Reggie King - Looking For A Dream (1968-71 uk, fabulous power guitar pop rock, 2012 release)

The story of The Action and its players is an ever evolving wonder. There seems to be no point at which to say: "We've heard it all and know it all now". Every once in a while there is a fresh surprise as another part of the tale is revealed. The latest twist is this full unveiling of a collection of Reggie King demos which the great singer recorded, with former colleagues from The Action just as they were on the brink of becoming Mighty Baby. For many Looking For A Dream will seem a gloriously apt title for this record as it provides an opportunity to hear Reggie sing in a setting hitherto often fantasised about There is, of course, an unbearable poignancy to this collection appearing now. In 2010 we lost Reggie and we lost Mike Evans, the steadfast, secret hero and heartbeat of The Action/Mighty Baby story. 

Their passing was desperately sad, but their deaths made many of us more resolute in affirming the parts Reggie and Mike played in creating some of the most beautiful and inspiring music ever. When The Action's recording of "Since I Lost My Baby" was played at Reggie's funeral, it was the first time the presiding minister had heard him sing, but he was nevertheless visibly moved. The clergyman was also canny enough to improvise and pay tribute to the way such a remarkable singer will have touched many people's lives. It's still a shock to realise there are people who have not had the pleasure of hearing Reggie sing. And it's always dangerous to succumb to the temptation of playing "could've, should've, would've". But who knows what might have been different if these remarkable demos were widely heard 40 years before now?

Those of us whose introduction to The Action's music came via the infamous Edsel compilation now have a far better understanding of the pivotal role its members later played, collectively as Mighty Baby or individually, in the making of many of the visionary records of the British folk rock heyday, by the likes of Shelagh McDonald, Shirley Collins. Sandy Denny, John Martyn, Gary Farr, Keith Christmas, Andy Roberts, Robin Scott, and so on. Mighty Baby's own LP A Jug of Love, is now revealed as something of extraordinary beauty and spiritual warmth, up there with the best of Gene Clark or The Band Discovering that particular record has been one of those great revelations contained within the unfolding story of The Action.

There is a case to be made for the best British recordings of the folk rock era being made by those conning from a rhythm 'n' blues background: Mighty Baby, of course: Stevie Winwood and Traffic roamm' thro' the gloamin': the Faces be they small or otherwise drawing strength from Tim Hardin: even Fami . and the Kinks. It's quite fascinating how well it works, often in sharp contrast to those approaching from a solo traditional folk perspective. It's probably got something to do with all the jamming with acoustic guitars in the backs of vans driving to and from gigs, the sitting around in damp communal bedsits practising intricate harmonies, and the edge provided by being steeped in the blues and black music.

The ensemble playing on these Reggie King demos is ridiculously good and feels warmly intuitive. It exudes a sense of trust and knowing who you're playing with. The harmonies are exguisite, but you'd expect that. The instrumentation is predominantly acoustic, but it doesn't come across in a gettingit- together in the country pastoral retreat kind of way. The prevailing picture is distinctly urban: with more of a neglected and chilly church hall vibe: a huddled around a Calor Gas stove with buses rumbling past mood, rather than an idyllic camp fire at twilight with accompanying birdsong kind of thing.

The individual performances are wonderful. That remarkable rhythm section of Mike Evans and Roger Powell provides the perfect bedrock for melodic invention. As ever their playing is unobtrusive but they achieve that odd balance between solidity and fluidity which added a definite depth to many recording sessions. It's also easy to envisage Martin Stone hunched ove' an acoustic guitar, intently strumming himself into a trance, while Ian Whiteman with his seemingly care-worn piano, and his occasional jazzy flute and organ embellishments, pretty much steals the show.

In contrast to these demos, the one official Reg King solo LP can seem cluttered. There are some incredible tracks on that 1971 set which wring the emotion out of the listener. But sometimes it seems Reggie is struggling, which just might be symbolic when you stop and think about it. A self-destructive or self-erasing urge, perhaps, as if to say: "You don't want to listen to me? Fine, I'll make sure I'm not heard." On these demos though, his singing is much more relaxed and the ease with which he sings is evident. The space on these demos perfectly suits him.

Temporally and spiritually these demos lie perfectly in between the official Reg King LP and the earlier elegant, sundrenched Rolled Gold demos by The Action which have become so much a part of our lives. There is plenty here for aficionados of the gloriously baroque, brocade and paisley pop that later incarnation of The Action excelled at. There is also a lot for those of us who adore what Reggie did with Gary Farr on the Take Something With You LP. 

There are even moments to compare with the astonishing heartbreaking beauty of that record's "I Don't Know Why You Bother, Child". There are songs too that you could just imagine being given the full-on gospel revue/soul rave-up treatment by a Doris Troy or a Rosetta Hightower. It is the strength of the songs that is striking. It's easy to dwell on the majesty of Reggie the singer, but he was a truly talented songwriter too. The songs here are mostly gloriously uplifting and infectious. They feel instantly familiar, but it is difficult to pin down close comparisons. The songs are deceptively simple. There's an art in making things seem simple. And in contrast to the more mystical, abstract, cosmic concerns of the time this set of songs seems strangely down-to-earth. None of these songs resurfaced in later years. No other act seized an opportunity to cover such patently superior material. 

There is something spectacularly arrogant about the way such a great set of compositions seems to have been casually cast aside after having been so painstakingly put together. More care seems to have been put into these intricate demos than most groups of the time put into their huge hits. That bewildering and appealing mix of nonchalance and perfectionism seems to sum up Reggie and The Action. Everyone who gets to hear this collection will have their own highlights. But there will be a general consensus that devotees of Reggie's haunted balladry are well-served by songs like "In And Out" which has him drifting in and out of daydreams, trying to find a way to say more, trying to be heard. Even here where the mood is more wistful and melancholy, with Ian Whiteman's flute sounding particularly beautiful, the sound is still sinewy and there is a sense of barely concealed rage and a soulful solar plexus punch.

The most hard-hitting track, however, is "They Must Be Talking 'Bout Me" about which it's impossible not to use the word harrowing. Reggie baldly introduces the track as being about a mental hospital. There are no histrionics. There is no sentiment or sermonising. And it is this matter-of-fact portrayal of paranoia and the way mental illness was treated that makes the song more chilling. The stark, pounded piano accompaniment fits perfectly. 

Even when resisting the temptation to read too much into the theme, the song is a sharp slap of cold reality at the end of the '60s dream. That dream... it may be long gone, but the part The Action and its players performed in providing its unique soundtrack continues to inspire and to illuminate the present. And all those involved in creating this collection will live forever through the extraordinary music which so many of us will love forever.

by Kevin Pearce, April 2011

Tracks
1. Get Up, Get Away (Reg King, Kevin Westlake) - 2:44
2. Let Me See Some Love In Your Eyes - 2:48
3. You Gotta Believe Me - 3:05
4. All Up To Heaven - 2:30
5. So Full Of Love - 4:15
6. Merry Go Round - 3:27
7. Suddenly (Reg King, Kevin Westlake) - 2:55
8. Picking Up Nancy's Grin - 3:22
9. In And Out - 3:13
10.Put Something Together - 5:38
11.Live Forever - 3:00
12.Magenta - 5:56
13.Thinkin' 'Bout Getting Out - 3:12
14.They Must Be Talking'bout Me - 5:10
15.You'll Be Around - 3:51
All songs by Reggie King except where stated

Personnel
*Reg King - Vocals, Acoustic Rhythm Guitar
*Ian Whiteman - Hammond, Piano, Saxophone, Flute, Vocals
*Martin Stone – Acoustic, Lead Guitar
*Mike Evans - Bass
*Roger Powell - Drums
*Nick Jones - Congas
*Kevin Westlake- Piano, Guitar, Percussion

1971  Reg King
1964-1990  The Action - The Ultimate Action

Free Text
Text Host

Captain Marryat - Captain Marryat (1974 uk, splendid hard prog rock, 2008 edition)

1974 was a banner year for what has become known as progressive heavy rock. Bands such as Lucifer’s Friend, Beggars Opera, and Wishbone Ash were all in their heyday. The heavy organ and guitar sound was all the rage. Deep Purple had just scored with “Woman From Tokyo,“ and Uriah Heep with the great “Stealin.“ Even Iron Butterfly were still in the game, with the underrated Scorching Beauty LP.

Enter Scotland’s Captain Marryat. They took their name from a London author, and associate of Charles Dickens, Captain Frederick Marryat. It is interesting that they chose a friend of Dickens for their moniker, as the character of Uriah Heep comes from the Dickens novel David Copperfield.

In those heady, post-hippie days, a band like Captain Marryat could make a living on the Scottish pub circuit. When they felt they were ready, the band recorded and self-released their one and only LP. It was done as a demo to drum up interest from the majors more than anything else.

With only 200 copies of Captain Marryat ever pressed, the original album is a highly valued collectors item. Copies have reportedly changed hands for over 3,000 Euros recently. While the original is obviously a rare and attractive piece for vinyl fetishists, what about the music itself?

I am happy to report that the Captain Marryat record is as faithful to the genre as anything I have ever heard. From the opening, Phantom Of The Opera-type keyboard trills of “Blindness” all the way through to the prog-mania that is “Dance Of Thor,” Captain Marryat are brilliantly of their time.

The second song on the record, “It Happened To Me,” is the band’s tour-de-force. At eight minutes, it is also the longest track here. They needed that amount of time to get the full guitar and organ solos in though, and I for one am very grateful.

The guitar solo followed by an even lengthier organ solo is the format Captain Marryat holds to pretty consistently in the instrumental sections of their songs. Until we come to “Changes” that is. The tune seems to be their bid for airplay, as it is certainly the most radio-friendly cut on the record.

“Gonna be changes come someday, gonna be changes come your way.”
Truer words have never been spoken.

The six minute instrumental “Dance Of Thor” closes Captain Marryat out, and it is a thing of beauty. On top of a driving drumbeat comes the power-organ of Allan Bryce, followed by Ian McEleny’s searing guitar work. Last but certainly not least are the sounds of thunder, in honor of Thor, the original god of thunder.

There is not a lot of middle ground with Captain Marryat. You either love this type of early-Seventies European progressive hard rock, or hate it. I totally dig it, and will be filing this disc between Banquet by Lucifer’s Friend, and Uriah Heep’s The Magician‘s Birthday.
by Greg Barbrick

Tracks
1. Blindness (Allan Bryce) - 5:10
2. It Happened to Me (Allan Bryce) - 8:11
3. A Friend (Tommy Hendry) - 4:32
4. Songwriter's Lament (Allan Bryce) - 6:20
5. Changes (Ian McEleny) - 2:45
6. Dance of Thor (Captain Marryat) - 6:53

Captain Marryat
*Hugh Finnegan - Bass, Vocals
*Jimmy Rorrison - Drums, Vocals
*Ian McEleny - Guitar, Acoustic Guitar
*Tommy Hendry - Vocals
*Allan Bryce - Hammond M102 Organ, Electric Piano

Free Text

Just Paste

Freedom - Freedom At Last (1969 uk, awesome hard blues rock, 2004 remaster)

Freedom was formed in the autumn of 1967 by two ex. members of Procol Harum, drummer Bobby Harrison and guitarist Ray Royer. Their spell with Procol had been a short though not exactly a sweet affair. Recruited as last resort choices before entering the studio to record the all time classic single "A Whiter Shade Of Pale", Royer and Harrison were soon told to leave the band because of internal differences. They were replaced by B.J. Wilson and Robin Trower on drums and guitar respectively, both ex. members of band leader Gary Brooker’s previous act, The Paramounts.  

In 1968-69 bands were often based on a bass-guitar-drums line-up, omitting the keyboard playing a heavy blues rock idiom, such as The Jimi Hendrix Experience, Led Zeppelin and Cream. The last named in particular were a strong influence on Harrison, Saunders and Monaghan. Their management, whom Saunders described as "somewhat dodgy", came up with the rather strange idea of telling the new line-up not to make any live appearances for the first year. "Through all this time we were to work only in the studio, then they wanted to release us to the world!" Saunders recalled.

During 1969 the group released their second LP, titled "Freedom At Last". (If they are generally confused in people's memory with the rather more commercially successful group Free, this isn't made any less by the latter band's release of an album in 1972 bearing the exact same title!) This new album still had some leanings backwards in the direction of psychedelia while at the same time it pointed at what lay ahead for the future. Sadly, " Freedom At Last" did only marginally better than "Nerosubianco/Black On White" and for more or less the same reason. It has never been out in the UK at all and only saw release in France (on the BYG label) and Germany (on Metronome).

No-one seems to be able to explain exactly what went wrong, other than putting the blame on the management. It must have felt horribly disillusioning to the group at the time to see a full album, which they had sweated a lot of blood over, being so bluntly neglected, particularly for Bobby Harrison who had already experienced the exact same thing with another album which was also a truly fine piece of work.  

Nevertheless, Freedom soldiered on through 1969 and into 1970. Their new-found heavy blues rock style, which they mastered to a tee, naturally won them a faithful live following, as did their impressive three-part harmony vocal work. Through label associations they got to tour the USA with Black Sabbath and Jethro Tull. They played to huge audiences and with their next albums " Freedom" SJPCD063 and 'Through The Years" SJPCD177 finally succeeded to get releases not only in Britain but in the USA as well.

Roger Saunders also landed himself with a solo deal with Warner Records. The recordings of his "Roger Saunders Rush Album" took, ironically enough, a long time and involved an awful lot of production work and arrangements. To the rest of the group this caused both confusion and general bad feelings as their management demanded solo spots up to the length of 20 minutes with Saunders just playing piano and singing on his own. "They had this vision of me being a new Elton John or something. I'd rather have been James Taylor if I'd had the choice."

In the midst of everything the management also demanded the group change to another bass player, Pete Dennis. Another attempt to change things around, though not necessarily for the better, came with the inclusion of Steve Jolly on guitar, giving Saunders more of a chance to play keyboards. Around this time the style of the band seemed to go back in the direction of Procol Harum, but some country rock influences could also be detected.

Deeply disillusioned and disappointed Freedom finally threw in the towel in 1972. They were primarily a live group, and they had toured extensively throughout their career. Like most fine rock outfits their studio efforts could not match up to the sparkle of their stage appearances, but there appears to be no live recordings of the group and the closest we will ever get to those magic moments back in 1970-72 is the rare and elusive album presented here on this release  Bobby Harrison went on to become lead singer in Snafu (whose keyboard player Pete Solley oddly enough later ended up where Bobby had begun - in Procol Harum!) He also released a solo album "Funkist" (SJPCD056) in 1975. 

In the early eighties he moved his residence to Iceland where he teamed up with local supergroup Mezzoforte with whom he recorded the wonderful "Solid Silver" SJPCD011 album, a strong collection of R&B classics displaying his immense abilities as a singer. Never quite at the forefront of commercial success - apart from those few elusive weeks back in 1967, perhaps – Bobby Harrison has nevertheless enjoyed a remarkable and varied musical career stretching over five decades. 

Today, he is as active as ever and his singing voice has never been stronger. Freedom never quite made it to the first division of British rock. Not because of lack of ability, just sheer lack of luck. What were left with is perhaps more a case of "what might have been" than what actually was, at least in a commercial sense. Then again - who cares when the music's playing!

by Claes Johansen

Tracks
1. Enchanted Wood (Roger Saunders, Walter Monaghan, Brian Hillman) - 2:54
2. Down In The Bottom (Willie Dixon) - 4:25
3. Have Love Will Travel (Richard Berry) - 2:48
4. Cry Baby Cry (Joihn Lennon, Paul McCartney) - 3:38
5. Time Of The Season (Rod Argent) - 4:50
6. Hoodoo Man (Sonny Boy Williamson, Junior Wells) - 4:23
7. Built For Comfort (Willie Dixon) - 4:23
8. Fly (Walter Monaghan, Brian Hillman) - 3:15
9. Never Loved A Girl (Ronnie, Shannon) - 4:35
10.My Life (Roger Saunders, Brian Hillman) - 2:50
11.Can't Stay With Me (Roger Saunders, Brian Hillman) - 4:06
12.Dusty Track (Roger Saunders) - 3:33

Freedom
*Walter Monaghan - Bass Guitar, Electric Guitar, Piano, Mellotron, Vocals
*Roger Saunders - Electric Guitar, Acoustic Guitar, Piano, Organ, Vocals
*Bobby Harrison - Drums, Percussion, Vocals

1969  Nero Su Bianco / Black On White

1971  Freedom - Through The Years (2004 remaster)
1972  Freedom - Is More Than A Word
1973-74  Snafu - Snafu / Situation Normal

1975  Bobby Harrison - Funkist

1978  Nobody's Business - Nobody's Business (2007 bonus tracks remaster)

Just Paste
Free Text
Text Host

Terry Frank ‎- Loaded To Fire (1981 us, exceptional sharp blues rock)

After playing in rock bands for nearly ten years, Terry Frank (T-Bone) began his  Bone Deluxe ensemble in 1980 as 'Black Cat Bone' against the advice of loyal followers in order to 'play the music I love'.  He quickly proved that playing from your heart gets 'em every time and has worked steady in the Midwest ever since gaining fans everywhere the band goes. 

In 1981 Terry Frank released a private press LP “Loaded To Fire” where he played most of the instruments (except drums), the album was filled with hard blues rock inspired by Robert Johnson, Tampa Red,  Buddy Guy, Freddie King, Johnny Winter, Mick Taylor, Duane Allman, Stevie Ray Vaughan for contemporary.

In the years to follow he changed the name of the band to “Bone Deluxe” and was nominated for many awards  continuing to draw strong crowds. The band has also been a regular feature at Milwaukee’s Summerfest since 1985.

With some line up changes and his wife Cheryl on Bass, Terry recorded and released a couple of records. Terry and Bone Deluxe, put on the most high energy and up-tempo shows of any Blues group in the area, getting the crowd up, moving and keeping their attention for the course of the night. Terry kept his blues flame lit on stage until his death in 2009. 

Tracks
1. Stepping Out (Bracken) - 2:20
2. Drinkin' Blues - 5:00
3. Shotgun Shuffle - 3:45
4. Dining Duck (Estes) - 3:35
5. Walking Blues (Traditional) - 2:27
6. Hideaway (F. King) - 2:55
7. Loaded To Fire - 2:30
8. Laid Back Feeling - 5:45
9. All Along The Watchtower (B. Dylan) - 4:55
10.Beyond The Rainbow - 6:45
All songs by Terry Frank except where stated

Personnel
*Terry Frank - Vocals, Guitar, Bass
*R. Allioto - Drums
*Mick Evans - Bass
*J. Shaab - Drums
*M. Daily - Drums
*R. Leer - Drums

Free Text
the Free Text

Max Webster - Universal Juveniles (1980 canada, great hard prog rock)

Despite a fabled team-up of Max Webster and Rush on the song "Battlescar", 1980's 'Universal Juveniles' had a noticeable absence of that trademark Watkinson keyboard sound and the band was falling apart from constant touring in towns where feverish fans were unable to purchase the band's records - especially stateside. The lack of promotion and poor management organization is sited as the cause for Kim Mitchell's resignation during a tour with Rush in April 1981. With this the band split up but they had actually been close to hitting the big time, so Anthem capitalized with a posthumous greatest hits package called 'Diamonds, Diamonds'.

Mitchell went on to a very successful solo career, but the continued cult status of Max Webster, particularly in Ontario, prompted Mitchell, Watkinson, McCracken, and Tilka to reunite in 1990. Their first performance was a short set at the Toronto Music Awards that year to 3000 hysterical fans who refused to pay attention to the awards given out after their set, continuing to chant "Max! Max! Max!" for the rest of the night. Anthem capitalized on the new-found Max fervour by releasing another best of package that year. Delighted with this response, the four musicians continued to do one-off dates around Ontario as Max Webster well into the late 1990's with Kim Mitchell Band bassist Peter Fredette filling in for Tilka.

In 2007, Mitchell, Tilka, McCracken and Watkinson reunited yet again for Toronto radio station Q107's 30th Anniversary bash along with David Wilcox, Goddo, Sass Jordan and Alannah Myles. The event was filmed but has yet to be released.

Kim Mitchell is the drive-time host on Q107-FM in Toronto. He still performs solo gigs in Southern Ontario; Gary McCracken still lives in Sarnia and owns a very successful music store/school. Aside from playing in ZZ Top tribute band Tres Hombres in the 80s and 90s, he has released several eclectic solo albums; Terry Watkinson performs with Mike Tilka in the band Antlers and occasionally joins Frank Soda live. Watkinson has been successful as a painter and displays his works in galleries around Ontario

Jam-canoe

Tracks
1. In The World Of Giants (P. Dubois, K. Mitchell) - 4:18
2. Check (P. Dubois, K. Mitchell) - 2:37
3. April In Toledo (P. Dubois, K. Mitchell) - 3:40
4. Juveniles Don't Stop (P. Dubois, K. Mitchell) - 3:32
5. Battle Scar (P. Dubois, K. Mitchell) - 5:48
6. Chalkers (P. Dubois, D. Myles) - 3:45
7. Drive And Desire (P. Dubois, K. Mitchell) - 3:53
8. Blue River Liquor Shine (P. Dubois, K. Mitchell) - 4:15
9. What Do You Do With The Urge (P. Dubois, G. McCracken) - 3:20
10.Cry Out Your Life (P. Dubois, K. Mitchell) - 5:33

Max Webster
*Kim Mitchell – Guitar, Vocals
*Gary McCracken - Drums
*Dave Myles - Bass
*Pye Dubois - Lyrics
Guest Musicians
*Doug Riley - Piano, Clavinet, Synthesizer
*Neil Peart - Drums
*Terry Watkinson - Keyboards
*Alex Lifeson - Guitar
*David Stone - Synthesizer
*Geddy Lee - Bass
*Meloshe - Bass

1976  Max Webster
1977  High Class In Borrowed Shoes
1978  Mutiny Up My Sleeve
1979  A Million Vacations
1979  Live Magnetic Air

Free Text
Text Host

Sherman Hayes - Catman (1973 us, awesome swamp blues rock with folk drops, korean remaster)

Sherman Hayes Sr is a Californian who first recorded with Del Courtnet's band in 1939 & 1940. Hayes led a "White" hotel orchestra, in which he played tenor sax and vocalized. The band then featured "sweet" arrangements, a steel guitar, a Lombardo-styled sax section, period vocals by the leader, and a femme singer simply billed as 'Wyoma' (actually Sherman's wife Wanda). In the early 1950s, the band was last heard on a remote broadcast from the Hotel Roosevelt in New Orleans, LA.

Then, in 1973, Sherman Hayes Jr surfaced with his version of "Catman", released on Barnaby Records. The session features David Cohen, Dick Rosmini, Ralph Shuckett, Larry Knechtel, Joe Osborne and others, including members of "Pan" as well as Tom "Zippy" ("Zip") Caplan on lead guitar, arrangements & special effects, and Mick ("Slick"] Stanhope on lead vocals, lyrics & percussion. Mick is best known as drummer in the 3-piece power trio, "White Lightning." Mick moved to Los Angeles in 1971 with "Zip" Caplan (lead guitarist extraordinaire in "The Litter" & "White Lightning") and Pat Rains, their "White Lightning" manager.

Living in L.A. eventually led "Slick" and "Zip" to their little known yet amazing studio appearance on this fine southern rock styled Sherman Hayes (Jr.) album, titled "Catman." Released by the Andy Williams owned Barnaby Records, 1973's "Catman" offers up a weird combination of swamp rock, pop and country influences. Hayes certainly had a likeable voice which was at its best on the more blues and rock oriented numbers like the bizarre opening title track, 'Keepin' To the Backroads' and 'Creepy Crawly Feelin'. To be honest, most of the ten tracks are quite catchy (particularly where Hayes' swamp rock moves recall Tony Joe White), but the rural feel that infuses tracks such as 'Winter's Just Like Comin' Home' and The Dreamer' probably won't have much appeal to most rock fans. Elsewhere, boasting one of those irritating hooks that stick with you all day long, 'Mandy' would have made a dandy single.

Unfortunately, the combination of the OPEC gas crises (which drove vinyl prices through the roof), coupled with the collapse of Barnaby's distribution agreement with the label ensured the album got next to no promotion, explaining why it instantly vanished into cutout bins.

CD Liner-notes

Tracks
1. Catman  (Sherman Hayes) - 2:51
2. Winter's Just Like Comin' Home  (Sherman Hayes) - 4:10
3. South's Gonna Rise Again  (Bob Mcdill) - 2:55
4. The Dreamer  (Sherman Hayes) - 4:00
5. Keepin' To The Backroads  (Sherman Hayes) - 3:46
6. Creepy Crawly Feelin'  (Sherman Hayes) - 2:55
7. Mandy  (Sherman Hayes, Dann Lottermoss) - 2:05
8. Spirit  (Larry Murray) - 2:08
9. Waitin' For Tomorrow  (Sherman Hayes) - 2:45
10.Country Rain  (Sherman Hayes) - 2:54

Musicians
*Sherman Hayes - Vocals, Guitar
*Jonathan Avila - Harmonica
*Larry Brown - Drums
*Colin Cameron - Keyboards
*David Cohen - Guitar
*Dennis Conway - Drums
*Thomas Kaplan - Guitar
*Larry Knechtel - Keyboards
*Joe Osborne - Keybaords
*Dick Rosmini - Guitar
*Robert Schnitzer - Guitar
*Ralph Shuckett -  Keyboards
*Chris Smith - Guitar

Free Text

Just Paste

Five Man Electrical Band - Half Past Midnight / The Staccatos And Beyond (1966-69 canada, fabulous sunny folk beat psych)

Tracks

Five Man Electrical Band

1. Five Man Electrical Band - 3:21

2. Last Time I Saw Memphis - 3:30

3. Private Train - 2:21

4. Half Past Midnight - 2:25

5. You're Gonna Lose That Girl (Lennon, McCartney) - 2:17

6. Maple Lane - 3:02

7. Black Sheep Of The Family - 2:26

8. Fancy Dancin' Man (Bonnet, Gordon) - 2:28

9. We Go Together Well - 2:25

10.Hi Didn't Know The Time - 2:28

11.Running Back - 2:32

The Staccatos

12.Catch The Love Parade - 2:40

13.Whisper Words - 2:37

14.Let's Run Away - 2:25

15.Face To Face (With Love) - 2:17

16.Walker Street - 2:50

17.Super Girl - 2:17

18.She Fancies Herself A Lady - 2:43

19.Weather Man - 1:49

20.Half Past Midnight  (Mono 45) - 2:12

All songs written by Les Emmerson except where noted.

Five Man Electrical Band

*Ted Gerow - Keyboards

*Brian Rading - Bass

*Rick 'Bell' Belanger - Drums

*Les Emmerson - Vocals, Guitar

*Mike 'Bell' Belanger - 2nd Drums

The Staccatos

*Vern Craig - Vocals, Guitar

*Brian Rading - Bass

*Rick 'Bell' Belanger - Drums

*Les Emmerson - Vocals, Guitar

*Mike 'Bell' Belanger - 2nd Drums

Free Text
Text Host

Ola And The Janglers - Lime Light (1966 sweden, marvelous r 'n' b, beat psych, Vinyl issue)

The group was formed in 1962 in Stockholm and called The Janglers. When Ola Håkansson joined the band in 1963  changed the name to Ola and The Janglers. At that time members were Ola, vocals, Ake Eldsäter. bass, John Olsson. organ, Christer Idering. guitar and Leif Johansson on drums. Idering  replaced in December 1965 by Claes "Clabbe" Af Geijer, who also became the group's songwriter. 

In spring 1964, the group won the second place in Nalens Pop Artists Competition  and also appears in several gigs. Their first single was Little Girl with I'll Stand By  Your Side B side released on the label, Warner Brothers. 

Ola and The Janglers breakthrough came in early 1965 when  single She's Not There was released on record label Gazell.  It went up on the Top Ten in on March 27 at 10th place.  In  September it was time for No No No on both Top Ten  and Kvällstoppen with a 5th place as best in Top Ten. 

Their first number one came through "Clabbes" song Land of a  1000 Dances which entered the Top Ten March 5, 1966  and remained for 8 weeks. And it was during 1966 as Ola and The Janglers was in class with the Hep Stars, Shane and Tages  in popularity. Six singles were released this year, including five  ended up on the Top Ten and four in the evening peak. 

Their third album, released in late 1966 with  titled Limelight.  Ola and The Janglers was at its peak during 1966 and 1967 released five singles in 1967 and two LPs.   

In 1968 they recorded  a version of Chris Montez’s hit Let's Dance, another Top Ten. Let's Dance also became the band's biggest hit and the first Swedish  pop hit in U.S. (Billboard  Hot 100 in May 1969), reached at #93  and stayed three weeks on  top100.

Even so that wasn’t enough to keep the band together for a long time, after couple of singles the band call it quits in 1971.

PS. Yesterday was a sad day for me. I lost my best friend (bloodbrother) -he was 52y- a great man and remarkable musician, guitar palyer. This is dedicated to his memory. Thank you Pavlos, for all the good time we lived together,  all the music we enjoyed together, you're are now  part of Heaven's big band.

Tracks
1. Light Of Lime (Claes "Clabbe" Af Geijerstam) - 3:06
2. Mary Come Home (J. Olsson, C. Af Geijerstam) - 2:42
3. Now I Like Her (J. Olsson, C. Af Geijerstam) - 2:16
4. No One Knows What Happens Round The Corner (C. Af Geijerstam) - 2:28
5. How Come (J. Olsson, C. Af Geijerstam) - 2:27
6. Poetry In Motion (Paul Kaufman, Mike Anthony) - 2:35
7. Alex Is The Man (C. Af Geijerstam) - 2:53
8. Chained And Bound (Otis Redding) - 3:22
9. Our Love (C. Af Geijerstam) - 1:56
10.Bird's Eye View Of You (C. Af Geijerstam) - 3:11
11.Heart (J. Olsson, C. Af Geijerstam) - 2:19
12.We've Got A Groovy Thing Goin' (Paul Simon) - 2:14

Ola And The Janglers
*Ola Håkansson - Vocals, Tambourine, Maraccas
*Claes "Clabbe" Af Geijerstam - Guitar
*Johannes Olsson - Hammond Organ, Electric Piano, Vibes, Harp
*Åke Eldsäter - Bass
*Leif Johansson - Drums

Free Text
Free Text II

Uriel - Arzachel (1969 uk, remarkable psych prog rock, 2007 remaster, collectors edition)

Initially released by the obscure Evolution label in 1969, the self titled album by Arzachel has long been regarded as one of the best lost gems of the British psychedelic and progressive rock scene. The album bombed when it first came out due to lack of promotion, and the surviving copies of the original LP can command ridiculous sums of money.

Confusingly enough, the Arzachel record was not recorded by a band called Arzachel at all. The grooves on this record were put down by Uriel, a group which contained guitar virtuoso Steve Hillage along with the three members of the progressive group The Egg: Dave Stewart on organ, Mont Campbell on bass and Clive Brooks on drums.

Uriel - Steve Hillage / Dave Stewart

Formed by Steve Hillage and Dave Stewart in 1967, Uriel were a straight psychedelic outfit with a summer residency on the Isle of Wight. When Hillage left for University in 1968, the remaining remembers stayed together and started playing original material. This subsequently led to a contract with Decca records and a change of name to The Egg.

Shortly after they had signed to Decca, they were offered a day in the studio to record a psychedelic album by Zackariya Enterprises. Since they were already under contract with Decca, Hillage was brought back and Uriel was reformed.

The album they recorded was later released in 1969 under the name of Azachel, and for contractual reasons all of the musicians on the album were given fake names and biographies in the notes.

It’s incredible that this album was put together in just one day and recorded “just for a laugh” as Hillage once remarked. The musicianship never falls below awe-inspiring throughout, which is an extraordinary feat in itself as not one of the players was in their twenties.

The sense of fun is evident throughout the album, especially on side one. “Garden of Earthly Delights” kicks things off with some very Deep Purple sounding organ swathes under crunching power chords and fat drum breaks, before descending into pleasing psych-pop territory, with decidedly English, whimsical vocals and a soaring guitar workout from Hillage.

“Azaroth” is more sinister, with Stewart’s organ set to “church” and some melodramatic vocals. The instrumental “Queen St Gang” has long been a favourite of beat diggers, with its lazy break-beat and heavy funk bass-line. With swathes of organ and an incessant groove, the track comes across as a slick piece of cosmic sixties soul and could quite happily find its way onto any KPM library record.

“Leg” begins with a fairly ludicrous, carnival-esque organ line before exploding into a heavy blues riff and pounding drums. It’s fairly derivative of the other blues rock groups of the sixties, but nevertheless it’s an awesome track, full of fire and fury and some memorable guitar solos.

Metempsychosis 

The second half of the album is more experimental than the first, the two cuts being more in the vicinity of wild cosmic jams. “Clean Innocent Fun” is an epic blues rock number. Campbell and Brooks lay out a slow rhythm for Hillage to wax lyrical over Stewart’s organ chords, before quickening the pace and turning the track into a full on psychedelic jam.

The massive sprawling “Metempsychosis” closes the album with its 16 minutes of Pink Floyd-esque experimentation. There are some true moments of inspiration and inventive playing on this track, and the fact that the band holds it all together over the course of the 16 mins is a testament to the sheer musicality of the group.

The Arzachel album is rightly lauded as a lost gem of British rock and it is an important and essential album not least because it bridges the gap between the psychedelic lunacy of Pink Floyd and the beginning of the Progressive music of the Canterbury scene. It is a highly entertaining and highly recommended piece of work.

Arzachel Collectors Edition by Uriel (2007, Egg Archive CD69-7201), released directly through Egg's own private archive label. Original Arzachel album (first released on vinyl in 1969) remastered, plus six previously unavailable bonus tracks. Includes 18 page booklet with extensive band history & recollections written by band members, along with numerous previously unseen photographs.

by Gerard Fannon

Tracks
1. Garden of Earthly Delights (M.Campbell) - 4:26
2. Azathoth (D. Stewart, M. Campbell) - 4:26
3. Soul Thing (Mansfield arr. M. Campbell) - 4:32
4. Leg (S. Hillage, Vinall) - 5:49
5. Clean Innocent Fun (S. Hillage, Vinall) - 10:34
6. Metempsychosis (Uriel) - 16:58
7. Introducing the Bass Guitarist (Mr Campbell  and son) - 0:21
8. Egoman (M.Campbell) - 4:12
9. Swooping Bill (D.Stewart) - 3:19
10.The Salesman Song (M. Campbell) - 2:56
11.Saturn, The Bringer of Old Age (Holst arr. M. Campbell) - 3:45
12.The Stumble (F. King) - 0:46

Uriel
*Dave Stewart - Organ, Piano
*Mont Campbell - Bass, Vocals, French Horn, Tuba
*Clive Brooks - Drums
*Steve Hillage - Guitar, Vocals

1969-72  The Metronomical Society
1971  Egg - The Polite Force (2008 Esoteric remaster)
1969-70  Egg (2008 Esoteric remaster)
1976  Steve Hillage - L (2007 remaster)
1979  Steve Hillage - Open (2007 remaster)

Free Text
Text Host

Max Webster - Live Magnetic Air (1979 canada, excellent prog rock)

The closest me an' the buds ever came to viewing Max in the flesh (until '96's brief reunion tour) was being denied entrance (underage) at one of the band's near final shows at some bar in Nelson, B.C. We obviously missed a legend, a classic, cagey, canny circus act that cut its collective fangs on the cornerstones of technical brilliance, humour, artful restraint when required, and an uncommon attention to detail. 

So it's no surprise that Live Magnetic Air is a well-recorded and well-executed romp through some of Max's celebratory anthems, a veritable love-in of sound and galactic obtusion, a record demonstrating demonstrably a deft kid-gloving of heavy and light through the free 'n' easy juxtaposition of all the delicate hits with about a third of the band's acerbic noiseniks. I look into my crystal ball and pronounce that Max Webster will forever find a welcome home on Canadian classic rock airwaves, the band's sparkling arch-Canuck observations possessing the ability to reveal new hopeful possibilities for advancing waves of generations inexorably drawn to the fringes.

by Martin Popoff

Tracks
1. America's Veins (K. Mitchell, P. Dubois) - 4:09
2. Paradise Skies (K. Mitchell, P. Dubois) - 3:34
3. In Context Of The Moon (K. Mitchell, P. Dubois) - 5:20
4. Night Flights (Terry Watkinson, P. Dubois) - 3:20
5. Lip Service (K. Mitchell, P. Dubois) - 4:14
6. Sarniatown Reggae (K. Mitchell, P. Dubois) - 1:25
7. Here Among The Cats (K. Mitchell, P. Dubois) - 3:48
8. Gravity (K. Mitchell, P. Dubois) - 4:47
9. Waterline (K. Mitchell, P. Dubois) - 4:30
10.Charmonium (Watkinson) - 4:37
11.Hangover (K. Mitchell, P. Dubois) - 5:41

Max Webster
*Kim Mitchell - Guitars, Vocals
*Gary McCracken - Drums, Percussion
*Dave Myles - Bass Guitar
*Terry Watkinson - Keyboards, Vocals

1976  Max Webster
1977  High Class In Borrowed Shoes
1978  Mutiny Up My Sleeve
1979  A Million Vacations

Free Text
Text Host

Max Webster - A Million Vacations (1979 canada, fine prog rock)

All is silky, ethereal, and crisp as winter snow on Max's most polished piece of studio jewelry, the band's lightest footprinted excursion. A Million Vacations chimes clear as a bell, the album lovingly layered with keyboards, buoyant with bright guitars and lush, letter-perfect harmonies. Highlight of the collection comes with what proved to be the band's biggest hit Paradise Skies, a masterwerk of dynamics and uncompromising professionalism with one of the most gushingly enjoyable drum sounds ever plucked from, then tweaked for, the airwaves. 

Other aural sculptures that spot and dot Max's moving target of offbeat inversion include the whacked-out Rascal Houdi, the live and unkempt Research (At Beach Resorts), the spring water-pure Charmonium, and last but not least, the good feeling boogie rockin' title track. The sounds on this truly awesome head trip simply ebb and flow as if the band were wrapped in a dream, all the while firmly rooted in an earthly and knowing pride in its obvious accomplishment, creating high upon high, working with a shared love of quality craftsmanship, eye askance to big brothers Rush for professional guidance. 

The final result is evident within the grooves, rhythms which just sing with enthusiasm, no small thanks to the album's state-of-the-art Maxmix. As history would have it, A Million Vacations is largely considered Max Webster's quintessential, defining work, most likely due to its maturity, accessibility, and seemingly elliptical but somehow comfortable cohesion, not to mention the (Canuck) hit status of no less than four songs: Paradise Skies, copasetic pop hummer Let Go The Line, airy prog masterpiece Night Flights, and to a lesser extent the title track. But to my mind, putting side such base and shackling commercial concerns, the record is merely yet another masterpiece comprising a body of work that baffles, elates, provokes and charmingly, good-naturedly pokes fun.

by Martin Popoff

Tracks
1. Paradise Skies (K. Mitchell, P. Dubois) - 3:15
2. Charmonium (Terry Watkinson) - 4:15
3. Night Flights (Watkinson, P. Dubois) - 3:02
4. Sun Voices (K. Mitchell, P. Dubois) - 4:50
5. Moon Voices (K. Mitchell) - 3:05
6. A Million Vacations (Gary McCracken, P. Dubois) - 3:10
7. Look Out (K. Mitchell, P. Dubois) - 4:53
8. Let Go The Line (Watkinson) - 3:25
9. Rascal Houdi (K. Mitchell, P. Dubois) - 3:28
10.Research (At Beach Resorts) (K. Mitchell, P. Dubois) - 4:45

Max Webster
*Kim Mitchell - Guitars, Vocals
*Gary McCracken - Drums, Percussion
*Dave Myles - Bass Guitar
*Terry Watkinson - Keyboards, Vocals

1976  Max Webster
1977  High Class In Borrowed Shoes
1978  Mutiny Up My Sleeve

Free Text
Text Host

Storyteller - Storyteller (1970-71 uk, fabulous dual vocals in an aethereal silky folk flight, korean remaster)

The start of the Seventies was an uncertain time for lovers of grown-up popular music. Monterey had led to Woodstock, which had become Altamont. Much of that deep and meaningful West Coast stuff had turned to self-indulgence, and the deaths in quick succession of Joplin, Morrison, Hendrix, etc., had heralded the emergence of Glam Rock and the increasing influence of heavy metal.- Fortunately, however, in the early Seventies there were acts who followed their own inclination, ignoring current fashions .and just doing;:what seemed to come naturally. One such was Storyteller, a quintet who were probably closer to folk vain than any other genre, although we are not talking about finger in the ear traditional folk, but more the art of songwriter who wants to make a point or tell a story.

Perhaps appropriately Storyteller’s two albums were released by Britain's then foremost folk label, Transatlantic, their eponymous debut LP in 1970, and their last will and testament, 'More Pages' in 1971. These were not chart albums (far from it), bat particularly the first LP remained a pleasant memory for over 25 years until that nine, Mr.Dane asked me whether there were any Transatlantic album that he might consider reissuing. 

As Storyteller seemed to have been forgotten by everyone but me that was my recommendation. Write a sleeve note, then sure, if you can tell me where to find them. The Group's focal point was probably Caroline Attard, and if memory serves, she was married to Andy Bown, who used to be in The Herd with Peter Frampton in the Sixties, then joined a group which achieved rather less than was expected of it called Judas Jump. Storyteller threw in the towel in 1971,  Terry Durham returned to Leeds in Yorkshire, Caroline became mrs Bown, and Andy  became permanent keyboard player with Status Quo, also released some solo albums.

by John Tobler

Tracks
1. Floor Of The Park (Durham, Moon) - 3:18
2. Man In The Moon Passage Song (Durham, Moon) - 4:15
3. Alice Brown (Moon) - 2:47
4. The Lake (Durham, Moon) - 2:35
5. Ginger Bread Man (Moon) - 1:16
6. Over The Hills (Moon) - 2:22
7. Story (Durham) - 1:13
8. First Week In January (Moon) - 4:03
9. Has Been (Clark) - 3:18
10.Morning Glow (Durham, Bown) - 3:23
11.Ballad Of Old Three-Laps (Durham, Bown) - 3:23
12.Song For Buster (Durham, Moon) - 2:57
13.Love's A Blind (Durham, Moon) - 3:50
14.Night Games (Durham, Bown) - 3:07
15.Bosworth Field (Durham, Moon) - 3:50
16.Laugh That Came Too Soon (Durham, Moon) - 2:45
17.Beautiful Affair (Moon) - 4:40
18.Wolf In The Water (Durham, Bown) - 2:58
19.Fall In All Directions (Moon) - 3:00

Storryteller
*Caroline Attard - Vocals
*Rodney Clark - Vocals, Electric Bass
*Roger Moon - Vocals, Acoustic Guitar
*Mike Rogers - Vocals, Steel Guitar
*Terry Durham - Vocals
With
*Henry Spinetti – Percussion
*Harold Becket - Trumpet, Flugel Horn
*Andrew Bown - Producer

Free Text

Text Host

Pulse - Pulse (feat. Carlo Mastrangelo) (1971 us, terrific hard rock with prog jazz elements, 2010 Relics issue)

Pulse was led by Bronx born songwriter, drummer and vocalist Carlo Mastrangelo, who'd been a founder member of Dion and The Belmonts, with whom he sang, bass and drummed. As such he was on the poorly orfanized ill-fated tour during which Buddy Holly was killed in February 1959 (it has been reported that the bus they usually travelled on was so cold that Mastrangelo had to light newspapers in the aisle for woarmth). Dion later recalled that Holly was so impressed by  Mastrangelo's drumming that he'd offered him twice what he was being paid to defect to him.

After the Belmonts split in 1963, Mastrangelo recorded a few solo 45s on Laurie, the worked with bands named The Demilles and Carlo's Crown Jewel (who issued a 45 on Tower later in the decade). 

Pulse are through to have been intially called Endless Pulse, and had a hard rock sound far removed from the Belmonts' doo-woop ballads. The quartet consisted of Mastrangelo Vovals, Drums, Richie Goggin Guitars, Vocals, Kenny Sambolin Bass, Vocals and Chris Gentile Organ, though Bill Golden also contributed some Keyboard parts.

Their sole LP was recorded in New York late in 1971, and its producer was the legendary Orrin Keepnews (who'd been responsible for jazz classics by Bill Evans, Thelonius Monk, Wes Montgomery and many others.) Issued on the tiny Thimble label in the spring of 1972, it sank like a stone, through it stands up well today.

The band issued no further recordings, though Sambolin is known to have continued in the music industry, penning for Mahogany Rush in the early '80's, while Mastrangelo currently lives in West Palm Beach Florida, and continues to play Drums.

CD Liners-notes

Tracks
1.Understanding - 6:05
2.Peace I - 1:11
3.I Want To Live - 4:43
4.I’ll Cry Tomorrow - 6:45
5.Why Can’t She See Me? - 3:54
6.Peace II - 1:11
7.She’s Coming Home - 3:06
8.Break Of Day - 4:29
9.Long Ago - 6:32
10.Peace III - 1:07

Pulse
*Carlo Mastrangelo - Vocals, Drums
*Richie Goggin - Guitars, Vocals
*Kenny Sambolin - Bass, Vocals
*Chris Gentile - Organ
With
*Bill Golden - Keyboards

Free Text

Just Paste

Max Webster - Mutiny Up My Sleeve (1978 canada, stunning prog rock)

The Max machine keeps ascending further into the bright blue with this cooler, darker, and mellower release, fashioned sorta like a dry Martini intravenous. The boys are sounding more like a Steely Dan entombed in ice, Kim's Strat coming out to play less often and less inflamed, preferring quieter, intimate moments with the nether bits of the listener's mind. 

With respect to the more aggressive cuts, The Party finds the band in free-form, progressive heaven, closest in acerbic kinship with Zappa, while Lip Service rides a jagged funk edge through to its bluesy Fripp-riffed finale. Both hoser anthems became concert favourites as Max traversed Canada and let squeal its laughing gases into every nook, cranny and tiny mining town of the band's vast, empty homeland. 

Of the mellower material, Astonish Me is the most heartening, small and jewel-like with Watkinson's Freddie Mercury-poignant piano stylings leading the star search and wish list. Overall, call this another fine but disturbed and slightly hostile Max project, one that finds the band perhaps a bit too self-aware of its oddity yet comfortable with it, never alienating their strange fanbase, Kim and troupe offering up what can only be seen as an integral piece of the band's moonscaped psyche-caressing fuzzy wuzzy puzzle.

by Martin Popoff

Tracks
1. Lip Service (K. Mitchell, P. P. Dubois) - 4:02
2. Astonish Me (Terry Watkinson) - 4:49
3. Let Your Man Fly (Terry Watkinson) - 2:46
4. Water Me Down (K. Mitchell, P. Dubois) - 3:13
5. Distressed (K. Mitchell, P. Dubois) - 4:12
6. The Party (K. Mitchell, P. Dubois) - 4:46
7. Waterline (K. Mitchell, P. Dubois) - 4:08
8. Hawaii (K. Mitchell, P. Dubois) - 3:03
9. Beyond The Moon (K. Mitchell, P. Dubois) - 6:17

Max Webster
*Kim Mitchell - Guitars, Vocals
*Gary McCracken - Drums, Percussion
*Dave Myles - Bass Guitar
*Terry Watkinson - Keyboards, Vocals

1976  Max Webster
1977  High Class In Borrowed Shoes

Free Text
Text Host

Max Webster - High Class In Borrowed Shoes (1977 canada, great heavy prog rock)

The one unifying factor coursing through Max Webster's magnificent premiere was a rural warmth that evoked images of. I dunno. Carved cherry wood. In comparison, High Class In Borrowed Shoes, although no heavier, evokes a sheen of polished aluminum, with its bright, uncompromising headphone-ready drum sound, its everlite, dewdropped piano work, and its painstakingly perfect execution. 

But High Class sails the same passionate seas of wanton adventure, offering arguably four metal or hard rock works, most panoramic, scorching and insistent being America's Veins and the swooping and snatching title track, the song improbably combining boogie and pomp until circumstance breeds good fortune. Lyricist Pye Dubois, although not an official noise-making member of the band (in the great tradition of The Dead's Robert Hunter), continues to be the Max Webster's philosophical engine and perfect, crucial soulmate to Kim Mitchell's fluid guitar mathematics, Pye offering memorable yet cryptically cast aspersions on society's ills and man's monologue with respect to his allotted space. 

And as was the case with the debut, all points of the compass lead to the heart no matter what the action level, the album scrubbed clean then chiming by way of elegant Terry Watkinson keyboard work, and absolutely top-of-the-line pride in craftsmanship on the part of the whole circus. It seems almost a mixed symbol that the band would so plainly embrace controversy with the gender-bending weirdness of the cover art, given that all parties involved, including producer Terry Brown, worked so hard to make Max's challenges so warmly inviting and simultaneously so state-of-the-art. It basically stands as more evidence that the complexities of both Max's message and its medium were beyond marketing comprehension, and unfortunately, as history would bear out, beyond the market.

by Martin Popoff, from his book " The Collectors Guide to Heavy Metal - Volume 1: The Seventies" 

Tracks
1. High Class In Borrowed Shoes - 4:00
2. Diamonds Diamonds - 3:18
3. Gravity - 4:53
4. Words To Words - 3:34
5. America's Veins - 4:08
6. Oh War! - 4:25
7. On The Road - 3:25
8. Rain Child (Terry Watkinson) - 4:22
9. In Context Of The Moon - 5:13
All Songs written by Kim Mitchell, Pye Dubois, except where noted.

Max Webster
*Kim Mitchell - Guitars, Lead Vocals
*Terry Watkinson - Keyboards, Vocals,
*Mike Tilka - Bass Guitar, Arp Bass, Vocals
*Gary Mccracken - Drums, Percussion

1976  Max Webster

Free Text
Text Host

Max Webster - Max Webster (1976 canada, awesome hard prog rock with glam shades)

Toronto's Max Webster blended metal, prog, and rock elements into a genre-defying blend that won the group a cult following in the mid- to late '70s. Formed in 1973, the band's sound focused on the contrast between vocalist/guitarist Kim Mitchell's aggressive attack and vocalist/keyboardist Terry Watkinson's more melodic approach, with drummer Gary McCracken and bassist Mike Tilka providing a propulsive backdrop. Additional lyricist Pye Dubois was considered the band's fifth member, adding extra theatrical flourishes to Max Webster's concerts.

by Heather Phares

Max Webster was an unusual beast as bands go. They seemed to try for a sound that bordered on anthemic arena rock and progressive rock. However, the textures of the music made it feel like they just barely missed. The group had a sound that was quite quirky and off-kilter, while still trying for those more accessible rock sounds. This disc, their debut, certainly shows off all of those textures. 

The material ranges from hard-edged straightforward metal to rock ballads and fun, almost punky, territory. The final track on the album, "Lily," is an extended progressive rock jam that is the strongest piece on the disc. That cut seems to embody sounds of such groups as Yes and Rush, but still with a touch of Max Webster's weirdness. If you are looking for an intriguing take on the arena rock/prog territory, give these guys a chance, but remember that their sound is definitely on the quirky side. 

by Gary Hill

Tracks
1. Hangover - 4:36
2. Here Among The Cats - 3:07
3. Blowing The Blues Away (Terry Watkinson) - 3:33
4. Summer Turning Blue - 3:05
5. Toronto Tontos - 3:40
6. Coming Off The Moon - 3:38
7. Only Your Nose Knows - 4:16
8. Summer's Up - 2:45
9. Lily (Kim Mitchell) - 7:42
All songs by Kim Mitchell, Pye Dubois except where indicated

Max Webster
*Kim Mitchell - Guitars, Lead Vocals
*Paul Kersey - Drums, Percussion
*Mike Tilka - Bass, Vocals
*Terry Watkinson - Keyboards, Vocals
*Pye Dubois - Lyrics

Free Text
Text Host

The Sonics - Introducing (1966 us, inspiring trailblazer garage 'n' roll, Sundazed issue)

No one ever squeezed more juice out of the basic rock-band lineup than The Sonics did when they cut the earsplitting teenage anthems found on Infroducing The Sonics. The album (actually the band's third longplayer, not their first) features the classic Sonics lineup: razorblade-gargling lead vocalist/ keyboard man Gerry Roslie, apocalyptic guitarist Larry Parypa, honking tenor saxman Rob Lind, leather-fingered bassman Andy Parypa, and caveman drummer Bob Bennett.  And lefs get one thing straight here: 

The Sonics were, hands down, the most powerful band ever to come from the Pacific Northwest. The Tacoma quintet didn't just play songs, they assaulted mem with the heartstopping howl of someone who's accidentally pulled the hair dryer into the bath tub along with them on Saturday night.

Just look at these boys on the cover: gathered 'round somebody's swimming pool in their cool haircuts, cutaway bolero jackets, gnarly vests, stubby neckties, pencil- thin drainpipe trousers with high-rise, toreador cuffs, and Cuban heels pointy enough to impale unsuspecting passersby.

They have the look of teenage assassins, ready to blow the minds (and eardrums) of every kid lucky enough to stagger into Saturday's dance at the local armory after downing a bottle of Ripple out in the parking lot. When Reddy Kilowatt saw The Sonics coming, he must have ducked over to the other side of the street, pulled up his collar and pretended to be window-shopping in deference to these scary newfound Kings of High Voltage.

Has anybody ever kicked off an album with a song hatf as smoking as The Sonics' monstrous garage killer "The Witch?" "She's gonna make you itch/Cuz she's the witch," shrieks Roslie as every kid in the crowd makes up his own rhyming couplet to the song mat would become a regional smash.

"You Got Your Head On Backwards" is a deep bow in the direction of "I'm A Man" by Mr Bo Diddley and The Yardbirds, complete wilh scathing put-down out-chorus: "The way you're walkin' talkin,' it ain't lookin' right/The way you've been actin' is too far outta sight." Hey, everybody knows some stuck-up girl just like that, and it's about time she got what was coming to her. And if you dug that, have a listen to the real, bona fide "I'm A Man," with screaming guitar, thumping drums, howling organ, and wailing harp-all coming together in the traditional, orgasmic conclusion that'll leave you gasping for breath and lighting a coffin nail.

John Sebastian's sweat-stained Lovin' Spoonful tale of life in the fast lane, "On The Road Again," gets the complete Sonics wakeover, as our heroes rip through me tune like they just wrote it on the back of a ketchupstained paper napkin over a 3:00 a.m. lumberjack breakfast. Ihe legendary "Psycho"-another Sonics smasheroo-finds Roslie letting go with one of his all-time best howls, art earwax-melting blast guaranteed to keep your  pad pest-free for at least a year.

Everybody's gotta take a deep brealfi now and then, and "Love Lights" does very nicely as a back seat make out ballad for the over stim ulated teens who've just spent the night shaking like crazy to the frantic sounds of The Sonics. "I'm Going Home" is a wailing, Eric Burdonlike lament about being treated bad in the big city. Come on home, boys. Tacorna will always welcome you with open arms. "High Time" lets you know The Sonics mean business. As if there was any other time for these guys than high time! “I’mARogingStone" is one of those soulful, mid-tempo things, kinda like, uhh, The Rolling Stones, but carried into the stratosphere by Lind's paint-blistering sax and Roslie's ultra-cool, roller-rink organ. 

As the man says: "I've been wearing real long hair/ What people say, baby, I don't care." You bet. The carbon monoxide fumes fairly swirl on garage wailer "Like No Other Man," until Larry Parypa cuts loose with an air-sucking guitar run that would put the lid on the fire inside Mt. Vesuvius. "All the birds love me, they know I'm a star," snickers Roslie on "Maintaining My Cool" while his pals croon, "Wine, women and song" in the background.

Next up, four monstrous bonus tracks, not found on the original LP. "Bama Lama Bama Loo”, written by Georgia Peach and King Of Screech, Little Richard, finds Lind's volcanic tenor erupting here like he just stepped off the Greyhound bus, elbowed Mr. Penniman's sax-man off the bandstand, and started blowing like somebody had o gun to his head. "Leave My Kitten Alone"- produced by Jerry Dennon and engineered by Kearney Barton (tike everything here except for "The Witch" and "Psycho"}- serves as fair warning to anybody contemplating meddfing in the love life of these fair-haired boys. 

Man, you'd have to be crazy to even think about it! The insinuating "Dirty Old Man" slinks through the back alleys of Tacoma like some old geezer with an oversized raincoat and a sticky stack of French postcards, while Roslie and his boys cackle like dazed octogenarians. "Diddy Wah Diddy"-a tune that could have been written just for The Sonics-gives versions by The Remains, Bo iddley, and Captain Beefheart a run for heir money, no mean feat.

If there were any justice in the world, the Sonics would have been inducted into the Rock & Roll Hall Of Fame long ago and be living as tax exiles in the south of France, sipping vintage wine and playing baccarat while bikini-clad nubiles bring them frosty drinks. Instead, they can rest easy knowing full well that they created a small body of napalm-hot rock ‘n’ roll that can stand up to anybody's. And I mean anybody's.

by Jud Cost, Santa Clara, CA

Tracks
1. The Witch (Gerald W. Roslie) – 2:39
2. You Got Your Head Oh Backwards (Gerald W. Roslie, Andy Parypa, Larry Parypa, Rob Lind) - 2:20
3. I'm A Man (Ellis McDaniel) – 2:57
4. On The Road Again (John Sebastian) - 1:44
5. Psycho (Gerald W. Roslie) – 2:09
6. Love Lights (Gerald W. Roslie) – 2:43
7. I'm Going Home (Gerald W. Rosle, Larry Parypa) - 2:23
8. High Time (Gerald W. Rosle, Andy Parypa) - 2:03
9. I'm A Rolling Stone (Gerald W. Roslie, Andy Parypa, Larry Parypa) - 2:21
10.Like No Other Man (Gerald W. Roslie) – 1:59
11.Maintaining My Cool (Gerald W. Roslie) – 1:50
12.Bama Lama Bama Loo (Richard Penniman) – 2:38
13.Have My Kitten Alone (Willie John, James McDougal, Tumer Titus)- 2:41
14.Dirty Old Man (Gerald W. Roslie) – 2:14
15.Diddy Wah Diddy (Andy Christensen) - 2:25
Bonus tracks 12-15

The Sonics
*Gerry Roslie - Organ, Piano, Lead Vocals
*Andy Parypa - Bass Guitar
*Larry Parypa - Lead Guitar, Vocals
*Rob Lind - Saxophone, Vocals, Harmonica
*Bob Bennett - Drums

1965  Here Are The Sonics  (New Rose rare Vinyl issue)

Free Text
the Free Text