Live Blood was recorded at the Sunbanks Music Festival in Washington State, and captures the band in their most natural of habitats: on stage and smokin. Live Blood is what Cold Blood fans have been waiting forlightning in a bottle, laid down by a tight six-piece band, fronted by the incomparable Ms. Pense. Live Blood stays true to the throbbing, thumping, horn-laced tunes for which the band has come to be known.
Lydia’s vocals are right-on and she’s sounding as good as she ever has. Needless to say Cold Blood’s performance is all about funk and soul, capturing the magic from the beginning of this record with the opening killer version of ‘I Just Want To Make Love To You", the 13 minutes "Funky On My Back" is a remarkable jam trip with guitar blasts, dymanic vocals and wind instruments..
Tracks
1. I Just Wanna Make Love To You (Willie Dixon) - 6:52
2. Can't Take It (Don't Give A Damn) (L. White) - 4:47
3. No Way Home (Raul Matute, Danny Hull) - 5:08
4. I'm A Good Woman (Barbara Lynn Ozen) - 4:28
5. Funky On My Back (Cecil Stoltie, Danny Hull, Larry Field, Lydia Pense, Raul Matute, Rod Ellicott) - 13:03
6. Back Here Again (Paul Tillman Smith) - 7:39
7. Face The Music (Steve Dunne) - 5:09
8. It Takes A Lot Of Good Lovin (Alvertis Isbell, Booker T. Jones) - 5:09
9. You Got Me Hummin' (David Porter, Isaac Hayes) - 8:37
Formed in fashionable Ladbroke Grove in 1969, this international six-piece played extended, improvisatory compositions highlighted by lengthy guitar solos, flute, sitar and communal, Indian-inspired chanting. They took on Eastern names to match their philosophies, with Australian flautist and founder Ronald Rothfield becoming Raja Ram, for example, and American bassist Richard Vaughan known as Shambhu Babaji. Far from a niche, underground concern, however, Quintessence quickly signed to Island after a major-label bidding war, and soon appeared frequently in the music weeklies, and even live on BBC2 and in Nicolas Roeg’s Glastonbury Fayre. Across five studio albums, ranging from 1969’s In Blissful Company to 1972’s Indweller, they journeyed into their own groovy mysticism, lyrically paying as much heed to St Pancras and Ladbroke Grove as to Mount Kailash and various deities.
Despite their popularity at the time, they have since slipped under the radar in recent years, being denied the resurgence of, say, The Incredible String Band, or even the credibility of weirder Eastern-inspired acts like The Third Ear Band. Spirits From Another Time attempts to rectify this, with two CDs of outtakes and alternative recordings from the vaults, many forgotten by their creators and in need of reconstruction; two cuts here even feature new guitar and vocals from Dave ‘Maha Dev’ Codling and Phil ‘Shiva’ Jones.
The results are impressive, though Quintessence were clearly at their best when they abandoned their scenester pretensions and Jones’ slightly hammy vocals, and instead launched into relaxed improvisation. Disc One’s 12-minute take of “Epitaph For Tomorrow” is stunning, a steady, subtle groove over which lead guitarist Allan Mostert is free to slowly unwind his subtle soloing, his instrument increasingly affected by echo and wah-wah effects; “Body” similarly embarks on some swinging guitar improvisation, while opener “Notting Hill Gate” moves from exhortations of meditation and “getting it straight” into peals of echoed flute and buzzing sitar. What’s most striking is the restrained, almost ambient manner of their sound, presumably aimed straight at enlightenment rather than hedonism.
If Quintessence’s music is at times too time-stamped, and lyrics like “celestial wine filling you with divinity” too gauche for the cynical decades that came after, perhaps now, with the continuing resurgence of new age music and renewed appreciation for the likes of the Grateful Dead, is the right time again to appreciate these overlooked cosmic adventurers.
by Tom Pinnock
Tracks Disc 1
1. Notting Hill Gate (Ronald Rothfield, Shiva Shankar Jones) - 5:42
2. Brahman - 5:38
3. Sea Of Immortality (Version 1) - 5:41
4. Epitaph For Tomorrow - 11:40
5. Only Love (Take 3) - 7:11
6. Spirits From Another Time - 1:22
7. Untitled Guitar - 2:33
8. Hari Om - 3:16
9. Body - 5:41
Disc 2
1. Sea Of Immortality (Version 2) - 5:30
2. Tree Of Life - 6:35
3. You Never Stay The Same - 6:32
4. Only Love (Take 2) - 7:59
5. Marwa - 3:10
6. Wonders Of The Universe - 3:38
7. Maha Mantra - 6:01
8. Untitled Harpsichord - 2:00
9. Sunlit Kitchens - 3:33
10.Twilight Zones (Lyrics by Stanley Barr) - 6:01
11.Move Into The Light - 6:25
All compositions by Quintessence except where noted
The Quintessence
*Allan Mostert - Lead Guitar
*Dave Codling - Rhythm Guitar
*Jake Milton - Drums
*Ron Rothfield - Flute
*Shambhu Babaji - Bass Guitar
*Shiva Shankar Jones - Vocals
By the time Second Hand released this, the band's second album, in 1971, the progressive elements were much stronger, and the group went further with experimentation. Only a couple tracks have guitar, but there are plenty of high-energy rockers just the same, especially the title track, "Lucifer and the Egg," and "Somethin' You Got," and the lack of guitar is more than made up for by plenty of long, wild organ solos. "Hangin' on an Eyelid" adds in easy listening elements to a rock song for an oddly effective mix.
The experimental leanings become especially prevalent on the second side of the record, where the group leaves song structure aside for several segued tracks of bizarre, mostly instrumental material, a wise choice given that Rob Elliott is only a marginally better vocalist than his brother Ken, who sang on the first album. (Fortunately, on many of the tracks they use processing to make the vocals sound more interesting.) "Cyclops" is a long instrumental of mostly keyboards, whereas "Sic Transit Gloria" has some weird chanting and explosions before suddenly going into "Revelations Ch. 16, Vs. 9-12" with nightmarish tones. The two bonus tracks on the CD, placed between the two sides rather than at the end, are quirky pop songs, one of which has guest saxophonist Lol Coxhill.
by Rolf Semprebon
Tracks
1. Death May Be Your Santa Claus (Ken Elliott) - 2:37
2. Hangin' On An Eyelid (Ken Elliott) - 4:19
3. Lucifer And The Egg (Ken Elliott) - 7:49
4. Somethin' You Got (Kieran O'Connor) - 2:57
5. Cyclops (George Hart, Ken Elliott) - 6:30
6. Sic Transit Gloria Mundi (George Hart, Ken Elliott, Kieran O'Connor) - 1:01
7. Revelations Ch. 16 Vs. 9-21 (Ken Elliott, Mike Craig) - 3:35
8. Take To The Skies (Ken Elliott, Mike Craig) - 2:04
9. Death May Be Your Santa Claus (Reprise) (Ken Elliott) - 5:21
10.Funeral (Paul Greedus, Alan Morgan) - 3:01
11.Dip It Out Of The Bog Fred (Ken Elliott) - 1:38
12.Baby RU Anudder Monster? (Ken Elliott) - 3:22
The lost, third studio album from 1969 by this quite good psychedelic / proto-progressive band. An absolutely worthwhile release for fans of music of this era.
“Having made two superb psychedelic albums and gigged with The Doors, Frank Zappa, Pink Floyd, The Velvet Underground and many others, in June of 1969, The Mandrake Memorial came to London. The plan was to record with famed producer Shel Talmy (The Kinks, The Who, Pentangle), but when that fell through, they persevered alone.
Long thought to be lost, 3 Part Inventions anticipates the woozy, dream-like vibe of their 1970 masterpiece Puzzle, combining eerie vocals, trippy guitar and otherworldly electronics to create a unique whole.
Transferred directly from the master tape, it's released here for the first time, together with a detailed band history, rare images, two previously unheard outtakes from a 1969 acetate, and a rare radio interview.“
CD Liner-Notes
Tracks
1. The Puzzle - 2:52
2. Ocean's Daughter - 2:56
3. Tadpole - 2:32
4. Part Of My Dreams - 5:48
5. Wouldn't You Like It - 2:14
6. Bucket Of Air - 7:29
7. Witness The End - 10:06
8. Cassandra - 4:54
9. The 12th Brigade - 5:14
10.Rock Star Interview - 2:39
All compositions by Craig Anderton, Michael Kac, Randy Monaco, John Kevin Lally
The Mandrake Memorial
*Craig Anderton - Guitars, Electronics, Sitar
*Michael Kac - Keyboards, Voices
*Randy Monaco - Bass, Voices
*John Kevin Lally - Drums
With a killer leading couple of Jane Fonda and Donald Sutherland—fresh from their box office triumph co-starring in Klute—and a soundtrack by the Electric Flag’s Mike Bloomfield and Nick Gravenites—with performances by Paul Butterfield and Maria Muldaur—you would think that the 1972 film Steelyard Blues would be better known than it is. Alas, the film was one of those only-in-the-early-‘70s countercultural romps that died at the box office; Fonda plays a call girl (again) who hooks up with Sutherland’s bumbling ex-con to restore a seaplane and attempt an escape from The Man breathing down their collective necks. Poorly reviewed and largely forgotten by film audiences, it has remained a cult classic because of its soundtrack, which marked Mike Bloomfield’s first release of any kind in three years, and reunited him with Gravenites, with whom he’d composed music in the Electric Flag for the soundtrack to Roger Corman’s B-movie classic The Trip.
Here, the emphasis was less on psychedelia than on a jaunty mix of blues, rock and country to match the shambolic goings-on on screen; there’s no mistaking Bloomfield’s stinging blues-rock licks for those of any other guitarist, and a pre-“Midnight at the Oasis” Muldaur serves notice of her impending superstardom. Completing the musical cast was Paul Butterfield, in whose band Bloomfield first broke into prominence, keyboardist Merl Saunders, later of course to collaborate with the Grateful Dead’s Jerry Garcia, and Annie Sampson of the Bay Area group Stoneground.
by Richie Unterberger.
Tracks
1. Swing With It - 2:51
2. Brand New Family - 2:29
3. Woman's Love - 2:29
4. Make The Headlines - 1:53)
5. Georgia Blues (Maria Muldaur, Mike Bloomfield, Nick Gravenites) - 2:10
6. My Bag (The Oysters) - 3:17
7. Common Ground - 2:27
8. Being Different - 2:47
9. I've Been Searching - 2:13
10.Do I Care (Maria Muldaur, Merl Saunders) - 3:08
11.Lonesome Star Blues (Maria Muldaur) - 4:19
12.Here I Come (There She Goes) - 2:11
13.If You Cared - 2:25
14.Theme From Steelyard Blues (Drive Again) - 2:16
All compositions by Mike Bloomfield, Nick Gravenites except where noted
Venerated BBC Radio 1 DJ John Peel once called Bridget St. John “the best lady singer-songwriter in the country.” So when Peel formed Dandelion Records in 1969, the label’s first signing was St. John; in fact, Peel once commented that “the main reason why we started the label [was] ‘cos nobody else was going to record her stuff.” Cherry Red Records has just reissued all three of St. John’s moody, evocative Dandelion albums (individually released in 2005 on CD) recorded between 1969 and 1972, together with a bonus disc of the artist’s BBC recordings, in one 4-CD package as The Dandelion Albums and BBC Collection. It’s nearly one-stop shopping for those hoping to acquaint themselves with fans of this leading light of the English folk revival.
Most of the songs on 1969 debut Ask Me No Questions were penned while St. John was still a student at Sheffield University. A further testament of his dedication, Peel himself produced the sessions. (John Peel on Dandelion: “The half-witted, idealistic notion behind Dandelion and our other violent, capitalist enterprise, Biscuit Music, is that any profits, if such there be, should go to the artists, not to [partner] Clive [Selwood] nor myself.” ) John Martyn joined St. John on guitar for the baroque "Curl You Toes" and the title track, while future Fairport Convention member Ric Sanders added guitar to "Lizard-Long-Tongue Boy" and "Many Happy Returns.” Selwood used his Elektra Records connections to grant St. John’s entirely self-written debut an American release, but despite its hauntingly beautiful sound, it failed to make much of a commercial impression in either the United Kingdom or United States. Questions has been expanded with two bonus tracks: St. John’s rendition of Leonard Cohen’s “Suzanne” and her own “Passin’ Thru.” Both tracks are single sides from 1972 and 1973, respectively.
A change in distributors (from CBS to WEA) was just one of the problems facing Dandelion that kept St. John from releasing a second album until 1971. When Songs for the Gentle Man arrived, however, it was worth the wait. Produced by Ron Geesin (Pink Floyd’s Atom Heart Mother), it featured another array of beautifully pastoral St. John originals plus covers of John Martyn (“Back to Stay”) and Donovan (“The Pebble and the Man”). St. John’s husband Nigel Beresford co-wrote “Seagull Sunday.” Like its predecessor, Songs for the Gentle Man too gained an American release on Elektra.
St. John’s final long-player for Dandelion, Thank You For…, followed in 1972. This time, Jerry Boys (Steeleye Span, Sandy Denny) was at the helm and the U.K. release on Dandelion was distributed by Polydor. (The album wasn’t released in America.) With Thank You, St. John ventured into the realm of folk-rock with more layered arrangements, and covers of songs from a diverse crop of writers including Bob Dylan (“Love Minus Zero – No Limit”) and Buddy Holly (“Every Day”). Terry Hiscock of the band Hunter Muskett contributed “Silver Coin,” and “Good Baby Goodbye” was written by Beresford. (Hunter Muskett’s lost folk-rock classic Every Time You Move was also reissued by Cherry Red.) Her raga-rock reinvention of the traditional “Lazarus” also became a fan favorite. Six months after the release of the album, Dandelion folded, leaving St. John without a label. Despite St. John receiving regular airtime on the BBC, Thank You was her third album to fail to catch on with the record-buying public. This disc has been expanded with two single sides (“There’s a Place I Know” and “Passing Thru,” the latter originally released through MCA) and an eight-song set live at Montreux in April 1972.
The box set is rounded out by a 19-track collection of St. John’s BBC recordings for programs such as Top Gear, Night Ride and In Concert between 1968 and 1972. Among the many highlights of this disc are performances of John Martyn’s “The River” and Joni Mitchell’s “Night in the City.” Note that sound quality is admittedly variable on this disc; the liner notes indicate with welcome transparency that “the master tapes for the BBC recordings are long lost, and these copies have been taken from the best available sources.” (Note that additional BBC recordings for St. John were released in 2010 on the Hux label.)
Bridget St. John went on to record a fourth album for Chrysalis Records in 1974. Though she laid low for decades, she’s returned to performing in recent years and issued a rarities collection, Take the 5ifth, as her fifth proper album. This compact box set, produced with St. John’s cooperation, includes all four discs in handsome paper sleeves with the first three replicas of the original artwork (although gatefolds are not replicated). A 12-page book boasts compiler Richard Anderson’s essay as well as copious memorabilia images. Especially at this bargain price, there’s never been a better way to become acquainted with the music of Bridget St. John.
by Joe Marchese
Tracks Disc 1 Ask Me No Questions 1969
1. To B Without A Hitch - 3:07
2. Autumn Lullaby - 3:01
3. Curl Your Toes - 3:00
4. Like Never Before - 3:14
5. The Curious Crystals Of Unusual Purity - 4:00
6. Barefeet And Hot Pavements - 2:45
7. I Like To Be With You In The Sun (Song For The Laird Of Connaught Hall) - 2:35
8. Lizard-Long-Tongue Boy - 3:09
9. Hello Again (Of Course) - 4:11
10.Many Happy Returns - 2:17
11.Broken Faith - 4:56
12.Ask Me No Questions - 7:49
13.Suzanne (Leonard Cohen) - 5:31
14.The Road Was Lonely - 2:16
Disc 2 Songs For The Gentle Man 1971
1. A Day A Way - 3:18
2. City Crazy - 2:46
3. Early Morning Song - 1:56
4. Back To Stay (John Martyn) - 4:47
5. Seagull Sunday (Bridget St. John, Nigel Beresford) - 3:09
6. If You'd Been There - 4:09
7. Song For The Laird Of Connaught Hall, Pt. 2 - 1:28
8. Making Losing Better - 3:54
9. The Lady And The Gentle Man - 3:10
10.Downderry Daze - 3:21
11.The Pebble And The Man (Donovan Leitch) - 3:34
12.It Seems Very Strange - 0:41
Disc 3 Thank You For.. 1972
1. Nice - 3:23
2. Thank You for - 3:37
3. Lazarus (Traditional) - 4:22
4. Goodbaby Goodbye (Nigel Beresford) - 2:09
5. Love Minus Zero, No Limit (Bob Dylan) - 3:21
6. Silver Coin (Terry Hiscock) - 3:07
7. Happy Day - 3:55
8. Fly High (Bridget St. John, Robert Louis Balfour Stevenson) - 3:23
9. To Leave Your Cover - 3:22
10.Every Day (Charles Hardin, Norman Petty) - 4:21
11.A Song Is as Long as It Wants to Go On - 1:11
12.Passing Thru' (Richard "Dick" Cleveland Blakeslee) - 4:24
13.There's A Place I Know - 2:39
14.Nice - 5:09
15.Silver Coin (Terry Hiscock) - 3:47
16.Fly High (Bridget St. John, Robert Louis Balfour Stevenson) - 3:58
17.Lazarus (Traditional) - 4:45
18.The River (John Martyn) - 3:37
19.Thank You For - 3:55
20.Ask Me No Questions - 4:55
21.If You've Got Money - 2:58
Bonus Tracks 12-21 Recorded Live In Montreaux 28th April 1972
Disc 4 At The BBC 1968-72
1. To B Without A Hitch - 3:01
2. Ask Me No Questions - 4:06
3. Many Happy Returns - 1:42
4. Hello Again (Of Course) - 4:38
5. Rochefort - 2:21
6. Lizard Long Tongue Boy - 3:09
7. The River (John Martyn) - 3:33
8. Song To Keep You Company - 2:52
9. Night In The City (Joni Mitchell) - 3:05
10.Lazarus (Traditional) - 4:18
11.Curl Your Toes (Peter Sarstedt Session) - 2:59
12.Thank You For ... (Bob Harris Session) - 3:33
13.Leaves Of Lime - 2:52
14.City Crazy - 2:28
15.The Pebble And The Man (Donovan Leitch) - 3:29
16.Back To Stay (John Martyn) - 4:21
17.Song For The Laird Of Connaught Hall Part Two - 2:30
18.Jolie Madame (Kevin Ayers) - 2:46
19.The Spider And The Fly (Kevin Ayers) - 2:02
All compositions by Bridget St John unless as else indicated.
Musicians 1969 Ask Me No Questions
*Bridget St. John - Vocals, Guitar, Keyboards
*John Martyn - Guitar
*Richard Sanders - Guitar
*Simon Stable - Bongos 1971 Songs For The Gentle Man
*Bridget St. John - Guitar, Harmonium, Keyboards, Vocals
*Robert Bourdon - Alto Flute
*Colin Busby - Trombone
*Angela East - Cello
*Elizabeth Edwards - Violin
*Brian Etheridge - Vocal
*Ron Geesin - Guitar, Keyboards
*Peter Hall - Vocal
*Kate Jacobs - Violin
*Derek James - Trombone
*Geoffrey Mitchell - Vocal
*Tony Parsons - Trombone
*John Pritchard - Trombone
*Richard Sanders - Guitar
*Derek Simpson - Cello
*Alan Stivell - Horn
*John Thompson, Jr. - Viola
*Charles Tunnell - Cello 1972 Thank You For..
*Bridget St. John - Guitars, Keyboards, Vocals
*Gordon Huntley - Pedal Steel Guitar
*Rick Kemp - Bass, Drums
*John Martyn - Electric, Acoustic Guitars
*Dave Mattacks - Drums
*Pip Pyle - Drums
*Tim Renwick - Guitar
*Andy Roberts - Guitar
*Richard Sanders - Guitar
*Bruce Thomas - Bass
*Ian Whiteman - Keyboards, Piano
*John Wilson - Drums
Stone the Crows was a tough-luck, working class, progressive soul band that came out of the pubs of Scotland in the early '70s. They had everything going for them at the start: not one, but two gritty singers, a talented guitarist, a rhythm section that had played with John Mayall, and the name recognition of having Led Zeppelin manager Peter Grant as their producer. Despite favorable reviews by the critics, however, they never managed to sell their hybridized soul music to a large audience. In addition, they lost two of their key members early on, one of whom was tragically electrocuted, and the group broke up after four albums.
Their biggest contribution to rock was the immense vocal talent of one Maggie Bell. Winner of several Top Girl Singer awards in Britain, Bell had a raunchy, gutbucket voice that, although it fell short of the naked emotion and range of Janis Joplin's, came probably closer to her style than any other female singer. She first attracted notice when she jumped up on stage at a show in Glasgow to wail with Alex Harvey of the Sensational Alex Harvey Band. Impressed by her talent (and audacity), Harvey hooked her up with his guitar-playing younger brother Les, then fronting a local band called the Kinning Park Ramblers. After playing army bases in Europe for several years as Power, Bell, Harvey, bassist Jim Dewar, keyboardist Jon McGinnis, and drummer Colin Allen (who had played with future bass player Steve Thompson in John Mayall's band), came to the attention of Peter Grant and they changed their name to Stone the Crows, which supposedly is a Scottish variation of "the hell with it."
Both of their first two albums received good reviews upon release, but sold very meagerly. Then bassist/vocalist Jim Dewar quit the band to join Robin Trower's fledgling group, to be replaced by the non-singing Steve Thompson. Shortly after releasing Teenage Licks, guitarist Les Harvey was electrocuted onstage during a gig at Swansea University. This appeared to end the band, but they carried on, recruiting young Jimmy McCulloch from Thunderclap Newman and released "'Ontinuous Performance." Although the rock press lauded the singing of Bell, her group couldn't seem to emerge from the shadows and they broke up after this last album, with McCulloch flying away to join Paul McCartney in Wings.
by Peter Kurtz
Tracks Disc 1 Stone The Crows 1970
1. The Touch Of Your Loving Hand (James Dewar, Leslie Harvey) - 6:03
2. Raining In Your Heart (James Dewar, Leslie Harvey) - 5:09
3. Blind Man (Josh White) - 5:12
4. A Fool On The Hill (John Lennon, Paul McCartney) - 4:09
5. I Saw America (Colin Allen, Leslie Harvey, Mark London) - 17:21
6. Freedom Road (Maggie Bell) - 10:32
7. Hollis Brown (Bob Dylan) - 13:05
Bonus Tracks 6,7 Live recordings
Disc 2 Ode To John Law 1971
1. Sad Mary (John McGinnis) - 6:54
2. Friend (James Dewar, Leslie Harvey) - 6:28
3. Love (John McGinnis) - 6:36)
4. Mad Dogs And Englishmen (Colin Allen, Leslie Harvey) - 3:34
5. Things Are Getting Better (John McGinnis) - 6:10
6. Ode To John Law (Colin Allen, Leslie Harvey) - 5:44
7. Danger Zone (Curtis Mayfield) - 6:21
8. The Touch Of Your Loving Hand(James Dewar, Leslie Harvey) - 6:01
9. Raining In Your Heart (James Dewar, Leslie Harvey) - 4:14
Bonus Tracks 8,9 Live recordings
Stone The Crows
*James Dewar - Bass, Vocals
*Colin Allen - Drums, Percussion
*Leslie Harvey - Guitar
*Maggie Bell - Vocals
*John McGinnis - Organ, Piano
Not only is Medusa the finest offering from '70s outfit Trapeze, it is one of the decade's most underappreciated hard rock recordings. With a lineup that consisted of future Deep Purple, Judas Priest, and Black Sabbath members, there seems to be proof that at least a few fellow musicians appreciated this 1971 offering. Fans of his later work might be surprised by Glenn Hughes' soulful vocal delivery, especially on the midtempo blues-rockers like "Black Cloud" and "Your Love Is Alright." Guitarist Mel Galley also deserves mention for his sparse approach to classic rock riffing that is catchy and affective.
Even the ballads are focused, memorable, and unique. There are some melodic moments on the closing title track that sound almost as if a '90s alt-rock crooner composed them. Considering that Medusa predates many similar, and more successful, classic rock LPs from the likes of Bad Company, Nazareth, Foreigner, and others, it's a wonder that the record isn't mentioned more when influential albums of this era are discussed.
by Jason Anderson
Tracks
1. Black Cloud (Mel Galley) - 6:11
2. Jury (Glen Hughes) - 8:10
3. Your Love Is Alright (Mel Galley, Glen Hughes, Dave Holland) - 4:55
4. Touch My Life (Mel Galley) - 4:07
5. Seafull (Glen Hughes) - 6:32
6. Makes You Wanna Cry (Mel Galley) - 4:43
7. Medusa (Glen Hughes) - 5:44
Trapeze
*Glen Hughes - Bass, Piano, Lead Vocals
*Mel Galley - Guitar, Vocals
*Dave Holland - Drums
After British Lions broke up, Dale Griffin (and Morgan) went in the studios to put together this compilation of rare and unreleased Mott The Hoople material from Island's vaults. Mott recorded virtually everything they wrote, and just about any day not spent gigging was spent in the studio. As a result, there is a lot of unreleased (and unfinished) material in there.
What an absolute peach this collection is. Unreleased tracks, rare b-sides and early versions of songs that would be recorded later on... this album has long been sought after by fans, and is now at long last available on CD.
It starts with a rare vocal version of the Kinks' You Really Got Me. Next up is Ian's first stab at social commentary, Road To Birmingham which was the b-side to Rock And Roll Queen, Mott's first single. Then there's the alternate version of Thunderbuck Ram, with Verden's organ featuring much higher in the mix. The studio version of Keep a Knockin' is fast and furious, and an absolute belter.
Movin' On is next - slated for the original vinyl but withdrawn at the last minute is a medium-paced rocker that Mick Ralphs would eventually re-record with Bad Company. Ride On The Sun is beautiful - this again would be re-recorded (as Sea Diver) later on - and is possibly one of Ian's best ballads.
Growin' Man Blues is another fast rocker which I never grow tired of hearing. Till I'm Gone is another ballad, beautifully sung by Mick Ralphs (for a version of him sharing the vocals with Ian, check out the Anthology). One Of The Boys is an acoustic version of the song that would be re-recorded later on. Black Scorpio (Momma's Little Jewel) is faster than the version that would be recorded for the Dudes album.
Two more bonus tracks close the album, The Debt (which was the b-side to Midnight Lady) and the non-LP single Downtown, with Mick Ralphs again supplying the vocals for this Neil Young/Crazy Horse cover.
As always with Angel Air, packaging is excellent with excellent and informative sleeve notes by Dale Griffin. Sound quality throughout is excellent (a lot better than the original LP). Strangely, tho' the running order on the Bald At The Station side is different from the original LP. No matter - this is an important album in Mott's history.
Tracks
1. You Really Got Me (Ray Davies) 3.08
2. The Road to Birmingham (Ian Hunter) 3.30
3. Thunderbuck Ram (Mick Ralphs) 4.41
4. Going Home (Mick Ralphs) 3.00
5. Little Christine (Mick Ralphs) 3.06
6. Keep a Knockin' (Richard Penniman) 3.25
7. Black Hills (Mick Ralphs) 1.32
8. Movin' On (Mick Ralphs) 2.44
9. Ride On the Sun (Ian Hunter) 3.38
10.Growin' Man Blues (Ian Hunter) 2.46
11.Until I'm Gone (Mick Ralphs) 3.14
12.One of the Boys (Mick Ralphs, Ian Hunter) 4.19
13.Surfin' U.K. (Mick Ralphs) 2.37
14.Black Scorpio (Ian Hunter, Peter Overend Watts) 3.36
15.Ill Wind Blowing (Ian Hunter) 3.53
16.The Debt (Ian Hunter) 4.15
17.Downtown (Danny Whitten, Neil Young) 3.03
Mott The Hoople
Ian Hunter - Vocals, Piano, Guitar
Mick Ralphs - Guitar, Vocals
Peter Watts - Bass Guitar, Vocals
Dale Griffin - Drums
Verden Allen - Organ
The Hoople was Mott's third album release on CBS/Columbia Records and the band had much to live up to after their two previous studio work outs. All the Young Dudes had taken the group in an exciting new direction under David Bowie's tutelage and the self-produced Mott was so strong that its sequel inevitably faced unjust criticism. However, there were some mitigating circumstances. Organist Verden Allen and founder/lead guitarist Mick Ralphs had both left Mott in 1973. The group considered Joe Walsh, Tommy Bolin and Ronnie Montrose as Ralphs' replacement but opted for Luther Grosvenor, who joined as 'Ariel Bender'.
These developments changed the character of the band quite significantly firstly because vocalist Ian Hunter was now the undisputed group leader, secondly because Grosvenor was not a musical collaborator as Ralphs had been and thirdly because Ian effectively became sole writer. But Mott's front man had composed some fearsome new songs and The Hoople marked a solid progression. In retrospect, the album deserves greater merit for the diversity and power of Hunter's material. The 'updated' top ten hit single "Roll Away the Stone" and its follow up, "The Golden Age Of Rock ln' Roll", closed and opened the LP, acting as bookends to the eclectic material within. In 1974 there was a strong UK lobby to limit the noise level at rock concerts to 96 decibels and 'Golden Age' was an expression of Hunter's annoyance but also a celebration of the glamorous and buoyant music scene that was thriving at that time.
Roxy Music's Andy Mackay contributed rousing saxophone to the new single and he also played to great effect on "Pearl 'n' Roy (England)", a tale of social and political frustration referencing the British Conservative Prime Minister of the time, Ted Heath. Mott was renowned for its passion towards guitars and cars. After "Drivin1 Sister" and "I'm a Cadillac" on the Mott album, bassist Overend Watts contributed "Born Late '58," a very credible rocker that Ian thought was a potential single at the time. It was the only Mott track not to feature their front man who was in America when the band cut the song Ian also extended his tales of New York City with "Alice" which trod in the tracks of Mott's "Whizz Kid". Hunter's lyrical outpouring on "Alice" was unprecedented and consequently the song was performed only once in concert. Morgan Fisher, Verden Allen's replacement, fitted the band like a glove, as exemplified by his fantastic organ playing on this cut.
"Through the Looking Glass" is unique in the Mott canon with its stunning dynamics and orchestral arrangement rising and falling dramatically behind Hunter's expressive vocals. "Trudi's Song", a beautiful ode to lan's wife, inspired by Dylan's Nashville Skyline album, is a gentle contrast to much of The Hoople's hard edge. With the headlines 'Fragments of Madness' and 'Hoople's Blood and Thunder', two British rock journals were clearly startled by Hunter's powerful and highly charged masterpieces, "Crash Street Kidds" and "Marionette". Echoing "Violence" from Mott, "Crash Street Kidds" tells the tale of a street gang who have become so socially disenchanted that they decide they are going to take over Britain. In the end, youth fails with lan's transformed 'dalek voice' and a 'machine gun' heralding the gang leader's demise. Originally conceived as "The Bash Street Kidds", it was to be the album's theme and title but the publishers of the Beano comic (which featured the Bash St characters) would not countenance Hunter's concept.
The cornerstone of The Hoople is unquestionably "Marionette", lan's five minute mini opera describing the corporate side of rock music and its effect on artists. Crazed violin, frantic saxes, staccato cellos, Quasimodo choruses and manic laughter surround Hunter's nightmare of a rock star driven to submission. Ian was often ahead of the field and within 18 months Queen had written a certain smash hit operetta and 'marionette' was used to describe David Essex in his portrayal of a fading pop star in the movie Stardust. Within nine months Ian Hunter would be confined to a hospital bed. Before then, "The Golden Age Of Rock 'n' Roll" hit #16 in Britain and The Hoople reached #11. Mott played a 6week American tour with Queen as support and became the first rock band to sell out a week of Broadway concerts in New York's theatre land. Hunter's acclaimed book Diary of a rock 'n' roll Star was also published around this time. It was a peak period for the group.
During The Hoople sessions the band recorded the reflective "Rest In Peace" and a further Spector-style single "Foxy Foxy" for summer release. In the autumn of '74 it was felt that Ariel Bender did not suit Mott as lead guitarist and in spite of his whirlwind energy and the renewed spirit he had injected into the group, Grosvenor left, turned down an offer to join Sparks and formed Widowmaker instead. Bender's replacement was the brilliant Mick Ronson whose recruitment by Hunter was a masterstroke. 'Ronno' laid down guitar for a single entitled "(Do You Remember) The Saturday Gigs?" and an intended B side, "Lounge Lizzard". The self-referential "Saturday Gigs" was deemed a huge potential hit but it stalled inexplicably at #41 in the UK.
European concerts with Ronson were highly praised but there were increasing tensions in the band and Hunter's subsequent breakdown led to the cancellation of a sold out British tour. Mott ceased to exist. The Hoople is Mott the Hoople's final creative offering and one of their most under-rated albums lying as it does in the wake of Brain Capers, AH the Young Dudes and Mott. It is still a remarkable record and Hunter's compositions "Crash Street Kidds" and "Marionette" pointed the group in a new and exciting direction that sadly they were unable to follow. Little wonder that Ian had planned to feature a straight jacket on the cover of their next album. 'Fragments of Madness' indeed!
by Campbell Devine
Tracks
1. The Golden Age of Rock 'n' Roll - 3:26
2. Marionette - 5:08
3. Alice - 5:20
4. Crash Street Kidds - 4:31
5. Born Late '58 (Overend Watts) - 4:00
6. Trudi's Song - 4:26
7. Pearl 'N' Roy (England) - 4:31
8. Through the Looking Glass - 4:37
9. Roll Away the Stone - 3:10
10.Where Do You All Come From (B-side) (Dale "Buffin" Griffin, Ian Hunter, Mick Ralphs, Peter Watts) - 3:26
11.Rest in Peace (B-side of "The Golden Age of Rock 'n' Roll" single) - 3:55
12.Foxy, Foxy (Non-LP single A-side) - 3:31
13.(Do You Remember The) Saturday Gigs (Non-LP single A-side) - 4:20
14.The Saturday Kids (Work in progress mixes) - 6:03
15.Lounge Lizzard (Aborted single b-side) - 4:19
16.American Pie/The Golden Age of Rock 'N' Roll (Live from Broadway) (Don McLean, Ian Hunter) - 4:15
All tracks written by Ian Hunter except as noted.
On the whole, classic rock radio is a pretty macho affair, full of Hot Legs, Big Balls, and Radar Love. In a certain respect, Mott the Hoople's biggest hit (and only contribution to American classic rock playlists) fits right in: All the Young Dudes is upfront with its sexual desire and horny, twenty-something lust. There is one catch: It's also a celebration of the glam's gender-bending aesthetic.
At the time of its release, Mott the Hoople were wallowing in obscurity despite releasing four albums of high-powered boogie. They were ready to pack it in, but David Bowie encouraged them to soldier on, offering Mott the chance to record Suffragette City. The band, though, wanted Drive-In Saturday, which Bowie wasn't willing to part with. All the Young Dudes was the compromise. In the short term, Bowie came out looking the genius, as the band briefly achieved the stardom they felt was rightfully theirs, kicking out their two best albums in the process.
But it couldn't last, and by 1974, guitarist Mick Ralphs was off playing in Bad Company and Mott faded back to the margins.Mott the Hoople are still a widely respected and influential band, and it's pretty easy to hear why-- they've got the swagger, confidence, and riffs of glam and the basic approach of punk.
That's not to mention vocalist Ian Hunter, whose voice was so limited and colorless that he probably made more than a few kids with guitars think if this guy can sing in a band, surely I can. The band, however, found countless ways to work around Hunter, from melodic harmonizing on the choruses that he could yelp and talk-sing over to clever lead guitar parts that Ralphs used to inject hooks into the verses.
So Hunter becomes the everyman, just trying to get by, and the tension between the band's chops and his lack of skill and range is oddly poignant. All the Young Dudes closes with the dejected piano ballad Sea Diver, a crushingly sad song that uses a diving bell as a metaphor for being trapped in a failed relationship.
Hunter's inability to get through half an octave without cracking or morphing into a dock worker's shout sucks out all the maudlin potential of the piano part and string arrangement, turning them instead into a kind of security blanket. It's a strikingly emotional capstone to an album that mostly trades in funky rock and roll and leather-pantalooned swagger.
Young Dudes highlight Sucker is a slow, cowbell-guided rocker adorned with sax interjections from Bowie; it features a killer call-and-response between a harpsichord and a wordless backing vocal phrase on its chorus. The reissue appends a thunderous live version that suggests the band's true power wasn't really captured on any of its records. However, there's also a live version of Sweet Jane that's as forgettable as the studio version that leads off the original album.
Conventional revisionist rock crit wisdom says this is a five-star record, but in truth it's not even close, and that song is a big part of the reason.Elsewhere, a primordial version of Ready for Love pales in comparison to the version Bad Company took into the charts two years later, but the band gets in some strong hard boogie tunes on Momma's Little Jewel (the early demo version added here, called Black Scorpio, is even nastier) and One of the Boys, the rocking follow-up single to All the Young Dudes. Bowie-philes will love the version of All the Young Dudes featuring his vocal, even though it's weaker than the version everyone knows.
by Joe Tangari
Tracks
1. Sweet Jane (Lou Reed) - 4:21
2. Momma's Little Jewel (Ian Hunter, Peter Watts) - 4:26
3. All the Young Dudes (David Bowie) - 3:32
4. Sucker (Ian Hunter, Mick Ralphs, Peter Watts) - 5:03
5. Jerkin' Crocus (Ian Hunter) - 4:00
6. One of the Boys (Ian Hunter, Mick Ralphs) - 6:46
7. Soft Ground (Verden Allen) - 3:17
8. Ready for Love/After Lights (Mick Ralphs) - 6:47
9. Sea Diver (Ian Hunter) - 2:53
10.One of the Boys (Ian Hunter, Mick Ralphs) - 4:18
11.Black Scorpio (Ian Hunter, Peter Watts) - 3:35
12.Ride on the Sun (Ian Hunter) - 3:36
13.One of the Boys (UK single version) (Ian Hunter, Mick Ralphs) - 4:21
14.All the Young Dudes (David Bowie) - 4:25
15.Sucker (Ian Hunter, Mick Ralphs, Peter Watts) - 6:27
16.Sweet Jane (Lou Reed) - 5:00
Tracks 10-12 Demos Versions
Tracks 15,16 Live 1973 at the Hammersmith Odeon
Mott The Hoople
*Ian Hunter – Vocals, Piano
*Mick Ralphs – Guitar, Vocals (Except on Tracks 15, 16)
*Verden Allen – Organ, Vocals (Except on Tracks 15, 16)
*Pete Overend Watts – Bass Guitar, Vocals
*Dale Buffin Griffin – Drums, Vocals, Percussion Additional Musicians
*Ariel Bender – Guitar, Vocals on Tracks 15, 16
*Mick Bolton – Organ on Track 15
*David Bowie – Saxophones, Vocals on Track 14
*Morgan Fisher – Organ, Mellotron on Track 12, Piano, Synthesizer, Vocals on Bonus Tracks 15, 16
*Ray Majors – Slide Guitar on Track 11
*Mick Ronson – Strings, Brass Arrangement on Track 9
*Buddy Bauerle - Pan Flute
*Mike Walls - Hammond B3 Organ
*Jeff Hanover - Vibraslap
Enough works on Mott the Hoople's eponymous debut album, and enough is so imaginatively freewheeling, that it's easier to think of the record as a bit more successful than it actually is. After all, their combination of Stonesy swagger, Kinks-ian crunch, and Dylanesque cynicism is one of the great blueprints for hard rock, and its potential is apparent the moment their monumental instrumental "You Really Got Me" kicks off the record. This is followed by two covers, Doug Sahm's "At the Crossroads" and Sonny Bono's "Laugh at Me," that demonstrate their musicality more than their depth, since all three of these songs sound like they derive from the same vantage point.
Then, to cap it off, Ian Hunter turns in "Backsliding Fearlessly" and Mick Ralphs gives Mott their first anthem with the pile-driving "Rock and Roll Queen." Up to this point, Mott the Hoople is wildly imaginative and invigorating, and that's enough to make this a fine debut, even if it falls off the tracks during the second side. The first side and those two originals reveal a band whose rowdy power is matched by sly humor, clever twists, and fierce intelligence -- all qualities they built a career on, and this blueprint still stands the test of time.
by Stephen Thomas Erlewine
Tracks
1. You Really Got Me (Ray Davies) 2.55
2. At the Crossroads (Doug Sahm) 5.33
3. Laugh at Me (Sony Bono) 6.32
4. Backsliding Fearlessly (Ian Hunter) 3.47
5. Rock and Roll Queen (Mike Ralphs) 5.10
6. Rabbit Foot and Toby Time (Mike Ralphs)2.04
7. Half Moon Bay (Mike Ralphs, Ian Hunter) 10.38
8. Wrath and Wroll (Guy Stevens) 1.49
9. Ohio (Neil Young) 4.26
10.Find Your Way (Mike Ralphs) 3.30
Bonus Tracks 9-10
Mott The Hoople
*Ian Hunter - Lead Vocals, Piano
*Pete "Overend" Watts - Bass
*Mick Ralphs - Lead Guitar, Vocals
*Verden Allen - Organ
*Dale Griffin - Drums
Trapeze began in Wolverhampton, England in March 1969. The original five piece band consisted of Mel Galley, Glen Hughes, Dave Holland and ex-Montanas John Jones and Terry Rowley. They made their television debut on July 7th 1969 on the BBC show 'Colour Me Pop' which showcased new talent in the music industry. It was eagerly viewed by the A&R departments of record companies looking to sign new bands to their roster. Trapeze walked off with the 'Most Popular Group' award and were besieged by offers of recording contracts. They eventually settled with the Moody Blues label Threshold and recorded their first album simply titled Trapeze' in 1969, which received rave reviews and important airplay on the BBC's Radio 1.
With tours booked to take in both Europe and America, an underlying change of direction started to develop in the camp. The gentler harmonies on their first album were to get heavier and this led to both Rowley and Jones leaving the band. Trapeze then became a trio of Mel Galley, Glen Hughes and Dave Holland, which played with a higher energy, harder rock approach. Their second album 'Medusa' containing the classic tracks 'Black Cloud' and 'Jury' was released on 13th November 1970 to excellent reviews. It proved to be the watershed of their career and it started a growing interest in the USA with big demand from concert promoters and radio stations. The largest fan base developed in the South as Trapeze shared equal billing with bands like ZZ Top, headlining large arenas. In Houston, they sold out two shows in one night, literally bringing the house down as the balcony collapsed due to excess fans and weight.
The demand from America meant that Trapeze made fewer appearances in their native UK, although when they did return, Led Zeppelin drummer John Bonham would always try and catch up with the band, often joining them on stage for the encore. He once said that "Trapeze are the best three piece band I have ever seen". Other fans of the band included: Gary Moore, Jimmy Page, Bonnie Rait, David Bowie, Chaka Khan and Stevie Wonder. Due to their hectic touring schedule, there was no new album from the band in 1971 as they didn't have time to write new material. However, in the summer of 1972, sessions with a new producer began for their next album, which was finished by December. The third I album titled 'You Are The Music..We're Just The Band' was a classic and again received universal critical acclaim. The new material added depth and merged funk and soul with " white power rock. In just three and a half years, the band had notched up six tours of America and two classic rock albums. It was regarded in the States that Trapeze were just one album away from superstar status but in June 1973, things were about to change. After : watching the band several times, Deep Purple 3 on the look-out for someone to fill the vacancy left by departing bass guitarist Roger Glover, made Glen Hughes an offer few could have refused. Glenn joined Purple in time for the 'BURN' sessions and tour, initially seen as a . devastating blow to Trapeze.
Having finished with Warners, Trapeze then played a series of live gigs to complete their existing commitments as a band before they temporarily disbanded. This live set was recorded during that period, originally for a live radio broadcast. It captures the band in fine form playing funky riffs and favourite songs to a small enthusiastic audience at Nottingham's legendary Boat Club, a venue which has seen many major British rock bands pass through. Just weeks later, Mel Galley and Dave Holland had joined up with ex-Moody Blues John Lodge and Justin Hayward in The Blue Jays. Trapeze reformed in late 1976 with Pete Goalby taking over the vocals for the album 'Hold On'. In 1979 original drummer Dave Holland decided to quit the band and join heavy metal band- Judas Priest, notching up seven albums and countless world tours. Trapeze finally disbanded again in 1981 when guitarist Mel Galley joined David Coverdale's Whitesnake touring the world non stop for the next two years. In 1994, to celebrate their 25*n anniversary, Trapeze reformed once more with the 'Medusa' trio of Galley, Hughes and Holland touring both the UK and their old stomping ground the USA.
It was great fun recording and touring with the band throughout the 1970s. I suppose overall, my favourite album was 'You Are The Music' but when Glen left the band, we still had much to offer and decided to become a four piece adding Rob and Pete who quickly gelled together. After a short period of rehearsals, we left for a US tour and then went in to record studio sessions for our 1974 album 'Hot Wire'which I still think is a great album. Our sound while still funky, became more harder, rockier and less souly. We introduced some of the new songs and I took over all the vocals and, shared lead guitar with Rob using as always my black Les Paul. I didn't really go for effects but used an occasional wah wah. One of my favourite tracks to play live was 'Black Cloud' which remained in the set throughout the 1970s. We were playing large 10-20,000 seater venues in the southern states where we had a strong following. One of the highlights I guess, was playing the Cotton Bowl in Dallas with The Stones, The Eagles and Montrose. Although we played smaller venues when returning back home, it was good to play venues like The Marquee and The Boat Club where there was always a great noisy crowd and good rocking atmosphere. This recording was made just before we decided to take a break. Our record contract had finished and we wanted time to write new material. It was one of the last gigs by the four piece of Dave, Pete, Rob and myself. Hope you like it.
by Mel Galley 2003
Tracks
1. Back Street Love (Mel Galley, Tom Galley) - 5:13
2. You Are The Music (Mel Galley) - 5:20
3. Jury (Mel Galley) - 14:00
4. Star Breaker (Mel Galley) - 3:37
5. Way Back To The Bone (Glenn Hughes) - 9:45
6. Medusa (Glenn Hughes) - 8:08
7. Black Cloud (Mel Galley, Tom Galley) - 15:30
8. Sunny Side Of The Street (Mel Galley, Tom Galley) - 2:58
9. The Raid (Mel Galley) - 3:55
Trapeze
*Mel Galley - Guitars, Lead Vocals
*Rob Kendrick - Guitars
*Pete Wright - Bass
*Dave Holland - Drums, Percussion With
*Terry Rowley - Synthesiser
1970's Half Baked (released on Philips' subsidiary Vertigo), is an upbeat and somewhat raucous album. It has more of a 'band' feel than "Son of Anastasia" which is the benefit of using musicians that Jimmy knew - Merseybeats members Tony Crane, Billy Kinsley and drummer Pete Clarke. Another Merseybeats drummer, Phil Chittick, appeared on some of the tracks too and there were lush orchestral arrangements by Nick Ryan and Donald Fraser.
The countrified opener 'Green Eyed American Actress' highlighted words that Campbell would have been justified to repeat in years to come after commercial success had eluded him. The lyrics "I could have made it easily, why I didn't - well I really don't know" were, in hindsight, quite poignant. In reality, Campbell's reluctance to spend more time away from home ultimately prevented him making a real breakthrough - Billy Kinsley states in the sleevenotes that "I think Jimmy would have preferred just being a songwriter and not having to be bothered by a solo career".
Elsewhere on "Half Baked, the sonically superb tour-de-force 'So Lonely Without You' is comfortably on a par with anything recorded by the Plastic Ono Band - it boasts a Phil Spector-esque production and one of Jimmy's strongest ever vocals. It's testament to the strength and diversity of the album that it can veer from a track like this, and the epic piano-led rocker 'That's Right, That's Me', to the plaintive and reflective nature of songs such as 'In My Room', 'I Will Not Mind' and 'Closing Down The Shop'.
Other highlights are the brooding title track, which explodes into a driving monster of a chorus that features Badfinger's Joey Molland on guitar, and the melodramatic and impressively orchestrated single 'Don't Leave Me Now'.
There's a bonus track in the form of the stomping 'Lonely Norman' that uses a similar groove to Nilsson's 'Jump Into The Fire' and features some wild guitar playing by Eddie Grant from The Equals. This song originally appeared on the Vertigo sampler "Heads Together, First Round". Compared to Repertoire's "Half Baked" CD reissue of a few years ago, Esoteric's version sounds vastly superior and is probably the best entry point to Campbell's work for a newcomer.
by Jim Henderson
Tracks
1. Green Eyed American Actress - 2:47
2. Loving You Is All I Do - 3:17
3. So Lonely Without You - 2:56
4. In My Room - 4:22
5. That's Right That's Me - 3:51
6. I Will Not Mind - 3:22
7. Dulcie - It's December - 2:49
8. Forever Grateful - 2:35
9. Half Baked - 4:38
10.Closing Down the Shop - 2:41
11.Don't Leave Me Now - 5:55
12.Lonely Norman - 3:23
Words and Music by Jimmy Campbell
