Alan James Eastwood - Seeds (1971 uk, brilliant trippy prog folk with awesome orchestral arrangements, 2014 korean limited edition)

Alan Eastwood was well known as a great drummer but his talents extended to singing and also songwriting at which he was prolific. Alan Eastwood joined The Brumbeats - formerly The Plazents who were signed to a Decca recording contract in 1964. The band also recorded under the name 'The Merseyboys' and had a now rare album of Beatles songs released on the famous Vee-Jay label in the U.S.A. As a member of The Brumbeats, Alan first tasted fame when the band played support for and appeared on the same bill as The Beatles when they performed in Birmingham.

Alan went on to form his own blues-based trio called The Exception with former Brumbeats guitarist Roger Hill and bassist Dave Pegg - later to join Fairport Convention. The Exception was very much Alan's band as he wrote their original material and sang the lead vocals as well as playing harmonica - not the easiest job on stage as he also played drums at the same time! The group had an album and several good singles released on the President Records label including 'The Eagle Flies On Friday', 'Rub It Down', and 'Tailor Made Babe'. Alan also had his own solo single 'Blackbird Charlie' issued on President in 1968 as well as a now super-rare solo album titled 'Seeds... Alan James Eastwood'.

Alan Eastwood continued to work in the music business and spent his later years in London where he lived until his death from heart failure. He never really got the recognition he deserved but was a talented musician who was well respected in the local music community. Louise Lane who's uncle was Alan Eastwood has some fond memories of him; "Uncle Alan was not just a talented musician - he was also a good listener, giving advice, guidance and support to AA members and helping out with various charities within his community, including helping the homeless in the soup kitchen. From my own memories of Alan, I recall his upbeat energy and sense of humour and of course he just loved to sing and play his guitar to the family. He was an entertainer as well as a kind hearted man".

Brum-Beat  

This is Alan James ‘Bugsy’ Eastwood's first solo effort, moved with the changing times of the decade’s end, and melds Eastwood’s impressive rock sensibilities with a folk thread – to superb effect. 

His arresting voice is the album’s primary weapon, its wistful soulfulness papering over, in places, some rather passé lyrics. Yet it’s hard to see why, across great down-the-line singer-songwriter fare such Evenin’ Rain or Virgin Morn, Seeds is so often tagged as an acid-folk record. It isn’t. Flashes of Nick Drake’s percussive jazziness do rear up from time to time but, actually, this deserves to stand as a great 70s singer-songwriter record that sets its own tone and meter. 

by Jan Zarebski

Tracks
1. She's Getting Married In August - 2:23
2. Evenin' Rain - 2:40
3. Les Paillions - 1:52
4. Zeena - 1:48
5. Virgin Morn - 3:26
6. Seeds - 3:10
7. Crystal Blue - 3:44
8. Lady Carole - 3:39
9. Lotus Child - 3:25
10.Last Prayer - 4:08
11.Hymn For Today - 4:25
Lyrics and Music by Alan James Eastwood

Personnel
*Alan James Eastwood - Acoustic Guitar, Vocals
*Mike Ward - Bass
*Byron Lyefook - Drums
*Brian Pickles - Marimba
*Chris Karan - Tabla

Related Act
1967-69  The Exception - The Eagle Flies On Friday, Complete Recordings (2014 remaster edition)  
1969  The Exception - The Exceptional Exception (2006 japan remaster)

Free Text
Just Paste

Text Host

The Exception - The Eagle Flies On Friday • Complete Recordings (1967-69 uk, impressive beat roots 'n' roll with psych and blues blinks, 2014 remaster edition)

In the beginning, there were 'The Brumbeats' of whom drummer Alan "Bugsy" Eastwood and guitarist Roger Hill were part of the line-up. The group recorded for Decca Records in 1964 which included an album of Beatles covers under the name 'The Merseyboys'. Alan and Roger later teamed up in 'The Hooties' who with the addition of bass guitarist Dave Pegg, became 'The Exceptions' after signing to Eddie Kassner's President Records label.

The Exception was to have no less than seven innovative singles issued on the CBS and President Records labels respectively which in itself is an "exception" considering the "Three strikes and you're out" rule seemed to prevail at most record companies in those days. Unfortunately, none of the Exceptions' records impacted the charts although the band had plenty of 'live' work including a number of German tours where in that country they seemed to gather the most support.

No less than 26 tracks are included on this wonderfully produced CD comprising all the band's singles (A and B sides), their 1969 album, plus an additional five previously unreleased recordings issued here for the first time. The CD packaging is attractively designed by Andy Morten and packaged in its own jewel case. This also holds a 16 page book full of rare photos, recording details, and project co-ordinator John Reed's definitive story of the band including quotes from surviving members.

Thanks to sound engineers Simon Murphy and Mark Stratford, the re-mastered audio quality is excellent - especially on the album tracks. The first 14 recordings on this CD consist of the A and B sides of the band's seven singles issued between 1967 and 1969. Possibly the best known of these is their first titled 'The Eagle Flies On Friday' (issued at the time as 'The Exceptions').

This drums and vibes-driven track was inspired by an American expression relating to the eagle on their dollar bill with lyrics about an employee's weekend escape from his oppressive boss after getting his pay on Friday. Alan Eastwood's lead vocal is certainly very American influenced in this respect, although for this one, the song may have more in common with Eddie Cochrane's 'Summertime Blues'. In addition, Roger Hill contributes a cutting guitar solo while future Led Zeppelin star Robert Plant (who hitched a ride down to London with the band), plays tambourine!

The band's first single for President Records (with new bass guitarist John Rowlands) is a bizzare song titled 'Rub It Down' that could easily be taken for a comedy/novelty number. The song is recorded in a highly-danceable ska/reggae arrangement complete with Bugsy's lead vocal imitation of a West Indian accent! While another Brum band Locomotive led by Norman Haines recorded successful ska impersonations such as 'Rudi's In Love', who knows what direction The Exception may have followed had Rub It Down been a hit!

New band members; bass guitarist Malcolm Garner and saxophonist/pianist Steve Yetson, were on board for The Exception's next A-side which is the Chicago style blues-driven 'Tailor Made Babe' featuring a great piano introduction. This one obviously suited the band's style and probably sounded great when performed live. There's a good guitar solo in there too. You'd have a tougher time dancing to the barely two-minute long B-side titled 'Turn Over The Soil' with it's blasts of harmonica and raunchy lead vocal.

The CD includes five previously-unreleased recordings by The Exception. 'When Your Luck Is Down' is a characteristic blues-pounding walkabout that would have fitted well in their stage show. 'When You Have A Good Gal' with its sparse instrumentation and heart-felt lyrics would not have seemed out of place on Bugsy's solo album. 'These Women Funny' is a driving rocker sounding more like a live recording than a studio production. The group vocal backing and rather vintage-sounding guitar gives it a real mid-1960s vibe.

'Bach Theme' is a jazzy instrumental workout featuring expertly-played saxophone and trumpet presumably by Steve Yetson. Blending along with Roger Hill's lead, it's not difficult to see why the latter would later choose a career as a jazz guitarist. The final unreleased recording (also an instrumental) titled 'Abdel Do Do' sounds like it was recorded live and mostly improvised (which it probably was). Again, saxophone features prominently with everyone getting a chance to take the lead and do their bit. There's a great climactic ending too which makes it a good choice for the last track on this CD.

While studying these recordings by The Exception, it becomes more clear to me that they were certainly no 'pop group' but a hard-working blues-based band in which their major strength was in live performance. I'm sure those lucky enough to have experienced them on-stage would agree. Had they continued, recognition may have eventually came their way but with the absence of a hit single taking them to the next level it was unfortunately not to be.

by John R Woodhouse

Tracks
1. The Eagle Flies On Friday - 2:43
2. Girl Trouble - 2:19
3. Gaberdine Saturday Night Street Walker - 2:37
4. Sunday Night At The Prince Rupert (Roger Hill, Dave Pegg) - 2:57
5. Rub It Down - 2:10
6. It's Snowing In The Desert - 2:33
7. Helicopter - 2:22
8. Back Room - 2:14
9. Tailor Made Babe - 2:37
10.Turn Over The Soil - 2:07
11.Jack Rabbit - 1:57
12.Keep The Motor Running - 2:03
13.Pendulum - 3:11
14.Don't Torture Your Mind (Roger Hill) - 2:50
15.Hong Kong Blues (Hoagy Carmichael) - 3:39
16.Rock Bottom Cinder - 2:35
17.Woman Of The Green Lantern - 2:52
18.Karen Train Blues - 2:06
19.Too Much In Love With A Bad Thing - 3:42
20.Mrs. Cocaine - 5:05
21.Bum's Puzzle - 2:43
22.When Your Luck Is Down - 2:42
23.When You Have A Good Gal - 2:26
24.These Women Funny - 2:38
25.Bach Theme - 2:47
26.Abdel Do Do - 3:56
All songs written by Alan Eastwood unless otherwise stated

The Exception
*Alan "Bugsy" Eastwood - Lead Vocal, Drums, Percussion, Vibes, Harmonica, Guitar
*Roger Hill - Lead Guitar, Vocal
*Dave Pegg - Bass
*Malcolm Garner - Bass, Vocal
*Steve Yetson - Saxophone, Keyboards
*John Rowlands - Bass

1969  The Exception - The Exceptional Exception (2006 Japan remaster)

1971  Alan James Eastwood - Seeds (2014 korean limited edition)

Just Paste

Free Text 

Text Host

Glad - Feelin' Glad (1968 us, magnificent groovy sunny psych, with Timothy B. Schmit from Eagles fame, 2010 Picar edition)

Essentially, Redwing, Glad, and the New Breed are all the same band...sort of.  As the band evolved and their styles changed, so did their name.

Actually, the story begins in Sacramento, CA in 1962 when Timothy (B.) Schmit, Ron Floegel, and Tom Phillips played together in a folk trio, appropriately named Tim Tom & Ron.  In 1963, as high school sophomores at Encina High, the band added drummer George Hullin and switched to surf music.  With this new change in direction and new member, Tim Tom & Ron became The Contenders.

Around 1968, the band signed on with a new label, Equinox, under producer Terry Melcher, who had the group change their name to Glad.  In Los Angeles, Glad recorded one album, Feelin' Glad.  The album, again, is very Beatlesque, but it is a highly produced effort, more so like the post-'65 Beatles.  Apparently, the band was unhappy with the album due to the fact that they had very little control over it.  Certain parts of the record were overdubbed with strings, horns, and fancy production against the band's wishes.  Furthermore, its been stated that Tim Schmit is the only Glad member that appeared on the LP's track, "Shape of Things to Come," and this was apparently a sore spot for the group.  Regardless, the album, which is mostly Glad originals, is a solid album filled with great cuts and great singing and harmonies.

Unfortunately, Feelin' Glad did not sell particularly well, and in 1969, Tim Schmit, aka, Timothy B. Schmit was offered the position of bassist for Poco . He accepted it and went onto record some of the most under appreciated music ever with the band.  He became the replacement for Randy Meisner, who, ironically, he would replace again in the Eagles in 1977.  With Poco, Tim released 11 albums. Glad, again, changed their name.  This time, they became Redwing.

Redwing-pages

Tracks
1. A New Tomorrow - 2:49
2. Say What You Mean - 2:14
3. Bedtime Story - 2:22
4. Pickin’ Up The Pieces - 2:53
5. Shape Of Things To Come (Barry Mann, Cynthia Weil) - 2:46
6. Love Needs The World (Erik W. Wangberg) - 3:32
7. Sweet Melinda (Ron Floegel, Tom Phillips, Timothy B. Schmit) - 2:31
8. Let’s Play Make Believe (Ron Floegel, Tom Phillips) - 2:25
9. No Ma It Can’t Be - 3:28
10.Two Worlds - 2:53
11.Johnny Silver’s Ride - 3:38
12.Silly Girl - 4:14
All songs by Ron Floegel except where stated

Glad
*Ron Floegel - Guitar, Vocals
*Tom Phillips - Guitar, Vocals
*Timothy B. Schmit - Bass, Vocals
*George Hullin - Drums, Vocals

Related Act
1971  Redwing - Redwing
1972  Redwing - What This Country Needs (Vinyl edition)
1973  Redwing - Take Me Home (Vinyl edition)  

Free Text 
Just Paste

Aubrey Small - Aubrey Small (1971 uk, beautiful elegant smooth prog rock, 2015 remaster with bonus tracks)

Aubrey Small formed in 1969 with a line-up that featured 5 part harmonies, twin guitars & flute which was quite pioneering for those times! Very soon they were attracting considerable interest in heady musical circles. Ronnie Scott’s Jazz Club took the band under their management followed by numerous regular sessions on BBC Radio 1’s “Sounds of the Seventies” for Bob Harris & John Peel. The band were soon performing at landmark venues such as London’s Marquee, Flamingo, Samantha’s, Thatched Barn at Chalk Farm & the Roundhouse with Ronnie Scott’s becoming their “second home”. Tour gigs with major names including Status Quo, Supertramp, Edgar Broughton, Colosseum, Hawkwind, Pink Fairies, Robin Trower and many others were a growing part of the band’s new world.

Record companies were fast becoming aware of the band’s growing reputation and within a short time a recording contract was signed as well as a publishing contract with Radio Luxembourg MD Alan Keen of Louvigny Marquee, for their songs. An album was released in 1971 followed by a single some months later.

Although the band were together only four short years, they created a legacy of interest with the people their music reached, which has lasted until the present day. Recently unearthed long lost recorded material was returned to the band, prompting them to tell their short but colourful story. 

They performed for the first time on Valentine’s Day 1970 at South Parade Pier, Southsea however within a few weeks, guitarist Marc Tuddenham had decided to leave. As the band was generating much interest they embarked on an immediate search for a replacement and by the end of March Peter Pinckney joined fresh from winning an NME national band contest. The song-writing became instantly prolific with members writing individually & collectively.

Another bizarre gig came along on 6th November when the band played the Flamingo in Wardour Street. It was an “all-nighter” with Hawkwind and Pink Fairies and they were due to play at about 3 am. When they arrived at the venue they had to wait around for several hours and then eventually were told that due to the venue being packed to capacity they had to pass the equipment over the heads of the crowded audience to the stage, set up and play! No sound check, no frills but a terrific gig!

The recording experience at Trident became intoxicating and at times even became somewhat surreal. For one number “Smoker Will Blow” John Anthony had the idea of putting orchestration on the track as it was too simple. Within a matter of days  arranger  Richard Hewson appeared together with a huge assembly of the finest jazz and orchestral musicians available. Here was another highly respected musician who had a list of high profile credits to his name including the Beatles, Bee Gees, Diana Ross, Art Garfunkel, Fleetwood Mac, Supertramp, Chris Rea among others – another who’s who! The band watched from the control room with amazement as an extraordinary and complex soundscape unfolded on their song. Ray Jackson of Lindisfarne was also invited to play harmonica on one track and Mike Vickers of Manfred Mann brought his giant Moog synthesiser in for another couple of tracks.

After the album was completed in September 1971, John Anthony went on to produce “Orange” for Al Stewart and as often happens with working relationships being fresh in mind he invited David (Bass) & Graham (Drums) to do the session work. The rest of the band were “most put out” as they hadn’t been asked to play until it was discovered that Rick Wakeman and Tim Renwick were chosen to play keyboards and guitar – no contest! Peter Pinckney and Rod Taylor were eventually invited to do some backing vocals together with Lesley Duncan who they had also met at Trident when she was working with Elton John with whom she had a long-standing connection.

Aubrey-Small

Tracks
1. Country Road (Peter Pinckney) - 4:21
2. Gardenia (Alan Christmas) - 2:49
3. Trying To Find My Way (Peter Pinckney, Rod Taylor) - 2:13
4. For My Lady (Graham Hunt) - 3:25
5. It's Morning (Peter Pinckney) - 4:00
6. Why? (Graham Hunt) - 2:23
7. Love On (Peter Pinckney) - 4:19
8. Born To Be (Peter Pinckney, Rod Taylor) - 3:23
9. If I Were You (Graham Hunt) - 3:18
10.Oh! What A Day It's Been (Graham Hunt) - 3:02
11.Smoker Will Blow (Graham Hunt) - 3:08
12.Wonderful (Alan Christmas) - 1:37
13.The Loser (Peter Pinckney) - 4:29
14.Maybe Tomorrow (Alan Christmas) - 5:05
Bonus Tracks 13-14

The Aubrey Small
*Alan Christmas - Guitar
*Graham Hunt - Drums, Guitar, Vocals
*Peter Pinckney - Lead Guitar, Vocals
*Rod Taylor - Keyboards, Vocals
*David Yearley - Bass

Free Text
Just Paste

Don Covay And The Jefferson Lemon Blues Band - The House of Blue Lights (1969 us, outstanding electric blues, 2013 japan remaster)

Released in 1969, The House of Blue Lights was Don Covay’s bold, adventurous attempt to reach the underground audience.  Here Covay is backed by the white-hot Jefferson Lemon Blues Band, credited on the album jacket.  Prior to this LP Don Covay released two of the finest soul/pop albums of the 60’s, Mercy! and See-Saw.

The House of Blue Lights is much different than what came before.  Most of the record is grounded in electrified country-blues; a deep Southern, swampy aura dominates the proceedings.  No soul man of the time tried any blues like this before: raw, anguished and lived-in with lots of twangy guitar solos for good measure.   A few of the numbers, namely the title cut parts 1 & 2, maintain a moody organ-led soul sound that’s highlighted by light sitar flourishes.  These lengthy tracks are clear standouts but other cuts still have the power to stun and amaze.   In the beginning “Mad Dog Blues” hit me like a ton of bricks.  This tune begins with Covay (and band) barking like dogs in heat.  It also features a fantastic flute solo and stinging lead guitar work; play this one LOUD for best results.  “Four Women” is more of the same, Covay’s smooth, soulful vocals complimented by crunching electric guitars and a rocking beat.  Most of the album’s tracks are originals but a few covers are worth mentioning.  Consider the old country-blues standard “Key To The Highway,” Covay manages to breathe new life into this classic warhorse by adding muffled vocals and electric back-porch-blues guitar.

Although blues sounds dominate this set list, The House of Blue Lights is a varied listening experience that’s well paced.  Some tracks are accoustic country-blues (“Steady Roller”)  while others like “Shut Your Mouth” feature greasy blues harp, piano, pounding drum fills and complex song arrangements.   When listening to the great down-and-out “But I Forgive You” I can’t help but think of a young, bluesy Rolling Stones.  Bruce Eder summed it up best in his review of The House of Blue Lights on allmusic.com; “This album is not only a great record on its own terms, but it’s sort of a black parallel/precursor to a few blues-rock LPs by white artists that sold a hell of a lot more copies around the same time. Much of the album sounds like the sonic and spiritual blueprint for Let It Bleed and Exile on Main Street and parts of Layla & Other Assorted Love Songs.”

If a bit offbeat, The House of Blue Lights is one of Covay’s best albums.  I’ve seen other reviews refer to the LP as “odd” but I think it’s a wonderful, individual recording that’s seldom been equalled in the world of soul music.   The overall vibe of The House of Blue Lights is that of a great artist and tight band, blasting thru a powerful set of swampy blues rock on one of those hot, humid southern nights.   A true American classic. 

by Jason Nardelli

Tracks
1. Key To The Highway (Big Bill Broonzy, Charles Segar) - 2:23
2. Mad Dog Blues (Don Covay, Joe Richardson) - 3:29
3. The Blues Don't Knock (Sidney Wyche, John Denioa) - 3:11
4. Blues Ain't Nothin' But A Good Woman On Your Mind (Don Covay, Joe Richardson) - 3:13
5. The House Of Blue Lights (Part 1) (Don Covay) - 7:33
6. Four Women (Don Covay) - 3:35
7. Steady Roller (Don Covay, John Hammond, Jr) - 3:17
8. Homemade Love (Don Covay) - 6:26
9. But I Forgive You Blues (Hudson Whittaker) - 2:31
10.Shut Your Mouth (Dave Clowney) - 3:24
11.The House of Blue Lights (Part 2) (Don Covay) - 4:04

Personnel
*Don Covay - Vocals
*John Hammond, Jr. - Guitar, Harmonica
*Gerald Jemmott - Bass
*Daniel Jones - Drums
*Charles "Honeyman" Otis - Drums
*Joe Richardson - Guitar, Vocals
*Butch Valentine - Bass

Free Text
the Free Text

Edwards Hand - Rainshine (1971 uk, marvelous smart soft rock, 2015 issue)

Rainshine was recorded in April 1971 at AIR Studios under the aegis of George Martin. His vocal and orchestral arrangements were, of course, peerless, the rhythm section of Les Brown and Harry Reynolds knitted together seamlessly, while David Dowd's guitar work provided the sympathetic, laid-back feel that was required.  Apart from the odd overdubbed line from the new Moog synthesizer, everything was performed live with an absolute minimum of overdubs, with Rod on piano and Roger on acoustic guitar. The duo's harmonies were sumptuous, while the addition of Harry Reynolds, Aliki Ashman and Charlene to the vocal mix brought something new to the table. 

Most importantly of all, however, the new songs were superb. The likes of' ‘Going Down', 'Race Against The Sun' and 'Beam Me Aboard' were mellow, radio-friendly soft rock creations, 'New York City Rain' extended the earlier Simon & Garfunkel comparisons but added an understated country rock feel, while 'Lullaby' and 'Just Friends’ wore tender laments that reflected the influence of James Taylor during the early 1970s. 'If You Were Here and 'Pacific Coast Highway' were drowsy, winsome ballads that anticipated the sound of America (who, of course, would also be produced by George Martin), while 'Let It Shine' and 'Real Slow' were arresting slices of post-Beatles psychedelic pop/rock.  With its strings arrangement and prominent female backing vocals, the epic 'Its My Time' was a putative anthem, and the catchy 'Smile LA, You're The Centre Of The World' {complete with a sly reference to old sparring partner Al Stewarts song 'Electric Los Angeles Sunset') would surely have made a great single. Sadly, though, it wasn't to be. 

The album was completed in less than three weeks and duly dispatched to the American branch of RCA. Lcnnie Poncher was standing by to set up a US tour, secure in the knowledge that, whereas Rod and Roger had previously requested an orchestra, they were now a tight, self contained five-piece unit. Their future seemed rosy, but a hard rain was about to fall. RCA were extremely unhappy about the change in style from the hard rock approach of Stranded; they didn't hear a potential hit single, and refused to release the album. "When we gave them Stranded, we were concerned that they wouldn't like it as it was essentially a progressive rock album", recalls John Miller. "Instead they loved it. When it came to the next album, they wanted another prog rock set – but instead we gave them Raimhine. They were horrified. They told us that America had plenty of Simon & Garfunkel-style soft rock acts of their own, and that there was no market for an English band doing the same thing. Lennie Poncher unexpectedly announced his retirement, so we had nobody in our corner, and RCA turned down the LP. George (Martin) was really shocked - he'd never had an album rejected before!"

It was a sad end to Edwards Hand, who, in Roger's words, "went out with a whimper". John Miller was already producing in his own right, and he suggested that they form a production company together, Triumvirate. This led to the three of them opening their own recording studio, Redan Recorders, and a new career as arrangers and record producers. Nevertheless, it should be mentioned that Rod and Roger did make one more album together: The Butterfly Ball And Jlie Grasshopper's Feast, released by the Argo label in 1975. This featured poems from Alan Aldridge's illustrated book of the same title, with readings by Judi Dcnch and Michael Hordern, and music and vocals by Edwards Hand. However, it is the long-lost Rainshine that effectively constitutes the duo's final work together: throughout their four albums that they recorded under the banners of either the Picadilly Line or Edwards Hand, Rod and Roger were always searching for their own style. They believe that, on Rainshine, they finally found it.

by David Wells, November 2014

With thanks to John Miller

Tracks
1. Pacific Coast Highway - 3:58
2. Going Down - 4:16
3. Let It Shine On Me - 5:23
4. If You Were Here - 3:05
5. Race Against The Sun - 4:34
6. New York City Rain - 3:33
7. Lullaby - 2:55
8. Real Slow - 3:11
9. Beam Me Aboard - 5:55
10.Smile LA, You're The Centre Of The World - 3:46
11.Just Friends - Episodes, Being The Second Part - 4:35
12.It's My Time - 5:26
13.Slippin' 'n' Slidin' - 2:30
14.They're Only Gonna Take My Life - 3:37
15.I Love You - 2:40
16.Early Days - 2:43
17.Turn Round Love - 3:56
18.Goodbye Gypsy Flyer - 3:17
19.Hard Road - 2:12
20.Sail Away - 3:09
21.All Long Gone - 3:53
22.Introduction - 0:46
All songs written by Rod Edward, Roger Hand
Bonus Tracks 13-22 recorded during the 1970s. Mostly they are demos, a couple were possible tracks for the Rainshine album.
They were recorded at AIR Studios, Morgan Studios and Redan, Recorders, and engineered by Bill Price, Robin Black, Johnnie Schinas and Roger Wake.

Edwards Hand
*Rod Edwards - Vocals, Keyboards
*Roger Hand - Vocals, Acoustic Guitar
With
*Les Brown Jr - Drums
*David Dowd - Guitars
*Clem Cattini - Drums
*Clive Bunker - Drums
*Ian Mosley - Drums
*Harry Reynolds - Bass
*John Wetton - Bass
*John G Perry - Bass
*James Litherland – Guitar
*Harry Reynolds, Aliki Ashman, Charlene, Shirlie Roden - Backing Vocals

Further Releases
1967  Picadilly Line - The Huge World Of Emily Small
1968  The Edwards Hand - Edwards Hand
1970  Edwards Hand - Stranded (Japan remaster edition)

Free Text
Just Paste

Various Artists - Brown Acid The Second Trip (1970-78 us / australia, stunning hard heavy rock, 2016 digipak)

Less than a year ago, Brown Acid was released into the wild and took the world by storm. Feedback was so positive from the First Trip, we've decided to provide our loyal listeners with a second dose. Not much has changed since the first volume, except, of course, the band names and the track titles.

Just like the first volume, you'll find a primo cross-section of obscure hard rock, heavy psych, and proto-metal, all from the 70s. All of of these tracks were recorded in small DIY studios, self-released in minute quantities, overlooked and lost to the sands of time. All of 'em are All-American, save one exception here, the stunning "Midnight Witch" by the Australian group Ash.

All of the original 45s these recordings come from have become serious collector fodder, some of them regularly trading hands for three-figures on the rare occasion that they even come up for sale.

CD Liner-Notes

Artists - Tracks
1. Ash - Midnight Witch (Doug Ford) - 4:06
2. Sweet Crystal - Warlords (Marq Apeck) - 4:30
3. Raving Maniac - Rock N Roll Man (Doug Frasier) - 2:10
4. Crossfield - Take It (Crossfield) - 4:33
5. Spiny Norman - Bell Park Loon (Gerry Diaz, Steve Brudniak) - 4:05
6. Glass Sun - Silence Of The Morning (Rick Roll) - 5:15
7. Volt Rush Band - Love To You (Calvin Rush) - 2:44
8. Buck - Long Hot Highway (Bruce Busboom) - 3:57
9. Iron Knowledge - Show Stopper (Gary Blaylock) - 3:33
10.Sonny Hugg - Daybreak (Rick Zehringer) - 2:56

1969-79  Various Artists - Brown Acid / The First Trip

Free Text
the Free Text

The Family Of Apostolic - The Family Of Apostolic (1968 us, remarkable texture of hippie folk psych and art rock, 2014 hard sleeve remaster edition)

Apostolic was many things: a label, a collective, a state of mind even. But before all of that, it was a recording studio set up by New Yorker John Townley.

As a member of the Magicians, (you recognize that name from the Nuggets albums), Townley worked in some of the finest studios in the USA, but he felt he was on a conveyor belt. “You had to do the creation ahead of time, which is not my idea of a good time,” he says now. "You had all this stuff to play with, and you weren’t allowed to play with it.” When Townley came into an $85,000 inheritance he immediately invested in a loft building on 10th Street, New York, against the advice of, well, “everybody”. But there were fellow believers. Friends Matt Hoffman and Michael and Danny Weiss, heirs to the Weiss jewelry fortune, helped assemble the studio, which was built to bleeding-edge specifications and even had a 12-track recorder.

Soon, it was attracting likeminded souls such as Frank Zappa, whose Mothers Of Invention recorded several landmark LPs at Apostolic. But the greatest example of the output of this artistic community is the sprawling double LP The Family of Apostolic. A utopian album inspired by global cultures ranging from Pakistani folk songs to Scottish traditional music and Chinese opera, it was made by a cast of 19, bonded by a desire to create “primitive performance art” from surrealist happenings. "The idea of Apostolic was that the whole operation was a family,” says Townley. “Anybody could do anything if they participated.”

Despite the possibilities opened up by the studio and the chance to treat the desk as an instrument, The Family Of Apostolic is nonetheless a folk record at heart, and sounds downright spare in places. The experimentation was there in subtle ways, per Townley’s desire for each song to be “like just a natural happening. We were trying to get a very close, upfront, live feeling.” Released under a deal with Vanguard, the rambling album proved too difficult to market. Singles were released under different artist names, serving only to confuse the public more. Soon the studio was heading down the tubes, thanks in part to Jimi Hendrix’s multi-track studio Electric Lady opening two blocks away. And before long, the Apostolic dream was over.

The album remains a curate’s egg, but one filled with delights. Opening track Redeemer asks, "O say, are you a true believer?” By the time you’ve listened to our deluxe reissue, you will be.

The L-Attic

Tracks
1. Redeemer (John Townley) - 2:03
2. Zoo Song (Gilma Townley) - 2:37
3. Spring Song (John Townley) - 1:55
4. Down The Road (John Townley, Gilma Townley) - 2:37
5. Please Be Mine  (John Townley) - 1:47
6. Did You Like The Party  (Robert Berkowitz) - 2:33
7. Fiddler A Dram  (John Townley, Jay Ungar) - 2:54
8. Bubbling Brook (Instrumental)  (John Townley, Jay Ungar) - 3:25
9. I Won't Be Sad Again  (John Townley) - 2:10
10.Old Grey House  (Robert Berkowitz) - 3:00
11.Dholak Gheet  (Jay Ungar, Lyndon Hardy) - 4:02
12.Doin' A Stretch  (John Townley, Gilma Townley) - 3:15
13.The Lone Pilgrim  (Trad. arr John Townley) - 3:00
14.Water Music (Instrumental)  (John Townley) - 1:40
15.Grotesque Silly Bird  (Gilma Townley) - 5:52
16.Taking Me Home  (Diedre Heather Townley) - 2:34
17.O Splendour  (Arr. David Ames) - 1:14
18.Lilting Lil  (Gilma Townley) - 2:25
19.Mabel's Umbrage (Instrumental)  (Gilma Townley) - 3:59
20.Devil's Yard  (Gilma Townley) - 1:21
21.Personality  (John Townley) - 1:52
22.Saigon Girls (Instrumental) (Alan Gordon, Garry Bonner) - 2:24

Personnel
*Gilma Townley - Bass, Drums, Fiddle, Harmonium, Organ, Piano, Tambourine
*John Townley - Banjo, Bass, Cover Art, Delruba, Drums, Engineer, Guitar, Krummhorn, Mandolin, Photography, Piano, Producer, Rauschpfeife, Vocals
*David Ames - Clarinet
*Genie Ames - Organ, Vocals
*Richard Amster - Bass
*Bob Berkowitz - Organ, Piano
*Jerry Burnham - Bass, Drums, Vocals, Wind
*Cyril Caster - French Horn, Trumpet
*Lyndon Hardy - Tambourine, Vocals
*Travis Jenkins - Saxophone
*Peter Smith - Bass, Oud
*Ellson Standler - Flute
*Deirdre Townley - Harmonium, Vocals
*Jay Ungar - Mandolin, Violin, Vocals

Free Text
Just Paste

Lisa Miller - Within Myself (1968 us, a vital missing piece to the great jigsaw puzzle of psych pop, 2010 remaster)

There's some sort of pop culture Rorschach test to be constructed around the question of whether a fan of esoteric '60s pop records would be intrigued or thoroughly repelled by the notion of an album of polished pop songs, with overtones of psychedelia and sunshine pop and starring a vocalist who was all of 11 years old when she did the recording sessions. But Lisa Miller wasn't an ordinary child entertainer; she cut some sides for Motown's VIP subsidiary when she was only eight, and by the time she turned 15, she was the voice of Mary Magdalene on the original recording of the Christian rock opera Truth of Truths (interesting casting, that).

 Miller's first album, 1967's Within Myself, is a surprisingly solid and ambitious album from a performer of such a tender age; Miller had a strong, rich voice and sang with a confidence and technique that would be the envy of many artists three times her age. Truth to tell, Within Myself hardly sounds like the work of a little girl, and the slightly gimmicky arrangements on songs like "Mechanical Man" and "Fool on the Hill" (the latter Beatles' cover featuring a truly egregious Moog synthesizer) seem to add a novelty element to the reminder that we're listening to an 11-year-old kid, as songs like "I'll Hit a Lucky Streak" (in which she imagines what dating boys will be like) or "Be Like A Little Child" make clear. Within Myself was produced by Kay Lewis and Helen Lewis (respectively, Lisa's mother and aunt), who also wrote most of the songs, and though a significant share of the material and the arrangements could be politely described as dated (and who suggested that an 11-year-old should cover "White Rabbit"?), the studio band is bold and dynamic on all tracks and Miller's vocals more than keep up with them. 

Canterbury Records, who financed the sessions and released Within Myself, went out of business within a few weeks of the album's release, and the majority of the small press run were used as promotional copies; it's hard to imagine how the album would have fared in the marketplace, given how mature and assured it sounds despite the artist's youth, but fans of vintage pop will find this a fascinating curio from a vocalist who didn't need the gimmick factor of her age to impress a listener.

by Mark Deming

Tracks
1. To Sir With Love (Don Black, Mark London) - 2:35
2. Little Bird - 3:12
3. Mechanical Man - 2:58
4. Be Like A Little Child - 2:33
5. I'll Hit A Lucky Streak - 2:50
6. Utopia - 3:43
7. White Rabbit (Grace Slick) - 2:11
8. Fool On The Hill (John Lennon, Paul McCartney) - 2:28
9. Beggar Boy - 2:53
10.Within Myself - 2:39
11.Love Is - 2:41
12.The Loneliest Christmas Tree - 2:15
All songs by Kay Lewis, Helen Lewis except where stated

*Lisa Miller - Vocals

Free Text
Just Paste

Supa - Supa's Jamboree (1971 us, awesome classic rock with country folk traces, 2016 korean remaster)

Richard Supa! I can't say enough about him. Supa is a Brooklyn kid who got his basic training playing guitar in soul bands—often he was the white member -while IK- was attending the University of Miami. He dropped out of school in his junior year and headed hack to \ew York. There he became a member of the Rich Kids-one of those legendary Long Island bands like the Rascals and the Vanilla Fudge—and he stayed for nearly five years.

Over the next couple years, Supa wrote a lot of songs, put together a group that never jelled and spent several months playing one of the leads in the Broadway company of "Hair." Now he has himself a new group. Supa's Jamboree, made up of some very together musicians.

The result is an extremely tight album The musicianship is first rate. They have the power and control to start off quietly on a number and build to a rip roaring finish, one of the things the Stones do so well.

The material, all written by Supa, is varied and consistently good and the singing well that's really something to take notice of- Richard Supa is a singer to he reckoned with. My favorite. “Li’l Jessie”, a hard driver that really sums up the album.

by Phil Flamm

Richard "Richie" Supa (born Richard Goodman in Massapequa Park, New York) is an American songwriter and guitarist best known for his work with Aerosmith and Richie Sambora.

Richard Supa released several albums under his own name, including "Supa's Jamboree" (1971, Paramount 6009), "Homespun" (1972, Paramount PAS 6027), "Lifelines" (1976, Epic PE34277) and "Tall Tales" (1978, Polydor PD-1-6155). Richard's song "Stone County Wanted Man" which appeared on the "Supa's Jamboree" album, was recorded by Johnny Winter for his "Saints and Sinners" album.

A longtime friend of Aerosmith, he has made a number of musical contributions to the band and has offered moral support. He temporarily replaced Joe Perry when he left the band in 1979 until a replacement was found. Additionally, he helped co-write several songs, including the hits "Chip Away the Stone" (1978), "Lightning Strikes" (1982), "Amazing" (1993), and "Pink" (1997), among others.

Supa co-wrote most of the songs on Bon Jovi guitarist Richie Sambora's second solo album Undiscovered Soul. He also wrote the song "Misery" for the album Missundaztood by Pink, on which Aerosmith's singer Steven Tyler  features, and Sambora also collaborated and co-wrote the song "My Interpretation" "Your Sympathy" and "Instant Martyr" from Mika's debut album Life in Cartoon Motion. He also co-wrote "Back on Earth" for singer Ozzy Osbourne.

Supa is now the Director of Creative Recovery at Recovery Unplugged Treatment Center where he uses music to help addicts in recovery.

Tracks
1. Good Ol' Country Boo - 4:08
2. Zam Pam Poogee - 4:54
3. Burned - 3:22
4. Walk Through Country Sunshine - 4:40
5. Stone Country - Wanted Man - 3:46
6. Unwritten Words - 3:46
7. Li'l Jessie - 3:48
8. For Those Overcome - 5:41
All Songs by Richard Supa

Musicians
*Richard Supa - Acoustic, Electric Guitar, Vocals
*Liberty DeVitto - Drums, Percussion
*Ivan Elias - Bass
*Jonathan Hipps - Keyboards, Organ
*Dean (Ox) Doughtry - Keyboards, Organ
*Howie Emerson - Guitar
*J.R.Cobb- Acoustic Guitar
*Barry Bailey - Electnc Guitar
*Robert Nix - Drums
*Paul Goddard - Bass

Just Paste
Free Text
Text Host

Concept - Invasion (1976-79 canada, exciting hard experimental prog space rock, 2008 remaster)

The Humanist Advent "Concept" brought up from its very beginning by Peter Riden to those days, surges with the released album titled "Concept's invasion".

Peter Riden, leading force of the Humanist Advent and mastering the process of recording the new L.P., is, besides his significant singing, heard on guitars and responsible for: "Concept's invasion", an open declaration of the up coming destiny of "Concept".

Then "Condensed Energy" stunts in its direct lyrical means. And the whole strength of the Humanist Advent Concept is transcribed through the play of the four members with "World of Conviction", on Riden'Star Music.

It has to be underlined at first that although almost every single informator avoided intentionally Peter Riden, some others attempting any discredit on his "Unlimited goals", few at least remained faithfull and honest to his "Concept" and who better than his very friends along with since over six full years. 

They are:

Pier Heiken, whose determination brought him up as one of the finest drummers you can find, so suitable for the group and add him some capabilities on keyboards and soft singing. Then comes Robert C. Schwelb, the keyboard specialist added to his very personal way to sing and a strong contribution on the album with pieces as: "Light to live, Love to give" and his significative "Conquest" as to remind up his publisher label "Conquest Music" related to BMI and PRO copyright.

Also is Marc Ulus playing some strings as bass, guitar, and windwood, meaning flute, sax. His fully six years with Concept, although he is the last acquirance amongst the group, are reflected through the combination of the introductive piece of the album: "What's good, What's bad" and the so called: "Oh! I would like" on the flip side. "Angelyric Music" is his very personal publishing named acquisition and seems to suit him well. So is his singing.

The album completely produced by Concept on their own label "Reveal", is the result of a long and precise work, and it brings a complete new dimension to what used to be music for specific groups, and Concept addresses itself to the whole of human being and beyond.

CD Liner-Notes

Tracks
1. What's Good, What's Bad (Marc Ulus) - 3:16
2. Light To Live (Love To Give) (Robert C. Schwelb) - 4:40
3. Concept's Invasion (Peter Riden) - 5:06
4. Condensed Energy (Peter Riden) - 5:17
5. Conquest (Robert C. Schwelb) - 11:16
6. Oh! I Would Like (Marc Ulus) - 4:43
7. World Of Conviction (Peter Riden) - 7:02
8. Eliminate The Bill (Bonus) (Peter Riden) - 3:05
9. Pour Une Paveur (Bonus) (Marc Ulus) - 3:26

The Concept
*Marc Ulus - Bass, Guitar, Sax, Flute, Vocals
*Robert C. Schwelb - Keyboards, Vocals
*Peter Riden - Vocals, Guitar
*Pier Heiken - Drums, Keyboards, Vocals

Free Text
the Free Text

Jimmy Campbell - Jimmy Campbell's Album (1972 uk, wonderful sensitive folk soft rock, 2009 remaster)

Jimmy Campbell's third and final album for Philips, 1972's Jimmy Campbell's Album was a contractual obligation and he spent just one day in a London recording studio laying down 12 songs. With only two microphones, Jimmy's vocals and acoustic guitar were recorded in one session. Musician Michael Snow had appeared with Campbell and Kinsley on Rockin' Horse's superb 1971 power pop-infused album "Yes It Is" and was commandeered by Jimmy's manager Hal Carter to bring these recordings up to release standard.

Snow cleaned up the original master tape and brought in arranger Ron Carthy, and the rhythm section of Billy Kinsley and Stan Gorman, to augment the recordings. Snow would also replace most of Campbell's erratic guitar playing with his own, as well as adding piano, organ, vibraphone and some occasional electric guitar. Campbell would later thank Snow for not "overdoing" the production.

Despite Snow's majestic efforts, the album still has a "demos" feel to it and is a rather subdued and patchy affair in comparison to the previous albums. Songs such as the sparse 'Snow Covered Street', 'Paris, You're In Paris' (which benefits from the overdub of a musette accordian), 'Something In The Wind' and 'It Never Rains But It Pours' do possess a certain ragged charm, but overall this album is recommended to dedicated fans only and is certainly not the place to start for a Jimmy Campbell novice.

The album also includes 'Salvation Army Citadel' (covered by both Sgt. Will Scruffham and Rolf Harris) and 'Baby, Walk Out With Your Darling Man' - a personal favourite of Jimmy's, written about his wife Yvonne, which was recorded to better effect by Rockin' Horse. There are certainly songs here that could have grown into something much better had they been fully realised.

Jimmy Campbell's Album sank with little fanfare or support from Philips and that was Campbell's career pretty much finished. He would continue to write songs and occasionally play with a house band at local Liverpool venues. The Swinging Blue Jeans recorded some of his songs on their 1979 album "Jump N' Jeans", but Campbell would never record for another record label. He passed away in 2007 after suffering with emphysema.

Esoteric mark Jimmy Campbell's musical legacy magnificently with these three sumptuous reissues. The booklets are packed with original artwork, photographs, memorabilia and detailed sleevenotes by Campbell expert Mark A. Johnston. 

by Jim Henderson 

Tracks
1. By The Light Of A Lamp - 2:40
2. Salvation Army Citadel - 3:04
3. Snow Covered Street - 3:41
4. Paris, You're In Paris - 2:18
5. Darling Sweetheart - 3:11
6. April Morning - 2:41
7. Something In The Wind - 3:04
8. Maudie - 3:14
9. Baby, Walk Out With Your Darling Man - 4:29
10.It's Just Like A Girl - 3:03
11.It Never Rains But It Pours - 2:10
12.When You're Coming Home - 3:51
Words ans Music by Jimmy Campbell

Personnel
*Jimmy Campbell - Vocals, Guitar
*Michael Snow - Piano, Organ
*Stan Gorman - Drums
*Billy Kinsley - Bass, Backing Vocals

1969  Jimmy Campbell - Son Of Anastasia (2009 remaster bonus track issue)

Free Text
Text Host

Jimmie Spheeris - The Dragon Is Dancing / Ports Of The Heart (1975-76 us, brilliant folk jazz prog silk rock, 2014 double disc set remaster)

One of Jimmie Spheeris' Epic titles of the 1970s was his third album, a classic titled The Dragon Is Dancing. The album was produced by Henry Lewy, a well-respected producer/engineer who had an impressive track record when he entered the studio with Spheeris in 1975. 

In addition to working with Joan Baez, Neil Young, and Procol Harum, Lewy was the engineer on many of Joni Mitchell's best albums. Lewy always had an ear for singer/songwriters, and he proves to be quite an asset to Spheeris on reflective, contemplative gems like "In the Misty Woods" and "Blue Streets." Between Spheeris' heartfelt singing and writing and Lewy's imaginative production, The Dragon Is Dancing never fails to hold the listener's attention. 

by Alex Henderson

"Tonight we're going to take your mind on a ride outside this universe," Jimmie Spheeris' trademark half whisper taunted the throng of 10,000 rowdy Cheech and Chong fans. In the ensuing 10 seconds, he had their attention riveted to his haunting piano intro for "The Nest".

Jimmie's hushed, airy tones, banshee wails and snake charmer vocal riffs sent rapturous thrills through many enormous crowds in the early '70s, initially impatient audiences of unruly kids who came to see big name hard rock acts, only first to be surprised and tamed by a true dream weaver.

It was my great fortune to be sometimes part of his troupe of time-travelling gypsies; a band consisting of piano, guitar, bass, flute and myself on viola, endeavoring to conjure up a whole orchestra to carpet Jimmie's musical visions. Wherever Jimmie performed, his listeners were drawn into his unusual world.

He invoked a similar spell in the studio, always singing his own songs: artfully fashioned gems that could only originate from Jimmie Spheeris. On his fourth album, Ports of the Heart, he added to this delicious mix some classic songs by other writers. The vocal magic continued as if they were songs of his own creation. I still can feel the sensation from one summer evening session, as if my mind were floating in an air-cooled stream, as Jimmie wafted the melody of Hank Williams' "I'm So Lonesome I Could Cry", backed by Jim Cowger's sonorous sax lines. Another unforgettable session had Jimmie playacting the romantic mood of an earlier classic, "It's All in the Game", composed in 1912 from a poem written near the turn of the century.

Most of the album, of course, is filled with songs of colorful vision, fantasy and sensuous life, all written by Jimmie, straight from his unmistakable creative world. When I listen to it now the music brings on the memory of how it felt in the living room of Jimmie's Venice, California beach house, where the room seemed always to glow from the spark of his most recent creations and with the energy and affection he inspired in his many close friends.

I'd have thought by now that another singer would have achieved something similar to his unique voice, in the way that artists from prior eras become major influences on younger singers. So far, no one has.

by David Campbell

Tracks

Disc 1 The Dragon Is Dancing 1975

1. The Dragon Is Dancing - 3:14

2. Sighs In A Shell (Jimmie Spheeris, Michael Mallen) - 3:21

3. Tequila Moonlight - 3:24

4. Snake Man - 2:44

5. Love's In Vain - 4:32

6. Lost In The Midway - 3:09

7. Eternity Spin - 4:35

8. Sunken Skies - 3:31

9. Summer Salt - 2:52

10.In The Misty Woods - 3:13

11.Blown Out - 4:00

12.Blue Streets - 3:47

Music and Lyrics by Jimmie Spheeris unless as else indicated

Disc 2 Ports Of The Heart 1976
1. Child From Nowhere - 3:12
2. Emerald And The Dream Dance - 3:20
3. It's You They're Dreaming Of - 2:58
4. Captain Comes Cold - 2:33
5. Bayou Eyes - 3:43
6. It's All In The Game (C. Sigman, C. Dawes) - 3:12
7. Hills In My Head - 3:49
8. Whirlpool - 3:02
9. Sweet Separation - 3:08
10.So Darkly Fall The Shadows - 3:28
11.Nightingale Come Sail - 2:44
12.I'm So Lonesome I Could Cry (Hank Williams) - 4:11
Music and Lyrics by Jimmie Spheeris unless as else stated

Musicians
The Dragon Is Dancing 1975
*Jimmie Spheeris - Acoustic Guitar, Piano, Vocal
*Bart Hall - Drums, Percussion
*Johnny Pierce - Bass
*Geoff Levin - Electric, Acoustic Guitar, Backing Vocals
*Jim Cowger - Flute, Sax
*Chick Corea - Electric Piano, Mini-Moog
*Jane Getz - Piano
*Mike Mallen - Acoustic Guitar
*Paul Lewinson - Arp, Piano
*Dorothy Remsen - Harp
*Henry Lewy - Birds, Percussion
*Morgan Ames - Backing Vocals
*Jim Cowger, Chuck Findley, Robert Findley - Horns
*Gary Barone, Jonathan Ellis - Horns

Ports Of The Heart 1976
*Jimmie Spheeris  -  Acoustic Guitar, Piano, Voices
*Chick Corea -Electric Piano
*Johnny Pierce - Bass
*Stanley Clarke - Bass
*Bart Hall, John Guerin - Drums
*Jim Cowger - Sax, Soprano Sax, Flute, Clarinet, Piano
*Geoff Levin - Guitars
*David Campbell - Viola
*Jay Ellington Lee - Arp
*Robin Williamson - Oud
*Dan Orbach - Mandolin
*Emile Pandolfi - Piano
*Richard Feves - Bowed Bass
*Charles Veal, Robert Dubow, Gordon Marron, Mary Ann Ringgold - Strings
*Haim Shtrum, Janice Gower, Sheldon Sanov - Strings
*Lya Stern, Mareia Van Dyke, Dan Neufeld - Strings
*Pamela Goldsmith, Paul Polivnick, Ronald Strauss, Rollice Dale - Strings
*Arthur Royval, Ronald Cooper, Dennis Karmazyn  - Strings
*David Spelz, Richard Feves - Strings
*Jackson Browne, Geoff Levin, Johnny Pierce - Backing Vocals

1971-73  Jimmie Spheeris - Isle Οf View / The Original Tap Dancing Kid (2008 remaster)

Free Text
Text Host

Rainbow Ffolly - Sallies Fforth (1968 uk, beautiful orchestrated swinging psychedelia, 2005 remaster)

Spectromorphic Iridescence from a Tube of Smarties

For years, Rainbow Ffolly Sallies Fforth, PMC 7050 (stereo PCS 7050), has been the ultimate mystery album for collectors. Mint copies change hands at upwards of £120, an Italian bootleg has been issued, and yet the group members have remained anonymous. Time to unffold the tale of the Rainbow Ffolly, a band influential on the careers of the Moody Blues, possibly the Who and even the Beatles.

The Ffolly's story, with its incredible string of 'ffirsts', is unique amongst groups of the time. Only when it reaches the part where the band is forced to split through lack of income does the tale become the sadly-familiar 'Sixties shot-at-stardom that failed'.

Rainbow Ffolly, an art college band, evolved in High Wycombe, Buckinghamshire, from a group called Force Four. Jonathan Dunsterville picked the new name to conjure up the eye-searing colours associated with psychedelia, doubling the 'f' on Ffolly in tribute to Wally Ffolks, jazz clarinettist and creator of the 'Flook' cartoon strip.

Roger Newell and Stewart Osborn were neighbours who had known each other since the age of three. Later in life they both took up the guitar, but according to Roger: "We found there were loads of guitarists better than us, but few bass players and few drummers."

Roger shrewdly moved to playing bass and Stewart, to drums. In book-binding classes at college, John became intrigued by Stewart's habit of carrying sticks in his pockets and drumming on the desk when he got bored.

"This bloke in evening class going 'chika chika chika bash bash bash!'... (had) to be an interesting character," John realised. "He could play trills and things that no other drummer could do at the time, so I thought, 'that'll do'!"

John and his brother, Richard, came from a musical family, John's guitar skills stemming from finding a ukulele in the loft at the age of eleven. The brothers honed their talents by copying Elvis and the Everlys. When John first considered Roger for the band, he rejected him because he "only looked about thirteen" and was dwarfed by his guitar. Alan Thomas subsequently became Force Four's bassist, leaving after a year or so because he was not in tune with the others' art school ideas. By this time, Roger, whom John describes as "a perfect bass player," had "doubled in size" and finally passed the audition.

Roger recalls seeing John entertaining a group of people in the local park, and thinking:

"'Wow! He plays Scotty Moore stuff!' And (John) 'picked', which was not a style currently in vogue."

Group manager, John Sparrowhawk's claim to fame was that he was the vocalist on the 'Light up a Richmond' cigarette commercial, fondly remembered by Sixties pirate radio aficionados.

The ffull story of the Wycombe group

Tracks
1. She's Alright - 3:42
2. I'm So Happy - 2:33
3. Montgolfier '67 - 2:37
4. Drive My Car - 2:15
5. Goodbye - 3:54
6. Hey You - 2:05
7. Sun Sing - 3:57
8. Sun And Sand - 4:02
9. Labour Exchange - 1:55
10.They'm - 1:55
11.No - 2:58
12.Sighing Game - 3:06
13.Come On Go - 2:57
14.Go Girl (Mono Single Version) - 2:41
15.Drive My Car (Mono Single Version) - 2:09
All tracks written by Jonathan Dunsterville

Rainbow Ffolly
*Jonathan Dunsterville - Vocals, Guitar
*Richard Dunsterville - Vocals, Guitar
*Roger Newell - Vocals, Bass
*Stewart Osborn - Vocals, Drums

Free Text
Text Host

The Next Morning - The Next Morning (1971 trinidad, stunning psych rock)

The late-1960s found guitarist Scipio Sargeant having left his native Trinidad for New York City.  Living in Brooklyn his lightening quick guitar began attracting attention, including that of  fellow Trinidadian/guitarist Bert Bailey.  Discovering a shared interest in hard rock, the pair decided to form a band, quickly recruiting keyboardist Earl Arthur, brother/drummer Herb Bailey and singer Lou Phillips.  With Scipio switching to bass the quintet began attracting attention on the city's club circuit.

Almost signed by Columbia, the group ended up with a recording contract on the Roulette Records affiliated Calla label.  Recorded at New York's Electric Lady Studios, their 1971 debut "The Next Morning" was produced by Dick Jacobs and clearly drew inspiration from Jimi Hendrix.  Propelled by Arthur's insane keyboards and Bert Bailey's wicked feedback drenched guitar, self-penned material such as "Changes of the Mind", "Life Is Love" and "Back To the Stone Age"  offered up impressive slices of Hendrix-styled heavy rock. The overall performances were quite attractive, making for a first-rate set that should appeal to all guitar rock lovers.

Bad-Cat

Tracks
1. The Next Morning (Lou Phillips, Scipio Sargeant, Bert Bailey) - 4:56
2. Life (Lou Phillips, Bert Bailey) - 2:57
3. Changes Of The Mind (Lou Phillips, Scipio Sargeant, Bert Bailey) - 6:01
4. Life Is Love (Lou Phillips, Earl Arthur) - 5:33
5. Back To The Stone Age (Lou Phillips, Scipio Sargeant, Bert Bailey) - 5:28
6. Adelane (Lou Phillips, Bert Bailey) - 2:51
7. A Jam Of Love (Lou Phillips, Scipio Sargeant, Herbert Bailey, Bert Bailey, Earl Arthur) - 4:24
8. Faces Are Smiling! (Lou Phillips, Bert Bailey) - 6:28

The Next Morning
*Earl Arthur - Keyboards
*Bert Bailey - Guitar
*Herbert Bailey - Drums
*Lou Phillips - Vocals
*Scipio Sargeant - Bass, Guitar

Free Text
Just Paste

Text Host