the Machine left some a spent force; for others, it provided a platform to go on to bigger things. But to a man, the original line-up is completely aware of the serendipitous chemistry they had together. They were the ultimate.

by Alec Palao

Tracks

Disc One 

1. Talk Talk - 2:00

2. Trouble - 2:14

3. Cherry Cherry (Neil Diamond) - 3:17 

4. Taxman (George Harrison) - 2:38 

5. Some Other Drum - 2:34

6. Masculine Intuition - 2:11 

7. The People In Me - 2:53 

8. CC Rider (Ma Rainey) - 2:33  

9. Wrong - 2:18

10.96 Tears (Rudy Martinez) - 2:19

11.Come On In - 2:58

12.Hey Joe (Billy Roberts) - 4:18 

13.Double Yellow Line - 2:34

14.Absolotely Positively - 2:28

15.The Eagle Never Hunts The Fly - 2:50 

16.I've Loved - 2:48 

17.Talk Talk - 1:58

18.Trouble - 2:14

19.Cherry Cherry (Neil Diamond) - 3:13

20.Taxman (George Harrison) - 2:36 

21.Some Other Drum - 2:34

22.Masculine Intuition - 2:08

23.The People In Me - 3:00 

24.CC Rider (Ma Rainey) - 2:33 

25.Wrong - 2:18

26.96 Tears (Rudy Martinez) - 2:20 

27.Come On In - 2:56

28.Hey Joe (Billy Roberts) - 4:18

All Songs written by Sean Bomniwell except where noted. 

Tracks 1-16 Mono, 17-28 Stereo

Disc Two 
1 The People In Me  (Rehearsal) - 3:09
2 Trouble (Rehearsal) - 2:30
3. Masculine Intuition  (Rehearsal) - 2:39
4. The Eagle Never Hunts The Fly  (Demo) - 4:19
5. Sufferin Succotash  (Demo) - 2:40
6. Worry  (Demo) - 2:10
7. No Girl Gonna Cry  (Demo) - 2:05
8. Smoke & Water  (Demo) - 3:30
9. I've Loved You  (Alternate Version) - 2:34
10.Discrepancy  (Alternate Version) - 2:01
11.Bottom Of The Soul  (Alternate Version) - 2:04
12.The Trap  (Alternate Version) - 2:28
13.Absolutely Positively  (Alternate Version) - 2:09
14.Somethin' Hurtin' Un Me  (Alternate Version) -  2:55
15.Affirmative No  (Alternate Version) -  2:32
16.Talk Me Down  (Original Mix) - 1:51
17 Astrologically  (Original Mix) - 2:24
18.Worry  (Original Mix) -  2:15
19.No Girl Gonna Cry  (Original Mix) - 2:25
20.Smoke & Water  (Original Mix) - 3:17
All Songs written by Sean Bomniwell.

The Music Machine
*Sean Bonniwell - Vocals, Guitars
*Ron Edgar -  Drums
*Mark Landon - Guitar
*Keith Olsen - Bass
*Doug Rhodes - Organ

1969  T.S. Bonniwell - Close  (2012 digi pack edition)

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rep>>> Humble Pie - Performance, Rockin’ The Fillmore, The Complete Recordings’ (1971 uk, superb classic rock, 2013 remaster four disc box set)

Humble Pie - Performance • Rockin' The Fillmore • The Complete Recordings 1971

1969  As Safe As Yesterday Is (Japan edition)
1969  Town and Country (2007 remaster and expanded)
1970  Humble Pie (Japan edition)
1971  Rock On
1972  Smoikin' (Japan edition)
1973  Eat It (Japan edition)
1973  In Concert / King Biscuit Flower Hour

If - Double Diamond (1973 uk, exceptional progressive brass rock, 2011 remaster)

The genesis of If occurred on London's late 60s jazz scene, when guitar ace Terry Smith, saxophonists Dick Morrissey and Dave Quincy joined US soul singer J.J. Jackson's “Greatest Soul Band In The Land” Jackson was managed by the American Lew Futterman, who saw the possibility of forming a UK version of Chicago or Blood, Sweat and Tears. 

Smith, who had experienced larger audiences as guitar for teen idol Scott Walker, was ready for a new challenge after years on the smaller jazz scene, so If was launched.  Focusing on sax instead of brass, with soloing from every member, the initial line-up consisted of Smith (guitar), Morrissey (tenor/ soprano sax and flute), Dave Quincy (alto and tenor, sax), J.W. Hodkinson (vocals), John Mealing (keyboards), Jim Richardson (bass) and Dennis Elliot (drums). 

They were well-received by critics in the U.K. and U.S. (where they toured extensively and soon found themselves sharing bills with Miles Davis, Muddy Waters, Cream, Traffic, Yes, Lynyrd Skynyrd and others, playing famed venues such as the Marquee and the Fillmores East and West, as well as festivals such as Reading and Newport. 

They signed to Island in the UK and Capitol in the US, and issued numerous albums, despite live acclaim and frequent TV appearances, their records never sold in huge quantities (perhaps because they were too jazzy for rock audiences and vice versa). 

By 1972 the pressures of touring and Morrissey's ill health led to a hiatus in their activities. Hodkinson joined Darryl Way's Wolf, Smith and Quincy formed the short-lived ZZebra. Mealing joined Klaus Doldinger's Passport and the Strawbs, Richardson undertook session work, and Elliott joined Foreigner. 

If wasn't away for long, though, and Futterman soon assembled new line-ups, including musicians such as former Colosseum keyboard player Dave Greenslade. By 1973 the band consisted of Morrissey, Fi Trench and Pete Arnesen (keyboards), Steve Rosenthal (vocals / guitar), Kurt Palomacki (bass) and Cliff Davies (drums). 

This sextet soon entered Virgin's Manor studio in Oxfordshire (then riding high from its success with Mike Oldfield's Tubular Bells) to record Double Diamond. The resulting LP was issued (as Brain 1035) only in Germany, where they had always been popular. Following its release there were further line-up changes, and two more LPs before they finally called it quits.

CD Liner-notes

Tracks
1. Play, Play, Play (Dick Morrissey, Kurt Palomacki) - 3:49
2. Peebles On The Beach (Dick Morrissey, Brigitta Morrissey) - 4:36
3. Pick Me Up (And Put Me Back On The Road) (Cliff Davies) - 5:05
4. Another Time Around (Is Not For Me) (Cliff Davies) - 6:58
5. Groupie Blue (Everyday She's Got The Blues) (Dick Morrissey, Trevor Preston) - 4:10
6. Fly, Fly, The Route, Shoot (Kurt Palomacki) - 4:29
7. Feel Thing-Part 1 (Pete Arnesen) - 4:19
8. Feel Thing-Part 2 (Pete Arnesen) - 4:55
9. Feel Thing-Part 3 (Pete Arnesen) - 3:16

If
*Dick Morrissey - Flute, Tenor And Soprano Sax, Backing Vocals
*Cliff Davies - Drums, Percussion, Backing Vocals
*Kurt Palomacki - Bass, Backing Vocals
*Fi Trench - Piano, Backing Vocals
*Steve Rosenthal - Guitar, Lead And Backing Vocals
*Pete Arnesen - Piano, Organ, Synthesizer, Backing Vocals

1970  If - If  (Repertoire remaster)
1970  If - If 2 (Repertoire remaster)
1971  If - If 3 (Repertoire remaster)
1972  If - If 4 (Repertoire remaster)
1972  Waterfall (Repertoire remaster)
1972  If - Europe '72 (Repertoire remaster)
Related Acts
1968  Terry Smith - Fall Out
1974  Zzebra - Zzebra

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The Yardbirds - Glimpses (1963-68 uk, classic influental blues garage 'n' roll, five disc box set, 2011 release)

Easy Action deserves an award for perseverance in the face of impossible odds, taking three years to realise the DVD of 2008’s historic MC5/Primal Scream Meltdown double-header, spending two years longer putting together this ultimate collection of aural Yardbirds documentation; they’ve used microsurgery where necessary to graft sections together and spice up ancient recordings.

This inestimably influential group was only active for five years, but gave the world three of its all-time stellar guitarists in Eric Clapton, Jeff Beck and Jimmy Page, while creating a unique mystique through their string of evocative, groundbreaking singles between 1965’s For Your Love and 1968’s Goodnight Sweet Josephine swansong.

First of all, the packaging is gorgeous: a 45-shaped box accommodating 32-page booklet (boasting remarkably candid photos), gig postcards, 7” single coupling 1963’s Baby, What’s Wrong with I Wish You Would, and five CDs. With the aid of numerous radio interviews conducted in the US or Europe at the time, these effectively tell the band’s story, from the previously-unheard alternate take of 1963’s Honey In Your Hips to March 1968’s landmark Peel session, on which Dazed And Confused pointed to where Page’s creative seeds were soon to blow and change the world.

Disc One presents the bluesy 1963-64 Clapton days, with standards such as Good Morning Little Schoolgirl, Smokestack Lightnin’ and I’m A Man, captured at the Marquee, Crawdaddy or 1964’s National Jazz And Blues Festival (where they indulged in rarely-played Chuck Berry covers as Authentics singer Mick O’Neill stood in for Keith Relf, hospitalised with a punctured lung). That the set also boasts the only remaining previously unheard Yardbirds tracks with Clapton (cut from the acetate of an EMI demo session) perfectly illustrates the seriousness of a project which can also contain 1968’s MacLean‘s toothpaste advert.

By Disc Two and 1965, when Clapton departed for purer blues outlets, to be replaced by Jeff Beck, The Yardbirds are playing the songs which made their name: strikingly-original outings including Evil Hearted You, Heart Full Of Soul, You’re A Better Man Than I, Shapes Of Things and For Your Love, along with their motoring take on Johnny Burnette’s Train Kept A-Rollin’. Tracks are drawn from BBC sessions (some previously though lost), Dutch TV and that year’s Richmond Jazz And Blues Festival.

Disc Three covers the major changes of 1965-66, The Yardbirds’ ongoing rapid progression kicking off with the psych-charged Happenings Ten Years Time Ago, Psycho Daisies and Over Under Sideways Down, plus further versions from the previous disc’s tracklist. This material was culled from assorted London studios, French gigs, the NME Pollwinners Concert and further unearthed radio sessions.

By now, The Yardbirds were possibly the most cutting-edge pop group next to the Stones – and more experimental. Disc Four’s 1967-68 selection roars in with Shapes Of Things and other singles mainly drawn from European gigs, plus an August 1967 US Army broadcast. Disc Five consists entirely of BBC recordings, including March 1967’s overlooked mini-masterpiece Little Games and the aforementioned Peel session, which also included the West Coast-influenced Think About It and Page’s acoustic excursion, White Summer.

This lovingly-compiled, feverishly hyperactive set might include five different versions of some songs, but it’s fascinating to hear the band’s rampant evolution as musical trends catch up with them and they strive for the next phase. It’s to Easy Action’s credit that none of the 150 or so components sound superfluous or barrel-scraping while, even held against that exalted trio of axeman, the late Keith Relf emerges with his enigmatic charisma further boosted.

by Kris Needs

Tracks

Disc One 1963-64

1. Honey In Your Hips (Alternate Studio Take) - 2:24 

2. Baby What's Wrong - 2:41 

3. Eric Clapton-Interview - 0:43 

4. I Wish You Would - 3:32  

5. You Can't Judge A Book By Its Cover (Studio Demo) - 2:41 

6. Jim McCarty-Interview - 0:26 

7. Louise - 2:54 

8. Eric Clapton-Interview - 0:23 

9. Someone To Love - 2:15 

10.Too Much Monkey Monkey Business - 3:07 

11.I Got Love If You Want It - 4:16 

12.Smokestack Lightning - 5:52 

13.Good Morning Little Schoolgirl - 3:37 

14.Respectable - 5:30 

15.The Sky Is Crying - 6:40 

16.Eric Clapton-Interview - 0:40  

17.I Wish You Would - 2:52  

18.Chris Dreja-Interview - 0:22  

19.I'm A Man - 3:26 

20.Someone To Love - 1:56 

21.Boom Boom - 3:36 

22.I'm A Man - 3:12  

23.Little Queenie - 3:27 

24.Too Much Monkey Monkey Business - 2:53  

25.Respectable - 3:46  

26.Carol - 2:33  

27.Here 'Tis - 3:44 

28.Jim McCarty-Interview - 0:26

Tracks 1,2,4,5. Recorded R.G. Jones Studios, Morden, Surrey England, December 1963, January 1964.

Tracks 9-15. Recorded 7th August 1964 at the Marquee London. 

Tracks 7 and 17. Recorded 5Th April 1964 UK. 

Track 19. Recorded 26 July 1964, Live Crawdaddy, Richmond, Surrey. 

Tracks 21-27. Recorded 9th August 1964, Fourth National Jazz & Blues Festival, Richmond. 

Track 20. Re-Edit 7th August 1964, Marquee, London.

Disc Two 1965 

1. Evil Hearted You, Keith Relf-Introduction (27th Sept.) - 2:26

2. Keith Relf-Interview - 0:25

3. Heart Full Of Soul - Paul Samwell-Smith-Interview (1st June) - 3:15

4. Chris Dreja-Interview - 0:38

5. I Ain't Done Wrong (3rd July) - 2:27

6. Jim McCarty-Interview - 0:36

7. Smokestack Lightning (Full Version) (16th Nov.) - 4:56

8. You're Better Man Than I - Interview (16th Nov.) - 3:56

9. The Train Kept A-Rollin' (16th Nov.) - 2:39

10.Jim McCarty-Interview - 0:44

11.I'm Not Talking (16th March) - 2:33

12.Keith Relf-Interview - 0:15

13.I'm A Man (9th April) - 3:55

14.Keith Relf-Interview - 0:25

15.Jeff's Boogie (9th June) - 2:31

16.Keith Relf-Interview - 0:46

17.Steeled Blues (1st June) - 2:36

18.Louise (4th June) - 2:56

19.Keith Relf-Interview - 0:21

20.I Wish You Would (6th Aug.) - 2:31

21.Love Me Like I Love You (9th Aug.) - 2:46

22.The Stumble (27th Sept.) - 1:53

23.Paul Samwell-Smith-Interview - 1:26

24.You're Better Man Than I - 2:23

25.The Train Kept A-Rollin' - 2:41

26.Chris Dreja-Interview - 0:41

27.I've Been Trying (9th June) - 3:02

28.Shapes Of Things-Interview - 5:02

29.Paul Samwell-Smith-Interview - 2:40

30.For Your Love (Long Version) - 2:07

31.My Girl Sloopy (Long Version) - 5:49

32.I'm A Man (Live) - 3:35

33.I Wish You Would (Live) - 1:02

34."McLeans" Advert - 0:30 

Tracks 1,3,5,7,8,9. Recorded at Maida Vale Studios London for the BBC during 1965. 

Tracks 11,13,15,17,18,20,21,22,27. Unreleased lost UK Radio sessions from 1965, 

Tracks 24, 25 Live England November 1965, Track 28. U.S Broadcast 10th January 1966. 

Tracks 30-32. 6th August 1965, Fifth National Jazz & Blues Festival, Richmond Athletic Association Grounds, Richmond. 

Track 33. 23rd September 1965, Dutch TV

Disc Three 65-66

1. Happenings Ten Years Time Ago (26th July '66, 20th Sept. '66 - 2nd Oct. '66) - 2:55

2. Keith Relf-Interview - 0:39

3. Psycho Daisies - 1:48

4. Stroll On (With Soundtrack Coda) - 3:31

5. Chris Dreja-Interview - 0:11

6. "Great Shakes" Advert - 1:02

7. I Wish You Would - 3:18

8. I'm A Man - 2:37

9. The Train Kept A-Rollin' (Live) - 2:21

10.Over Under Sideways Down (Live) - 2:13

11.Shapes Of Things (Live) - 2:21

12.He's Always There (Alternate Version) - 2:29

13.Turn Into Earth (Alternate Version) - 3:09

14.I Can't Make Your Way (Alternate Version) - 2:23

15.I'm A Man - 3:12

16.For Your Love - 2:12

17.Heart Full Of Soul 2:23

18.I Wish You Would (Live) - 2:27

19.Jim McCarty-Interview - 0:12

20.Questa Volta (Live) - 4:05

21.Pafff... Bum (Live) - 2:52

22.Chris Dreja-Interview - 0:19

23.The Train Kept A-Rollin' (Live) - 2:30

24.Shapes Of Things (Live) - 2:15

25.Jim McCarty-Interview - 0:15

26.Jimmy Page-Interview - 1:09

27.Jeff's Boogie (6th May '66) - 2:15

28.You're Better Man Than I (Live) - 3:07

29.Keith Relf & Jeff Beck Interview Ravi Shankar (8th June '66) - 0:56

30.Shapes Of Things (Live) - 2:18

31.Jim McCarty-Interview - 0:30

32.Jim McCarty-Interview - 0:27

33.Chris Dreja-Interview - 0:17

34.I'm Not Talking (4th June '65) - 2:26

35.Heart Full Of Soul (9th June '65) - 2:22

36.Spoonful (9th April '65) - 3:10

37.Bottle Up And Go (9th April '65) - 1:57

38.All The Pretty Little Horses (Hushabye) (9th April '65) - 1:56

39.Jeff Beck-Interview - 0:08

Tracks 1 & 3. Recorded at De Lane Lea Studios, London. Track 4. Recorded 3rd -5th October 1966, Sound Techniques Studios, Chelsea, London

Track 5. Radio Commercial (12th July 1966, Marquee Studios, London) 

Track 7 & 8. 10-11th August 1965, US Broadcast. Tracks 9-11. 27th June 1966, Music Hall De France. Tracks 12, 13. 31st May – 4th June 1966, Advision Sound Studios, London. 

Track 14. 14th June 1966, IBC Studios, London. 

Tracks 15 - 17. Recorded 10-11th August 1965, US Broadcast. 

Track 18. 20th June 1965, Palais Des Sports, Paris, France. Tracks 

20 & 21. Recorded 28th & 29th January 1966, "The 16th Festival of Italian Songs 

Tracks 23 & 24. 1st May 1966, "Poll Winners Concert," Empire Pool, Wembley. 

Tracks 27, 34-38. Unreleased UK Radio Broadcast. 

Track 28 Recorded Live May 1966, England. 

Track 30. 1st April 1966, La Locomotive Club, Paris, France

Disc Four 1967-68

1. Shapes Of Things - 2:55

2. Happenings Ten Years Time Ago - 4:25

3. Over Under Sideways Down - 2:14  

4. I'm A Man - 6:24 

5. Chris Dreja-Interview - 0:39 

6. Shapes Of Things - 2:31 

7. Heart Full Of Soul - 2:16 

8. You're Better Man Than I - 3:52 

9. Most Likely You Go Your Way (And I'll Go Mine) - 3:15  

10.Over Under Sideways Down - 2:32  

11.Little Games - 2:40 

12.My Baby - 2:43 

13.I'm A Man - 7:07  

14.Chris Dreja-Interview - 0:49 

15.The Train Kept A-Rollin' - 3:18 

16.Dazed And Confused - 5:46 

17.Goodnight Sweet Josephine - 2:33 

18.Glimpses (Sound Effects) - 1:22  

19."The In Sound" - 1:36  

20.Chris Dreja-Interview - 0:37  

21.Think About It (Work-In-Progress) - 5:33  

22.Jimmy Page-Interview - 0:22  

23.Dazed And Confused (Live) - 9:09

Track 4. Recorded on 15th March at the Stadthalle Offenbach. 

Tracks 6 - 13. Recorded 7th April 1967 Stockholm. 

Tracks 15-17. Recorded 9th March in France. 

Track 18. Recorded early 1967 in New York. 

Track 19. August 1967 US Army Radio Program. 

Track 21. Recorded January 1968 London. 

Track 23. Unknown Venue in England January 1968

Disc 5 BBC Radio One
1. I Ain't Got You (22nd March '65) - 2:00
2. For Your Love - Keith Relf-Interview (22nd March '65) - 3:17
3. I'm Not Talking (22nd March '65) - 1:46
4. I Wish You Would (1st June '65) - 2:36
5. Too Much Monkey Business (6th August '65) - 2:29
6. Love Me Like I Love You (6th August '65) - 2:50
7. I'm A Man (6th August '65) - 2:27
8. Still I'm Sad - Paul Samwell-Smith-Interview (27th Sept '65) - 3:44
9. My Girl Sloopy (Full Version) (27th Sept '65) - 3:40
10.Keith Relf Interview (28th Feb' 66) - 1:19
11.Shapes Of Things (28th Feb' 66) - 2:17
12.You're A Better Man Than I (28th Feb' 66) - 3:03
13.Dust My Broom (28th Feb' 66) - 2:30
14.Baby, Scratch My Back - Keith Relf-Interview (6th May '66) - 4:01
15.Over Under Sideways Down (6th May '66) - 2:11
16.The Sun Is Shining (Full Version) (6th May '66) - 3:32
17.Shapes Of Things (6th May '66) - 2:24
18.Most Likely You Go Your Way (And I'll Go Mine)(17th March '67) - 2:49
19.Little Games (17th March '67) - 2:21
20.Drinking Muddy Water (17th March '67) - 2:40
21.Think About It (16th March '68) - 3:09
22.Jimmy Page-Interview-Goodnight Sweet Josephine (16th March '68) - 4:19
23.My Baby (16th March '68) - 2:50
24.White Summer (6th March '68) - 4:24
25.Dazed And Confused (6th March '68) - 5:47
26.Think About It (6th March '68) - 3:15

The Yardbirds
*Keith Relf - Lead Vocals, Harmonica
*Eric Clapton - Lead Guitar
*Chris Dreja - Rhythm Guitar
*Paul Samwell-Smith - Bass, Backing Vocals
*Jim Mccarty - Drums, Backing Vocals
*Jeff Beck - Lead Guitar, Backing Vocals
*Jimmy Page - Bass, Guitar

1964  Five Live Yardbirds (Repertoire remaster and expanded)

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