Mike Bloomfield And Al Kooper - The Live Adventures Of Mike Bloomfield And Al Kooper (1969 us, outstanding psych blues rock, double disc release)

One of the seminal live albums of the late '60s, Live Adventures of Al Kooper and Mike Bloomfield was a natural, organic offshoot of the hugely successful Super Session album from 1968, which contained performances by both of these groundbreaking musicians, as well as Stephen Stills. 

The idea of musical spontaneity both in live performance and in the recording studio had reached a certain apex in 1968, and spontaneous excursions by musicians such as Jimi Hendrix, Steve Winwood, and the Southern California musical covenant that eventually became Crosby, Stills, Nash 'n' Young, as well as a host of others, were indeed a sign of the times. But it was the union of Bloomfield and Kooper that can truly claim an origination of the phenomenon, and this album takes it to another level entirely. 

Utilizing a fine and tight rhythm section of John Kahn and Skip Prokop, the two musicians duel and embrace each other on such cuts as the accurately named "Her Holy Modal Highness" and a great, revamped rock/soul re-working of Paul Simon's "Feelin' Groovy," which is buttressed by a guest studio vocal overdub by the author himself. The album's high point may be Bloomfield's rendering of Albert King's epic "Don't Throw Your Love on Me So Strong," which may indeed also be one of his finest career recordings. 

Like the Super Session album, history repeated itself, as Bloomfield's chronic insomnia caught up with him by the morning of the second night of the two-night gig, rendering him unavailable. Kooper enlisted the help of Steve Miller and a practically unknown Carlos Santana (himself a Bloomfield devotee) for several tracks, particularly a loose and free version of "Dear Mr. Fantasy," which sort of embodies the whole affair and era. Undoubtedly a necessity from the period, the record has been remastered for CD, and the results are truly glorious, and do this legendary album justice. 

by Matthew Greenwald

Tracks

Disc One

1. Opening Speech (Mike Bloomfield) - 1:30

2. The 59th Street Bridge Song (Feelin' Groovy) (Paul Simon) - 5:38

3. I Wonder Who (Ray Charles) - 6:04

4. Her Holy Modal Highness  (Al Kooper, Mike Bloomfield) - 9:08

5. The Weight  (Robbie Robertson) - 4:00

6. Mary Ann (Ray Charles) - 5:19

7. Together 'Til The End Of Time  (Frank Wilson) - 4:15

8. That's All Right  (Arthur Crudup) - 3:28

9. Green Onions  (Booker T. Jones, Steve Cropper, Al Jackson, Jr., Lewie Steinberg) - 5:26

Disc Two
1. Opening Speech  (Al Kooper) - 1:28
2. Sonny Boy Williamson  (Jack Bruce, Paul Jones) - 6:04
3. No More Lonely Nights   (Sonny Boy Williamson) - 12:27
4. Dear Mr. Fantasy  (Jim Capaldi, Stevie Winwood, Chris Wood) - 8:04
5. Don't Throw Your Love On Me So Strong  (Albert King) - 10:56
6. Finale-Refugee  (Al Kooper, Mike Bloomfield) - 2:04

Musicians
*Al Kooper - Organ, Piano, Vocals
*Mike Bloomfield - Guitar, Vocals
*John Kahn - Bass Guitar
*Skip Prokop - Drums
*Carlos Santana - Guitar
*Elvin Bishop - Guitar
Steve Miller and Dave Brown had also volunteered  their services but if they performed, their contributions do not appear (at least credited) on the album

Mike Bloomfield
1966-68  Strawberry Jam (with Paul Butterfield's Blues Band)
1969  Live At Bill Graham's Fillmore West
1976  Live at the Old Waldorf
1976  KGB 

Al Kooper 
1970  Easy Does It 
1973  Naked Songs
with Blues Project
1966  Live At The Cafe Au Go Go
1966  Projections
1967   Live At Town Hall
1973  Reunion In Central Park
with Blood, Sweat And Tears
1968  Child Is Father To The Man
with Shuggie Otis
1969  The Kooper Sessions

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Taos - Taos (1971 us, beautiful psychedelic pop with folk country tinges, 2012 Kismet edition)

Here’s an unusual jewel, released on Mercury Records in 1971. The band Taos was actually a quintet pieced together by a group of young men who had moved to the legendary Taos commune in the early 1970s, namely: Jeff Baker on guitar and vocals, Steve Oppenheim on keyboards and vocals, Albie Ciappa on drums, Burt Levine on guitar and banjo, and Kit Bedford on bass, with the occasional intermixing of instruments going on in between cuts. If the band’s commune connection leads you into expecting some sort of stoned, improvisational musical meanderings, however, you’re in for a surprise: their sole, self-titled record is pop music all the way.

Indeed, the band itself is surprisingly together, tempering mildly eccentric diversions into psychedelia and country music with a solid foundation in 1960s rock and roll. If there’s one band to which Taos owes its biggest debt, I’d say it would have to be The Beatles. Kit Bedford’s warm, melodic bass work channels Paul McCartney all the way, while the group’s vocal harmonies show a tendency to lean more towards the ragged schoolboy charm of the Four than the choirboy constructions of American groups such as the Byrds, or the Mamas and Papas. This influence is not to say that Taos lacks an identity of its own, however. On the contrary, they manage to take this influence in surprising directions, whether it’s the lonesome cosmic cowboy pastiche “After So Long” or the phased psychedelic boogie of “Twenty Thousand Miles In the Air Again”.

Despite the general cohesiveness of the album, however, there are the occasional faults, such as the unnecessary, repeating theme “The Day Begins,” which should have simply been turned into a full-fledged song rather than left as fragmentary interruptions in the tracklist. Every now and again the musicians also reveal a slight weakness in the vocal department, as the slightly squirrely lead on “Morning Sun” illustrates. Lastly, the song lyrics aren’t really worth shedding too much ink over – there’s certainly no metaphysical contemplation or social commentary going on here, whatever other Sixties sensibilities the record may boast. 

These latter complaints border on quibbling, though, because the music here is almost too much fun to criticize. Again, this is pop music, and should be enjoyed for what it is. I think that Taos is certainly consistent enough that, if you’re digging the tracks below, you’re gonna like what you hear the rest of the way through.

by Nik (The Rising Storm)

Tracks
1. Space Bird - 2:44
2. Think I'll Wait - 3:53
3. Morning Sun - 2:17
4. 20,000 Miles In The Air (Again) - 2:51
5. All My Life - 2:42
6. Everybody's Movin' (In The Sunshine) - 3:21
7. Love's Face - 2:46
8. Putting My Faith In You - 4:59
9. On The Way Down - 0:42
10.Climbing Up The Mountain - 3:22
11.Take Good Care - 1:55
12.After So Long (So Long) - 3:21

Taos
*Jeff Baker - Guitar, Vocals,
*Steve Oppenheim - Keyboards, Vocals
*Albie Ciappa - Drums
*Burt Levine - Guitar, Banjo
*Kit Bedford - Bass

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Cold Sun - Dark Shadows (1970/72 us, amazing texas psych with prog traces, World In Sound 2008 release)

Cold Sun from Austin, Texas was recorded in 1970 in the legendary Sonobeat studios, where the Mariani and Johnny Winter first LPs were produced. The Cold Sun band are considered contemporaries of Velvet Underground and The Fugs, often listed as being in a similar vein but inspirations for this unique piece actually go back to the desperated, haunted Joe Meek. 

All songs lyrically express dark, mystic poetry with the true 60s psychedelic floating/distorted fuzz spirit presented in short compact mini-epics along with several mind blowing long tunes, such as "Ra-Ma" (11 min), "Here In The Year" (9 min) and "Fall" (7 min). Discovered by Rockadelic Records of Dallas, Texas in 1991, the Dark Shadows album saw the light of day the next year as a limited LP version, to become today one of the most important and revered US psychedelic underground albums from the early 70s. 

(Rockadelic heard it in the form of an old scratchy acetate that one of the Cold Sun band members had made in order to be able to play the recording at friends` parties on their turntables. The acetate only contained 2/3 of the songs but so greatly impressed them that Rockadelic managed together with bandleader Bill Miller to release the complete sessions from mastertape.)--- Autoharp wizard Miller eventually spearheaded Roky Erickson`s international debut as the Cold Sun band joined forces with Roky in 1974 and became BliebAlien, later evolved into The Aliens and backed Roky on his famous albums and historical concerts. 

Carefully remastered from the mastertapes, this album will bring new rewarding listening experiences in expanded fidelity, plus 2 unreleased non-album songs, authentic Live/Concert recordings of "Live Again"(10 min) and "Mind Aura"(7 min). The fidelity of these reel to reel Live recordings is also remarkable. The CD and Vinyl issues will both have an extended booklet with liner notes by Jello Biafra plus rare photos and other surprises. The Vinyl issue is packaged in a luxury foldout cardboard cover as Dragonwyck, Phantasia or Mystic Siva and contains an extra 10" bonus record. 

World In Sound

 Tracks
1. South Texas - 5:17
2. Twisted Flower - 3:04
3. Here In The Year - 8:50
4. For Ever - 4:35
5. See What You Cause - 3:40
6. Fall (Billy Miller, Herman M. Nelson, Winston Taylor) - 7:20
7. Ra-Ma (Billy Miller, Tom McGarrigle) - 11:20
8. Live Again - 10:20
9. Mind Aura (Tom McGarrigle) - 7:38
Music and Lyrics by Billy Miller except ehere noted.

Cold Sun
*Billy Miller - Autoharp, Voices
*Mike Waugh - Bass
*Tom McGarrigle - Guitar
*Hugh Patton - Drums
*Mike Ritchey - Bass

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Strawberry Window - Strawberry Window (1967 us, awesome west coast garage psych, World In Sound 2009 issue)

Strawberry Window hailed from the San Francisco Bay Areas East Bay music scene in the mid 60’s and were truly one of the “early birds” and innovators who made their own distinct brand of Rock ‘n’ Roll. 

They played in a heavypsychedelic- garage style, sounding somewhat reminiscent of the Jefferson Airplane, (early) Mad River, Buffalo Springfield, Quicksilver Messenger Service and Frumious Bandersnatch. These previously unreleased recordings have survived for the last four decades in a box on a shelf in a band member’s closet. Meticulous care and detail has been taken to master these recordings with a fresh, open approach, while ensuring that the sound and integrity of the vintage songs remained intact. 

The amazing music of this guitar based quartet ranges from catchy electric folk tunes and “West Coast” garage rock to raw energetic acid jams lasting over 10 minutes. You’ll be impressed by the great stereo sound quality throughout their ten original cuts not to mention their freaky cover version of J D Loudermilk’s Tobacco Road. It’s an out right shame that this talented bunch were not signed to a record deal back then. 

Then again, that’s okay with us because it has allowed World In Sound the opportunity to proudly present for the first time ever, the music of and the history behind this talented group of songwriters and wild performers known as the Strawberry Window. The Strawberry Window CD and LP releases contains 65 minutes of intense but melodic performances and also comes with a 16 page color booklet that will take you on a trip back to the halcyon days of the Summer of Love. 

In 1968 they switched guitar players, added a girl singer and changed their name to the Dandelion Wine. They recorded several songs and also released a private pressing of a 4 song 7 inch EP. Truly a masterpiece!!!

World In Sound

Tracks
1. Her Eyes  (Steve Bloom, Eskridge) - 3:25
2. Wind Blowing Past Me (Eskridge) - 5:11
3. Poverty Hill (John Stewart) - 4:12
4. Steve's Thing (Rich, Wilson) - 10:07
5. Purple Orange (Wilson, Kennedy) - 2:42
6. You Jre Not The Only One (Wilson, Kennedy) - 3:54
7. Mercury (Rich) - 3:48
8. Strawberry Jam (Eskridge) - 13:40
9. Raindrops (Kennedy, Wilson) - 4:00
10.If I Say (Eskridge, Wilson) – 3:4l
11.Tobacco Road (J. D. Loudermilk) - 6:37
12.Her Eyes (Steve Bloom, Eskridge) - 3:41

Strawberry Window
*Marc Rich - Guitar, Vocals
*Jack Eskridge – Guitar, Vocals
*Steve Wilson - Bass, Vocals
*Andy Kennedy - Drums, Vocals

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Michael Bloomfield with Nick Gravenites & Friends - Live At Bill Graham's Fillmore West (1969 us, classic psych/blues rock, 2009 remastered with extra track)

Let's see if I have this straight---Sony/Columbia Legacy saw fit to let two of these performances ("It Takes Time" and the incandescent "Carmelita Skiffle") turn up to round off their excellent Michael Bloomfield overview ("Don't Say That I Ain't Your Man," in 1998) but not to let the entire original album (released in 1969), plus the performances that were saved for Nick Gravenites' "My Labours," see the light of day once more.

Leaving it to Australia's Raven label to do what should have been done long enough ago. Considering Legacy's diligence in its "Roots 'n' Blues" series and with much of the Bloomfield canon from his Columbia years, that omission should be considered a crime. That said, thank Raven for its own diligence and for producing a set that presents everything Columbia recorded (save "Winter Country Blues," omitted for space reasons but still alive and well on the reissued "My Labours") the 1969 weekend Bloomfield, Nick Gravenites, and a few of their regular musical partners (including Bloomfield's former Butterfield Blues Band teammate Mark Naftalin on piano, his "Live Adventures" bassist John Kahn, his soon-to-be-frequent drummer Bob Jones, and erstwhile Electric Flag baritone saxophonist Snooky Flowers) commandeered the Fillmore West for some freewheeling blues and soul jamming.

Concede the point that this isn't exactly "Super Session Mk III" (and not just because organist Ira Kamin is no Al Kooper, though he's quite tasteful and sinuous in his own right), and you have one of the most powerful documents in the Bloomfield catalog. The horns and the Gravenites voice may deceive you into thinking this was a kind of projection of what Bloomfield ultimately wished the Electric Flag to have been, but this music is far more tightly grounded in blues and soul than the eclectic (and ill-fated) Flag, and these musicians, whatever their individual inclinations, are most at home in those two neighbourhoods.

Gravenites has rarely been heard in better or more soulful voice, even when it cracks now and then; Kahn, Jones, and conga player Dino Andino play as though they'd been welded together for years; Naftalin and Kamin are as supple a keyboard team as you could ask without stepping on each other's corns; and the horns---Flowers, Gerald Oshita (baritone sax), Noel Jewkis (tenor sax), and John Wilmeth (trumpet)---sound as buttery and exuberant as the tightest sessions of the Memphis Horns.

And Bloomfield? He gives more than enough evidence of what Al Kooper hoped to isolate with "Super Session" in the first place: catching him when he could just forget everything except playing his heart out, from the kickoff lick to "It Takes Time" (boy, did he never forget what Otis Rush among the other Chicago masters taught him as a teenager hanging around the classic southside blues clubs) to the last notes of "Moon Tune." And just about all points in between. If you missed out hearing it on "Don't Say I Ain't Your Man: Essential Blues, 1964-69" (it's since gone out of print), here's "Carmelita Skiffle"---the original vinyl release closer---and Bloomfield plain rollicking, practically squeezing everything he'd learned about and felt about the blues into one incendiarily melodious solo, before handing it off to Jewkis for a smooth saxophone break and Kamin for a soaring organ solo, before returning with an exclamation point of a coda.

In between? "Oh, Mama" is a Bloomfield composition, the kind of soul he'd begun exploring in the Electric Flag, and while the music is exquisite Bloomfield as a singer was a virtuoso guitarist. With Gravenites extending his breather, Jones takes a surprisingly solid vocal on the Arthur Conley chestnut "Love Got Me" (and you thought all Conley was good for was "Sweet Soul Music"). With Gravenites returning, "Blues on a Westside" lives up to its mini-legend as a wrenching jam, with Bloomfield absolutely soaring. Taj Mahal joins up for a throbbing "One More Mile," and Gravenites' "It's About Time" could be said to live up to its title, working blues into a James Brown-like groove in a more freewheeling style, guitar and piano wrestling each other's chords deftly and riding the rhythm smoothly, Bloomfield firing off a few horn-like bursts to set up his solo statement.

And the "My Labours" additions? All of them Gravenites compositions, the one that's most likely to stick in your head is "Gypsy Good Time," what they used to call funky blues, punctuated sweatily by Willmeth's trumpet phrases and Andino's rolling secondary rhythm, with the full band cutting a deep and wide groove over which Gravenites sings exuberantly and Bloomfield peels off a fiery, melodious solo.

It's a shame the compilers found no room for "Winter Country Blues" but chose to fill out the available space with "Mary Ann," a quartet performance (and a good one) from "The Live Adventures of Mike Bloomfield and Al Kooper," which is actually a good introduction to that set if you don't have it yet. Just why the new compilers saw fit to include that as a bonus track isn't made clear. But it shouldn't distract you from the power of the main attraction.
Blues-Duke

Tracks
1. It Takes Time - Vocals: Nick Gravenites (Otis Rush, Willie Oixon) - 4:27
2. Oh Mama - Vocals: Michael Bloomfield (Michael Bloomfield) - 2:59
3. Love Got Me - Vocals: Bob Jones (Arthur Conley) - 2:37
4. Blues On West Side - Vocals: Nick Gravenites (Nick Gravenites) - 15:18
5. One More Mile To Go - Vocals: Taj Mahal (Joseph Cotton) - 10:35
6. It's About Time - Vocals: Nick Gravenites (Nick Gravenites) - 7:00
7. Carmelita Skiffle - Instrumental (M. Bloomfield, N. Gravenites, B. T. Jones, M. Naftalin) - 5:11
8. Killing My Love - Vocals: Nick Gravenites (Nick Gravenites) - 5:18
9. Gypsy Good Time - Vocals: Nick Gravenites (Nick Gravenites) - 4:30
10. Holy Moly - Vocals: Nick Gravenites (Nick Gravenites) - 3:54
11. Moon Tune - Vocals: Nick Gravenites (Nick Gravenites) - 8:32
12. Mary Ann - Vocals: Michael Bloomfield (Ray Charles) - 5:28
Tracks 1-7 from the Columbia album Live At Bill Graham's Fillmore West
Tracks 8-11 from the Nick Gravenites Columbia album My Labors (featuring Mike Bloomfield)
Track 12 from the Columbia album The Live Adventures of Mike Bloomfield andAI Kooper

Musicians
*Michael Bloomfield - Guitar, vocals
*Nick Gravenites - Vocals, guitar
*Mark Naftalin - Piano
*Ira Kamin - Organ
*John Kahn - Bass
*Bob Jones - Drums, vocals
*Dino Andino - Conga
*Noel Jewkis - Tenor sax
*Gerald Oshita - Baritone sax
*Snooky Flowers - Baritone sax
*John Wilmeth - Trumpet
*Taj Mahal - Vocals
Bonus Track
*Michael Bloomfield - Guitar, vocals
*Al Kooper - Organ, vocals
*John Kahn - Bass
*Skip Prokop - Drums

Mike Bloomfield's tapestry
1966-68  Strawberry Jam (with Paul Butterfield's Blues Band)
1976 Live at the Old Waldorf
1976 KGB 

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Various Artists - Piccadilly Sunshine Part 5 (1966-69 uk, many more pop psych and other flavours)

If the 20 tracks collected on this, the fourth installment, are anything to go by, the splendid Piccadilly Sunshine series is still in its zenith. As the gray streets of late-‘60s Britain magically blossomed into a lysergic Edwardian wonderland of the imagination, Jago Simms tells his toy town tale about a “Conventional Fella” who liked to get nude after a hard day’s accounting so he could become “just as free as any bird or bee”, while lazy trumpets, tinkling harpsichords, shimmying Mod-psych organ and glorious guitar fuzz herald such forgotten classics as The Laurels’ “Rainmaker”, Keith Field’s “Stop! Thief” and the Now’s foray into early prog on “The Hands On my Clock Stand Still”.  Simply amazing stuff! 

by Alan Brown 22 March 2011

Artists - Tracks 
1. Samurai - Temple Of Gold - 2:15
2. The Running Jumping Standing Still Band - Ayeo - 2:18
3. Sight And Sound - Alley Alley - 2:45
4. Washington Dc’s-  32nd Floor - 2:29
5. Laurels  Sunshine - Thursday - 2:40
6. Jago Simms - In Too Deep - 2:25
7. Oedipus Complex - Empty Highway - 3:02
8. Wayne Fontana - In My World  - 3:01
9. Nocturnes - Look At Me - 3:15
10.John Bryant  - Columbine - 2:36
11.Sweet Thursday - Cobwebs - 3:22
12.Seymour Kelly - Indian Scene - 2:32
13.Tony Rivers And The Castaways - Pantomime - 3:46
14.Watch Committee - Now I Think The Other Way - 2:02
15.Merlin Q - The Secret  - 2:45
16.Roger Denison - Running Out Of Time - 2:10
17.Ian Whitcomb - Groovy Day - 2:23
18.Roulettes  - Airport People - 2:38
19.Sounds Bob Rogers - Dream With Me - 2:06
20.Toyshop - Say Goodbye To Yesterday - 3:21

The Piccadilly Sunshine flavours 
1968-70  Piccadilly Sunshine Part 1
1966-71  Piccadilly Sunshine Part 2
1967-70  Piccadilly Sunshine Part 3
1967-69  Piccadilly Sunshine Part 4

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Atomic Rooster - Devil's Answer / Rare Live Recordings (1970-72/81 uk, classic hard prog rock, rare material)

It was during the American Tour of "Crazy World of Arthur Brown" that Vincent's latent psychiatric problems first manifested themselves, in the form of manic escapades .  followed by long periods of depression in hospital. However, by 1969 he had recovered enough confidence to form Atomic Rooster, initially with drummer Carl Palmer. 

Over the next fourteen years there were seven albums, two Top Ten Hits, American and European Tours, and a succession of drummers, guitarists and vocalists. But the themes of dread, paranoia and satanic angst recurred throughout like Vincent's own relentless left. hand bass. lines in songs like "Death Walks Behind You", "Time Take My Life", "Dance of Death" or Devil's Answer". 

The ominous freneticism of Atomic Rooster virtually defined the epithet heavy.... Meanwhile the breakdowns continued, bedevilling his working relationships, his first marriage, (which ended in 1976) and his attempt to form his own record company.Yet so many of his colleagues who shared the pressures of the studio, the road or the gig, recall his charm, his quickfire wit, his zest, the good fellowship, the cheerfulness that so often sustained others. They also emphasise his versality outside the Atomic Rooster format. 

There was another excellent album with Arthur Brown and a fine blues collaboration with Peter Green. Since the sixties he had worked with writer Paul Green; their jazz/poetry duo reappeared at arts festivals during the eighties, and Vincent directed music for two of Green's radio plays. He aslo worked in The Red Buddha Theatre, the Rocky Horror Show, numerous cabaret and club bands, making many new friends. His last major professional engagement was between 1984-86 as a member of Dexy's Midnight Runners. He toured with them in Europe and made an important contribution to their last album "Don't Stand Me Down.

 The turbulence of his life caused great pain, both for the man himself and those closest to him, especially Jean, his second wife; and Tom and Renee, his parents. They gave him all they had. And he gave all he could. We do not know how his talents might have developed without the spectre of mental illness. We can only be certain that he is greatly missed.

by Paul A. Green, February 1989

Tracks
1. Friday The 13th - 4:28
2. Seven Lonely Streets - 6:15
3. Tomorrow Night - 5:27
4. Shabooloo - 6:10
5. Death Walks Behind You (John DuCann) - 6:04
6. Stand By Me - 3:23
7. Breakthrough - 3:06
8. Save Me - 3:40
9. Close Your Eyes - 2:48
10.Play It Again (John DuCann) - 4:04
11.In The Shadows (John DuCann) - 10:01
12.Devil's Answer (John DuCann) - 3:46
13.People You Can't Trust - 4:41
14.A Spoonful Of Bromide Helps The Pulse Rate Go Down - 4:46
15.All In Satan's Name (Ric Parnell) - 4:03
All songs by Vincent Crane except where noted.

Atomic Rooster
*Vincent Crane - Keyboards, Organ, Hammond
*John DuCann - Guitar, Vocals (1-5, 10-12)
*Carl Palmer - Drums (1, 2)
*Paul Hammond - Drums (3-5, 10-12)
*Chris Farlowe - Vocals, Tambourine (6-9, 13-15)
*Steve Bolton - Guitar (6-9, 13-15)
*Ric Parnell - Drums (6-9, 13-15)

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Fred - Live At The Bitter End (1974 us, significant progressive jazz rock, 2004 World In Sound release)

"The group as a whole Is to these ears more enjoyable than either the Mahavlshnu Orchestra or the new Billy Cobham band. In fact they are providing the kind of solid rhythmic electric music that I didn't think existed In pop circles anymore. Even the Bitter End, under Interim management, seemed more congenial than usual. Any band that can do that must be all right,"

by Peter Occhiogrosso, August 1.1974

Ironically, the legendary music club in New York City called "The Bitter End" Fred played in summer 1974, for six consecutive weeks, twice a day. The bitter end of the band came a few months later. Some of the concerts at the Bitter End were recorded clearly what it World In Sound enabled at its third Fred CD to present a part of it.

"This album contains the best performances from that summer" is because in the booklet to "Live at the Bitter End" to read. Apparently, the makers of the disc have proceeded extremely critical in the selection of numbers. Only a good forty-five minutes of material they deemed good enough to be published. For all I could have the CD still can fill a half-hour with a few inferior pieces. Perhaps, however, was also the sound quality of the other shots clearly worse or the redundancy is too high (at the frequency of occurrence have Fred sure every night pretty much played the same), who knows?

The sound of "Live at The Bitter End" is very good, maybe a little bit dull, and the mix is ​​not always perfect, but for a not for publication recording from the 70s the whole thing sounds all in all, excellent. Sun right live atmosphere is going to give up. Audience and applause is not heard (maybe played fred largely empty stands) and the pieces are separated by showing and hiding from each other. So the whole thing is more like a live studio session.

In musical terms, Fred arrived here quite the jazz-rock. Dominated by David Rose on violin, the band rocks very punchy and varied meaning carried by the doubly occupied key department (Farfisa organ and electric piano), Joe DeChristopher on the electric guitar and the driving rhythm section. Of necessity, simply because of the almost identical cast, you have to think of the Mahavishnu Orchestra, but the music of Fred was somewhat simpler and more relaxed. 

A few symphonic-progressive, easy-affected Canterbury rudiments round out the music and give it a personal touch. The above referenced by Christian King Crimson but I can not really find in this music. All in all, Fred here a playful, very colorful, ultimately, very typical of the middle 70's jazz-rock with which they were moving, but certainly in the top class of comparable bands of the time,the sound is fresh, dynamic, punchy and clear. It dominates a nervous electric violin, but also electric guitar and Farfisa organ, giving the sound a psychedelic accent yet come to bear. Bass and drumming are impulsive, groovy and nuanced. This is also true for the sound of instrumental rehearsed, brimming with power plays overall.

Of the three Fred-albums "Live at The Bitter End" is the least original, although the group is the most professional and the most perfect to swing here. You can hear in the music that it is well-oiled live improvisations.

by Adamus67

Tracks
1. Variations - 3:46
2. Nocturnal - 12:06
3. Freefall - 2:11
4. Morose Code - 4:39
5. Pachanga - 7:44
6. Cathode Ray Fantasy - 2:51
7. Immersions - 6:59
8. Mucous Music - 6:38

Fred
*Joe DeCristopher - Electric Guitar
*Mike Robison - Fretless Bass
*Bo Fox - Drums, Percussion
*Peter Eggers - Fender Rhodes
*Ken Price - Farfisa Organ
*David Rose - Electric Violin

1971  Fred - Fred
1974  Fred - Notes On A Picnic

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Fred - Fred (1971 us, brilliant progressive folk rock, World In Sound 2001 release)

The experience that what was Fred, goes beyond what will be said here, as the music made by the band in the years 1970-1974 goes beyond the tracks of this album. The hope in these words is to give a little historical context to the music being published here, for the first time in a collection more than thirty years after it was first recorded.

Ken Price and Joe DeChristopher began playing together while students at Bucknell University in Lewisburg Pennsylvania in 1967. Ken played keyboards, mainly a beat-up electric Wurlitzer Piano. Joe fancied himself a guitar player, but took up Bass to play in Ken’s Band “Still at Large”. When the lead Guitar player dropped out late in 1968, Ken and Joe stayed together, adding John, a young Bass player. Unfortunately, John’s freshman roommate, Bo Fox, had been snatch up by another popular fraternity dance hall band, “The Gross National Product” a trio of Bo on the Drums and two upperclassmen on Guitar and Keyboards.

While the drumming set was not well filled, Joe and Ken thought they could also use a vocalist to help out. Their classmate Gary Rosenberg self-styled poet and disc jockey at the college radio station, steered the to David Rose recently back at Bucknell after a tour of service as a conscientious objector (running a Quaker related home of disadvantaged youth in a tough part of Paris). David made a great contribution as a stager and frontman, keeping quiet the fact about that he’d been trained to play the Violin, which he started doing at the age of six.

The band known occasionally as “David Rose and his Orchid” or “Mustang Turfbinder and the Swelltones” was improving but still need help on the Drums. Help came in the autumn of 1969, when Bo’s GNP band-mates had graduated and left town, leaving him available. Again with an assist from Gary, Ken, Joe, John and David, now willing to try the Violin in the context of improvisational Rock ‘n’ Roll, matched up with Bo. Amidst the belated arrival in small-town, rural America of blossoming counterculture of Peace, Love and drugs, a wonderful musical experience was born.

Gary continued part of our experience, as a friend an source for new music from the likes of The Band, Procol Harum, Traffic, Jethro Tull, King Crimson and Frank Zappa to name a few. We spent the month of January 1970 intending to write a hundred original tunes, a task at which we failed miserably. Even so, we knew that there was something special happening, and as young and as inexperienced as we were, there was a growing will among us to keep with it.

School ended for most of us either by choice or by graduation in May 1970, but we stayed together most of us living in either of two small harm houses about 4 miles west of town. John transferred to a school in Boston, and we accepted into our ranks of ex-collegians, the outsider Michael “Bones” Robinson, self made bass player and song-writer.

We spend the summer smelling honeysuckle along the banks of the Susquehanna, on those trips back from high schools and bars to the south, near Harrisburg and York, we later spent our time building a house out of a barn for David’s family to live in (after his apartment was ruined by flood of 1972), learning to play, to write and manage on our shared income from playing music.

We attracted diverse collection of friends and well-wishers along the way, including artist/photographer L.J. Kopf roaches Roger Brown and Pat Biggs, sound engineer Charlie Bozenhard (who put together the components of a system to amplify David), Folk musicians Tom Patten and Ira Packman (who opened for some of our concerts), a group of ex-students who became carpenters working as “Grassy Flats” and many others, too numerous to mention.

By late 1971, we'd worked up several original tunes (most of them included on this album.) We managed to produce a 45 rpm single, containing "Salvation Lady" and "a love song", both with lyrics from Gary. David preached the vision of a self-sufficient community of artists, self supporting and true to itself. Gary continued to write poetry, much of which was never put to music. LJ took pictures, designed posters, and showed slides at our concerts.

Everyone took a role in the life of the band, on and off the' stage. We covered Procol Harum, Frank Zappa, Jethro Tull and Mahavishnu Orchestra, enlisting the talenls of wunderkind Peter Eggets on piano, drums when Bo took a break, horn arrangements, and a work ethic we’d never found on our own. Up into 1973, we were existing on the outside of a society in generational turmoil, enjoying our role as outsiders, defiant that hired us, and the booking agents who tried to make a dollar in marketing us.

Even so in those early years especially, we were more than the music, and bigger than the sum of our parts. With the eventual addition of Peter as a full time member of the band, came the departure of Gary, and ultimately later on the dissolution of the band, but alas, that is not the story of the music on this album.

Enjoy what is here, know there is more recorded Fred music to come, and that what is recorded here, while standing on its own merit, was also a part of the seasoning process which led to the music made later under the influence of the formidable composing and arranging skills of Peter Eggers. Welcome to the first recorded music of Fred.
By Joe DeChristopher (Lewisburg Pennsylvania)

Tracks
1. Four Evenings (Mike Robison, Gary Rosenberg) - 6:39
2. Soft Fisherman (David Rose, Gary Rosenberg) - 6:31
3. Salvation Lady (Ken Price, David Rose, Gary Rosenberg) - 6:01
4. By The Way (Joe DeChristopher, David Rose, Gary Rosenberg) - 6:45
5. I'll Go On (J. DeChristopher, K. Price, D. Rose, G. Rosenberg) - 4:26
6. For Fearless Few (Mike Robison) - 3:47
7. A Love Song (Joe DeChristopher, Gary Rosenberg) - 4:40
8. Booking Agent Blues (Joe DeChristopher) - 4:33
9. Windwords (Joe DeChristopher, Gary Rosenberg) - 6:51
10.A Love Song (45rpm version) (Joe DeChristopher, Gary Rosenberg) - 3:58

Fred
*Gary Rosenberg - Lyrics, Percussion
*Joe DeChristopher - Guitar
*David Rose - Keyboards, Violin, Guitar, Vocals
*Bo Fox - Drums
*Ken Price - Keyboards
*Mike Robison - Bass, Guitar, Vocals
*Peter Eggers - Drums, Piano

1974  Fred - Notes On A Picnic 

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Wishbone Ash - Tracks (1972-2001 uk, live recordings of great classic songs, 2001 double disc release)

'Tracks' is a collection of rare versions of some of Wishbone Ash's best loved work, along with some seldom heard gems and surprises. The revolving Wishbone line-up is well presented with all the usual suspects. The music selected for this album treats the listener to exciting live versions of classic songs that have contributed to a legacy, that is uniquely 'Wishbone'. 

The airing of this archive material, gives us a backstage pass, shedding a new light on a great British band's stage performances, both from years gone by, right up to the year 2001. Raw and unadulterated, check out the inimitable twin lead sound that blazed a trail for many others, who have often tried, but never improved on the original blueprint laid down by this British original in late 1969.

Tracks

Disc 1

1. Tangible Evidence - 4:05

2. Front Page News - 5:32

3. Lifeline - 7:00

4. Living Proof - 5:53 

5. Anger In Harmony - 4:33

6. Queen Of Torture - 3:13

7. Insomnia - 6:50

8. Wings Of Desire - 3:34

9. Ballad Of The Beacon - 4:10

10. Strange Affair - 5:13

11. Outward Bound - 3:45

12. Warrior - 5:34

13. Keeper Of The Light - 4:09

14. Why Don't We - 7:47

Disc 2
1. In The Skin - 5:51
2. The King Will Come - 6:58
3. Persephone - 3:41
4. Standing In The Rain - 6:49
5. Throw Down The Sword - 6:01
6. Way Of The World - 10:23
7. You See Red - 6:16
8. Number The Brave - 5:44
9. Everybody Needs A Friend - 6:03
10. Master Of Disguise - 3:42
11. The Ring - 4:37
12. No More Lonely Nights - 6:23

Wishbone Ash
-Former members-
*Andy Powell - Vocals, Guitar
*Ted Turner - Guitar, Vocals (1970-73, 1987-94)
*Martin Turner - Bass, Vocals (1970-80, 1987-91, 1995-96)
*Steve Upton - Drums (1970-89)
-other members-
*Laurie Wisefield - Guitar, Vocals (1974-85)
*Jamie Crompton - Guitar, Vocals (1985-87)
*Roger Filgate - Guitar, Vocals (1995-96)
*Mark Birch - Guitar, Vocals (1997-98)
*John Wetton - Bass, Vocals (1981)
*Trevor Bolder - Bass, Vocals (1982)
*Mervyn Spence - Bass, Vocals (1985)
*Andy Pyle - Bass, Vocals (1985-87, 1992-94)
*Tony Kishman - Bass, Vocals (1996-97)
*Bob Skeat - Bass, Vocals (1998-)
*Ray Weston - Drums (1991-94, 1998-2006)
*Mike Sturgis - Drums (1995-97)

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Dryewater - Southpaw (1974 us, rough 'n' hard garage psych with southern flame)

Now a highly regarded release among the collectors of early 70’s U.S. rock, Dryewater’s Southpaw album was privately released to little fanfare on the J.T.B. label in 1974. The North Carolina based four piece pressed just 500 copies of the album (fewer still with actual covers!) and the rarity value of this initial release has since increased as it’s since become known that the band destroyed the copies they failed to sell at the time! Maybe they had higher expectations for the album, and this is justifiable, as in hindsight the ten original compositions show a very confident release by an obviously proficient line up. 

Strong rhythm guitar work forms the basis of most of the songs, but also evident is some melodic, perhaps slightly progressive keyboard work, that both underpins the occasional acid lead guitar solos and maintains the overall momentum of each performance. With a tight rhythm section and strong vocals too, this all makes for a rockin’ rollercoaster ride. A fine example of the harder West Coast sound of the time. Check out the melodic Don’t Let Her Sleep Too Long, the riff - heavy track 2, and rolling rhythms of track10, 

Dryewater were certainly overlooked at the time A limited vinyl run released by Void Records in 1996 briefly led to a renewed interest in the band.

Tracks
1. Winterground - 3:02
2. Trouble - 4:07
3. Give Yourself Time To Live - 3:24
4. Don’t Let Her Sleep Too Long - 2:58
5. Let Me Take You - 3:31
6. Thunder - 2:57
7. See Them Run - 2:02
8. Revelation - 2:23
9. Set Out On The River - 2:49
10. After All - 6:30

All compositions by Richard Drye

Dryewater
*Richard Drye - Guitar, Lead Vocals
*Shaye Drye - Keyboards, Vocals
*Robert Blair - Bass, Vocals
*Garland Walker Stidham - Drums

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Graham Bond - Holy Magick (1970 uk, remarkable progressive jazz blues rock, 2006 digiPak bonus tracks remaster)

According to ancient Druidic and Celtic legend, King Arthur will return in this age of Aquarius to sustain us. And man, he's going to blow a mean blues; according to merlin Bond! Long before the recent spate of black magic involvement by some groups, Graham has been involved in white, or as he prefers to call it - holy magick. In order to help the word and perhaps gain a little more understanding he has devoted his latest album "to the true seekers of light". 

The lyrics are mainly incantations and chants in Egyptian and Atlean. Stonehenge is photographed on the sleeve with Graham and his wife Diane Stewart raising their arms in supplication. If you can't take the magick however, there is a lot of wailing music to enjoy. Graham sings with his usual pre-Joe Cocker intensity, and plays organ, piano and sax. Keith Bailey is a storm on drums, and other musicians involved are Victor Brox, Big Pete Bailey, Aliki Ashman, John Gross, Alex Dmochowski, Godfrey McLean and John Morsehead. They are at their best on slow tempo blues like "The Judgement". 

And even if you don't want an astral temple constructed around you, playing side one, should help contact the "higher forces", according to Bond. At least we can invent a new category - Rockult!

by Chris Welch, January 2, 1971 

Holy Magick opens with a fantastic trippy Jam, "Meditation". A 23-minute insane song, full of references to the 'Dark Side', and with some very good instrumental lines. The Female-Vocals, are particularly interesting, and so is trying to understand the weird words he is singing. The Saxophone has some great lines, the Organ work is also very cool. "Return Of Arthur" has a strong Blues sonority, with Joe Cocker-like Vocals and an astonishing Guitar Solo.

In the beginning it may sound weird and unpleasant, but it will turn into a very enjoyable listen, after the first minute. "The Magician", again with some blasting Saxophone work, this song is full of energy and power, probably due to the Bass line. The Screaming Vocals, by Bond, are the cheery at the top of the cake. "The Judgement" is completely different from the other songs, calm, without any sort of insane Instrumental solo. The Back-Vocals are pretty good on this one, sounding as if they were answering the Lead-Vocals. "My Archangel" is the lest song. It is quite weak, not much to say about it except that it i a feel-good song, without much interest.

The Cover-Art was photographed in Stonehenge, featuring Graham Bond and his wife, performing a strange ritual. This Album was not well received by the critics, but it is nonetheless a fantastic Album.
by Adamus67

Tracks
1. Holy Magick Suite (Graham Bond) - 23:09
...a.Meditation Aumgn
...b.The Qabilistic Cross
...c.The Word Of The Aeon
...d.Invocation To The Light
...e.The Pentagram Ritual
...f .Qabalistic Cross
...g.Hymn Of Praise
...h.12 Gates To The City
...i.The Holy Words Iao Sabao (These Are The Words)
...j.Aquarius Mantra (In Egyptian)
...k.Enochian (Atlantean) Call
...l.Abragadabra The Word Of The Aeon
...m.Praise "City Of Light"
...n.The Qabalistic Cross, Aumgn
2. Return Of Arthur (Graham Bond) - 5:06
3. The Magician (Graham Bond) - 4:04
4. The Judgement (Diane Stewart) - 4:45
5. My Archangel Mikael (Diane Stewart) - 4:09
6. Water Water (Single Version) (Graham Bond, Diane Stewart) - 3:46
7. 12 Gates To The City (Single Version) (Graham Bond) - 3:40

Musicians
*Alex Dmochowski - Bass Guitar
*Rick Gretch - Bass Guitar
*Jerry Salisbury - Cornet
*Godfrey McLean, Keith Bailey - Drums
*John Morsehead, Kevin Stacey - Guitar
*Big Pete Bailey - Percussion
*John Gross - Tenor Saxophone
*Aliki Ashman ,  Annette Brox - Vocals
*Victor Brox - Vocals, Electric Piano, Piano, Vocals
*Diane Stewart  - Vocals, Gong
*Graham Bond - Vocals, Alto Electric, Acoustic  Saxophone

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The Carolyn Hester Coalition - Magazine (1970 us, powerful vocal acid psych folk, 2009 Sunbeam issue)

Carolyn Hester is a noted Folk Singer from the 60's Greenwich Village Folk Scene. She appeared on the cover of the "Saturday Evening Post" in the May 30th, 1964 issue and has been remembered in many books including "Chronicles", Bob Dylan's autobiography, as being the person who was most instrumental in Dylan's signing to Columbia records - the label that took an unknown singer-songwriter and elevated him to super-stardom. 

Hester is known for her angelic voice and her repertoire of traditional English ballads mixed with an original selection of contemporary folk. She has recorded more than fifteen albums in her fifty years of performing. She was signed to the Decca/Coral label in 1957 by her manager-producer, Norman Petty. Also under Petty's influence at that time, was a hip entertainer and friend of Hester's, Buddy Holly. Throughout the '60s, Hester was well-established in the Greenwhich Village folk scene where she met a young, Bob Dylan.

In the late 60’s Carolyn released two albums as The Carolyn Hester Coalition, their second “Magazine” originally issued in 1970 by the Metromedia label. Magazine is slightly more moody and not as sunshiney as the first record, but it is still fairly light, approachable West Coast-ish psych/folk/pop. There are some covers on this record, mixed with originals that hold up next to any other record of its ilk from the era. Hester's crystalline, sweet voice is backed by some hauntingly deep and melodic fuzz, proving that Hester wasn't just any Texas songbird.

Tracks
1 Rise Like Phoenix (Hester, Blume) - 3:18
2. Dedicated (S. Wolfe) - 3:04
3. Plant The Crops In The Garden (Newburge, Blume) - 3:00
4. Beadmaker (Hester) - 2:51
5. St. James Infirmary (Primrose) - 5:22
6. Just Follow Me (Moore, Wolfe, Blume) - 5:14
7. (Sittin On The) Dock Of The Bay (Redding, Cropper) - 3:50
8. Sir Robert, The Lost Knight (Parisi, Blume) - 3:43
9. Calico Sky (Davis, Blume) - 2:38
10.Swing Low, Sweet Chariot (Trad, Blume) - 2:48

The Carolyn Hester Coalition
*Carolyn Hester - Vocals, Guitar
*Steve Wolfe -Guitar, Percussion
*Dave Blume - Bass, Keyboards, Melodica
*Skeeter Camera - Drums, Flute
*Dave Mauney - Vibes, Bass

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Chain - Live (1969-70 aussie, extraordinary blues rock with experimental mood, 2010 Aztec remaster)

If there is one Australian band that deserves the oft-overused adjective "legendary", then that band would be Chain. As has been stated many times, the name Chain is synonymous with blues of the highest order and integrity. Originally formed in 1968, and except for a gap between 1974 and 1982, the band has continued in one form or another to this day. 

The five key figures in the saga of Chain are Warren Morgan, Phil Manning, Matt Taylor, the late Barry 'Big Goose' Sullivan and Barry 'Little Goose' Harvey but there have been numerous musicians who have passed through the ranks. Morgan, Manning and Taylor each assumed leadership at one lime or another, with the two Gooses comprising the best rhythm section the band has ever known. Inevitably, at any given time the fundamental nature of Chain has been shaped by the particular musicians present. Still, with all the comings and goings, there is one thing of which we can be sure: Chain "the whole" will always be greater than the sum of its parts. 

This portion of the story covers the years 1968 up to the end of 1970, the period preceding the release of thc landmark Australian blues album Toward The Blues and thc enduring hit single 'Black and Blue”. Specifically, we'll focus on the Live Chain version of the band, headed by Morgan and Manning. This is thc first reissue of the album since its original release (Festival SFL-933926) in October 1970. With three bonus tracks added for good measure it makes for compelling listening.

Tracks
1. The World is Wailing (Morgan, Manning, Sullivan, Harvey) -12:11
2. Black and White (Warren Morgan) -12:30
3. Pilgrimage (Harvey, Sullivan, Mason, Morgan, Manning) - 8:40
4. Gen rude Street Blues (Phil Manning) - 6:01
5. Chaser (Sullivan, Mason, Harvey, Morgan, Manning) - 7:13
6. On The Road Again (Glyn Mason) - 4:34
7. Show Me Home (Phil Manning) - 3:27
8. Mr. Time (Warren Morgan) - 4:55
Tracks 1-6 recorded  live at Caesar's Palace, Sydney. July 1970
Tracks 7 and 8 Single Festival FK-3331, October 1969

Chain
*Phil Manning - Guitar, Vocals
*Warren Morgan - Electric, Acoustic Piano, Vocals
*Glyn Mason - Guitar, Vocals
*Barry 'Big Goose' Sullivan - Bass
*Barry 'Little Goose' Harvey - Drums
*Tim Piper - Bass (Tracks 7 and 8)
*Claude Papesch - Organ (Tracks 7 and 8)
*Ace Follington - Drums (Tracks 7 and 8)

more Chain
1971  Toward The Blues
1973  Two Of A Kind

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The Yardbirds - Five Live Yardbirds (1964 uk, clasic live, blues 'n' roll, 2007 Repertoire digi pack with extra tracks release)

Five Live Yardbirds was the first important -- indeed, essential -- live album to come out of the 1960s British rock & roll boom. In terms of the performance captured and the recording quality, it was also the best such live record of the entire middle of the decade. 

Cut at a Marquee Club show in 1964 , Five Live Yardbirds was a popular album, especially once Eric Clapton's fame began to spread after leaving the band. Although the album didn't appear officially in the United States until its CD release by Rhino in the late 1980s, four of its tracks -- "Smokestack Lightning," "Respectable," "I'm a Man," and "Here 'Tis" -- made up one side of their classic U.S. album Having a Rave Up, and the British EMI LP became a very popular import during the early 1970s as a showcase for both the band and the playing of Eric Clapton. 

That album had astonishingly good sound, which was not the case with any of the reissues that followed, on vinyl or CD -- even Rhino's compact disc suffered from blurry textures and noise, though it was an improvement over any release since the original EMI LP. The 1999 Repertoire Records reissue is the first CD that matches the clarity and sharpness of the original LP, and along with that improvement, their original concert has been very sensibly expanded with a half-dozen live cuts from roughly the same period, recorded at the Crawdaddy Club. 

Among them is a killer live version of the Billy Boy Arnold classic "I Wish You Would."There's also a pair of live tracks from German television in 1967 -- "I'm a Man" and "Shapes of Things"; the two, in a flash, make up for what they lack in perfect fidelity. 

by Bruce Eder

Tracks
1.Too Much Monkey Business (C. Berry) - 3.52
2. I Got Love If You Want It (Moore) - 2.40
3. Smokestack Lightning (C. Burnett) - 5.35
4. Good Morning Little Schoolgirl (Demarais) - 2.44
5. Respectable (Isley, Isley, Isley) - 5.35
6. Five Long Years (E. Boyd) - 5.21
7. Pretty Girl (E. McDaniels) - 3.00
8. Louise (John Lee Hooker) - 3.43
9. I'm A Man (E. McDaniels) - 4.33
10. Here'tis(E. McDaniels) - 5.10
11. Smokestack Lightning (C. Burnett) - 6.47
12. You Can't Judge A Book By Looking At The Cover (W. Dixon) - 2.55
13. Let It Rock (C. Berry) - 2.17
14. I Wish You Would (B. Arnold) - 5.53
15. Who Do You Love (E. McDaniels) - 2.17
16. Honey In Your Hips (K. Relf) - 5.53
17. I'm A Man (E. McDaniels) - 4.13
18. Shapes Of Things (Samwell-Smith , Relf , McCarty) - 2.27

The Yardbirds
*Eric Clapton – Lead Guitar, Vocals
*Chris Dreja – Rhythm Guitar
*Jim McCarty – Drums
*Keith Relf – Lead Vocals Harmonica, Maracas
*Paul "Sam" Samwell-Smith – Bass Guitar, Vocals

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Ruperts People - Magic World Of Rupert's People (1967-69/1999 uk, bright coloured beat psychedelia, 2001 Circle limited edition)

As I sit down to write these thoughts, it occurs to me that its now over thirty years since I embarked on a career in the 'biz', in fact its 33% years or an albums worth! Over the course of the years I've been a roadie, drummer, D.J., radio presenter, band manager, recording artist and pop columnist. 

A fulsome list and a happy life. I outline this potted biog only because none of this would have happened had it not been for one band, one group of people whose generosity of spirit towards a callow 15 year old, "oh so long ago", made it all possible. 1967 'the summer of love' and this 15 year old heard two records on Radio Caroline that crystallised a lurking desire to 'get into the music biz'. They were Denny Laines' 'Say You Don't Mind' and Rupert's People's 'Reflections of Charles Brawn'. Something in these two songs communicated itself to me in some way inexplainable but lit the fire. 

In those days I lived in Hastings and the centre of the pop world there was the Pier Ballroom on a Saturday night. This tatty hall perched on the end of a Victorian edifice transformed itself on a Saturday into a magical place that played host to, amongst others, The Stones, The Who, The Kinks, The Move, Joe Cocker, Jimi Hendrix, Pink Floyd (with Syd Barrett) and... Rupert's People. Having acquired a Saturday job lugging Marshall amps, Hammond organs et al from the roadies' vans to the ballroom for most of the afternoon, I was rewarded with free entrance and backstage privileges at the gigs. 

One sultry summer afternoon a van arrived and disgorged Rod, Ray, Steve, John and Dai. The equipment was then duly pushed and lifted into place and the important business of having a drink got under way! In those days the retinue of PRs, managers, press agents etc. that encircle today's artists was happily absent. Rather it was a case of 'we're all in this adventure together', no big time egos, just camaraderie. In this atmosphere I listened to stories from the boys of their life on the road and their hopes for the future. Later that night, on stage and to a packed hall, Ruperts delivered an electrifying set. 

Whether it was the musical talent, their good looks or indeed their splendid stage clothes or more likely all of these, they were... special. The gig ended, the gear was reloaded and the van set off back to London. A year passed, a new promoter in the shape of one Jon Scofield leased the pier for the '68 summer season. Jon had turned up at the pier one afternoon in July to find me plugging in some lights backstage and after some discussion offered me a job as stage manager and office boy in his London office. I gratefully accepted! Some weeks later sitting in Jon's office off the Strand he asked me for suggestions for bands to play the pier. 

Thus it was at my suggestion that Rupert's People returned for their second gig. By now their second single for Columbia, and may I add my own personal favourite, had been released, 'A Prologue to a Magic World'. The boys once again arrived at the Pier and now living in London, I took up the invitation to 'hang out1 with them. So it was that I 'hung out' at legendary clubs like Middle Earth, UFO, The Marquee and memorably the Cafe des Artistes in Fulham. It was at the latter where for reasons lost in the mists of time I took to the drums (a skill I had acquired along the way) to cover one night for an absent Steve. That was one of my proudest nights, to play with such a great band. 

Time moved on,.. Ruperts' third single, 'I Can Show You' was released and I waited for them to explode. It didn't happen. Why? I don't know, but this is a personal story, lets move on. I moved on to work for a record company and gradually lost touch with the guys, but I never forgot them. Its 1995 and disaster! My beloved vinyl record collection is stolen and with it my three priceless Ruperts' singles. Imagine my surprise if you will when glancing through a copy of Record Collector, I find to replace said copies will cost me a small fortune! Rupert's People had over the years assumed icon status. I should not have been surprised, it was only what they deserved. 

So why in this age of re-issues of every 'collectable' band known to man was there no Ruperts 'retrospective'? A mission was born. Space does not permit the ensuing four years that passed in vain attempts to locate my old friends. Then in 1999 whilst I was in Amsterdam I received a call from a friend to tell me I might be interested to know that Rupert's People were playing a gig in... Hastings!! Flying back and hurrying down to The Marina Pavilion on Hastings seafront with a sense of bewilderment I was sure he had his facts wrong. So it was on yet another Saturday afternoon I came face to face with Rod, Ray and Steve (sadly no John). 

A whole new bunch of fans of the new 'Mod' scene had persuaded the band to re-form for a gig at their 'Mod' rally. To say it was an emotional moment would be a gross understatement. Much later that night the plans were hatched to give life to the record you now hold in your hands. Again space negates all the tales of how much work has gone into this album, suffice to say that Ray's breakfast table in deepest Essex has been the scene of much discussion, planning and not a little reminiscence. 

As I stated earlier why Ruperts missed out on the big time is an enigma, 0K they would be the first to agree The Beatles they ain't but Rod, Ray, Steve and John created something that has stood the test of time and anyone who attended that gig two years ago would tell you the story is far from over. They also, through their generosity of spirit and love started a 15 year old boy on a journey that was to fulfil a 'dream in my mind' and for that I love and thank them. Now it just remains for me to invite you to "step inside and join us, in our magic world".

by Colin Bell, Sussex 2001

Tracks
1. All So Long Again (Rod Brosse) - 3:15
2. Charles Brown (Rod Brosse) - 2:18
3. Reflections Of Charles Brown (Conder, Lynton) - 4:18
4. Hold On (Haskell, Conder, Lynton) - 3:33
5. Dream In My Mind (Lynton) - 3:22
6. I Can Show You (Lynton) - 2:58
7. A Prologue To A Magic World (Conder, Lynton) - 4:20
8. I've Got The Love (Beverly, Lynton) - 4:09
9. Water To A Stone (Beverly, Lynton) - 3:56
10. I See You've Changed (Lynton) - 4:34
11. Reflecting (Lynton, Poole) - 6:12
12. You Can't Always Get What You Want (Jagger, Richards) - 5:37
13. My Mind's Eye (Lane, Marriott) - 3:24
14. Rain (Lennon, McCartney) - 3:55
15. I See You've Changed (Version 2) (Lynton) - 5:30
16. Hold On (Version 2) (Haskell, Conder, Lynton) - 5:40
Song #1 perfomed as The Sweet Feeling

Ruperts People
*Ray Beverly - Bass Guitar (1, 2, 5 to 9, 13 to 16)
*Terry Poole - Bass, Vocals (10 to 12)
*Steve Brendell - Drums (1, 2, 4 to 16)
*Dai Jenkins - Guitar (4 to 12)
*Rod Lynton - Guitar, Vocals  (1, 2, 4 to 16)
*John Tout - Organ  (4 to 12)
with
*Gordon Haskell - Bass
*Keith Guster - Drums
*Bryn Haworth - Guitar
*Peter Solley - Keyboards
*Chris Andrews - Vocals

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