Nightcrawlers - Little Black Egg (1967 us, great garage psych beat rock)

The Nightcrawlers found themselves surrounded by a heap of controversy when this single was first released and started to gain a respectable measure of regional airplay in 1965. A few paranoid and uptight buzzcut/flattop/flatland station managers feared it was a surreptitious, “Louie, Louie”-styled 45 as word got around that “The Little Black Egg” held thinly veiled lyrics that housed the far larger degenerate call-to-arms of, (gulp) interracial sex (I ask you...)

Well, it was 1965 in the deep, deep south and although this ridiculous projection of a lurking racial subtext got it banned throughout regional stations in The Nightcrawlers’ home state of Florida, its orbit returned when it was reissued on Kapp in 1967 in a “Space Oddity” type reissue boomerang effect. “The Little Black Egg” would have been just another sub-Beau Brummels-styled folk rock jingle-jangle xerox if not for the supremely non-plussing lyrics that centred around the lead singer’s ultra-possessiveness about his “little black egg with the little white specks.” Interracial sex, my ass: this guy’s found a magic egg, and yikes, he’s REAL particular about it! Musically, it’s kind of like The Daily Flash if they had a vocalist who delivered in a practically hoarse, non-quavering Buddy Holly style the following words under the thrall of said mysterious egg:

“I don’t care what they say/I’m gonna keep it anyway/I won’t let them stretch their necks/To see my little black egg/with the little white specks.” And those vocals get even more hoarsely desperate on the flipside “You’re Running Wild” where The ‘Crawlers turn things up a many notches higher in velocity in a far more garage-informed manner as chunks of surf drums get chucked in for good measure. A roaming dummy of a bass line threatens the rattling, tinny din of drums in a total Battle of The Bands triumph.

The drummer strives to keep up and drive the thing as the singer brusquely drools over two spindly guitars that can barely stand on their own all about his dream doll and her “luvvlee bodee I looong to touch” as the surfin’ drums curl and break in the background. The two guitars just continue to spindle out with just the skinniest of strumming and barely a solo, but it is all-spirited with every sweated-out note.

Said singer continues pining and drooling senselessly away, braying out uncontrollably, “You’re running wild! You’re running wild!” which actually translates more to a single, run-on sentence approximating “Yerrunwile! Yerrunwile!” as he’s kicking himself in both the head and the ass for not knowing what he did or did not do to lose a girl so fine. He finally resigns his lyrics of repetitive heartbreak to close resignedly with “So lonely...AH, uh so lonely...girl, a-so lonely...AH! Wuh, a-so lonely!’ as his heart takes the last westbound train out of town at dusk to beat the setting sun with the setting of his own heart.

Big Beat recently reissued The Nightcrawlers’ sole album, “The Little Black Egg” on CD with many bonus cuts and so forth, and the title track pops up on the “Nuggets” 4 CD set. But it is worth pointing out that the original single sounds far superior...and can be found for half the cost of a single CD. This single was the best thing The Nightcrawlers ever laid down. The choice is yours...

Tracks
1. The Little Black Egg
2. A Basket Of Flowers
3. Sally In The Alley
4. Who Knows
5. Me For Me
6. If You Want My Love (Undubbed Version)
7. I Don't Remember
8. If I Were You
9. The Last Ship
10.Show Me The Way
11.What Time Is It
12.You're Running Wild
13.Washboard
14.Sticks And Stones
15.He Shouldn't Hurt You
16.Cry
17.(Get Your Kicks On) Route 66
18.All Day And All Of The Night
19.Grown Up Wrong
20.Oh! Baby (We Got A Good Thing Goin')
21.Sea Of Love
22.It's All Over Now
23.Washboard (Early Version)
24.Heart Of Stone

The Nightcrawlers
*Tommy Ruger - Drums
*Rob Rouse - Vocal, Harmonica Tambourine
*Charlie Conlon - Bass, Vocals
*Sylvan Wells - Lead Guitar
*Pete Thomason - Rhythm Guitar, Vocal

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rep>> Parish Hall - Parish Hall (1970 us, excellent hard blues rock)

Parish Hall - Parish Hall (1970 us, excellent hard blues rock)

Stark Naked - Stark Naked (1971 us, great hard rock with prog jazz traces, expanded issue)

Crate-crawling rock fans who have only encountered the band Stark Naked on record declare them a dark prog rock band that flirted with hard rock, but their Long Island, NY, hometown fan base also remember them as having a huge, theatrical stage show that acts like Kiss and Alice Cooper would later emulate.

Members Lyne Bunn (vocals), Richard Belsky (lead guitar), Jim Monahan (guitar), Tom Rubino (bass), Paul Venier (keyboards), and John Fragos (drums) were either in their teens or early twenties when their band's self-titled debut was issued by RCA in 1971. The album climbed to the number six slot on the charts but while on a tour supporting the release, the band's money disappeared.

They accused their missing manager of making off with the cash, became disillusioned with the music business, and soon broke up. Venier and Fragos weren't out of the business long before teaming once again in the band Salty Dog, a hard rock and somewhat prog outfit that recorded and toured throughout the '70s. Venier would later become a standup comedian and return to music in 2003 with his soft rock band, V, and their debut full-length, Better Late Than Never.
by David Jeffries

Tracks
1. All of Them Witches (P. Venier, J. Monahan, J. Fragos) - 8:55
2. Done (P. Venier) - 5:48
3. Sins (R. Belskin, L. Bunn) - 4:46
4. Look Again (P. Venier) - 11:04
5. Wasted Time (P. Venier, J. Monahan) - 4:48
6. Iceberg (P. Venier, J. Fragos, T. Rubino) - 5:12
7. Done (Mono 45 Version) (P. Venier) - 2:53
8. Sins (Mono 45 Version) (R. Belskin, L. Bunn) - 2:57

Stark Naked
*Richard Belskin - Guitar
*Lyne Bunn - Percussion, Vocals
*John Fragos - Percussion, Drums, Gong
*Jim Monahan - Guitar, Vocals
*Tom Rubino - Bass
*Paul Venier - Percussion, Keyboards, Vocals

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Blues Dimension - Blues Dimension (1968-69 holland, great psych blues jazz rock, 2002 bonus tracks edition and 2014 remaster)

One of the better rhythm'n'blues groups from Eastern Netherlands. Founded in 1967 in Zwolle by Leen Ripke (v, ex-Mozarts) and Rudy van Dijk (s, ex-Jazz Prophets, later in Erwin Somer Group, Flash & Dance Band and Farrago) and named after the American group the Fifth Dimension. In the beginning, it consisted of the above plus Jaap de Gronde, Karel v.d. Velde, Dirk-Jan v.d. Boogaard (tr, soon replaced by Chiel Scholder) and Jaap van Eyck (b, ex-Moans, to Sound Magics).

By the time they began recording, the line-up had changed to: Leen, Rudy, Helmig v.d. Vegt (o, p, ex-Vara Dansorkest, to Cuby & Blizzards), Herman Deinum (b, ex-Special Set and Mozarts, also to Cuby), Cees de Best (g), Michel Sardoen (tr) and Hans Lafaille (dr, ex-Jailhouse Jazzband, to Cuby; in 1969 replaced by Herman van Boeijen, ex-George Cash, to Fullhouse). In 1969, the group's breakup was announced in the title of their last LP; on this record, Jaap van Eyck can be heard once again.

Tracks
1. Get Ready (Ray Robinson) - 2:14
2. Wonderland (Helmig K. Van Der Vegt, Leendert Ripke) - 3:15
3. Your One And Only Man (Otis Redding) - 3:39
4. Things I Remember (Helmig K. Van Der Vegt, Leendert Ripke) - 2:49
5. Twilight Mood (Helmig K. Van Der Vegt, Leendert Ripke) - 2:44
6. Don't Wanna Lose Her (Helmig K. Van Der Vegt, Rudy Van Dijk) - 2:22
7. Sticks And Stones (Titus Turner) - 1:50
8. Blues Dimension (Helmig K. Van Der Vegt, Rudy Van Dijk) - 9:20
9. Lovely Adorable Sue (Blues Dimension) - 3:01
10.Baby I Need Your Lovin' (Helmig K. Van Der Vegt, Rudy Van Dijk, Leendert Ripke) - 2:24
11.Double Deal (Helmig K. Van Der Vegt, Rudy Van Dijk, Leendert Ripke) - 3:11
12.Stay (Helmig K. Van Der Vegt, Leendert Ripke) - 3:32
13.Battle-Field Of Love (Helmig K. Van Der Vegt, Rudy Van Dijk, Leendert Ripke) - 4:43
14.Ivory Tower Of Utopia (Jaap Van Eik, Leendert Ripke) - 3:13
15.Supernational Powers (Helmig K. Van Der Vegt, Leendert Ripke) - 2:38
16.I Ain't Superstitious (Willie Dixon) - 4:47
17.Society's Child (Janis Ian) - 4:48
18.B.D. Is Dead, Long Live B.D. (Jaap Van Eik, Leendert Ripke) - 3:37
19.Shapes Of Things (Jim McCarty, Keith Relf, Paul Samwell-Smith) - 4:42
20.Cornflakes (Helmig K. Van Der Vegt, Leendert Ripke) - 3:49
21.Drift Into Space (Helmig K. Van Der Vegt, Leendert Ripke) - 2:27

Musicians
*Cees de Best - Guitar
*Hans Lafaille - Drums
*Helmig van der Vegt - Keyboards
*Herman Deinum - Bass
*Leen Ripke - Vocals
*Michel Sardoen - Trumpet
*Rudy van Dijk - Saxophone
*Dirk Jan van de Boogaart - Trumpet

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Blue Mountain Eagle - Blue Mountain Eagle (1970 canada/us, excellent folkish garage psych, 2012 remaster and expanded)

In July of 1969, Canadian-born drummer Dewey Martin -- the last remaining original member of Buffalo Springfield -- left the very last incarnation of that group (who were, by then, calling themselves New Buffalo) for a solo deal with UNI. Meanwhile, as the remaining members -- bassist Randy Fuller (ex-Bobby Fuller Four), and guitarists David Price and Bob ("B.J.") Jones -- already had interest from Atco Records, they decided to soldier on, finding drummer Don Poncher (ex-Don & the Good Times) a more-than-suitable replacement.

They also recruited guitarist/keyboardist/lead vocalist Joey Newman (also formerly of Don and the Good Times and Touch), and decided on a new name, Blue Mountain Eagle, taken from a newspaper published in Fox, ID. The band began recording their eponymous album in L.A., in August and December of 1969. It was released in early 1970, and during this same time, the group played on bills in the L.A. area with Love, Eric Burdon & War, Pink Floyd, and Jimi Hendrix.

Ultimately, inner band struggles for leadership proved to be their undoing of this volatile ego-charged "supergroup." Fuller was the first to decide that he'd had enough, leaving the group in May 1970. (Incidentally, he re-joined Dewey Martin, who had formed Dewey Martin & Medicine Ball in November 1969; at the time Fuller joined the band, they were in the midst of finishing up the recording their first album, Dewey Martin & Medicine Ball.) Soon, the rest of Blue Mountain Eagle were calling it a day too.

David Price, Bob Jones, and Don Poncher went on to work with Augie Meyers (the Sir Douglas Quintet) for his Western Head Music album in 1973. Jones later joined Harvey Mandel, on guitar and vocals. Price became a recording engineer, while Poncher became a successful session man, working with Bobby Whitlock, Jim Price, Chris Jagger, Joe Cocker, and (briefly) joined the lineup of Arthur Lee's Love, appearing on Lee's Vindicator album in 1972.

by Bryan Thomas

Tracks
1. Love Is Here - 4:23
2. Yellow's Dream - 2:46
3. Feel Like A Bandit (David Price) - 3:04
4. Troubles (Carol Meyer) - 3:06
5. Loveless Lives (Don Poncher) - 3:31
6. No Regrets (Don Poncher, David Price) - 4:12
7. Winding Your String - 2:56
8. Sweet Mama (Randy Fuller) - 4:18
9. Promise Of Love - 3:03
10.Trivial Sum (Richard Bowen, Terry Furlong) - 3:15
10.Marianne (A Side Single) - 2:32

Blue Mountain Eagle
*Joe Newman - Guitar, Keyboards, Vocals
*Randy Fuller - Bass, Guitar, Vocals
*Don Poncher - Drums, Vocals
*David Price - Guitar, Rhythm Guitar, Vocals
*Bob Jones - Guitar, Vocals

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Phantasia - Phantasia (1972 us, fantastic psychedelic rock)

Reissue of US psychedelic ultra rarity recorded 1971/72. The original albums (a complete one and a one-sided) are legends for all psychedelic/garage collectors, only 25 copies pressed of each -- not many people have the pleasure of having seen a copy.

The music is creeping slowly and sensitively in your mind, whether stoned or not φ it takes you wherever you want. Those are the complete sessions, 55mins in mastertape quality presented the first time to the public -- extremely informative booklet (20 sided), with outstanding artwork and colour photos.

One of the best Psychedelic albums, playing in the same league as Fraction, Music Emporium, Hunger, Mystic Siva, Damon. Later the band changed into Trizo 50! Here are the complete sessions in mastertaped quality with 20sided informating booklet, including outstanding artwork and photos!

David Johnson wrote:
Hello my name is David Johnson. I am the lead guitar and vocalist for Phantasia back in the day. Bob Walkenhorst is living in Kansas City and plays around there solo. Plus The Rainmakers are back together and have been for a few years. They play in KC too but also all over. They have been back to Norway a couple times just last year. Norway was where they had such a big fan base and have been welcome there with open arms. As for me I have played with different groups all threw my life and finally retired from playing in January 2017. Hope I helped with some information for you.

Tracks
1. Transparent Face (John DePugh, David Johnson) - 3:09
2. Winter Wind - 2:55
3. I Talk To The Moon - 3:35
4. Chasing Now The Flying Time - 4:54
5. Featheredge - 3:39
6. Genena - 9:21
7. Willow Creek - 5:48
8. Give Life Another Try (John DePugh, David Johnson) - 3:51
9. I Talk To The Moon (Diff. Version) - 4:30
10.Winter Wind (Diff. Version) - 2:57
11.Chasing Now The Flying Time (Diff. Version) - 5:11
12.The Saddest Song I Know - 5:44
All compositions by John DePugh, Bob Walkenhorst except where noted.

Phantasia
*Bob Walkenhorst - Rhythm Guitar, Lead Guitar, Vocal, Acoustic Guitar, Piano, Tympany
*Jim Clapper - Bass Guitar, Vocals, Claves
*David Johnson - Lead Guitar, Lead Vocals
*John DePugh - Drums, Bongos, Maracas

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The United States of America - The United States of America (1968 us, baroque psych milestone, remaster edition with bonus tracks)

It takes balls —well, at least, something like that— to call your band The United States of America. And the San Francisco-based eggheads who dared to do so in the late-'60s were doing so with no little irony. At a time in which their country was waging a hated war and opposition to it was steeped in "all you need is love" delusion, their name had a mocking quality to it.

It hardly endeared them to the establishment, including their own record label, Columbia. "There was," USA mastermind Joseph Byrd would later recount, "scant enthusiasm from the executives for a band whose name they hated, whose music they didn't understand, and whose politics they thought treasonous."

That sense of treason extended to their approach to popular music. These United States were a band of serious avant-gardists; young composers and scholars who were students of modern-composition titans John Cage and Karlheinz Stockhausen. Even though none had a background —or, even, a sensibility— in rock'n'roll, Byrd decided that they should try their hand at a rockband.

And they were like no band ever before assembled. Rather than electric guitar, The United States of America employed a bizarre arsenal of instruments: circus calliope, harpsichord, scrapes of atonal violin, a ring modular, and electronic oscillations all being used to assault the 'sacred' form of the rock'n'roll song.

It was part subversion, sure, but The United States of America weren't simple provocateurs. Listening to their one-and-only album —a 1968 self-titled album that sunk quickly without a trace— and what stands out isn't its sense of invention or its preponderance of experimentation, but the way that its experimental edge works with its surprising, charming tunefulness.

Whilst The United States continually deconstruct the sanctity of songs —passages of white noise, eerie atmospheres, and cacophonous collage derailing the forward progression of verse/chorus— they don't shy away from the sweetness of songcraft. With Dorothy Moskowitz's voice as their most melodic instrument, Byrd and his crew composed tunes that were tuneful; be they raucous, psychedelic rockers, or eerie, barely-there lullabies.

Since this album has been rediscovered by a new generation, it's those sparse songs that've most entranced modern audiences; the marriage of Moskowitz's gentle singing, scrapes and wails of Gordon Marron's violin, and sci-fi squalls of electric circuitry make for most modern-sounding compositions on cuts like "Cloud Song."

The influence of the spectral side is apparent on their biggest new-millennial boosters, Broadcast, the amazing English electro minimalists who've cited The United States of America as their chief influence. In many ways, this album makes more sense over 40 years on than it would've in its day; even if the band were an obvious product of their era.
by Anthony Carew

Tracks

1. The American Metaphysical Circus (Joseph Byrd) - 4:56

2. Hard Coming Love (Joseph Byrd, Dorothy Moskowitz) - 4:41

3. Cloud Song  (Joseph Byrd, Dorothy Moskowitz) - 3:18

4. The Garden Of Earthly Delights  (Joseph Byrd, Dorothy Moskowitz) - 2:39

5. I Won't Leave My Wooden Wife For You, Sugar  (Joseph Byrd, Dorothy Moskowitz) - 3:51

6. Where Is Yesterday  (Gordon Marron, Ed Bogas, Dorothy Moskowitz) - 3:08

7. Coming Down  (Joseph Byrd, Dorothy Moskowitz) - 2:37

8. Love Song For The Dead Che  (Joseph Byrd) - 3:25

9. Stranded In Time  (Gordon Marron, Ed Bogas) - 1:49

10.The American Way Of Love - 6:38

...Metaphor For An Older Man (Joseph Byrd)

...California Good Time Music (Joseph Byrd)

...Love Is All  (Joseph Byrd, Dorothy Moskowitz, Rand Forbes, Craig Woodson, Gordon Marron) - 6:38

11.Osamu's Birthday  (Joseph Byrd) - 2:59

12.No Love To Give  (Dorothy Moskowitz) - 2:36

13.I Won't Leave My Wooden Wife For You, Sugar (Joseph Byrd, Dorothy Moskowitz) - 3:45

14.You Can Never Come Down  (Joseph Byrd) - 2:32

15.Perry Pier  (Dorothy Moskowitz) - 2:37

16.Tailor Man  (Dorothy Moskowitz) - 3:06

17.Do You Follow Me  (Kenneth Edwards) - 2:34

18.The American Metaphysical Circus  (Joseph Byrd) - 4:01

19.Mouse (The Garden Of Earthly Delights)  (Joseph Byrd, Dorothy Moskowitz) - 2:39

20.Heresy (Coming Down)  (Joseph Byrd, Dorothy Moskowitz) - 2:32

The United States Of America
*Joseph Byrd – Eectric Harpsichord, Organ, Calliope, Piano
*Dorothy Moskowitz – Lead Vocals
*Gordon Marron – Electric Violin, Ring Modulator
*Rand Forbes – Electric Bass
*Craig Woodson – Electric Drums, Percussion
Guest Musician
*Ed Bogas – Occasional Organ, Piano, Valliope

Related Act

1969  Joe Byrd and the Field Hippies - The American Metaphysical Circus (2004 reissue)

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rep>>> Pearls Before Swine - One Nation Underground (1967 us, great psychedelic folk rock, 2010 japan remaster)

Pearls Before Swine - One Nation Underground

(1967 us, great psychedelic folk rock, 2010 japan remaster)

Joseph - Stoned Age Man (1970 us, heavy fuzzy psych rock)

What can we say except ...Classic Stoner (heavy fuzz) bluesrock!!!This is a rare album indeed and much sought after, originallyreleased on the Scepter label (SPS 574) in 1970 and recordedin Memphis at the legendary American Sound Studios.

The “Joseph” was in fact Joseph Long or Joseph Longeria,discovered by the albums producer and A & R man SteveTyrell playing in Houston in a battle of the blues competition!!This is the only know foray into recording that Longeria madeand he was a superb guitar player to boot!!Stoned Age Man contains some of weirdest lyrics ever written.

Tracks
1. Trick Bag - 4:32
2. I Ain't Fattenin' No More Frogs For Snakes (Joseph Longeria, Glen Spreen, Mark James, Steve Tyrell) - 3:36
3. Cold Biscuits And Fish Heads - 3:37
4. Stone Age Man - 3:26
5. I'm Gonna Build A Mountain - 2:10
6. Mojo Gumbo - 2:53
7. The House Of The Rising Sun (Traditional) - 2:23
8. Gotta Get Away (Gregg Allman, John Hurley, Ronnie Wilkins) - 2:40
9. Come The Sun Tomorrow (D. Collins, S. Walton) - 2:53
All songs by Joseph "Long" Longeria, Glen Spreen, Mark James except where noted

Joseph
*Joseph "Long" Longeria - Vocals, Guitar
*Glen Spreen - Keyboards

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Black Oak Arkansas - High On The Hog (1973 us, excellent tough southern rock, Rhino remaster)

This is probably the best-known album in the Black Oak Arkansas catalog, thanks in large to part to its hit cover of the LaVern Baker R&B classic "Jim Dandy." This effective update combines a countrified touch, some electric guitar fireworks, and a frenetic double-time tempo with the inimitable hillbilly vocals of Jim "Dandy" Mangrum to create a song that became a hit with both country and pop listeners. It is definitely High on the Hog's undisputed highlight, but the other tracks surrounding it also have plenty to offer.

Although they were too eccentric a band to fit a strict "Southern rock" label Lynyrd Skynyrd, Black Oak Arkansas did have an ability to dish up both country and rock sounds with style. For instance, "Red Hot Lovin'" is a punchy rocker about the joys of loving a red-haired woman, while "Back to the Land" is a tribute to rural life delivered in a convincing, pure country style. Elsewhere, the group also shows a surprisingly ability to mix elements of pure funk into their country-rock stew: "Swimmin' in Quicksand" glides along on some funky wah-wah guitar licks that could have been lifted from a Funkadelic record.

The band also gets a solid showcase for their chops on "Moonshine Sonata," a tasty little instrumental that starts off as sprightly country-rock rave-up before shifting into a down-home ballad tempo for a surprisingly lovely and mellow finale. In the end, High on the Hog probably won't appeal to anyone who isn't already a Southern rock fan, but anyone who enjoys this genre will find plenty to like on this album.

by Donald A. Guarisco

Tracks
1. Swimmin' In Quicksand - 3:20
2. Back To The Land - 2:26
3. Movin' - 3:13
4. Happy Hooker - 5:28
5. Red Hot Lovin' - 2:47
6. Jim Dandy (Lincoln Chase) - 2:39
7. Moonshine Sonata (Black Oak Arkansas, Tom Dowd) - 5:27
8. Why Shouldn't I Smile - 2:23
9. High 'N' Dry - 2:27
10. Mad Man - 3:49

All songs by Jim Mangrum, Rickie Reynolds, Harvey Jett, Stanley Knight, Pat Daugherty, Tommy Aldridge, except where stated

Black Oak Arkansas
*James "Jim Dandy" Mangrum - Vocals
*Ricky Reynolds - Twelve Sring Guitar, Vocals
*Harvey Jett - Lead Guitar, Banjo, Piano, Vocals
*Stan Knight - Lead Guitar, Steel Guitar, Organ, Vocals
*Tommy Aldridge - Drums

* Pat "Dirty" Daugherty - Bass Guitar, Vocals

With

*Ruby Starr - Vocals (Track 6)

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Black Oak Arkansas - Black Oak Arkansas (1971 us, great southern rock, debut album, 2000 remaster)

Born and raised in the neighbouring hamlets of small town of Black Oak, Arkansas, school friends Jim 'Dandy' Mangrum and Ricky Reynolds formed their first band whilst in High School. September 1965 witnessed the group's first live show at Reynolds Park Community Centre in Pasragould, Arkansas. During 1969, after having been finally chased out of town thanks to a reputation for hell raising and ripping off the neighbourhood in order to pawn their ill-gotten gains for new band equipment the boys wound up in New Orleans.

Relocated, the group (originally known as THE KNOWBODY ELSE) was signed to Hip Records and issued a self-titled album (re-issued by the Stax label in 1974 as 'The Early Times') before attracting the interest of the Atlantic label after a show in Los Angeles. By the time they released their major label debut in 1971, produced by the IRON BUTTERFLY duo of MIKE PINERA and Larry Dorman at Paramount Recording Studios and Gold Star Recording Studios in Hollywood, California, the group had changed their name to BLACK OAK ARKANSAS in honour of their roots.

The initial BLACK OAK ARKANSAS roster included vocalist Jim 'Dandy' Mangrum, guitarist Rickie 'Ricochet' Reynolds, guitarists Stan 'Goober' Knight and Harvey 'Burley' Jett, bassist Pat 'Dirty' Daugherty and drummer Wayne 'Squeezebox' Evans. The debut album struck an immediate chord with the American Rock public; especially the renewed attitude the band gave the GUY MITCHELL hit 'Singin' The Blues'. Touring to promote the record included support dates to GRAND FUNK RAILROAD before the band journeyed to Florida to cut follow up 'Keep The Faith'.

Tracks

1. Uncle Elijah - 3:17
2. Memories At The Window - 3:05
3. The Hills Of Arkansas - 3:45
4. I Could Love You - 6:10
5. Hot And Nasty (Black Oak Arkansas, Endsley) - 2:55
6. Singing The Blues (Melvin Endsley) - 2:17
7. Lord Have Mercy On My Soul - 6:15
8. When Electricity Came To Arkansas - 4:26

All songs written by Jim Mangrum, Rickie Reynolds, Pat Daugherty, Harvey Jett, Stanley Knight, Wayne Evans, except where stated.

Black Oak Arkansas
* Jim "Dandy" Mangrum - Lead Vocals, Washboard
* Rickie "Ricochet" Reynolds - 12 String Rhythm Guitar, Vocals
* Pat "Dirty" Daugherty - Bass Guitar, Vocals
* Harvey "Burley" Jett - Lead Guitar, Banjo, Piano, Vocals
* Stanley "Goober" Knight - Lead,  Steel Guitar, Organ, Vocals
* Wayne "Squeezebox" Evans - Drums

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Taste - Live Taste (1971 ireland, awesome hard blues rock, 2009 japan SHM)

To many thousands of people, Taste meant hours of enjoyment in small-packed sweaty clubs up and down the country. They meant that three piece group from Ireland, who did what few groups ever do by making the top on merit of their music. Taste meant three brilliant soloists who, together, formed one of the tightest groups around. But above all, they simply meant Taste the magic of whom it was impossible to catch with words.

Take this piece of  "plastic", put it on your player, close your eyes and let your imagination run. This, their third release -and first live album-, is what Taste were all about.

Live Taste' as the title implies was recorded live in Montreux by the technical department of Swiss Radio.  Broonzy and Jackson were heavy influences on Rory's guitar playing and song writing. The LP was released after Rory went solo and was an attempt to ride his coat tails as he was becoming very popular in Europe at this time.

Tracks
1. Sugar Mama (Traditional) - 8:12
2. Gamblin' Blues (Melvin Jackson) - 6:21
3. I Feel So Good (Part 1) (Big Bill Broonzy) - 3:41
4. I Feel So Good (Part 2) (Big Bill Broonzy) - 3:59
5. Catfish (Traditional) - 10:45
6. Same Old Story (Rory Gallagher) - 5:43

Taste
*Rory Gallagher - Guitars, Vocals, Saxophone, Harmonica
*Richard McCracken - Bass
*John Wilson - Drums

Taste
1970  On The Boards (Japan SHM edition)

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Taste - Live At Isle Of Wight (1971, irish blues rock feat Rory Gallagher)

The festival at the Isle of Wight was to Europe what Woodstock was to the USA. Many problems came about as more rock fans than tickets available came to this usually peaceful island just off the coast of Portsmouth, England. The festival was held at East Afton farm in Freshwater, on the 13- by 23-mile island off the coast of Southern England. This was considered the last monster tribal gathering -- the five-day 1970 Isle of Wight Festival -- where 600,000 mostly stoned flower children turned ugly in obnoxious displays of hippie self-righteousness."

Many of the biggest rock stars of the time appeared at this festival including The Who, Free, Donovan, Ten Years After, The Moody Blues, Joni Mitchell, Joan Baez, Leonard Cohen and Jethro Tull, and ELP. Jimi Hendrix and Jim Morrison of the Doors made their last live stage appearance here.

Taste played through the madness of this giant concert where those who did not have tickets rushed and crashed the gates. 'Taste Live at the Isle of Wight' has some wonderful songs by Rory Gallagher and a cover for blues star Broonzy in "I Feel So Good."

Tracks 
1 What's Going On (Gallagher) - 5:38
2 Sugar Mama (Gallagher, Traditional) - 10:08
3 Morning Sun (Gallagher) - 4:36
4 Sinner Boy (Gallagher) - 5:30
5 I Feel So Good (Broonzy) - 10:08
6 Catfish (Gallagher, Traditional) - 14:16

Taste
* Rory Gallagher - Guitars, Vocals, Saxophone, Harmonica
* Richard "Charlie" McCracken - Bass Guitar
* John Wilson - Drums

1970  Taste - On The Boards

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Crystalaugur - Terranaut (1972 us, striking fuzz, psych, prog rock)

The story of Crystalaugur is a strange one: the obscure Native American band Crystalaugur recorded this album in Singapore between 1972 and 1973, orginally pressing a mere 200 copies for a private label (Warped Rec) and the ridiculously small pressing made the original album an unbelievable rarity.  The fuzz guitar and space rock vocals definitely put this LP in the psychedelic realm with an interesing primitive backdrop.

This is reissue of the 1974 release  by BMI SINGAPORE of a one-off album done as highschool project by 4 Americans in Singapore, that only has been sold to classmates, family and friends. A weird mix of Kaleidoscope / Velvet. Underground and eastern vibes with fuzz-guitar all over! Sorta prog-folk-garagy vibe, hypnotising and repetitive. A great psych rock fuzz album .

Tracks
1. Terranaut (Kim Bengs) - 5:18
2. I'll Remember (Kim Bengs, Howard Kukla) - 4:07
3. Cosmic Journey (Howard Kukla) - 4:21
4. You've Got to Rap (Howard Kukla) - 3:11
5. Uppachit Creek (Kim Bengs) - 2:22
6. Easy Term Pleasure (Howard Kukla, Kim Bengs) - 4:41
7. Pam's Song (Howard Kukla) - 4:42
8. Number 4 (Kim Bengs) - 5:00
9. Goodbye (Kim Bengs, Watson) - 1:25

The Crystalaugur
*Kim Bengs - Lead Guitar, Slide Guitar, Piano, Vocals
*Howard Kukla - Rhythm Guitar
*Bryan Hall - Drums
*Guy Rittger - Bass Guitar

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Truth And Janey - No Rest For The Wicked (1976 us, power hard rock)

The late-'60s power trio format made famous by Cream and the Jimi Hendrix Experience sent inspirational shockwaves across the rock and roll universe, and among the most isolated examples of its influence must have been eastern Iowa's extremely obscure cult hard rock band Truth and Janey.

Taking their name from the seminal Jeff Beck Group album, vocalist/guitarist Billy Janey, vocalist/bassist Steven Bock, and drummer Denis Bunce (original percussionist John Fillingsworth lasted less than a year) began penning original material, recorded a pair of singles in 1972/1973, and then evolved into Truth and Janey when informed that another band already held rights to the Truth moniker before them. Arduous roadwork in the neighboring states kept the band busy in years to come, but the absence of a major record deal eventually drove them to finance their own album -- a fierce and bluesy hard rocker to be entitled No Rest for the Wicked -- at a studio in nearby Ames, IA.

This they released through a local independent label, and its 1,000-unit pressing quickly sold out among their dedicated fans in the region -- but that was it. With no apparent career-advancing prospects in their near future, Truth and Janey disbanded the following year, with main man Janey turning to blues and adding a "Lee" to his name before recording several albums throughout the '80s and '90s.

Truth and Janey's modest legacy was kept alive by their few cult followers and eventually led to an official CD pressing of No Rest for the Wicked by Monster Records (which added all four of their single A- and B-sides, to boot), and a legendary live performance released in 2004 as Erupts!

by Eduardo Rivadavia

Tracks

1. Down The Road I Go - 3:59

2. The Light - 5:43

3. I'm Ready (Willie Dixon) - 3:30

4. Remember • A Child • Building Walls - 9:04

5. No Rest For The Wicked - 4:48

6. It's All Above Us - 4:23

7. Ain't No Tellin' (Mississippi John Hurt) - 3:38

8. My Mind - 5:57

9. Midnight Horsemen - 3:08

10.Around And Around - 2:19

11.Under My Thumb (Mick Jagger, Keith Richards) - 3:43

12.Straight Eight Pontiac - 2:19

All songs Billy Lee Janey, Steven Bock except where stated

Tracks 10,12 as The Truth

Bonus Tracks 9-12

Truth And Janey
*Billy Lee Janey - Guitar, Vocals
*Steven Bock - Bass, Vocals
*Denis Bunce - Drums

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Aunt Mary - Aunt Mary (1970 norway, fantastic hard groovy psych prog rock, 2020 japan remater)

One of the early nad many considered to be one of Norways definitely best prog bands.

Their music is a mix of heavy hard rocking tunes, combined with clear influence from the symphonic genre.

Aunt Mary came from the small town of Fredrikstad in Ostfold. Their first album was recorded and released in Denmark, as they lived there at the time.

Having spent a month in the band’s home town Fredrikstad, Norway, they returned to Vigerslev, Denmark to continue writing. It turned out the songs they wrote were more pop than blues. Nevertheless, they started recording the eponymous album "Aunt Mary".

Polydor liked the album so much that they decided to release it in 17 countries.

The album release was followed by gigs in Denmark, and in April they went back to the Top Ten in Hamburg for two weeks.

By now they had developed a more heavy approach to their music. Per Ivar Fure felt he no longer had anything to bring in to the band. And that summer he announced his resignation.

The band launched their first Norwegian tour, starting in september, touring the entire country. It turned out to be a tremendous success. Everywhere they went, Aunt Mary sold out the venues. The critics were unanimously euphoric, and the band was declared the best Norwegian rock band ever.
Aunt-Mary

Tracks

1. Whispering Farewell - 4:00

2. Did You Notice - 3:18

3. Theres A Lot Of Fish In The Sea - 3:51

4. I Do And I Did - 4:52

5. 47 Steps - 4:39

6. Rome Wasn't Built In One Day - 2:59

7. Come In - 3:29

8. Why Don't You Try Yourself - 2:28

9. The Ball - 3:33

10. All My Sympathy For Lily - 3:21

11. Yes, By Now I've Reached The End - 2:51

All songs by Bjoern Christiansen, Per Ivar Fure, Jan Leonard Groth, Svein Gundersen, Kjetil Stensvik

 Aunt Mary

*Bjoern Christiansen - Guitar, Vocal

*Per Ivar Fure - Flute, Harmonica, Saxophone, Mouth Organ,  

Vocal

*Jan Leonard Groth - Keyboards, Guitar, Vocals

*Svein Gundersen - Bass, Piano, Vocal

*Kjetil Stensvik - Drums, Vocal

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Marie Queenie Lyons - Soul Fever (1970 us, excellent blaxploitation, 2008 digipak remaster)

Marie "Queenie" Lyons is the sort of artist soul collectors salivate over -- she paid her dues on the Southern chitlin' circuit, shared stages with the likes of King Curtis, Jackie Wilson, and James Brown, scored a record deal with the King Records subsidiary DeLuxe Records, and after a few singles cut an album, 1970's Soul Fever, that sank without a trace.

As far as anyone can tell, Lyons never made another record after Soul Fever, making her obscure enough to please even the most finicky British R'n'B archivist, and as luck would have it Lyons was also a gifted singer whose sole LP is a fine piece of work. Lyons manages to show a very Southern variety of passion and fire along with a big city sense of showmanship and control, and her vocals reveal an impressive balance of sass and skill, knowing when to play it subtle and when to open up and wail. Lyons was well served in the studio on these sessions; the production and arrangements are solidly soulful but imaginative, with just the right amount of sweetening from string and horn arrangements that don't undercut the steady groove of the rhythm section.

And while Lyons didn't write her own material, she and her handlers knew how to pick songs that fit her talents, and from the lean funk of "See and Don't See" to the gospel-influenced Black Power anthem "I Want My Freedom" and the polished heartache of "We'll Cry Together," every song on this set fits her like a glove. Soul Fever is a better than average soul obscurity that will please fans of the golden age of R&B, but while this is a good album, it's not a great one, and more casual observers may want to give it a listen before they invest.

by Mark Deming

Tracks
1. See And Don't See (Rose Marie McCoy) - 3:20
2. Daddy's House (Helen Miller, Rose Marie McCoy) - 3:14
3. You Used Me (Don Pullen) - 3:38
4. You're Thing Ain't No Good Without My Thing (Don Pullen) - 2:27
5. Snake In The Grass (Don Pullen) - 2:42
6. Your Key Don't Fit It No More (Alecia Evelyn, Henry Glover) - 2:38
7. Fever (Eddie Cooley, John Davenport) - 3:02
8. I Don't Want Nobody To Have It But You (Don Pullen) - 2:03
9. We'll Cry Together (Helen Miller, Rose Marie McCoy) - 3:16
10.I'll Drown In My Own Tears (Henry Glover) - 3:00
11.I Want My Freedom (Don Pullen) - 2:31
12.Try Me (James Brown) - 2:38

*Marie Queenie Lyons - Vocals

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Mick Abrahams - Mick Abrahams (1971 uk, solid blues rock)

The roots of Mick Abrahams' musical career were typical of aspiring guitarists in the mid-sixties, taking in stints with R&B groups like The Hustlers, The Toggery Five, Screaming Lord Sutch, Neil Christian's Crusaders (replacing Jimmy Page) and his own McGregor's Engine.

By late 1967 Mick had become a founder member of Jethro Tull, and throughout 1968 the band built up a reputation based on the already distinctive blues guitar of Abrahams and the flute playing and wild stage persona of Ian Anderson. The band's unique blend of blues, jazz and rock was reflected in their first album This Was, an immediate UK chart hit. However, having two such strong personalities as a twin focus was always going to be a recipe for musical incompatibility, and at the end of 1968 Abrahams jumped ship.

After quitting Jethro Tull Mick formed his own band, called Blodwyn Pig. They released two albums "Ahead Rings Out" (1969) and "Getting To This" (1970). At that stage Blodwyn Pig looked destined for great things - but the old ogre of musical differences reared its ugly head, and Abrahams left his own band. Blodwyn Pig soldiered on for a while, but Mick's presence had been too vital a factor in their success, and the Pig died.

The early seventies saw Mick on 'Top Of The Pops' and 'In Concert' on Radio One with The Mick Abrahams Band, showcasing two fine guitar-driven rock albums in (A Musical Evening With) Mick Abrahams and At Last. The band enjoyed success throughout Europe but record company support was less encouraging and, after a short-lived Blodwyn Pig reunion in 1974 (immortalised via another Radio One live broadcast), a disillusioned Mick Abrahams effectively quit the music business.

Tracks  
1. Greyhound Bus - 4:50
2. Awake - 8:49
3. Winds Of Change - 4:50
4. Why Do You Do Me This Way (Abrahams, Sargeant) - 3:31
5. Big Queen - 4:28
6. Not To Rearrange (Abrahams, Sargeant) - 3:26
7. Seasons - 15:03
All songs by Mick Abrahams except where stated

Personnel
*Mick Abrahams - Guitar, Mandolin, Pedal Steel, Guitar Steel, Vocals, Slide Guitar
*Bob Sargeant  - Organ, Guitar, Piano, Keyboards, Vocals
*Ritchie Dharma - Percussion, Conga, Drums
*Walt Monaghan - Guitar  Bass, Vocals

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Steve Hillage - Open (1979 uk, progressive space rock, 2007 remastered)

Steve Hillage's music really has moved with the times. We've seen him progress from the seventies sound to the eighties 'pop' to the nineties 'techno' (System 7). So if you dig that late seventies funky sound then this could be the album for you. I would place it on a par with Green, but whereas Green takes you to another world, this recording stays in this one but turns your world into a paradise.

Talking to the Sun climaxes in what I call 'aural orgasm'. How can anybody write a tune that sounds that good? This really is music to put you in a good mood. If you're feeling low, these songs just say to you, "everything's going to be alright." 1988 Aktivator is a bit out of place, being very manic, but Open is just Love. Definite Activity and Don't Dither Do It are good for getting that motivation back into your life. Then there are some more mellow instrumental tracks but very pleasant listening nonetheless. Those spacey keyboard sounds are just great. This is feel good music.

by Marty (Sydney)

Tracks

1. Talking to the Sun - 5:59

2. 1988 Aktivator - 2:29

3. New Age Synthesis (Unzipping the Zype) - 8:52

4. Healing Feeling - 6:05

5. Earthrise - 8:34

6. Open - 5:17

7. Definite Activity - 4:43

8. Getting Better - 2:59

9. Day After Day - 6:19

10.Getting in Tune - 3:15

11.Don't Dither Do It - 5:04

12.The Fire Inside - 6:14

13.Don't Dither Do It (1974 Power Trio Backing Track) - 4:46

14.Four Ever Rainbow - 8:56

Personnel

*Steve Hillage - Synthesizer, Guitar, Vocals

*Andy Anderson - Drums

*Paul Francis - Bass

*Miquette Giraudy - Keyboards

*Jean Philippe Rykiel - Synthesizer

*Dave Stewart - Guitar, Vocals

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Steve Hillage - L (1976 uk, progressive space rock, 2007 remaster)

After a stint with Gong as their trippy, hippy, new agey guitar guru of cosmically and extremely raga-esque trance rock and improv heaven, Steve Hillage went solo. He branched out to carry his own version of the Gong gospel of personal freedom via his special blend of cosmic brotherhood, Eastern religion, new age, pyramids, ley lines, crystals, and some ferocious jazz fusion and progressive rock guitar blended with space rock synths.

Hillage reinterprets some well-known tunes by other artists like Donovan and George Harrison here as well as penning some of his more memorable sonic treats. His awesome riffing and speedy solos on his Fender Strat rival those of Hendrix and Frank Marino but go further compositionally via exotic scales from other cultures. Add in Todd Rundgren's engineering and production genius, his Utopians guesting, and several others like Don

Cherry on brass and Tibetan trumpet along with a 15th century Hurdy Gurdy and you have a wild romp into eclectic rock. The 12-minute-long "Lunar Musick Suite" is the pinnacle moment of the release and "Om Nama Shivaya" comes in a close second for Hillage's most blissed-out trance rock. Both Gong and Hillage's solo career have brought such superb musical echoes and legends such as veteran space rockers, the Ozric Tentacles.
by John W. Patterson

Tracks

1. Hurdy Gurdy Man (Donovan Leitch) - 6:32

2. Hurdy Gurdy Glissando (Steve Hillage, Miquette Giraudy) - 8:54

3. Electrick Gypsies (Steve Hillage, Miquette Giraudy) - 6:24

4. Om Nama Shivaya (Kesar Singh Narula, Uma Nanda) - 3:33

5. Lunar Musick Suite (Steve Hillage, Miquette Giraudy) - 11:59

6. It's All Too Much (George Harrison) - 6:26

7. Eight Miles High (Bonus Track) (David Crosby, Gene Clark, Roger McGuinn) - 4:34

8. Maui (Bonus Track) (Steve Hillage, Miquette Giraudy) - 4:41

9. Shimmer (Bonus Track) (Steve Hillage, Tim Blake) - 3:50

Musicians
* Joe Blocker – Drums
* Don Cherry – Trumpet, Horn, Tambourine, Voices, Bells
* Miquette Giraudy – Keyboards, Vocals, Vibe Master
* Peter Hillage – Performer
* Steve Hillage – Synthesizer, Guitar, Vocals, Arp, Shenai
* John Holbrook – Engineer
* Larry Karush – Percussion, Tabla
* Sonja Malkine – Keyboards
* Roger Powell – Synthesizer, Piano, Keyboards, Moog Synthesizer
* Todd Rundgren – Record Producer, Engineer
* Kasim Sulton – Bass Guitar
* John (Jon) Wilcox – Drums

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A Passing Fancy - A Passing Fancy (1968 canada, psych garage beat)

A Passing Fancy was born out of Toronto's Yorkville Village scene in the mid sixties. In 1967 the band released its debut single I'm Losing Tonight, which immediately became a hit and scored high on the east coast charts. In 1968, A Passing Fancy released a self titled album on the independent Boo Records label that was well received and gathered good reviews. The Boo label, formed by two record store owners, only released the album in the Toronto area, so national fame and exposure eluded the band. 

The music on the album, A Passing Fancy, was British influenced pop with elements of psychedelia and an American garage sound. The band went through a couple of line up changes while recording the album but all musicians that worked on the album were credited in the album liner notes. The main songwriters in the band were Jay Telfer and brothers Fergus and Greg Hambleton. The songs were well written and the music was well played. Shortly after the release of the album, one more single followed, I Believe In Sunshine, which was also a hit. 

This single broke out across Canada and attracted interest south of the border as well as with some major labels but unfortunately it was too late and the band folded. Telfer and the Hambletons, in particular Fergus (as he went by for a time) went on to write more songs and record with other bands in the 70's. They also made a couple of solo albums that were well received and are still active today on the Canadian music scene. Greg Hambleton went on to form Axe Records while Fergus Hambleton continues to perform with his reggae band the Satellites. 

This reissue of the original Boo Records album by Pacemaker Records in association with the U.S. reissue label Timothy's Brain, is housed in a beautiful digipack case with original album artwork. Although this album contains no bonus tracks as none were available or additional liner notes, the sound quality is superb and is taken from the original master tapes. An exciting and long lost piece of the early Canadian music scene that has thankfully been restored and made available once again for all to hear and a new generation to discover.
by Keith Pettipas

Tracks

1. I'm Losing Tonight - 2:53

2. A Passing Fancy - 2:41

3. You're Going out of My Mind - 2:37

4. Sounds Silly - 2:30

5. She Phoned - 2:16

6. I Believe in Sunshine (Greg Hambleton) - 2:27

7. Island (Greg Hambleton)  - 2:11

8. Your Trip (Ruth Cameron) - 3:10

9. Little Boys for Little Girls - 3:35

10.Under the Bridge (Fergus Hambleton) - 2:42

11.Spread Out - 2:57

12.People in Me (Sean Bonniwell) - 3:24

13.I'm Losing Tonight - 2:49

All songs by Jay Telfer except where noted

Bonus track 13 

Personnel
*Rick Mann - Bass
*Brian Price - Organ
*Brian Smith - Rhythm Guitar
*Jay Telfer - Vocals, Rhythm Guitar
*Ron Forster - Guitar, Vocals
*Fergus Hambleton - Organ, Vocals
*Louis Pratile - Drums
*Phil Seon - Guitar
*Dan Troutman - Bass
*Steve Wilson - Drums

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Haystacks Balboa - Haystacks Balboa (1970 us, great hard psych underground rock)

New York City based, hard-rock band with progressive ideas. They released this self titled album in early 1970. The sound is dominated by hard rock tunes who are typical of the time, like Sabbath or Mountain, with backbreaking heavy fuzzy guitars. The progressive moments are quite nice, long tracks relying on Hammond organ and guitar interplay with extended instrumental stretches.

Real heavy dudes with a mean attitude and some wicked guitar - above-par hard rock. A couple of tracks on their album were written by Larry West, formerly of the legendary Vagrants and younger brother of guitar colossus,  Leslie Mountain' West. The album was produced by Shadow Morton, aka Shadow Mann. Mayo and Polott still play together in an outfit called Blue Lagoon.

Tracks

1. Spoiler (Deborah Mayo, Mark Pollot, Mark Mayo) - 3:30

2. The Children Of Heaven (Lloyd Landesman, Mark Mayo) - 3:06

3. Bruce's Twist (Bruce Scott, Mark Babani, Mark Mayo) - 2:42

4. Auburn Queen (Lloyd Landesman, Mark Mayo) - 9:11

5. Sticky Finger (Deborah Mayo, Larry West, Mark Babani, Mark Mayo) - 5:14

6. Ode To The Silken Men (Lloyd Landesman, Mark Mayo) - 8:49

     a.Tell Me A Story

     b.What Would Happen

7. Riverland (Mark Mayo) - 3:49

Haystacks Balboa

*Mark Babani - Drums

*Mark Harrison Mayo - Guitar

*Lloyd Landesman - Keyboards

*Mark Polott - Bass

*Bruce Scott - Vocals

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rep>>> Joe Byrd and the Field Hippies - The American Metaphysical Circus (1969 us, sensational experimental psych space rock, 2007 reissue)

Joe Byrd and the Field Hippies - The American Metaphysical Circus

(1969 us, sensational experimental psych space rock, 2007 reissue)