In the 1970s Foghat's love of the blues led them to simplify rock at a time when many of their peers were adding synthesizers and complex arrangements. While critics complained that bands like Foghat and Grand Funk Railroad had dumbed down rock, fans raided record bins and flocked to concerts. "By the end of the decade," noted Richard Skelly in Goldmine, "the rock world had caught up to Foghat, and the group was clearing space on the wall for gold and platinum albums with increasing regularity." The group's success continued to build until 1978 when disco and punk pulled the plug on arena rock, leaving Foghat to limp into the early 1980s before calling it quits.
In 1971, singer Dave Peverett, bassist Tony Stevens, and drummer Roger Earl decided to break away from British blues-rock band Savoy Brown. "When we first left Savoy we were looking to rock out a bit more," Peverett told Skelly. They recruited lead guitarist Rod Price, and began to practice at the Country Club in England. The unnamed band generated a great deal of interest, leading Albert Grossman, Bob Dylan's legendary manager, to attend a practice session.
He liked what he heard and signed the new band to his label, Bearsville Records. After recording the band's first album in Rockford, Wales, the members still hadn't decided what to call themselves. They had considered Brandywine Track or Hootch, but rejected both in favor of the nonsensical name Foghat, which Peverett and his brother had dreamed up during a game of Scrabble.
Their self-titled LP rose to 127 on the American albums chart, and was bolstered when "I Just Want to Make Love to You" received airplay. It was only with their second release the following year that the band seemed to find its musical niche. The album, also called Foghat but referred to as Rock and Roll (thanks to clever cover art featuring a rock and a dinner roll), sported boogie-friendly cuts like "Ride, Ride, Ride" and "Road Fever." "Foghat's second album finds the group working its way towards the fusion of blues and hard rock that would make them an arena rock favorite,"
by Donald A. Guarisco
Tracks
1. I Just Want To Make Love To You (Willie Dixon) - 4:21
2. Trouble Trouble (Dave Peverett) - 3:20
3. Leavin' Again (Again!) (Peverett, Tony Stevens) - 3:36
4. Fool's Hall Of Fame (Peverett) - 2:58
5. Sara Lee (Peverett, Rod Price) - 4:36
6. Highway (Killing Me) (Peverett, Price) - 3:51
7. Maybellene (Chuck Berry) - 3:33
8. A Hole To Hide In (Peverett, Price, Roger Earl) - 4:06
9. Gotta Get To Know You (Deadric Malone, Andre Williams) - 7:44
Mighty Kong was the 'supergroup' successor to the legendary Daddy Cool, which broke up in in August 1972. It was also the fifth (and technically the last) in the line of groups that featured Ross "The Boss" Wilson and Ross Hannaford, which began with Pink Finks in 1965. Despite its all-star lineup, culled from three of the top groups of the time, the band was shortlived and never really achieved its considerable potential, effectively relegated to being a footnote in the larger story of Daddy Cool. The main relic of this period was their excellent (and greatly underrated) LP All I Wanna Do Is Rock.
The formative stages of the new group (late '72 - early '73) promised much, and involved several notable players of the day. After Company Caine broke up in October '72, not long after Daddy Cool, singer/lyricist Gulliver Smith linked with the two Rosses. They worked for several months on getting a new band together, but Gulliver moved on to launch his solo career at the end '72, although the Smith/Smith writing partnegsubip left its mark with two fine songs which eventually wound up on the LP.
At the start of 1973 there was another promising connection when Hannaford & Wilson got together with guitarist Tim Gaze (Tamam Shud, Kahvas Jute) and drummer Nigel Macara (Tamam Shud), but after about a month of rehearsals Gaze and Macara left. Gaze's place was taken by Company Caine guitarist Russell Smith, who had been off playing in the touring version of G.Wayne Thomas' studio "supergroup" Duck. For a new drummer, Hannaford & Wilson turned to the multi-talented Ray Arnott, who announced in March that he was leaving his current gig with Spectrum to join the new band (which also reunited him with Russell Smith, his former bandmate from the last days of Cam-Pact and the early Company Caine).
Unfortunately, Arnott's departure triggered the break up of Spectrum -- founder Mike Rudd felt that it wouldn't be possible recruit a new member and maintain Spectrum's special chemistry. Spectrum played their farewell concert in mid-April and Arnott was then freed to join the new group; in a neat piece of symmetry, Gaze and Macara hitched up with the remaining members of Spectrum to form Ariel. With the final addition of bassist Tim Partridge (also ex-Company Caine) the new band was complete and was launched in May 1973 under the name Mighty Kong.
After the breakup of Daddy Cool, Wilson and Hannaford were keen to get away from DC's stylistic restrictions -- the 50s repertoire, the 'zany' stage outfits -- and the media's concentration of the obvious elements of Daddy Cool, which tended to obscure the more serious side of their work. The material that they put together was in a heavier, contemporary rock style, bringing in some of the progressive elements which had featured in their earlier band Sons Of The Vegetal Mother, and which had resurfaced on the second Daddy Cool LP Sex Dope, Rock'n'Roll: Teenage Heaven.
Their only album, All I Wanna Do Is Rock, was recorded at Melbourne's Armstrong's Studios, produced and engineered by John Fischbach. It's a fine record, with strong hints of Wilson's future direction in Mondo Rock, but there is still plenty of humour, as shown by the jokey cover art -- an old novelty photo showing a woman and a gorilla (well, a man in a gorilla suit actually) sitting side by side, with the gorilla's arm around the woman's shoulder . Picking up the cover motif, the pulsating opening track "Jungle In My Blood" features a prowling guitar riff from Hannaford & Smith; it's followed by Wilson's declaration of spritual independence "Got My Beliefs" (which actually dates back to his days in Party Machine, and is not too far removed from songs like the Vegetal's "Love Is The Law)". The highlight of the album is undoubtedly the beautiful "With A Smile Like That (How Could We Refuse?)", a dark, soulful ballad co-written by Gulliver Smith and Russell Smith. Along with Mondo Rock's "State Of The Heart" it is one of Ross Wilson's best vocal performances, with its soaring vocal line showing off his upper range to fine effect. The next three tracks -- "Homesick & Horny" and the ebullient rockers "All Throught The Day" and "Calling All Cats" -- are perhaps the more typical of the Daddy Cool style (with Hannaford & Wilson still seemingly unable to resist a bit of Zappa-style doo-wop parody).
"Some Other New Address" is the other excellent Smith/Smith song, and the only track not sung by Wilson, with vocal credits going to guitarist Russell Smith. "Hard Drugs (Are Bad For You)" is Wilson's cautionary tale of the dangers of heroin. The drug was by then becoming a serious problem in Australia's major cities, largely due to the huge influx of heroin brought in by and for American servicemen visiting Australia on R&R (rest and recreation) leave. By 1973 heroin was cutting a swathe through the Australian music scene with many leading performers becoming addicts. The title track closes the album another goodtime rocker from Wilson.
Regrettably the group never really gelled, and Wilson has commented in recent times that it lacked the chemistry that made Daddy Cool such a successful group. Mighty Kong had already split up by the time the album and its accompanying single, "Callin' All Cats" / "Hard Drugs (Are Bad For You)" were released in December 1973, but without a band to promote them, the records made no impression on the charts.
In early 1973 Wilson and Hannaford bowed to financial pressures -- the split of Daddy Cool had left them with large debts so they reformed DC for what was meant to be a one-off performance at the 1974 Sunbury Festival. It was rapturously received, and prompted a full reformation, with more touring and recording; this incarnation of the band lasted until September 1975.
Tracks
1. All Through the Day (And Into the Night We Play) (R. Hannaford, R. Wilson) - 6:02
2. Callin’ All Cats (The Cats Are Callin’) - 4:02
3. Some Other New Address (R. Smith, Gulliver Smith) - 4:04
4. Hard Drugs (Are Bad for You) - 2:57
5. All I Wanna Do Is Rock!! #1 - 4:15
6. Jungle in My Blood - 5:57
7. Got My Beliefs - 4:34
8. With a Smile Like That (How Could We Refuse) (R. Smith, Gulliver Smith) - 7:29
9. Homesick And Horny - 4:17
10.Callin’ All Cats (The Cats Are Callin’) (Single Version) - 3:27
11.All I Wanna Do Is Rock (Previously Unreleased Studio Jam) - 8:42
All songs by Ross Wilson unless as else stated.
Mighty Kong
*Ross Wilson - Vocals, Guitar
*Ross Hannaford - Guitar, Vocals
*Tim Partridge - Bass
*Russell Smith - Guitar, Vocals
*Ray Arnott - Drums, Vocals
Chelsea was a band from New York City, best known for the presence of the drummer Peter Criss before he joined Kiss. In late 1968 the band managed to secure a 2 record deal on Decca Records, distributed via MCA. When the first album was released it did so poorly that Aridas quit. Michael Benvenga had been in "The Wall" which played the Brooklyn music scene prior to Chelsea, but the other member's pedigree's are unknown. It would not be surprising if Shepley/Brand had not worked together prior to Chelsea.
The opening track, "Rollin' Along" is very representative of the lack of musical direction (or perhaps, "cohesiveness" is more appropriate) on the album. The song is split nearly in half into two distinctive styles: the first acoustic and mellow, and the second electric and somewhat aggressive.
“ Hard Rock Music” appearing on the album it was the sole track from the band appearing on the MCA "Sound Conspiracy" album. This sampler even saw release in Australia (Decca COP/S 4524) with a slightly altered cover, though nothing could help sell product that just didn't stand out.
The back cover sampler details a brief bio on the band, which states: "Lewis Merenstein, who produces Van Morrison, Bill Rose, and Turley Richards, among others, produced this first album by the New York based group. The LP was recorded in part at the late Jimi Hendrix's Electric Lady Studios. Backing the group on the album is John Cale, formerly of the Velvet Underground and now out on his own
“ Ophelia” would be promoted as a "calypso" sounding piece. That both pre-Kiss bands that recorded albums, Chelsea and Wicked Lester, included songs with "Ophelia" in their titles is coincidental. As far as Chelsea's song goes, it would be too easy to read Shakespearian "Hamlet" overtones from lyrics which go: "I thought I had you in the palm of my hand" and "how could you leave me I don't understand." In "Hamlet" Ophelia spurns the love of Hamlet at the request of her father. Hamlet then goes mad and Ophelia is asked to reconcile with him in hopes of restoring his sanity. Instead, Hamlet kills Ophelia's father. That brief prĪ¹cis of Ophelia's character in "Hamlet" does really not do the work justice....
“ Long River” One of the two tracks to feature ex-Velvet Underground's John Cale on viola. With both the Velvet Underground and Chelsea playing at the legendary Ungano's club, on West 70th in Manhattan, and producer Lewis Merenstein's connections to Velvet, it is likely that this is how the two parties became associated. The track is 6:41 and has more of a Creedence Clearwater Revival style.
“Polly Von” is a traditional Anglo (with a suggestive Celtic past) folk song about love, pain, murder, and betrayal. It has been recorded by the likes of Frankie Armstrong, Harry Cox, and, most famously, Peter, Paul and Mary, on their third, and landmark, "In The Wind" (Warner Bros. WB-1507) album, which was released in late September 1963. That version of the song had an arrangement attributed to Peter Yarrow, "Noel" Paul Stookey, and Mary Travers - In other words, the group. This is much the same as the credit for the 4:48 arrangement on the Chelsea album: Chelsea's version does not really vary much from the form that was popular on the folk scene of the 1960s: However, the Chelsea arrangement does change the song from third to first person and moves the chorus in parts and also skips a final verse. The Chelsea recording features strings arranged by Larry Fallon.
Differing arrangements have been presented for decades on the basic theme of the piece, and variations of the piece date back centuries, having appeared in print as early as 1772. Other titles for the piece, including variants and alternative titles include "Polly Vaughn," "At the Setting of the Sun," "The Shooting of his Dear," "Young Molly Ban," "Molly Banding," "Molly Bawn," and "Molly Bond" throughout most Anglo-speaking countries.
“ Good Company” the second track that features John Cale on viola, it’s little more than a short jam piece to close out the album. It is essentially the repetition of the same verse several times: "Good company makes me smile / Downright open all the while / Downright country all the time / Good company, yeah / Bound to make me smile".
Kissfaq
Tracks
1. Rollin' Along - 2:34
2. Let's Call It A Day - 3:05
3. Silver Lining (Chris Aridas, Michael Benvenga) - 2:49
4. All American Boy - 3:55
5. Hard Rock Music - 5:10
6. Ophelia - 2:38
7. Long River - 6:41
8. Grace - 3:17
9. Polly Von (Chris Aridas, Michael Benvenga, Mike Brand, Peter Cris, Peter Shepley) - 5:01
10.Good Company - 1:44
All songs by Peter Shepley, Mike Brand except where stated
Chelsea
*Peter Shepley - Lead Vocals
*Mike Brand - Guitar
*Chris Aridas - Guitar
*Michael Benvenga - Bass, Vocals
*Peter Criss - Drums With
*John Cale - Viola
*Steve Loeb - Piano
Paul McCartney said in 1967 that one of his favourite albums was "Daydream" by the Lovin' Spoonful. Without a question "Daydream" is a totaly plunge into sunshine -power psych-pop the wany only The Lovin Spoonful could. Their lead single, Daydream and its trademark whistle, may have been too much heard, even in commercials, it stays nonetheless infectious, John Sebastian perfectly captures the laziness of a warm summer's day!
The rest of the album reach the same level, one feet in country and blues, clearly influenced by Sun Records, and the other one on the other side of the ocean in (Swingin') London and the British (Beat) Invasion. The best songs on the albums are two samplable beautiful gems, Didn't Want To Have To Do It and You Didn't Have To Be So Nice that will both make a gorilla drop its tear.
In early 1965 as the "British invasion" dominated the American music scene, two rockers from Long Island, Steve Boone and Joe Butler, teamed up with two folkies from Greenwich Village, John Sebastian and Zal Yanovsky, to form the Lovin' Spoonful and go on to record and perform some of the songs that would dominate the charts and establish them among the greats of the mid-sixties era.
Combining the best of folk music and rock and roll, with a touch of country thrown in, they gave us such hits as "Do You Believe in Magic," "Daydream," "You Didn't Have to be So Nice," "Nashville Cats" and the anthem for a hot July evening, "Summer in the City." All this in the span of 4 years and 5 albums. In addition to that they also wrote and performed two soundtrack albums for two directors very early in their careers, Woody Allen "Whats Up Tigerlily" and Francis Ford Coppola "You're a Big Boy Now."They toured almost constantly during this period and were one of the first rock bands to perform on college campuses almost as much as for teenage concert goers.
In 1967 Zal Yanovsky left the band to pursue a solo career and was replaced by Jerry Yester, a member of the Modern Folk Quartet and friend of the band since its earliest days. All of the band's energy was soon focused on recording their fourth album the very ambitious Everything Playing. It was the first attempt for a rock band to record an album on the new Ampex 16 track tape recorder and quite a challenge it was. It was worth the effort however, producing hits like "Darlin' Be Home Soon," "Six O-Clock" and "She's Still A Mystery To Me" on the American charts and "Boredom" and "Money" in the UK and Europe.
In June 1968 John Sebastian left the band to go solo and Joe, Steve and Jerry went back into the studio to record what would be their last hit single of the 1960's, "Never Goin' Back" with legendary Nashville session player Red Rhodes on pedal steel guitar. As 1969 approached the skies were darkening in Good Time Music land and sensing opportunities in individual endeavors the three remaining members went their separate ways with a promise to not let the spark go out.
In 1991 a long awaited settlement with their record company inspired Joe and Steve to contact Jerry and start up the Lovin' Spoonful again. After a two month rehearsal in the Berkshire Mts., the group started touring anew, visiting over 150 cities and countries worldwide and reaching out to a whole new audience in addition to those that have enjoyed their music over the years.
by Adamus67
Tracks
1. Daydream (Sebastian) - 2:21
2. There She Is (Sebastian) - 1:58
3. It's Not Time Now (Sebastian, Zal Yanovsky) - 2:49
4. Warm Baby (Sebastian) - 2:03
5. Day Blues (Joe Butler, Sebastian) - 3:15
6. Let the Boy Rock and Roll (Butler, Sebastian) - 2:34
7. Jug Band Music (Sebastian) - 2:53
8. Didn't Want to Have to Do It (Sebastian) - 2:39
9. You Didn't Have to Be So Nice (Steve Boone, Sebastian) - 2:29
10.Bald Headed Lena (Willy Porryman, Edward Sneed) - 2:25
11.Butchie's Tune (Boone, Sebastian) - 2:37
12.Big Noise from Speonk (Boone, Butler, Sebastian, Yanovsky) - 2:21
13.Fishin' Blues (Traditional) - 2:32
14.Didn't Want to Have to Do It (Sebastian) - 2:49
15.Jug Band Music (Sebastian) - 2:54
16.Daydream (Sebastian) - 3:19
17.Night Owl Blues (Boone, Butler, Sebastian, Yanovsky) - 4:40
Steppenwolf became a big-name group on the basis of their driving arrangements and John Kay’s growling vocals. So any attempt by the group to venture into areas beyond “Born to be Wild-Magic Carpet Ride” syndrome would almost inevitably receive a lukewarm reception from the critics.
With the Steppenwolf Seven album, many times the group bordered on being soft, almost pretty. For Ladies Only crosses the line and becomes mellow. With the title cut, the group employs a lengthy piano solo to bridge some fine rock ‘n’ roll. Although the solo’s six minutes may be a bit too long, the cut comes off well in spite of itself.
As if to remind the listener that their style of old is not lost forever, there is the cut “Ride With Me.” Not only does it contain the familiar, “Hop-on-my-bike-and-let’s-ride-into-the-sunset,” theme, but the commercial potential of the tune is staggering. In fact, I’m still miffed at why the single didn’t go anywhere on the charts.
While musically the LP is worthwhile, lyric-wise it just doesn’t say a thing that one couldn’t hear within five minutes worth of top-forty. Although the title suggests Women’s Lib, and several tunes inaudibly discuss it, it uses that “Eric Burdon Three Minute Answer To the Problems of the Earth” technique. Steppenwolf has never concentrated on a central theme for an LP in the past, and in the future, perhaps it would be wise to apply the talent of the group to the arrangements, where they are unique.
The inside photograph is priceless. A spiffy little roadster is parked outside Grauman’s Chinese Theatre. A small crowd is gathered around gaping at the custom-built vehicle made to resemble a male organ. Vein and all. A cop is supposedly writing out some kind of citation. The picture alone is worth the price of the album, to coin a phrase.
For Ladies Only represents, for Steppenwolf, a branching out into new directions, which is a healthy sign for them The LP could be best described as a transitional one in which Steppenwolf wants to retain it’s roots, yet wishes to stay out of a particular mold at the same time.
by Cameron Crowe for San Diego Door, January 13, 1972 – January 27, 1972
Tracks
1. For Ladies Only (J. Edmonton, K. Henry, J. Kay, G. McJohn) – 9:13
2. I'm Asking (Edmonton, McJohn) – 4:25
3. Shackles And Chains (Kay) – 4:57
4. Tenderness (Mars Bonfire) – 4:51
5. The Night Time's For You (Bonfire, Morgan Cavett) – 2:56
6. Jaded Strumpet (Edmonton) – 4:40
7. Sparkle Eyes (G. Biondo, Kay) – 4:29
8. Black Pit (Henry, McJohn) – 3:46
9. Ride With Me (Bonfire) – 3:15
10.In Hopes Of A Garden (Biondo) – 2:01
11.For Madmen Only (Edmonton, McJohn, Biondo) - 8:49
12.For Ladies Only (Single Version) (J. Edmonton, K. Henry, J. Kay, G. McJohn) – 3:31
Steppenwolf
*John Kay - Vocals, Guitar
*Kent Henry - Lead Guitar
*George Biondo - Vocals, Bass Guitar
*Goldy McJohn - Keyboards
*Jerry Edmonton - Drums
The Forum Quorum comprises a group of Greek and Italian boys who dispense what manager Hal Davis calls a 'Mediterranean sound'. Lead instruments are electric bouzouki, placed by Sturg Pardalis, and shepherd's flute, played by Roger Galleo.
Pardalis doubles on electric guitar and Galleo on organ. Co-partner of Pardalis is Sal Palazzolo. Others include Mike Battalia on bass and Brian Albano on drums. The lead singers are Pardalis, Palazzolo and Galleo, who write most of the material for the group.
The age range is 17 to 19. Musical mentor of the combo is Gus Pardalis, director of the music department of a Queens, NV Junior High School and a composer. Ad man Davis has provided promotional and marketing advice, and has already implemented a many sided campaign. This includes a Decca Records contract, a movie. Mission To Mars, with Darrin McGavin and Nick Adams, and publication of a book in two months by Grosset & Dunlap titled How To Form A Rock Group.
Additionally, they have recorded the Girl Scout theme song, Follow The Piper, planned as a special project through that organization. Backing this up are engagements on the Mike Douglas Show, the Cheetah, teen clubs, commercials for Sattler's department store in Buffalo, a national TV commercial and nightly sessions at the group's home base in Astoria, NJ. Davis keeps the group under strict discipline. "I want them to realize the meter is running," he says.
He seeks to inculcate them with what is happening on the contemporary scene, and its relation to the past and future. "I want them to be articulate spokesmen of the world of rock," he says, "just as I expect their booh to be a guide to the rock business for young groups"
Billb/rd, February 17th 1968
Tracks
1. Girl Make Up Your Mind (Roger Calleo, Sal Palazzolo, Sturg Pardalis) - 3:01
2. Monologue (Gus Pardalis) - 2:41
3. 51st Though (Sal Palazzolo) - 3:39
4. There's No Runnin' Away (Sturg Pardalis) - 2:58
5. A Summer's Day (Sturg Pardalis) - 2:22
6. Misery (Roger Calleo) - 2:36
7. Your Turn To Cry (Sal Palazzolo) - 2:42
8. No More Tears (From The Sagittarius Production "Mission Mars") (Gus Pardalis) - 2:55
9. (I Wanna) Testify (Darwin Taylor, George Clinton) - 4:49
10. Just The Same (Sturg Pardalis) - 2:40
11. Synopsis (Roger Calleo, Sturg Pardalis) - 3:53
The Forum Quorum
*Sturg Pardalis - Vocals, Electric Guitar, Electric Bouzouki
*Sal Palazzolo - Rhythm Guitar
*Roger Calleo - Organ, Flute
*Brian Albano - Drums
*Bobby Castaldo - Bass
David Sinclair departed Caravan and Steve Miller arrived. If that was a reason this album ditches a lot of the nice, folksy pop songs of 'In The Land Of...' to replace them with long, jam based tunes - then that was a line-up change to be regretted! The playing remains exemplary, but there are few actual songs here. The opening title track is a case in point. I'm not going to be harsh or anything, because this does still contain melody amid the many instrumental parts and solo parts that are always impressively played - but there is something a little soulless about this.
The second track just really continues from the first, but is ever more jam based, sounds like it wasn't so much written as made up from hours of improvisation. It doesn't sound like a song, lacks a central theme or melody but does contain lots of great playing. It's not bad, don't get me wrong. It's actually fairly enjoyable but it lacks a certain character and distinctiveness. 'Songs And Signs' is better from a writing point of view. It's less than four minutes long, opens with very quiet, mellow vocals and a fairly bare musical backing. But, an atmosphere is created. It's not song packed with thrills or melody but it does withstand repeated listening, and actually gains from such listening.
'Aristocracy' is a nice little piece of funky playing and in fact, would have made a great album opener! It would have indicated a change of style and/or pace but not alienated fans of the groups previous records. 'The Love In Your Eye' suite is twelve minutes long. It opens with some nice string parts around a very quiet and mellow vocal. The bass comes in, the drums - the song picks up pace whilst remaining nicely mellow. The strings add to the track rather than become an unnecessary embellishment, and this is enjoyable listening. It does descend slightly towards a mindless Jam to close, but never mind that for now.
'The World Is Yours' wraps up the album, and actually becomes a highlight of the entire record for me. This is a lot simpler in structure than much else of what's contained on the album, has a nice melody and comes across as charming within well played instrumental parts rather than relying on well played instrumental parts to carry the track alone. We need melody in this world, and 'The World Is Yours' has plenty of it! A nice enough album on the whole, this 'Waterloo Lily' - there is nothing really bad here, but equally so few genuine highlights. The quality of the playing earns it an extra half point to bring it above being disposable.
by Adrian Denning
Tracks
1. Waterloo Lily - 6:47
2. Nothing At All /It's Coming Soon (S. Miller)/ Nothing At All - Reprise - 10:25
3. Songs And Signs (S. Miller) - 3:39
4. Aristocracy - 3:03
5. The Love In Your Eye / To Catch Me A Brother / Subsultus / Debouchement / Tilbury Kecks - 12:31
6. The World Is Yours - 3:41
7. Pye's June Thing - 2:57
8. Ferdinand - 2:57
9. Looking Left, Looking Right /Pye's Loop - 6:56
All songs by R. Coughlan, P. Hastings, R. Sinclair except where indicated
Jim Capaldi began his solo career just as Traffic had reached their peak, releasing his solo debut Oh How We Danced in early 1972, not long after the high-water marks of John Barleycorn Must Die and The Low Spark of High Heeled Boys.
Oh How We Danced isn't so much a break from Traffic but a detour, one where he's joined by then-current and former bandmates (Steve Winwood and Dave Mason, respectively), assisted by Free's Paul Kossoff, the Move's Trevor Burton, Rick Gresch, Jim Gordon and the Muscle Shoals Horns, among other rock luminaries.
In feel, this isn't much different than early-'70s Traffic, but the album is quite different in form, relying less on the winding, jazzy improvisations than well-worn, soulful grooves, given heart and by both the Muscle Shoals Horns and Kossoff, who particularly tears it up on a drastic reworking of the Al Jolson-written title track.
For as much fire there is here and elsewhere ("Love Is All You Can Try" works up a good head of steam), Oh How We Danced is distinguished by its mellow vibe, generated by the genial familiarity of the players, Capaldi's sweet, unassuming voice, and the emphasis on his set of strong songs instead of the virtuosity of his musicians.
by Stephen Thomas Erlewine
Tracks
1. Eve - 3:43
2. Big Thirst - 5:30
3. Love Is All You Can Try - 3:30
4. Last Day Of Dawn - 4:40
5. Don´t Be A Hero - 6:00
6. Open Your Heart - 4:07
7. How Much Can A Man Really Take? - 5:25
8. Oh How We Danced - 4:30
9. Going Down Slow All The Way - 3:21
All compositions by Jim Capaldi except "Big Thirst" co-written with Dave Mason
Musicians
*Jim Capaldi - Lead Vocals, Piano, Acoustic Guitar
*David Hood - Bass
*Roger Hawkins - Drums
*Barry Beckett - Piano, Organ
*Jimmy Johnson - Electric Guitar
*Paul Kossoff - Electric Guitar
*Dave Mason – Harmonica, Electric Guitar
*Steve Winwood – Organ, Backing Vocal, Guitar
*Chris Wood - Flute, Electric Saxophone
*Ric Grech - Bass
*Jim Gordon - Drums
*Rebop Kwaku Baah - Percussion, Congas
*Trevor Burton - Bass
*Mike Kellie - Drums
*Bob Griffin - Piano On
*Sunny Leslie - Backing Vocal
It can be a bit of a mystery why some artists develop successful careers and other equally talented individuals never make it off the ground, languishing instead in obscurity and penury. Take Roger Rodier, for example. A French-Canadian folk-singer-songwriter who recorded two singles in the late '60s before releasing the album Upon Velveatur in 1972. This LP created the tiniest of ripples and promptly sank without a trace, leaving Rodier little choice but to leave the music business and get on with some other kind of life.
Yet, on the strength of this album (released now on CD for the first time) he probably could have achieved a great deal more. For the most part, this is a collection of dreamy, introspective folk-rock tunes that sound very much aligned with the British early '70s folk boom. More specifically, the sound is reminiscent of Nick Drake's work circa Bryter Layter : acoustic guitar, melancholy melodies, hushed vocals and lush orchestration combine to create a sense of space and unhurried purpose.
Take, for example "My Spirit's Calling" and its evocation of the same mournful philosophising as Drakes "River Man", like a sigh and a shrug in the face of insurmountable cosmic sadness.. "While My Castle's Burning" is an angry, despairing cry with aggressive strumming, electric guitar breaks and unhinged, wordless shouts and snorts that almost make up for the unfocussed, impenetrable nature of the theme. It's kind of like a protest song sung to oneself. when no one else was meant to be listening.
To these ears, the most successful tracks are those that move away from the pastoral, tea-on-the-lawn aesthetic and embrace West-Coast American, electric folk-rock. "Am I Supposed to Let It By Again?" has an unmistakeable touch of Crosby Stills and Nash, all big harmonies in the chorus and electric fuzz guitar solos. Meanwhile "Just Fine"'s loping drums and soaring verses bring to mind some of Neil Young's most inspired moments. "Let's See Some Happyness", with it's bluesy riff and voluptuous, gospelised backing vocals, could be an outtake from Stephen Stills' first solo album.
Perhaps the comparisons are unfair. Rodier was clearly a very real talent on his own terms. Who knows - if he'd had the chance to make more records and develop his art, he could have done something really memorable. As it is, this remains an enjoyable and entertaining snapshot of early '70s songwriting and heartfelt attempts at musical expression.
by Daniel Spicer
Tracks
1 Listen to These Chords I Play (Celeste) - 3:11
2 My Spirit's Calling - 5:05
3 Am I Supposed to Let It by Again? (Above the Covers) - 4:07
4 The Key - 4:01
5 While My Castle's Burning - 4:19
6 You Don't Know What It's Like - 4:11
7 Just Fine - 3:59
8 Let's See Some Happyness - 4:55
9 Easy Song - 3:31
10 L' Herbe - 2:40
11 Tu Viendras - 3:06
12 Have You? - 3:13
13 Overseer - 2:46
All songs by Roger Rodier
Bonus Tracks 9-13
Musicians
*Roger Rodier - Guitars Vocals
*Red Mitchell - Electric Guitar
other musicians unknown
Who would have thought old Phil Mogg, Pete Way and Co. would be responsible for one the greatest psychedelic long players ever released?, but yes folks this record called "UFO 2/Flying" is a head trip of the highest order that every space rock freak MUST own!!!
UFO started out in 1968 and were at one time known as The Good, The Bad and the Ugly, they later called themselves Acid finally settling on UFO which was a tribute to the legendary UK nightclub. The group cut their teeth playing covers by people like The Yardbirds, Kinks, John Lennon and The Small Faces among others, somehow they got the attention of Equals guitarist Eddy Grant who was branching out into production and talent procurement, Grant invited the group to record at Orange Studios and the group managed to land a recording deal with the tiny Beacon imprint. A debut album "UFO 1" was issued in 1970 to little fanfare ( though it has been reported UK DJ Jon Peel thought highly of the group.)
The record we are talking about here was the group's second and their last for Beacon, it was known as "UFO 2/Flying/One Hour Space Rock" and it was issued in 1971. This is one monster of a Rock album that will appeal to fans of Free, Ash Ra Tempel, Blue Cheer, Taste, The Pink Fairies and many others, simply speaking it's awesome!!
Side One starts off "Silver Bird" which sounds just like Free circa 1969, Phil Mogg shows himself to be a gritty, convincing singer while guitarist Mick Bolton plays some blistering solos in the Paul Kossoff/Rory Gallagher vein, the group's rhythm section of Pete Way ( Bass ) and Andy Parker ( drums ) is a powerhouse, the song starts out slow but soon takes flight pummelling the listener along the way with relentless power.
"Star Storm" is in a whole different bag it begins with some lethal wah-wah guitar by Bolton then briefly touches down into a blues rock stomp ala Free/Taste, then the thing slows down to a crawl and slowly shifts into a guitar freakout that reminds me of the mid-section of The James Gang's "The Bomber" and also the guitar solo section of The Jeff Beck Group's "Rice Pudding", then it's off to Ash Ra Tempel land for awhile and then back again, the whole piece clocks in at over 18 minutes!!, Mick Bolton's guitar playing on this number is stunning!!.
The first side ends with a Groundhogs style raveup called "Prince Kajuku" that is absolutely fierce!, Mogg's vocals are sensational whlie Bolton blasts away like T.S. McPhee's kid brother, Pete Way also plays brilliantly on this one.
Side Two starts off in a different direction with "The Coming Of Prince Kajuku" this is an incredibly pretty guitar instrumental that echoes of Fleetwood Mac's Peter Green and Danny Kirwan's playing on the "Then Play On" album, then all of a sudden the song erupts into a Pete Townshend/Eddie Phillips Pop Art Afterflash! WOW!!!
"Flying" takes up the rest of the record, this one is a lengthy blues downer track that sounds like the group are suffering from a group hangover in the beginning the song then comes to life and turns into a pulverizing dose of Acid Rock. The record ends just under 60 minutes leaving you completely drained, in fact after playing this thing I need a bit of a comedown so I'm gonna go listen to The Four Preps "On Campus" album and then some Kingston Trio!, "UFO 2" has that kind of effect on people!!
by Dave Furgess
Tracks
1. Silver Bird - 6:54
2. Star Storm - 18:54
3. Prince Kajuku - 3:56
4. The Coming of Prince Kajuku - 3:43
5. Flying - 26:30
6. Galactic Love (Single A-Side) - 2:57
All tracks written by Phil Mogg, Mick Bolton, Pete Way and Andy Parker
Rory's eighth solo album, "Calling Card", was recorded during 1976 at the famed Musicland Studios in Munich. All of Rory's previous releases had been successfully self-produced. For this album he was keen to find a producer who had an affinity with traditional rock values but was open to new ideas.
On his previous release, 'Against The Grain1, Rory had started to shift away from the blues/rock style he'd made his own, creating an album with a harder sound. He was keen this progression should continue but needed to find a producer who shared his convictions and could help create the sound he wanted. During the 70's 'Deep Purple1 were one of the most successful rock bands in the world and Rory had toured the U.S. with them. Roger Glover, Deep Purple's bassist, offered his services to Rory, seeming to be the perfect candidate to produce the album. They began work on 'Calling Card' in the summer of 1976.
The band, Gerry McAvoy on bass, Lou Martin on keyboards and Rod de'Ath on drums, added the final element to the 'creative1 mix. In the three years they had been performing together they had grown into a formidable band. As Roger Glover explained, "they all seemed very dedicated to Rory, there was an allegiance, bom of years of smoky clubs and endless journeys". This was the fifth and last release featuring this classic band line-up. Setting the tone for the album Do You Read Me starts with a sharp, rocking intro. highlighting the shift in Rory's musical direction.
Country Mile - The sheer exuberance and life of this excellent 'boogie woogie' inspired rock track, with it's infectious rhythm and slide guitar solo, is palpable. Moonchild - Is a perfect example of the production Rory was aiming to achieve on this album, marrying a traditional hard rock style with the melodic values of jazz. The track is full of tricky phrasing and intricate guitar work, which Rory delivers effortlessly. Calling Card - Rory's jazz influences and wonderful lyrics again shine through on this title track. The interplay between the guitar and the piano throughout the song is particularly pleasing. When interviewed in 1995 Roger Glover nominated this as his favourite track on the album.
I'll Admit Your Gone - A hybrid, melodic track encapsulating folk/jazz in a blues fashion. Rory at his melancholy best.
Secret Agent - Rory's familiar hard rock sound of heavy beats, distorted riffs and slide guitar all come together impressively on this track. The funky rhythm and unison of guitar and vocal on Jack-knife Beat are reminiscent of 'Little Feat', a band Rory greatly admired.
Edged In Blue - Chris Wright, then head of Chrysalis Records, who originally released the 'Calling Card1 album', told Rory if this track was released as a single it would almost certainly be a number one chart hit in the US. In typical Rory style he decided not to release it as a single, leaving it as one of the outstanding tracks on 'Calling Card'.
from CD Liner-notes
Tracks
1. Do You Read Me - 5:20
2. Country Mile - 3:18
3. Moonchild - 4:48
4. Calling Card - 5:24
5. I'll Admit You're Gone - 4:25
6. Secret Agent - 5:45
7. Jacknife Beat - 7:04
8. Edged In Blue - 5:31
9. Barley And Grape Rag - 3:39
10.Rue The Day - 4:14
11.Public Enemy (B-Side Version) - 4:35
All songs composed by Rory Gallagher.
Band
*Rory Gallagher - Vocals, Guitar and Harmonica
*Gerry McAvoy - Bass Guitar
*Lou Martin - Keyboards
*Rod de'Ath - Drums
Aura was a San Francisco psych-funk band that formed in 1974 and played extensively throughout Northern California. By 1976, the band recorded their first and only album at Pacific Recording Studio in San Mateo. The original title of the album was Sativa, but out of fear that promoting the joys of marijuana would be too controversial, the band omitted the title and just left it as Aura.
Over the ensuing decades though the Aura album has grown in stature to become a collector's item. In 1991, the Oakland hip-hop band, Oaktown's 357 (MC Hammer's Salt-N-Pepa type band) sampled 'Mess Up Your Mind' for their song 'Turn It Up,' which raised the Aura album to cult status. The Lemon Drops producer Reggie Weiss wrote the psych-funk title track, 'Sativa' (a parody of The Champs hit song 'Tequila,' with water pipe sound effects and blistering guitar leads by former Lemon Drops guitarist, Eddie Weiss) and 'Skyrocket' (with manic fuzz guitar).
The lead singer in Aura was Paulette Collins who still performs around the Bay Area today with an all-girl group called The Taylor P. Collins Band. Replete with rare band memorabilia and previously unreleased bonus tracks, Aura is now available from the original master tapes for the first time on CD. The album is a piece of Bay Area history and a psych-funk masterpiece that cannot be overlooked in today's pervasive hip-hop world.
from CD Liner-notes
Tracks
1. You Got Something (P. Collins) - 3:20
2. Clap Your Hands (P. Collins, R. Kutulas) - 2:43
3. First Taste of Love (P. Collins, R. Kutulas) - 3:14
4. It's a Feeling (E. Weiss) - 2:18
5. Gonna Make It (P. Collins) - 3:22
6. Sativa (E. Weiss, A. Taylor) - 2:47
7. Mess Up Your Mind (P. Collins, E. Weiss, R. Kutulas) - 2:47
8. Don't You Worry (C. Haskell) - 3:17
9. Trying to Hold it Down (E. Weiss) - 2:38
10.Skyrocket (R. Kutulas) - 3:22
11.Catch a Falling Star (D. Harley) - 3:32
12.Evil That Brings You Down (E. Weiss) - 2:40
13.It's a Feeling Early Version (E. Weiss) - 2:16
Ali Haimatoglu, one in the former Munich music scene established and well accepted drummer has been instructed in 1973 by the owner of a cinema chain to assemble a band. Quick the core-group was fixed, it have been people with already long years of musical experience
- Sebastian Leitner, guitar, born on 17.01.1953 in Freilassing, played in various amateurbandssince 1967 and at least in the Austrian professional band Lazarus Round.
- Harald Kaltenecker, Keyboard, born 10.01.1950 in Munich, has been in numerous bands.amongst others in the ..International Beat & Soul Group" RIGHT TRACKS and at last with the Munich band Dream.
- Vincent Trost (died 2006), bass, born on 27.06.1942 in Stuttgart, was the most experienced musician, not only due to his age. Early 70's he did :,small time" with his own band The German Four across Germany and the border countries.
- Gerd Hoch (died 1995), vocals, born on 16.02.1951 in Freiburg, the man with the raspvoice, who stamped the Bullfrog-sound especially.
Ali Haimatoglu himself has been the first drummer of the band, but didn't stick to the band very long. His followers have been first Seppl Niemayer (went later to Octopus), then Bruno Perosa. Also he lived together with the other bandmembers in a musical-flat-share, the legendary ,,Dampfmolkerei" of the 300 people location Burkhards.
With this cast they went 1976 to Conny's, the studio of Conny Plank. He was exalted of the demos and recommended them immediately to Sky Records in Hamburg. A record deal has been signed and the first album recorded.
Due to the fact that in the already two bands with the name Bulldogg (US) and Bulldogg Breed (UK) did exist, therefore their record label recommended the name Bullfrog. Under this name the first album appeared in Autumn 1976, the album cover was created by the Japanese painter ant artist Aoi Fujimoto.
The first Bullfrog release was very successful and appeared parallel ti the German publication also at the US Company Annuit Coeptis. Amongst excellent groups Bullfrog now belonged to the most promising newcomer bands of the German Rock scene. This has lso be proven during their live gigs, which were not only acoustic but also optic a class of it’s own.
from CD Liner-notes
Tracks
1. Movin' On - 4:09
2. Bad Game - 3:34
3. I Came From The Sky - 4:45
4. I'm Comin' Home - 6:34
5. Get Away - 10:41
6. Desert Man - 11:35
All songs by Sebastian Leitner and Gerd Hoch
Chicago, early 70s. Greg Herriges is obsessed with Lennon, 12- string guitars and far- out psychedelic sounds. Rick Vittenson is a Beach Boys- Hollies- Who fanatic who writes for Crawdaddy! magazine. Both had previously played in several garage- college bands during the 60s.
Combining their mutual love for Sixties music, Athanor was born. With the help of top studio musicians, they recorded and self- released three 45s between 1973 and 1975 (the first one produced by Mark Breyer, with whom Rick had played in pre- Skooshny band Brevity) which are now highly sought- after by fans of obscure psychedelic pop.
All of them are featured here in stellar sound taken from the master tapes along with previously unreleased studio tracks and superb sounding home demos (1973- 1981), plus a new song recorded in 2006 in the same vein as their vintage recordings.
Athanor’s music features impressive songwriting & musicianship, a collision of Beatlesque harmony vocals, Rickenbacker and Guild 12- string guitars, occasional fuzz- wah leads, Fender Rhodes, studio effects. Psychedelic proto- power pop highly recommended to anyone into Lazy Smoke, Badfinger, Only Ones, Emitt Rhodes, Rockin' Horse, Creme Soda.
In the Land of Grey and Pink is considered by many to be a pinnacle release from Caravan. The album contains an undeniable and decidedly European sense of humor and charm. In addition, this would mark the end of the band's premiere lineup. Co-founder David Sinclair would leave Caravan to form Matching Mole with Soft Machine drummer and vocalist Robert Wyatt in August of 1971.
As a group effort, In the Land of Grey and Pink displays all the ethereal brilliance Caravan created on their previous pair of 12" outings. Their blending of jazz and folk instrumentation and improvisational styles hints at Traffic and Family, as displayed on "Winter Wine," as well as the organ and sax driven instrumental introduction to "Nine Feet Underground." These contrast the decidedly aggressive sounds concurrent with albums from King Crimson or Soft Machine. In fact, beginning with the album's title, there seems to be pastoral qualities and motifs throughout.
Another reason enthusiasts rank this album among their favorites is the group dynamic which has rarely sounded more singular or cohesive. David Sinclair's lyrics are of particular note, especially the middle-earth imagery used on "Winter Wine" or the enduring whimsy of "Golf Girl." The remastered version of this album includes previously unissued demos/alternate versions of both tracks under the titles: "It's Likely to Have a Name Next Week" and "Group Girl," respectively.
The remastered disc also includes "I Don't Know Its Name (Alias the Word)" and "Aristocracy," two pieces that were completed, but shelved in deference to the time limitations imposed during the days of wine and vinyl. The latter composition would be reworked and released on Caravan's next album, Waterloo Lily. The 12-page liner notes booklet includes expanded graphics, memorabilia, and an essay penned specifically for the reissue.
by Lindsay Planer
Tracks
1. Golf Girl - 5:05
2. Winter Wine - 7:46
3. Love To Love You (And Tonight Pigs Will Fly) - 3:06
4. In The Land Of Grey And Pink - 4:51
5. Nine Feet Underground: - 22:40
...Nigel Blows A Tune
...Love's A Friend
...Make It 76
...Dance Of The Seven Paper Hankies
...Hold Grandad By The Nose
...Honest I Did!
...Disassociation
...100% Proof
6. I Don't Know Its Name - 6:12
7. Aristocracy - 3:42
8. It's Likely To Have A Name Next Week - 7:48
9. Group Girl - 5:04
10. "Dissassociation/100% Proof" (New Mix) (D. Sinclair) 8:35
All tracks by R. Coughlan, P. Hastings, R. Sinclair, D. Sinclair except where noted.
Anonymous Days is the second studio album from Dark recorded 23 years after the first, the famous and highly collectable 'Round the Edges' LP. The band's line-up remains the same, Steve Giles, Ron Johnson, Martin Weaver and Clive Thorneycroft. Anonymous Days contains songs written between 1974 and 1995 and is the album we always wanted to make, combining the Dark progressive rock style with the latest recording techniques.
The first album was recorded in about 24 hours, this one took an awful lot longer: that's modern studios for you. The tracks are pure Dark combining complicated twin harmony guitar work with thought provoking lyrics and wide ranging musical structures.
We thoroughly enjoyed getting back together again to write and rehearse after all those years, we even played a live gig in our home town of Northampton. At the start of the project Ron's bass guitar was taken from the dust in his loft where it had lain undisturbed for over 20 years. After the album was finished he put it back in exactly the same place ready for the next one?
Anonymous Days was recorded between 1994-1996 at Outrider Studios Northampton, all tracks were composed between 1974-1995
by Martin Weaver, Northampton, England. June 2001
Tracks
1. All The Loving I Need - 5:12
2. Madame La Guilloline - 6:55
3. Miles And Miles Away - 5:38
4. Shadow Of The Rain - 3:20
5. A Hope Full Of Holes - 8:44
6. On Came The Midnight - 6:28
7. Don't Worry About That - 5:04
8. Killing My Friends - 5:49
9. Journey's End - 6:30
