The French band Zoo was formed in 1968. They took part in the festival in Amougies, Belgium, along with Pink Floyd, The Nice, East Of Eden, Frank Zappa, etc. The band had a strong jazz-blues-rock influenced sound with traces of psychedelia and funk. Featuring electric guitars, Hammond organ, electric violon and saxophone..
In 1972 Zoo released their 3rd album "Hard times, good times", Strong jazzy psych brass sounds, like Blood Sweat and Tears, Chicago, etc. Even though τhey participated in many big festivals they failed to make an international career and due the lack of commercial success they disbanded in late 1972.
Tracks
1. What Am I To Be (Ian Bellamy) - 3:54
2. Down In Memphis (Philipe Rault, Daniel Carlet) - 4:41
3. Captain (Ian Bellamy, Andre Herve) - 3:10
4. Faces (B. Bergmann, E. Baaz) - 3:58
5. Delusions And Dreams (Philipe Rault, Michel Herve) - 3:57
6. Four Strings (Michel Ripoche) - 3:26
7. Second Class Games (Ian Bellamy) - 3:24
8. Hard Times, Good Times (Ian Bellamy, Andre Herve) - 2:16
9. Queen Of The Green Eyes (Ian Bellamy, Christian Devaux) - 5:58
10.La Feuille (Andre Herve, Daniel Carlet, Michel Ripoche, Ian Bellamy, Michel Herve, Philipe Rault) - 3:48
The rise of The Invaders to the pinnacle of South African pop and rock stardom can be traced directly to the 1961 Cliff Richard & The Shadows tour in Port Elizabeth, South Africa. After seeing the show twenty one year old John Burke confidently declared “I was born for show business and someday I’ll be famous like The Shadows” - these would be prophetic words. Armed with a battered guitar he formed his first group called The Astronauts, the first pop band in Uitenhage but after several live dates that band splintered. Undeterred John and guitarist Errol Gobey continued in various groups including an embryonic Invaders before settling on the classic line up of John Burke-bass; Joe Moses-lead guitar ; Errol Gobey- guitar and Dave Burke –drums in 1963.
Over the next 3 years The Invaders proceeded to play every 'session', 'school hop' dance party and talent competition available, often thrashing the opposition bands. Word of mouth about their energetic live performances and in 1967 they released their debut album “Two sides of The Invaders” which rapidly achieved gold status. In December of that year they released the “Shockwave” single (also available on the “Astral Daze 2” compilation)– a seminal, fuzz drenched guitar workout that seemed to preempt the coming psychedelic revolution. This track climbed the South African charts peaking at No.10 and earning them a gold disc-the “Shockwave” single and album was a huge success” recounts Gobey, we toured the whole country and according to the media
The Invaders were South Africa's top band”. This success is confirmed by the band's fan club which at it's peak had over 50,000 members, rivaling that of The Beatles and Rolling Stones. Another two successful albums, “One more time” and “New image” were released before the band embarked on a European tour. Hassled by red tape and permit problems but inspired by the rock explosion in the countries that they played in, the band returned to South Africa with a new vision and direction for the next album.
Now joined by vocalist Lionel Petersen and organist Rodger Pillay they entered the studio to record “There's a light, there's a way”. Gone were the guitar driven pop instrumentals and light pop tunes of previous years and in it's place was a more contemporary sound, incorporating elements of funk, prog rock and psychedelic soul. “Turn on the sun”, with it's layered vocal harmonies manages to bridge the divide between early '70s soul and pop whilst the funky “Ocean of peace” wouldn’t be out of place on a Rare Earth album ; awash with swirling Hammond and driving guitar work the pastoral “Astral III” is the perfect counterfoil to the Grand Funk like “Astral II”. With a nod to The Kinks' “You really got me” the stomping riff of “I need you” is the platform for Joe's searing guitar solo.
Tackling a Stones classic like ‘You can’t always get what you want” is a daunting task for any band but The Invaders 'soulify' the tunes with soaring vocals, funky piano/organ lines and some jazzy flute making it one of the best covers in rock history.The original album is boosted by the inclusion of two bonus tracks; a raw version of Creedence's ‘Born on the bayou” and an earlier psych tune “Painter Man”.
With the long overdue release of ‘There's a light, there's a way”, The Invaders rightfully take their place alongside other shining lights in the rock firmament like Freedoms Children, Otis Waygood, Hawk, Suck and Abstract Truth.
by Benjy Mudie, May 2010
Tracks
1. There's A Light There's A Way (David Burke, Joe Moses) - 3:04
2. Turn On The Sun - 3:58
3. Ocean Of Peace - 4:21
4. Astral III - 4:46
5. Astral II - 3:07
6. Second Coming - 4:27
7. I Need You - 2:04
8. You Can't Always Get What You Want (Mick Jagger, Keith Richards) - 6:01
9. Born On The Bayou (John Fogerty) - 2:35
10.Painter Man (Kenny Pickett, Eddie Phillips) - 2:14
All compositions by Invades except where stated
Track #5 including excerpts from "You Really Got Me" and "I Want To Take You Higher"
Originated from Bournemouth circa 1965. Nite People were signed to Fontana records in 1966 before signing to Page One in 1969. Recorded couple of demos for Avenue Artists circa 1967 at Bob Potter's studio in Mytchett, Surrey and in London, circa 1969 to be included on their LP for Page One records entitled P.M.. They disbanded in 1970.
Their sole album originally issued in 1970 on the collectable Page One label and one of their rarest releases. Progressive/psychedelic sound dominated by Hammond organ/guitar with cool jazz-funk and rare-groove touches, including the mod-club classic "P.M.," the superb instrumentals "Funky Hoe" and a top cover of Frank Zappa's "Peaches en Regalia," among others.
Tracks
1. P.M. (Barry Curtis, 'Fergy' Ferguson, Scott Kirkpatrick) - 2:58
2. Rock Island Line (Traditional) - 3:37
3. Train And A River (Jimmy Giuffre) - 3:48
4. Reach Out I'll Be There (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 5:48
5. Funky Hoe (Barry Curtis, 'Fergy' Ferguson, Jim Shipstone, Scott Kirkpatrick) - 3:18
6. Season Of The Rain (Elton John, Bernie Taupin) - 3:15
7. Native Land (Curtis Amy) - 4:02
8. North Canadian Paradise (Hans Vermeulen) - 3:29
9. Delilah (Barry Mason, Les Reed) - 5:07
10.Peaches In Regalia (Frank Zappa) - 3:53
Big Foot were formed in Los Angeles California in 1967 and consisted of Art Munson (guitar, vocals), Virgil Beckham (bass, vocals), Gerard Belisle (trumpet, trombone, vocals), Spencer Earnshaw (drums), David Garland (organ, trumpet, saxophone, vocals).
Munson had previously been a back-up musician for the Righteous Brothers while the other members played in various groups in and around Orange County. One such group was the Soul Brothers which included Beckham and Belisle who while cruising the Sunset Strip, came up with the name Big Foot, after the ape-like creature that roamed the remote mountain areas of the Pacific Northwest.
The band played the Los Angeles area which included gigs at the Whisky-A-Go-Go and the Pussy Cat-A-Go-Go in Vegas while entertaining recording contract offers.
by Jack Dominilla
Tracks
1. I Keep Holding On (Gerard Belisle, Art Munson) - 3:26
2. Colors (Art Munson) - 3:57
3. Sarah Lee (David Garland) - 3:30
4. When Will It Hit Me (Gerard Belisle, David Garland, Virgil Beckham, Spencer Earnshaw) - 3:37
5. Living Again (Art Munson, Gerard Belisle, David Garland, Virgil Beckham) - 3:19
6. Take Me (Gerard Belisle, Art Munson) - 2:26
7. California Lights (Art Munson) - 4:59
8. Bring Another Day (Virgil Beckham) - 3:11
9. Teen Thigh (Art Munson, Spencer Earnshaw) - 2:44
10.Music Maker (Gerard Belisle, Art Munson) - 3:30
11.Let It Flow (Art Munson, Gerard Belisle, David Garland) - 3:21
This collectable record by Steve Prentice and Stephen Tuttle, is a fragile psych folk record with strong rural Americana feeling.
Most of the songs were recorded in a small apartment in Boston, Steve had a job as a printer, and Stephen was working in a warehouse. They had their own equipment to record a number of takes after work and weekends.
Steve and Stephen met with John Gerbron and David Cain at the Knowles House to do a couple of songs. Tapes finished in early June 1972 at Stephen's house outside Philadelphia. About a thousand of copies were made.
...On the rare occasion I listen to this music it no longer feels like
listening to myself. Too much time has passed. Just two young lads
playing some songs. A few moments of creativity and heartfelt
expression.
by Stephen Tuttle
Tracks
1. The River Song - 3:13
2. Old Man Taylor - 3:07
3. This Downhill Walk - 2:27
4. Jacob's Tree - 2:32
5. It's Getting Mighty Cold - 3:10
6. Deep Blue Affection - 3:07
7. Like A Midnight Crier -
8. Just How You Feel - 2:50
9. The Devil Be Your Lord - 2:40
10.It Isn't Going To Rain This Day - 2:53
11.Ring Them Bells - 3:16
12.Every Loving Day - 3:42
Words and Music by Stephen Tuttle, Steve Prentice
The group was originally started in 1964 by blues fanatic Archie Bowie and guitarist Harvey Mann, both from Mt Maunganui but based in Auckland. They were a hard-core blues band playing mainly traditional American negro blues, which was a brave move in Beatles-obsessed New Zealand. This early incarnation of The Underdogs was the band without an audience. Tthey had to wait for the prevailing British rhythm and blues explosion to gain an audience in New Zealand, and in The Underdogs eyes, save us all from a world of continuous yeah yeah yeahs.
The British R&B invasion spearheaded by the likes of The Yardbirds, John Mayall and The Rolling Stones took hold and The Underdogs Blues Band soon flourished, as New Zealand quickly became a stronghold of the British style of R&B. The Underdogs were a tight musical unit and soon found themselves playing in some of the inner city dances and clubs. Musical divisions within the group started to surface over musical direction, which resulted in group leader and guitarist Harvey Mann taking drastic steps to ensure that his band all travelled in the same direction together. Harvey asked Murray Grindlay if he would like to join The Underdogs as he had just fired Mick Sibley, their singer, who had taken over from Archie Bowie. Drummer Ian Thomson stayed a while then left in protest while rhythm guitarist Tony Rawnsley found himself being replaced by his brother Lou. Thomson later moved to The Brew.
After the dust had settled, there emerged a new Underdogs incarnation that would become the most enduring and best known line-up, with original members Harvey Mann (guitar) and Neil Edwards (bass) now joined by Murray Grindlay (vocals), Lou Rawnsley (rhythm guitar) and Tony Walton (drums). Without missing a beat and using the recently released John Mayall and Eric Clapton Bluesbreakers album as their blueprint the new Underdogs settled in to a Galaxie residency late in 1966 where they played alongside The La De Da’s, The Action and The Pleazers.
Eldred Stebbing signed The Underdogs to his Zodiac label. The first single ‘See Saw’/‘Looking Back’ was released in early 1967, with the A-side, ‘See Saw’ showing a slight shift in direction from their blues roots into a more soulful direction. As Murray Grindlay explains, “we started [recording] closer to what The La De Da's were playing, which was a mixture of soul and British R&B, which was a lot more commercial than the hard core blues that that the previous Underdogs line-up had played.” Later in the year the single would be chosen as a finalist in the 1967 Loxene Golden Disc Awards.
Shortly after the release of ‘Sitting In The Rain’, group leader Harvey Mann left the group, also to join The Brew (with Ian Thomson). Miffed that Harvey had left, the remaining members decided not to replace him, to show that they didn't really need him and carried on as a four-piece. Late in 1967 work started on their debut album, which included a cover of the Donovan song ‘Hey Gyp’ that became their next single and included possibly New Zealand’s first drum tape loop.
Edwards left after being kicked out halfway through the album recording sessions, as the group’s musical direction started to change yet again. Dave Orams joined the group on bass. The group relocated to Wellington for a short period before returning to Auckland at year’s end. Early in 1968 Orams left to join Wellington group, Quincy Conserve and was replaced by George Barris.
Shortly afterwards the group broke up. Tony Walton went on to join a new group Jigsaw that included as their lead singer, Glyn Mason who by year's end would leave Jigsaw to take over from Larry Morris in The Rebels. Chaz Burke Kennedy and George Barris were also members of Jigsaw. Meanwhile Murray Grindlay and Harvey Mann joined The Australasian Blues Champions who rehearsed but never really got off the ground. After little more than a month Murray and Harvey reformed the Underdogs in April 1968. Filling out this line-up was Lou Rawnsley and Doug Thomas on drums.
This line-up of the Underdogs managed to stay together for the rest of 1968. In early 1969 they released the single ‘There Will Come A Time’/‘Fine Jung Thing’. Lou Rawnsley left after the single’s release and was replaced by Chaz Burke-Kennedy from Jigsaw, but by late 1969 the group had disbanded again. Harvey Mann and Neil Edwards got together with Glen Absolum on drums in 1970 and yet again reformed the group. They released the 1971 Bob Gillett-produced album Wasting Our Time as Pig, Mann and Edwards for Pye Records before finally breaking up for good. In 2000 Ascension Records released the CD Blues Band and Beyond, which includes their entire Zodiac output, including their album, EP and singles.
"The blues is good news” -Anon, Sure is. Especially when the men playing the blues are faithful to the music's tradition. And in this day of blues-tinged rock, that isn't always the way things work out. The blues, a music created out of gin and troubles by black men in gritty bars, is more likely in recent years to be something produced by shrill-voiced English boys who whip around formidable amplifiers and whose natural habitat is a huge concert halt or a shiny sixteen-track recording studio.
So much for that good old authentic feeling. Which brings us to the Downchild Blues Band. They're white at! right - Toronto white. as a matter of fact - but in their case/ color is only skin deep. Their feel for the blues has a quality that reaches back to the simplicity and touch of the black men who started it all. No electronic barrages for Downchild. No John Mayall "blues extension." No fooling around with the basic form. Downchild - the name derives, appropriately, from a blues by Sonny Boy Williamson - comes across with nothing more than the essential fun and sadness of the blues, with, if you please, a lot of reverence for the real thing. Donnie Walsh, the band's leader, guitarist and harp man, put Downchild together in 1 969.
He had a minimum of musical experience at the time, but he was inspired by his collection of ancient 78s and 45s, records that preserved the music of the great Chicago bluesmen. With a repertoire drawn from the likes of jimmy Reed and junior Wells, plus a few Walsh originals, Downchild went into a series of Toronto bars bearing names like Forbes and Grossman's and the Dovercourt. All you need to know, about those places is that they exhibit a certain grittiness perfectly appropriate to the blues.
Downchild doesn't play loud but it does play real, and word about the band reached out to a steadily growing and passionately devoted following. And today the band, getting tighter by the gig, works a steady round of bar dates and concerts that are the last word in frantic informality. Sounds authentic? Sure does; and so was the making of this record. That happened at Sound Horn, which happens to have its studio in the second basement parking garage under Rochdale College in Toronto. The music was recorded on two-track stereo and it was mixed as it came through the board.
Given the all-round primitive circumstances of the enterprise, the sound is amazingly fine. There are a couple of reasons for that. One is that the engineers at Sound Horn brought as much love and patience to the venture as Downchild did. The second is that you just can't help coming up with something good and true when you play blues the way Downchild does. And, speaking of primitive, wasn't that the way Howiin' Wolf and Muddy Waters, those old blues masters, made their finest records? Yeah!!
by Jack Batten
Tracks
1. Rock It (Don Walsh) - 3:58
2. Just A Little Bit (Roscoe Gordon) - 3:06
3. Down In Virginia (Jimmy Reed, Ewart Abner) - 3:36
4. That’s All Right (Jimmy Rodgers) - 4:55
5. Messin’ With The Kid (Mel London) - 3:23
6. Don’t You Bother My Baby (Don Walsh) - 4:07
7. Change My Way Of Livin’ (Taj Mahal) - 5:09
8. You Don’t Have To Go (Jimmy Reed) - 3:08
9. Next Time You See Me (Earl Forest, William G. Harvey) - 2:52
10.I’m Sinkin’ (Don Walsh, Rick Walsh) - 3:02
Saskatoon's Witness Inc. was formed in 1967 by singer Kenny Shields with high school friends Les Bateman on organ, Ed Clynton on guitars, bassist Allan Ayers, and drummer Dave Tupper. But before long Bob Walker had replaced Ayers and Derry Stewart had replaced Clynton. The band continued playing the prairie circuit when they caught the attention of Apex Records executives. They were taken to a local studio where they recorded several tracks to fuel their tours.
"I'll Forget Her Tomorrow," backed with "Girl Before You Go" were light-hearted pseudo-psychadelic numbers that did better than the follow-up "Jezebel," which featured "Not You Girl" as the b-side. Two more singles were released a year later, psychadelic covers of the Motown classics "Harlem Lady" b/w a haunting version of "I Put A Spell On You," and "Visions Of Vanessa" b/w "Another Side Of Her." Throughout the band's recording days, the only constants were Shields as the frontman and Bateman on organ. The revolving door continued, and the lineup featured Craig Kaleal replacing Tupper on drums, Bruce Dagenhardt briefly replacing Walker on bass, only to see Walker back in seemingly overnight. Steve Boddington replaced Stewart on guitars, only to see Stewart come back.
By 1969 the band was Shields, Bateman, Bruce Dagenhardt, Derry Stewart, and Bob Ego on drums. They recorded a cover of Allan Ayers' "So Come With Me" and "I've Got To Go" that year, but still only managed limited success outside the prairies and central Canada, although they did make a couple of trips to the east coast. Following a devastating car accident that fall that nearly claimed his life, Shields quit the band while undergoing extensive therapy and rehab. The band carried on, replacing him with Greg DeLaronde early in 1970. He too was replaced before long by Arnie Guzyk, who was also shown the door practically overnight. Meanwhile Don Johnson had been added as a second guitarist, and original guitarist Stewart was replaced by Terry Thomas.
Bateman, Ego and Walker relocated to Edmonton, where they hooked up with vocalist Ed Kilbride. They added Larry Chalmers and Bill Hardie on guitars, but other than a few appearances on a CTV variety show eminating from Calgary and Edmonton, failed to make a go of it. Confused yet? So was everyone else, and the band unofficially called it quits in early '71.
In 1975, Shields was back and reformed the band he'd started. This time the lineup was totally revamped, with only him as a returning member. The new twin-guitar attack featured Bob Deutscher and George Martin, Ken Sinnaeve was brought in on bass, Kaleal was brought back on the skins, and Daryl Gutheil was the new keyboardist. Before long though Shields got back in touch with Ego, who replaced Kaleal as the drummer. But times had changed, musical tastes in the buying public had changed with them, and Shields was unable to recapture the magic. He soon closed the book on Witness Inc, and formed Streetheart in 1976, which also featured Sinnaeve and Gutheil. Ego would go on to join Painter, Paul Hann and Mavis McCauley (ex of One Horse Blue) and do session work for a number of performers. He then reunited with Shields et al in Streetheart in 1979.
1. I'll Forget Her Tomorrow (Tommy Kaye, Ben Wagman) - 2:06
2. Girl Before You Go (Dennis Tremmeer) - 2:08
3. Jezebel (Wayne Shanklin) - 3:14
4. Not You Girl (Ed Clynton) - 1:48
5. Harlem Lady (David McWilliams) - 3:12
6. I Put A Spell On You (Jay Hawkins) - 3:24
7. Visions Of Vanessa (Allan Ayers) - 3:40
8. Another Side Of Her (Allan Ayers) - 3:43
9. So Come With Me (Brass Version) (Allan Ayers) - 2:40
10.I've Got To Go (Kenny Shields, Allan Ayers) - 3:01
11.So Come With Me (Allan Ayers) - 2:38
Sure, part of it's being famous and making money and who doesn't like that? But these four guys honestly dig their music, their performances, their recordings - yes, their fans, too. They enjoy being a group. As a result, they have a rapport that's a little rare in show business, where ambitions and egos often get in the way and blow relationships. You might hear one of these guys singing lead on one song and another on the next. They do whatever s best for the arrangement and they're happy that way.
It's nice for the Standells; it's nice for their audiences, too. Or, to repeat an old proverb: "Sometimes good guys don't wear white; they just get along! Well, that's what makes the Standells' recordings of the Hot Ones so Hot! They've taken the big hits, like the Monkees' Last Train to Clarksville; Donovan's Sunshine Superman; the Troggs' Wild Thing; the Rolling Stones' 19th Nervous Breakdown; the Lovin' Spoonful's Summer in the City and their own Dirty Water and worked them out the way they sound best.
And they sure do! In most of the songs, they've done actual re-creations of the famous originals, though on a couple (the Beatles' Eleanor Rjgby and Los Braves' Black is Black) they have vocals replacing instruments (not to mention the budget-conscious carhorn vocals on Summer In The City...- ed).
Here, Dick happens to be singing most of the leads, but Larry does lead voice on the Kinks' Sunny Afternoon, with Tony featured prominently on the background; and Dave is featured - novelty fashion - on Sam the Sham's Lill’ Red Riding Hood, along with Florida DJ Mike Reineri's famous "Bertha Breadsacker" voice.
Original LP Liner Notes
The Hot Ones! album, first released in September 1966, was comprised of covers of then current chart hits. In addition to the newly recorded tracks, the LP recycled two cuts from the Dirty Water album; "19th Nervous Breakdown" and "Dirty Water". To avoid repetition, these two cuts have been omitted on this set, with additional unreleased tracks inserted in their place. "You Were The One" is a previously unreleased ballad recorded during the first Ed Cobb-produced Standells' session on March 5, 1965; the same session that yielded the legendary cuts "Dirty Water" and "Rari".
The unissued tracks "School Girl" (a Graham Gouldman composition) and Cobb's "Ten O'clock Scholar" (with its great 'Boettcher-esque' vocal lines) are both outtakes from the early sessions for the Try It album, recorded near the end of 1966. They feature new member John Fleck on bass.
The somewhat out-of-character "When I Was A Cowboy" (a Leadbelly song) and the megaphoned, Tony Valentino-penned "Don't Tell Me What To Do" were originally issued in 1967 as a rare Tower 45 (#312) and credited to The Sllednats. "Misty Lane" has previously made an appearance on a U.K. compact disc, erroneously credited to Tower label-mates The Chocolate Watchband, The track is, in fact, the Standells taking a shot at what would soon become a Watchband classic.
While the C.W.'s version surely remains the definitive performance, The Standells' take is an interesting alternative, with its unique backing vocals and use of Tony's signature fuzzed guitar tone providing the intro lines. Lastly, we have our favorite 'lost' performance, "The Standells' Love Theme", a boozy, extended, afterhours studio jam, circa 1966. Perhaps intended at one time to be chopped to shards for use in an A.I.P, biker flick, we're proud to present the lengthy session in its ultra-cool entirety.
by Bob Irwin
Tracks
1. Last Train To Clarksville (T. Boyce, B. Hart) - 2:43
2. Wild Thing (Chip Taylor) - J:5J
3. Sunshine Superman (Donovan Leitch) - 2:41
4. Sunny Afternoon (Ray Davies) - 3:22
5. Lil' Red Riding Hood (R. Blackwell) - 2:43
6. Eleanor Rigby (J. Lennon, P. McCartney) - 2:73
7. Black Is Black (Hayes, Wadey, Grainger) - 233
8. Summer In The City (J. Sebastian, M. Sebastian, S. Boone) -2:J
9. You Were The One (Ed Cobb) - 2:29
10.School Girl (Graham Gouldman) - 2:18
11.Ten O'clock Scholar (Ed Cobb) - 3:00
12.When I Was A Cowboy (H. Ledbetter) - 2:39
13.Don't Tell Me What To Do (T. Valentino) - 2:56
14.Misty Lane (M. Siegel) - 3:10
15.Standells' Love Theme (Ed Cobb, B. McElroy) - 11:18
In 1967 when this album was recorded I had been playing guitar for three years and writing songs for two years. I was heavily influenced by Bert Jansch, the Scottish contemporary folk singer/songwriter and co-founder of the band Pentangle, best known for his song "Needle of Death" and his brilliant version of Davy Graham's "Angie" guitar instrumental.
Many musicians have said that Jansch was a huge influence, Jimmy Page and Neil Young among them. Jansch was such an inspiration to me in that I followed his path of contemporary folk rather than mainstream pop music. Although I listened to the Beatles, Peter Paul and Mary, Bob Dylan and James Taylor and the fabulous folk trio of women Joan Baez, Judy Collins and Odetta, it was the English sensibility that I tried to capture in my songs.
This meant one thing... I was never going to be big in terms of Australia wide success. In fact as long as I felt free to do my own thing I was happy. It wasn't until later when Gordon Lightfoot, Joni Mitchell, Jackson Browne and the whole American West Coast sound became popular that I followed those trends and left my folkie days behind...and started to make headway both in studio work as a session singer and in live performance.
So here I am in 1967, 19 years old and virtually never sung in public except for the odd live gig at my high school and the thought came that I would like to do what my heroes had done and make a record. How I got on to Nationwide I don't remember but I booked some time and took the train into town with my song book and guitar and for the first time walked into a recording studio.
I knew nothing but Graham didn't know that! I had heard that when making an album the guitar part was recorded first then the vocals after that. I started at track one and recorded all the guitar parts in one take. I didn't listen to any of them back then went straight into recording the vocals. All the vocals I did in one take also! In less than two hours I had recorded a whole album of original material. At the end of the session Graham said "I've never seen that done before." I had no idea what he meant. It didn't occur to me to listen back to each song and do it again if it wasn't right... besides, I was used to singing songs live so I rarely made a mistake.
My best friend at the time Peter Ryan arranged the covers of the 50 albums I had pressed -also by Graham in his own pressing plant in the Nationwide building- and it was Peter that wrote (AT LAST) on the cover by hand. There were only ever those 50 pressed Copies... if you can get them... now sell for hundreds of dollars.
The guitar I used, which I still have, is a Hagstrom Bonita. Hagstrom acoustics have not been made in their original Swedish factory since the early 70s but have a cult following of die hard collectors. The list of famous players is amazing, Cat Stevens being the foremost. Whether I sold any copies or whether I just gave them away I have no recollection. I simply had always wanted to make an album and AT LAST I had.
by Andy Armstrong, June 2011
Tracks
1. Intro - 0:45
2. Had A Little Girl - 2:04
3. My Little Bird - 2:22
4. Once Upon A Time - 1:44
5. The Way You Talk - 3:03
6. A Ray Of Hope - 2:44
7. If Someone Is Following You - 4:08
8. Call It On Your Own - 3:50
9. Baby Said To Me - 2:17
10.Did I hear You Right - 2:11
11.How's Your Baby - 3:09
12.Slidin' Blues - 2:23
13.Plead Is All I Can Do - 4:31
14.Bonnie George Campbell (Traditional) - 3:28
15.Goin' Home - 1:28
Words and Music by Andy Armstrong except song #14
The 2009 Julien Temple cinema documentary ‘Oil City Confidential’ did much to resurrect the career of Canvey Island 70’s R and B act and punk pioneers Dr Feelgood, and in particular that of their eccentric guitarist Wilko Johnson who became the undoubted star of the film.
What is sometimes forgotten is that after Johnson, the then songwriter of the group, was fired from Dr Feelgood in 1977 after recording three studio albums – ‘Down by the Jetty’ (1975), ‘Malpractice’ (1975) and ‘Sneakin’ Suspicion’ (1977) – and a live record ‘Stupidity’ (1976), Lee Brilleaux, their fireball vocalist and harmonica, decided to carry on the group, initially with Gypie Mayo taking over on guitar.
Lee Brilleaux died of cancer a month before his 43rd birthday in April 1994, having recorded another eleven studio albums with Dr Feelgood, including the Nick Lowe-produced ‘Be Seeing You’ (1977) and ‘A Case of the Shakes’ (1980); ‘Private Practice’ (1978), which featured their only Top 10 hit ‘Milk and Alcohol’, and Brilleaux’s underrated final album with the band, ‘The Feelgood Factor’ (1993).
by John Clarkson
Having fallen apart just as punk rock and the new wave were taking the world by storm, the Feelgoods turned to Nick Lowe to produce the record and he keeps everything admirably bare: Brilleaux's voice remains pleasingly grubby, the back line solid as a brick shithouse, and Mayo dipping in an out with no little style, technique and sensitivity. If that was impressive given the short amount of time the band had to regroup and prepare for the record, October 1978's Private Practice was even more of an eye-opener.
With Mayo contributing to six tracks and Brilleaux three, this was more of a band effort than its predecessor and spawned two terrific singles, 'Down At The Doctors' reaching No.48 and the marvellous 'Milk And Alcohol', written by Mayo and Lowe, becoming the band's first top ten hit. Throughout there is an intoxicating edge to Brilleaux's vocals which sound even more sinister than usual, the songs are full of blockbuster riffs and everywhere Mayo displays his virtuosity - just listen to 'Every Kind Of Vice' or 'Night Time': it is as if Johnson had never been away.
Tracks
1. Down At The Doctors (Mickey Jupp) - 3:19
2. Every Kind Of Vice (Lee Brilleaux, John Mayo) - 3:27
3. Things Get Better (A. Jackson jr, E. Floyd, S. Cropper) - 2:51
4. Milk And Alcohol (Nick Lowe, John Mayo) - 2:55
5. Night Time (B. Feldman, G. Goldstein, R. Gottehrer) - 5:26
6. Let's Have A Party (Baxter, Clifford, Haymes) - 2:42
7. Take A Trip (Lee Brilleaux, John Mayo) - 4:25
8. It Wasn't Me (Nick Lowe, John Mayo) - 3:06
9. Greaseball (John Mayo) - 3:55
10.Sugar Shaker (Lee Brilleaux, John Mayo, John Sparks) - 4:45
11.Down At The (Other) Doctors (Mickey Jupp) - 3:53
12.Cheque Book (Mickey Jupp) - 3:51
13.Back In The Night (Wilko Johnson) - 3:12
14.Lucky Seven (Lew Lewis) - 2:34
15.Lights Out (David, Robbenack) - 3:32
16.Sneackin’ Suspicion (Wilko Johnson) - 3:12
17.Great Ball Of Fire (Hammer, Blackwell) - 2:14
18.It Don’t Take But A Few Minutes (Berry) - 3:28
19.Blues Jam (Brilleaux, Mayo, Sparks, Figure, Holland, Squirrel, Lewis) - 5:51
20.Milk And Alcohol (New Recipe) (Nick Lowe, John Mayo) - 3:07
21.She’s Got Her Eyes On You (Brilleaux, Russell, Mitchell, Morris) - 3:11
Tracks 18-19 performed by The Oil City Sheiks
Dr Feelgood
*Lee Brilleaux - Vocals, Guitar, Harmonica
*John B. Sparks - Bass Guitar, Backing Vocals
*Gypie Mayo - Guitar
*The Big Figure (John Martin) - Drums
A brand new compilation that charts the period when the Climax Blues band accelerated from club act to US Top 40 regularsand, finally, Top 3 hit makers with ‘Couldn’t Get it Right’.Accompanying frontman Colin Cooper (vocals, sax) and Pete Haycock (guitar, vocals), both now sadly deceased, were JohnCuffley (drums) and Derek Holt (bass, vocals).
The return of original member Richard Jones on keyboards midway throughthis gig sequence completed the classic Climax Blues Band line up.Material covers band-penned classics from ‘Sense Of Direction’ (1974), ‘Stamp Album’ (1975), ‘Gold Plated’ (1976), plus songsfrom then current album ‘Real To Reel’ (1979). Also included are blues standards like ‘The Seventh Son’, a long-time staple oftheir ‘live’ set and Wilbert Harrison’s ‘Let’s Work Together’.The Beatles ‘Get Back’ was introduced by Pete Haycock one night to lengthen a short set. “Towards the end of ‘All The TimeIn The World’ I started jamming the Beatles guitar solos and the other guys picked up on it. We started playing to please thecrowd after that!”
The three concerts, from Marquee Club London (1973), New Jersey (1974), Guildford (1976) are previously unreleased. Only1979’s Miami show had a limited US release on Warner Bros.This an essential new set for blues aficionados and band fans alike.Booklet with authoritative and extensive liner notes includes quotes from Climax Blues Band’s Derek Holt and the late PeteHaycock. -
6. Shake Your Love /That's All (George Newsome, Anton Farmer, Richard Gottehrer, Colin Cooper, Pete Haycock, Derek Holt, John Cuffley) - 7:03
7. All The Time In The World - 7:22
8. Seventh Son (Willie Dixon) - 5:02
All songs written by Colin Cooper, Pete Haycock, Derek Holt, John Cuffley except where noted
Tracks 1-6 Live at the Marquee Club London 1973
Tracks 7-8 Live In New Jersey 1974
Disc 2
1. Flight - 15:50
2. So Many Roads (Paul Marshall) - 13:45
3. Country Hat (George Newsome, Anton Farmer, Colin Cooper, Pete Haycock, Derek Holt) - 9:06
4. Shake Your Love (Richard Gottehrer, John Cuffley, Colin Cooper, Pete Haycock, Derek Holt) - 4:03
5. Going To New York (Jimmy Reed) - 10:45
6. Let's Work Together (Wilbert Harrison) - 7:45
7. One More Time/Stormy Monday (Jaymes Young, T. Bone Walker) - 7:02
8. Together And Free - 3:02
9. Amerita Sense Of Direction - 6:22
All songs written by Colin Cooper, Pete Haycock, Derek Holt, John Cuffley except where indicated
Tracks 1-7 Live In New Jersey 1974
Tracks 8-9 Live In Guildford 1976
Disc 3
1. Chasing Change (Colin Cooper, Pete Haycock, Derek Holt, John Cuffley, Richard Jones) - 4:58
2. Using The Power (Colin Cooper, Pete Haycock, Derek Holt, John Cuffley, Richard Jones) - 4:22
3. Couldn't Get It Right (Colin Cooper, Pete Haycock, Derek Holt, John Cuffley, Richard Jones) - 3:16
4. Going To New York (Jimmy Reed) -7:48
5. All The Time In The World - 2:29
6. Get Back (John Lennon, Paul McCartney) - 2:44
7. Money In Your Pocket - 4:39
8. Summer Rain - 5:44
9. Amerita Sense Of Direction - 7:40
10.Evil (Willie Dixon) - 5:09
11.Fallen In Love (For The Very Last Time) - 4:45
12.Seventh Son/Got My Mojo Workin' (Willie Dixon, McKinley Morganfield) - 9:22
13.Whatcha Feel - 9:42
14.All The Time In The World-Get Back (John Lennon, Paul McCartney) - 6:01
All songs written by Colin Cooper, Pete Haycock, Derek Holt, John Cuffley except where stated
Tracks 1-6 Live In Guildford 1976
Tracks 7-14 Live From Miami 1979
Climax Blues Band
*Colin Cooper - Vocals, Alto, Tenor Saxes, Guitar, Harmonica
*Pete Haycock - Vocals, Lead Guitar
*Derek Holt - Vocals, Bass Guitar, Electric Piano
*John Cuffley - Drums, Percussion
*Richard Jones - Keyboards (Disc 3)
Originally pressed on the Kama Sutra label in 1971, One Kiss Leads To Another was an anomaly of its era. But to hear the album today, as resurrected by Real Gone Records, a timeless quality persists.
Coming to be at an hour rock music was seriously polarized, with heavy bands like Led Zeppelin, Mountain and Grand Funk Railroad perched on one side of the dial, while the soft and creamy sentiments of the Carpenters and Bread characterized the commercial climate, Hackamore Brick belonged in neither category. Although One Kiss Leads To Another drew fantastic reviews when it was released, which unfortunately did not generate fame or sales, it wasn’t until a couple of decades later that the Brooklyn, New York band was recognized as founding fathers of alternative rock.
Substance over style and passion over professionalism propel the performances on One Kiss Leads To Another, making for a loose, casual and homegrown feel. Prodded by the light tinkle of a piano, followed by a flickering hive of clangy guitars and a pretty melody, “Reachin'” projects a sense of delirious detachment, and “Oh! Those Sweet Bananas” features similar elements but delivered at a brisker clip.
Charmingly jagged vocals laced with a bit of a nasally twang, complemented by sparse arrangements dictate a hefty portion of material on One Kiss Leads To Another, resulting in kind of an edgy folk pop sound. Assembled of giddy rhythms and a touch of good old fashioned rock and roll romp and bomp, “Radio” and the gentle proceedings of “Got A Gal Named Wilma” rate as further praiseworthy tracks included on the disc. The odd man in the bunch is “And I Wonder,” which captures Hackamore Brick on a progressive rock bender with its whirly keyboard noodling, jazzy movements and chaotic jamming in general.
Remnants of psychedelic garage rock also frequently appear throughout One Kiss Leads To Another, while some of this stuff bears a passing resemblance to Big Star before Big Star even actually existed. Additional comparisons would be the Lovin’ Spoonful, Buffalo Springfield and the Velvet Underground, but all told it’s difficult to classify the album, which is why it is so interesting and intriguing.
Haunting, raw and played straight from the heart and gut, One Kiss Leads To Another has a lot going on despite its rather low-fi and economic approach. An accidental masterpiece it is!
by Beverly Paterson
Tracks
1. Reachin' (Chick Newman) - 4:45
2. Oh! Those Sweet Bananas (Tommy Moonlight) - 2:27
3. I Watched You Rhumba (Tommy Moonlight) - 2:57
4. Radio (Tommy Moonlight) - 3:38
5. Peace Has Come (Bob Roman, Tommy Moonlight) - 3:05
6. Got A Gal Named Wilma (Tommy Moonlight) - 3:23
7. I Won't Be Around (Chick Newman) - 1:35
8. And I Wonder (Chick Newman) - 7:26
9. Someone You Know (Chick Newman) - 4:23
10.Zip Gun Woman (Chick Newman, Tommy Moonlight) - 2:54
11.Searchin' (Single version) (Chick Newman) - 3:13
It's been pretty well established that The Byrds had long gone past their expiration date. Roger McGuinn had already peaked as a songwriter, and none of the other band members he brought in were particularly notable songsmiths. Really, if you listen to this album, you'll likely find it to be inconsequential and without any original ideas to speak of. Well, despite that, Farther Along is an incredibly pleasing album. They learned from their mistakes well, and they started to actually sound like they were enjoying themselves! As it goes, the audience has a better chance of enjoying an album if the artists seem like they enjoyed creating it.
“Tiffany Queen” is a good start, and the only song of the album that could be construed as rock 'n' roll (and that includes the song called “Born to Rock 'n' Roll” in the bonus tracks). It's actually a somewhat convincing riff-rock song, and that's surprising considering I didn't think these guys knew what rock 'n' roll was! Yeah, it's still a tad flat, and they shouldn't have relied on a generic '50s R&B melody, but it's a sort of crunchy song that's fun to listen to. “Get Down Your Line” marks the moment when I suspected these guys were actually enjoying themselves. Musically the song isn't any great shakes, but all the band members join in for the chorus with incredibly unrehearsed, unpolished vocals and sound like they're having a blast. That's all that matters, I guess.
Nothing on here can really top “Bugler,” which probably deserves a place as a classic on these McGuinn-era Byrds albums, though not a major one. Once again, it's nothing spell bounding, but that light breezy melody is rather fun for me to hear. They also favor some rich, organic guitars, which makes it sound even better! What's more, that slide guitar is gorgeous!!
“B. B. Class Roadie” is a typical piano-boogie, but that comically guttural vocal performance keeps it lively and even comedic. It's as generic as it gets, and the musicianship isn't amazing or anything, but it's admittedly fun to hear it. “America's Great National Pastime” is even funnier, though. It sounds like a theatrical Dixieland parody (with some skiffle guitars and a music hall piano), and the lyrics are very silly. A lot of people think that song is dorky, and it is, but that's the point! ... I'm just glad they're not boring me to death with another zero-calorie gospel-folk number.
The last five songs of the album are generally the weakest, though many of them are still quite nice. “Antique Sandy” is a pleasant, atmospheric ballad with an interesting use of a vocal echo effect. That was close to being another one of their dull ballads, but with that effect and those pretty, well-mixed guitars, it had a chance to show its colors a bit. “Precious Kate” is a little dull, though... It's not a bad listen, but they don't come up with too many great ideas for it. “So Fine” and “Lazy Waters” also don't impress me much, but they're still tuneful enough for me to gather interest in it. The album ends with a finger pickin' bluegrass instrumental that sounds like royalty-free stock music. I know I already said the other songs don't have an ounce of originality, but that fact didn't seem to overwhelmingly bother me until that point. Ah well... It's the last track, and it doesn't do any harm.
The bonus tracks are surprisingly nice for bonus tracks! Many of the songs would later appear on McGuinn's solo career... which means that I know what his solo career sounds like now! Exactly like these late-career Byrds albums! “Lost My Drivin' Wheel” is very light and very nice. It's a cool sort of country-rock tune. “Born to Rock 'n' Roll” goes back and forth between a rather beautiful ballad and a more rockin' chorus. The ballad part is *much* better. Roger McGuinn was *not* born to rock 'n' roll! “Bag Full of Money” is likable, but clearly the lesser of the bonus tracks.
While this album isn't even close to measuring up to the classic Byrds albums, it's an incredibly even album and possibly the best of the McGuinn-era works. I guess the major problem with it is that it's without a single, really compelling song that's an equal to beautiful numbers like “Ballad of Easy Rider” and “Lover of the Bayou.” The closest thing this album has is “Buglar,” and there's next to no chance that you'll get that one stuck in your head... So, this is a solid album, but there's not much that will inspire you to listen to this too frequently.
by Michael Lawrence
Tracks
1. Tiffany Queen (Roger McGuinn) - 2:40
2. Get Down Your Line (Gene Parsons) - 3:26
3. Farther Along (Traditional, Arranged Clarence White) - 2:57
4. B.B. Class Road (Gene Parsons, Stuart Dawson) - 2:15
5. Bugler (Larry Murray) - 3:07
6. America's Great National Pastime (Skip Battin, Kim Fowley) - 2:57
7. Antique Sandy (Roger McGuinn, Skip Battin, Gene Parsons, Clarence White, Jimmi Seiter) - 2:12
8. Precious Kate (Skip Battin, Kim Fowley) - 2:59
9. So Fine (Johnny Otis) - 2:37
10.Lazy Waters (Bob Rafkin) - 3:33
11.Bristol Steam Convention Blues (Gene Parsons, Clarence White) - 2:42
12.America's Great National Pastime (Mono Single Version) (Skip Battin, Kim Fowley) - 2:54
13.Lost My Drivin' Wheel (David Wiffen) - 4:57
14.Born To Rock And Roll (Roger McGuinn) - 2:58
15.Bag Full Of Money (Roger McGuinn, Jacques Levy) - 3:19
16.He Was A Friend Of Mine (Traditional Arr. Roger McGuinn) - 2:27
17.Paths Of Victory (Bob Dylan) - 3:10
18.From A Distance (Julie Gold) - 3:14
19.Love That Never Dies (Roger McGuinn, Stan Lynch) - 3:57
Bonus Tracks 12-19
Tracks 18-19 recorded in 1990
The Byrds
*Roger McGuinn - Guitar, Vocals
*Clarence White - Guitar, Vocals
*Skip Battin - Electric Bass, Vocals
*Gene Parsons - Drums, Harmonica, Banjo, Vocals With
*Charles Lloyd - Saxophone
*John Guerin - Drums
*Buddy Emmons - Pedal Steel Guitar
This was the last record that Alan Wilson appeared on. It featured a slightly different Canned Heat, as Henry Vestine was absent for the sessions. Harvey Mandel, whose other credits included work with Charlie Musselwhite, Freddie Roulette, and John Mayall, filled in on lead guitar.
The tone was noticably heavier, and had a very clear and powerful recorded sound. Mandel's lead guitar actually didn't give the band any extra power, as both he and Vestine were equally powerful and electric in their styles, but the leads did have more rock punch. Making, "Work Together" for example, a very funky and loud rocker.
In fact, without Wilson, this record could have become a bit too samey. Yet keep in mind, without Hite's powerful and/or humorous stylings, this band could have ended up playing music as obscure as any John Fahey record... that mix is always what made Canned Heat the unique outfit it was.
The set opens with one of the most integrated numbers they ever did, "Sugar Bee", a strange, stomping number that has Alan Wilson all over it, yet, with a vocal that only Hite could have sung. It's a song no one could listen to and not recognize as being Canned Heat.
A fast, "Goin" Up The Country" type number follows called, "Shake It And Break It", which leads to an unusual cover of "That's All Right Mama", featuring a very slow, almost moody arrangement. It's unusual as it's generally done uptempo as Elvis did it, yet closer to how the composer, Arthur Cruddup would have performed it.
Two Wilson tunes follow, a prophetic "My Time Ain't Long", and the off the wall big band swing boogie, "Skat". Both show the dicotomy of the man; the odd, and often mysterious soul lost in a delta blues world, and a genius who often mixed disparate elements into a strange, yet coherent style. The latter was a very active swing number, with some of the best harp work he ever did, with some of the wierdest scat singing ever recorded.
The side ends with the number that got the most airplay (and still is heard now and then), the gloriously electric and funky rocker, "Let's Work Together". It was many steps removed from Wilbur Harrison, yet well within the spirit of the man.
Side two opens with Wilson's "London Blues", featuring Dr. John on piano. It opens like an old 50's Hooker blues, and as the band kicks in, becomes one very tough slow blues. A masterpiece.
A very hard and funky "So Sad" follows, with Hite leading the band through another tough, medium tempo rocking blues, leading to the entire band collaborating on "Future Blues", one of the best fast blues rockers ever written.
The band did continue to record after Wilson died, and certainly was as active as ever on the concert scene. A few years back, Bob Hite passed away, but the band still does perform, albeit in a very different way.
One problem with having had "hits", is that you can "go out of style" and seem washed up or something. That was never true with this band, and this last recording with Alan Wilson before he died earned the remark from critic Robert Cristgau, "I'm sorry that there won't be any more records like this one".
They had some real chart hits, which few blues bands since have achieved, and you can still hear "On the Road Again", "Goin' Up The Country", and "Get Together" on the radio still now and then. They were both a bridge from the early Delta era blues, and a band that trancended the label "blues band" in the 60's.
I've seen the band on film, saw them a few times at Winterland in the post-Wilson era, and one thing I can say, no one ever did the boogie better than Canned Heat, except for the Hook, and even he liked these guys. What more could any band want?
by Al Handa
Tracks
1. Sugar Bee (Eddie Shuler) - 2:37
2. Shake It And Break It (Alan Wilson) - 2:34
3. That's All Right (Mama) (Arthur Big Boy Crudup) - 4:18
4. My Time Ain't Long (Alan Wilson) - 3:50
5. Skat (Alan Wilson) - 2:43
6. Let's Work Together (Wilbert Harrison) - 3:13
7. London Blues (Alan Wilson) - 5:28
8. So Sad (The World's In A Tangle) (Bob Hite, Alan Wilson, Harvey Mandel) - 7:55
9. Future Blues (Bob Hite, Alan Wilson, Harvey Mandel) - 3:00
10.Let's Work Together (Wilbert Harrison) - 2:48
11.Skat Single (Alan Wilson) - 2:41
12.Wooly Bully (Sam Samudio) - 2:32
13.Christmas Blues Canned Heat And The Chipmunks (Frank Cook, Larry Taylor, Henry Vestine, Al Wilson, Bob Hite Jr.) - 2:33
14.The Chipmunk Song (Christmas Don't Be Late) Canned Heat And The Chipmunks (Ross Bagdasarian) - 2:46
Bonus Tracks 10-14
The Canned Heat
*Bob Hite - Vocals
*Alan Wilson - Slide Guitar, Vocals, Harmonica
*Harvey Mandel - Lead Guitar
*Larry Taylor - Bass
*Adolfo De La Parra - Drums Additional Musicians
*Dr. John - Piano, Horn Arrangements
*Ernest Lane - Piano
