The Troggs - Wild Thing (1966 uk, classic garage psych beat, 2015 audiophile limited edition)

Remembered chiefly as proto-punkers who reached the top of the charts with the "caveman rock" of "Wild Thing" (1966), the Troggs were also adept at crafting power pop and ballads. Hearkening back to a somewhat simpler, more basic British Invasion approach as psychedelia began to explode in the late '60s, the group also reached the Top Five with their flower-power ballad "Love Is All Around" in 1968. While more popular in their native England than the U.S., the band also fashioned memorable, insistently riffing hit singles like "With a Girl Like You," "Night of the Long Grass," and the notoriously salacious "I Can't Control Myself" between 1966 and 1968. Paced by Reg Presley's lusting vocals, the group -- which composed most of their own material -- could crunch with the best of them, but were also capable of quite a bit more range and melodic invention than they've been given credit for.

Hailing from the relatively unknown British town of Andover, the Troggs hooked up with manager/producer Larry Page (who was involved in the Kinks' early affairs) in the mid-'60s. After a flop debut single, they were fortunate enough to come across a demo of Chip Taylor's "Wild Thing" (which had already been unsuccessfully recorded by the Wild Ones). In the hands of the Troggs, "Wild Thing" -- with its grungy chords and off-the-wall ocarina solo -- became a primeval three-chord monster, famous not only in its original hit Troggs version, but in its psychedelic revamping by Jimi Hendrix, who used it to close his famous set at the 1967 Monterey Pop Festival.

"Wild Thing" made number one in the States, but the Troggs' momentum there was impeded by a strange legal dispute which saw their early records simultaneously released on two different labels. Nor did it help that the band didn't tour the U.S. for a couple of years. As a consequence, the fine follow-up single "With a Girl Like You" didn't do as well as they might have.

by Richie Unterberger

Tracks
1. With A Girl Like You - 2:07
2. From Home - 2:21
3. I Just Sing - 2:09
4. Hi Hi Hazel (Bill Martin) - 2:43
5. Lost Girl - 2:32
6. Evil (Shelby S. Singleton Jr.) - 3:14
7. Wild Thing (Chip Taylor) - 2:34
8. Our Love Will Still Be There - 3:08
9. Jingle Jangle - 2:26
10.When I'm With You - 2:23
11.Your Love (Michael Julien) - 1:53
12.I Want You (Colin Michael Frechter) - 2:14
All songs by Reg Presley except where indicated

The Troggs
*Ronnie Bond -  Drums
*Chris Britton - Lead Guitar
*Reg Presley - Lead vocals
*Peter Staples - Bass

1966  The Troggs - From Nowhere (2003 bonus tracks)
1967  The Troggs - Cellophane (2003 bonus tracks)
1966-76  Troggs - Archeology (double disc)
1968-73  The Troggs - Hip Hip Hooray (2004 digipak remaster) 

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Don Nix - Living By The Days (1971 us, spectacular blend of country psych blues rock, 2011 japan SHM remaster)

Don Nix may not be a household name, but for serious fans of 1960s and 1970s music, he is an important figure: as a multi-instrumentalist, arranger, and producer. He also looms large in his home town of Memphis' musical history. Nix was a member of the legendary Mar-Keys and played saxophone on the hit "Last Night." He produced records at Stax (including Delaney & Bonnie's Home) and, while at Ardent, he wrote "Going Down" for Freddie King (later covered by Jeff Beck and Stevie Ray Vaughan quite successfully). Nix played on and arranged a boatload of records. He was on the Mad Dogs & Englishmen tour, and arranged the choir for George Harrison's Concert for Bangladesh. Living by the Days was his second album of 1971 and appeared on Elektra. His first, In God We Trust, was released by Leon Russell's Shelter Records.

Recorded at Muscle Shoals, its lineup includes Donald "Duck" Dunn, Barry Beckett, David Hood, Jimmy Johnson, Roger Hawkins, Claudia Lennear, and Kathi McDonald. Opener "The Shape I'm In" (not the Robbie Robertson tune, but Nix's own; he wrote or co-wrote everything but the tepid cover of Hank Williams' "I Saw the Light"), "She Don't Want a Lover (She Just Needs a Friend)," and closer "My Train's Done Come and Gone" sound somewhat similar to the music the Band was making. Gospel, loose Southern gothic funkiness, and roots rock all commingle, but Nix's plaintive voice is drenched in authenticity. (And no disrespect to the Band, but the musicians here are on a wholly different -- higher -- level.) 

Stomping Southern R&B and early Memphis rock & roll fuel "Olena," and one can hear more than a trace of the sounds that the Rolling Stones would "borrow" on Sticky Fingers (on which Lennear also appeared). One can hear the influence of Russell on the honky tonk gospel of "Three Angels." Despite the shortcomings of "I Saw the Light" (Furry Lewis' opening narration is priceless), Nix and the Memphis bluesman were quite close. "Going Back to Iuka" begins as a conventional electric blues but becomes a tribute to "Mystery Train," with great slide guitar work and a popping funky bassline. While Living by the Days is very much a record of its time, it is from an era that has proven timeless in appeal to subsequent generations of rock fans. Living by the Days is well worth seeking out as one of the more obscure offerings issued by a major in 1971. 

by Thom Jurek

Tracks
1. Shape I'm In -  5:44
2. Olena -  4:19
3. I Saw The Light (Hank Williams) -  3:55
4. She Don't Want A Lover (She Just Needs A Friend) -  4:25
5. Living By The Days -  3:18
6. Going Back To Iuka -  4:29
7. Three Angels (Don Nix, Lonnie Mack) -  3:45
8. Mary Louise (Don Nix, Marlin Greene) -  2:47
9. My Train's Done Come And Gone -  5:00
All songs by Don Nix except where indicated

Musicians
*Don Nix - Vocals
*Tippy Armstrong - Guitars
*Barry Beckett - Keyboards
*Joey Cooper - Vocals
*Donald "Duck" Dunn - Bass
*Jeanie Greene - Vocals
*Marlin Greene - Vocals
*Roger Hawkins - Drums
*David Hood - Bass
*Jimmy Johnson - Guitars
*Claudia Lennear - Vocals
*Furry Lewis - Narrator
*Kathi McDonald - Vocals
*Mount Zion Singers - Vocals
*Gimmer Nicholson - Guitars
*Wayne Perkins - Guitars, Vocals
*Don Preston - Vocals
*Chris Stainton - Keyboards

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A.B. Skhy - Ramblin' On (1970 us, stunning blues psych rock, 2019 korean remaster)

Originally known as New Blues, they were basically an electric blues band with horns and some jazz influences. From Milwaukee, Winconsin they relocated to San Francisco where they became a popular live attraction at venues like the Fillmore and Avalon in the late sixties. 

Released following personnel changes which saw drummer Anderson replaced by Rick Jaeger and the addition of guitarist James Cooke, 1970's "Ramblin'" teamed the band with producers Kim Fowley and Michael Lloyd. Surrounded by an all-star cast, including appearances from guitarist Elvin Bishop, Dave Roberts and Steve Miller associate/keyboardist Ben Sidran.

Tracks
1. Gotta Be Free (Dennis Geyer, James Cooke) - 2:36
2. My Baby's Quit Me (Doc Pomus, Joe Kookoolis) - 3:54
3. Pearl (James Cooke) - 1:41
4. Lady In The Dark (James Cooke) - 4:30
5. Hope For The Future (James Cooke) - 3:17
6. Sweet Mother Earth (Dennis Geyer) - 4:02
7. Groovin' (Ben E. King, James Bethea) - 3:35
8. Trackin' Shoes (Jim Marcotte, Rick Jaeger, Dennis Geyer) - 4:35
9. I'm Walkin' (Antoine Domino, James Bartholemew) - 2:45
10.Gazebo (Dennis Geyer, James Cooke, Jim Marcotte, Rick Jaeger) - 6:06

A.B. Skhy
*Dennis Geyer - Guitar, Vocals
*James Curley Cooke - Guitar, Vocals
*Dr. Rick Jaeger - Percussion
*Jim Marcotte - Bass
With
*Wally Rose - Piano
*Ben Sidran - Keyboard
*Terry Andersen - Drums, Vocals
*Elvin Bishop - Guitar

1969  A.B. Skhy - A.B. Skhy 

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Buzzy Linhart - The Time To Live Is Now (1971 us, eccentric, eclectic jazzy funky folk rock)

Buzzy Linhart's first of two albums for Kama Sutra, three if you include the band Music's on the Buddah-distributed Eleuthera Records, 1971's The Time to Live Is Now has the songwriter playing with different styles and sounds in a setting that is not as refined as the Eddie Kramer co-produced Music album or Barry Beckett and Roger Hawkins' production of 1974's Pussycats Can Go Far. But don't blame the artist for that. In an exclusive interview for the All Media Guide conducted February 28th, 2002, Linhart revealed some of the secrets of The Time To Live Is Now: Bill Takas and Luther Rix, the bass player and drummer, are "world class jazz and classical musicians." Bill Takas spent nine years on the Tonight Show, and they co-founded Ten Wheel Drive (with Genya Ravan; see the Construction #1 LP). "We had been performing eight-to-ten months as a trio, sometimes with sax...it was supposed to be more [produced] like 'Pussycats' (Pussycats Can Go Far)...but [record exec] Neil Bogart played this for a group of 30-something pros for Buddah/Kama Sutra, and they got up out of their chairs and danced to it." 

That resulted in the late Neil Bogart deciding he wanted to release the roughs -- the rough vocals, the rough mix, even with a 32,000 dollar budget, which was pretty good at that point in time. They called this "rock-folk," rock with a jazz tinge as opposed to "jazz rock" that was Blood, Sweat & Tears. Even in its raw form, it is great stuff. Linhart lifts lines from here and there. Four lines from the Beatles' 1968 hit "Lady Madonna" are taken almost verbatim in the title track -- "Who buys the money, when you pay the rent" -- while the strange "Cheat Cheat Lied" is fused with Percy Mayfield's "Hit the Road Jack," Linhart lifting a melody and line from Blind Faith's "Presence of the Lord." On the following album, Buzzy (also called "The Black Album" as his 1969 outing on Phillips was also titled Buzzy), he's more blatantly lifting "What the World Needs Now Is Love" for his "Rollin' On" title. When he goes into Chester Powers' 1963 composition "Let's Get Together," you think he's absconding with lyrics and melody again, but it's actually a very cool cover of the Youngbloods' "Get Together," which hit for them in 1967 and 1969.

It is charming, as is the first appearance of "Friends," the Barry Manilow-produced hit for Bette Midler in 1973, re-cut by Buzzy on Pussycats Can Go Far and the only appearance here of friend Moogy Klingman, in the capacity of co-writer. Most of the material is by Linhart, "Good Face" being co-written with future Music bandmemberDoug Rodrigues, while drummer and co-producer Luther Rix pens and sings "Comin' Home." The group covers Jordan Kaplan's "There's No Need" with the legendary Ken Ascher on piano, and Jeannie Linhart does a vocal harmony on "The Love's Still Growing," but other than that, it's the three-piece unit producing and performing on this Kama Sutra debut album. Todd Rundgren would come onboard to mix "The Black Album," 1972's Buzzy, which would replace Takas with Danny Trifan on bass, and add Jeff "Skunk" Baxter on guitar, but The Time to Live Is Now remains an important, albeit raw, document of a major talent emerging from the early '70s. 

by Joe Viglione

William Linhart was born March 3, 1943, in Pittsburgh, Penn. In 2018 Linhart suffered a heart attack, he was subsequently hospitalized, then was moved to a nursing home in Berkeley. Following his  health issues, Linhart had hoped to return to the concert stage on July 14 2018, to perform at the Art House Gallery & Culture Center in Berkeley, Calif. Though the event took place, Linhart was not well enough to attend.  He died on February 13, 2020.

Tracks
1. The Time To Live Is Now (Buzzy Linhart) - 2:38
2. There's No Need (Jordan Kaplan) - 3:37
3. Comin' Home (Luther Rix) - 3:10
4. Heaven (Buzzy Linhart) - 3:22
5. Crazy (Buzzy Linhart) - 3:31
6. Let's Get Together (Chester Powers) - 5:36
7. Leila (Buzzy Linhart, Skip Brooker) - 2:02
8. I Don't Evere Want To Say Goodbye (Buzzy Linhart) - 2:50
9. The Love's Still Growing (Buzzy Linhart) - 4:55
10.Friends (Buzzy Linhart, Mark Klingman) - 3:11
11.Cheat-Cheat-Lied-Hit The Road Jack (Buzzy Linhart, Percy Mayfield) - 8:02
12.Good Face (Buzzy Linhart, Doug Rodrigues) - 1:26

Personnel
*Buzzy Linhart - Lead Vocals, Backing Vocals, Guitar, Vibraphone
*Luther Rix - Drums, Percussion, Vocals
*Bill Takas - Bass Guitar, Vocals
*Kenny Ascher - Piano
*Jeannie Linhart - Vocals

1968  Buzz Linhart And Eyes Of Blue - Buzzy 

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Jerry Yester - Pass Your Light Around (1964-7? us, wonderful folk soft rock, 2017 remaster)

Though having been a member of the New Christy Minstrels and Modern Folk Quartet, and a replacement for Zal Yanovsky in the Lovin’ Spoonful, Jerry Yester is known mostly for his behind-the-scenes work as a studio musician, arranger and producer. His album with then-wife Judy Henske, Farewell Aldebaran, and a follow-up collaboration as Rosebud, are both highly revered, but did little to establish Yester’s name commercially. A pair of 1967 singles on the Dunhill label were his only commercially released solo material, but he wrote and recorded at a variety of Los Angeles studios throughout the 1970s, and fifteen of those pieces are collected and released here for the very first time.

These are finished studio recordings, not songwriter demos, and their artistry, quality and polish are undimmed by the decades they’ve spent on the shelf. Yester’s collaboration with lyricist Larry Beckett yielded a wide range of material, with the former responding musically to the latter’s words. The material covers pop, folk, bubblegum, country-rock, baroque and more. The lyrics, which were often inspired by real-life events, are filled with yearning, period detail and allegorical depth. The overdubbed harmonies of “Brooklyn Girl” show what Yester could accomplish on his own, and the backing of the Manhattan Transfer’s Laurel Massé on “Dance for Me, Anna Lee” shows off the artistic circles in which he traveled.

Yester repurposed a few of his earlier melodies, borrowed a few from Bach, and for the vocal intro of “Brooklyn Girl,” he deftly lifted the hook from “Stop! In the Name of Love.” The latter’s production of beautifully layered harmonies and harmonium combine to suggest the Tokens singing a Left Banke song. There are several songs of unrequited infatuation, and Beckett’s lyric of marital dissolution, “The Minutes,” echoed Yester’s split from Judy Henske. Although several of these songs were recorded by a reformed mid-70s MFQ, the originals remained on Yester’s shelf until now. It’s surprising that no one spotted the commercial possibilities of “All I Can Do Is Dance” or the FM potential of an album. Liner notes by Barry Alphonso and photos by Henry Diltz fill out a very special package.

No Depression

Tracks
1. Pass Your Light Around (Larry Beckett) - 2:29
2. My Dusty Darling - 2:20
3. Brooklyn Girl - 3:01
4. The Whiskey Moon (Larry Beckett) - 2:38
5. Showboat - 3:27
6. The Sun Is Like A Big Brass Band (Jerry Yester, Larry Beckett, Johan Sebastian Bach) - 2:08
7. Corn Cracker - 3:04
8. Dance For Me, Anna Lee - 2:56
9. With A Hickory Pole - 2:58
10.Seesaw - 2:57
11.The Minutes - 2:56
12.The Rose - 3:00
13.Across The Persian Gulf (Jerry Yester, Larry Beckett, Johan Sebastian Bach) - 2:11
14.All I Can Do Is Dance - 3:59
15.Hip Toad - 2:07
Compositions by Jerry Yester, Larry Beckett except where stated

Musicians
*Jerry Yester - Lead Vocals, Piano, Electric, Acoustic Guitar, Harmonium, Bass, Organ, Autoharp, Synthesizer
*David Vaught - Bass
*Don Heffington - Drums, Percussion
*John Seiter - Keyboards
*Peter Klimes - Electric, Acoustic Guitars
*John Forsha - Electric, 12 String Guitars
*John Tuttle - Violins
*Larry Brown - Guitar
*Laurel Massé - Vocals

Related Acts
1969  Judy Henske And Jerry Yester - Farewell Aldebaran 
1971  Rosebud - Rosebud (2017 remaster and expanded)
1965  Do You Believe In Magic (2016 Blu Spec Bonus Tracks Edition)
1966  Daydream  (2016 Blu Spec Bonus Tracks Edition)
1966  Hums Of The Lovin' Spoonful  (2016 Blu Spec Bonus Tracks Edition)
1966 The Lovin' Spoonful - What's Up, Tiger Lily (2008 japan remaster) 
1967-68  You're A Big Boy Now / Everything Playing (2011 edition and 2016 Blu Spec Bonus Tracks Edition)
1969  Revelation: Revolution '69
1968  Zalman Yanovsky - Alive And Well In Argentina (2010 remaster and expanded)

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The Seeds - Raw And Alive The Seeds In Concert At Merlin's Music Box (1967-68 us, superb punkadelic, 2014 double dsic remaster)

Sky Saxon and the Seeds were an aggregation who, at their peak, understood how to unleash the unbridled cathartic power of rock’n’roll in their live performances. Their swansong album “Raw & Alive: The Seeds In Concert” is a remarkable encapsulation of this gift. Its contents were not recorded “live” on location, although that had been the original intention and, apart from added crowd noise, there is no studio trickery or editing of the performances. The record really is the Seeds “raw” and it delivers the sense of chaotic excitement their audiences have long enthused about. It remains a fitting tribute to the power of the original Seeds quartet.

At the start of 1968, the Seeds needed help, especially after the disappointing reaction to their “Future” and “Seedy Blues” albums. They had fired voluble manager Lord Tim Hudson and were playing fewer and fewer dates, as Sky now preferred to hold stoned court at his Malibu crash pad. A long-playing record showcasing their strength as a live act was mooted. The original plan was to record in the studio in front of a small invited audience, but the dynamics of a true Seeds show were lacking and the results were scrapped. Disc 2 of our reissue contains this performance as it went down. It is a fascinating document, featuring different arrangements of some Seeds classics and a wholly unreleased song, ‘Hubbly Bubbly Love’.

The band tried again in April 1968, this time without an audience but in the same warts-and-all “live” mode. The selections were a combination of singles, classic album cuts and some new material including the spooky ‘Forest Outside Your Door’ and ‘Mumble And Jumble’. The experimental ‘Night Time Girl’ featured a prototype Vox guitar/organ combination, and the fuzz-tinged rocker ‘Satisfy You’ was a real return to form. Once completed, the tracks were overlaid with the sort of frenzied screaming that might have  been heard at the Seeds concerts a year before, but was now in increasingly short supply. Hearing the undubbed original renditions, as presented on Disc 1 for the first time, suggests this fake applause was probably unneccessary, such is the power of Sky, Daryl, Jan and Rick on these essential cuts.

The deluxe remastered reissue of “Raw & Alive: The Seeds In Concert” comes in a gatefold digipak that contains a fat booklet crammed with full details on the making of the album and dozens of photos of the Seeds in action during their heyday.

by Alec Palao

Tracks

Disc 1

1. Introduction By "Humble Harve" Miller/Mr. Farmer - 3:58

2. No Escape (Jimmy Lawrence, Jan Savage, Sky Saxon) - 2:27

3. Satisfy You (Sky Saxon, Jan Savage) - 2:04

4. Night Time Girl - 2:33

5. Up In Her Room - 9:56

6. Gypsy Plays His Drums (Sky Saxon, Daryl Hooper) - 4:35

7. Can't Seem To Make You Mine - 2:40

8. Mumble And Bumble (Sky Saxon, Daryl Hooper) - 2:27

9. Forest Outside Your Door (Sky Saxon, Daryl Hooper) - 2:41

10.Pushin' Too Hard - 2:53

11.Introduction By "Humble Harve"/Mr. Farmer - 4:07

12.No Escape (Jimmy Lawrence, Jan Savage, Sky Saxon) - 2:30

13.Satisfy You (Sky Saxon, Jan Savage) - 2:07

14.Night Time Girl - 2:31

15.Up In Her Room - 9:56

16.Gypsy Plays His Drums (Sky Saxon, Daryl Hooper) - 4:40

17.Can't Seem To Make You Mine - 2:38

18.Humble And Bumble (Sky Saxon, Daryl Hooper) - 2:30

19.Forest Outside Your Door (Sky Saxon, Daryl Hooper) - 2:42

20.900 Million People Daily All Making Love - 4:55

21.Pushin' Too Hard - 2:56

All songs by Sky Saxon except where noted

Disc 2
1. Introduction By Gene Norman - 2:51
2. Mumble And Bumble (Sky Saxon, Daryl Hooper) - 2:21
3. Gypsy Plays His Drums (New Mix) (Sky Saxon, Daryl Hooper) - 4:44
4. Mr Farmer - 4:01
5. No Escape (Jimmy Lawrence, Jan Savage, Sky Saxon)2:44
6. Satisfy You (Jan Savage, Sky Saxon) - 2:04
7. Can't Seem To Make You Mine - 2:52
8. Two Fingers Pointing On You - 3:17
9. 900 Million People Daily All Making Love - 8:56
10.Forest Outside Your Door (Sky Saxon, Daryl Hooper) - 3:26
11.Hubbly Bubbly Love - 2:15
12.Up In Her Room - 7:39
13.A Faded Picture (Sky Saxon, Daryl Hooper) - 6:50
14.Fallin' (Sky Saxon, Daryl Hooper) - 7:22
15.Pushin' Too Hard (New Mix) (2:49
16.Wdgy Spots - 0:55
All songs by Sky Saxon except where stated

1965-93 The Seeds - Pushin' Too Hard (2007 double CD compilation)
1966 The Seeds - The Seeds (2012 remaster and expanded
1966-67 The Seeds - Web Of Sound / A Full Spoon Of Seedy Blues (2013 double disc) 
1967 The Seeds - Future (Vinyl edition)
1967 The Seeds - Future (2013 double disc digipak)
1986  Sky "Sunlight" Saxon And Firewall - Destiny's Children

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Mountain - Climbing! (1970 us, impressive heavy rock with melodic sensibilities, 2013 blu spec edition)

In the early ‘70s, the transition of rock as a form of expression towards the mass market entertainment industry swept aside in its wake a large number of musical pioneers – pioneers such as Mountain, the missing link to heavy metal’s beginnings, among others. The rock behind the mountain is none other than Leslie West, one of history’s most influential guitarists who the gods have only looked down kindly upon the one time, when he was courting a certain queen from Mississippi. Having recently turned 71 (born in October 1945), his biography may not take up that much space in the encyclopaedias, but that great song can still often be heard on the radio. Maybe his mistake was arriving at the right place, but at the wrong time in the history of rock.  

Climbing! , Mountain’s debut album in 1970, was in fact the ex-guitarist of The Vagrants’ second record, with whom he had already made a name for himself - both for his imposing frame and his unusual technique. He recorded his first album, a sublime slice of blues, by himself – tracks which convinced record producer Felix Pappalardi that this giant of a man was the perfect candidate to take over from Cream, another of his creations. It wasn’t long before a contract with Atlantic Records was laid on the table to be signed.   

Back then, Clapton was god and West was set on sounding like him, exactly like him. This was going to be a dream come true for the 25-year-old New Yorker. To keep him company, Pappalardi had brought in Steve Knight on the keyboards and Laurence ‘Corky’ Laing on drums. Before he knew what had hit him, West found himself up on stage at Woodstock and about to become legend.  

He took full advantage of the opportunity handed to him and surprised all and sundry with a record that didn’t just follow in the stellar path of the legendary trio, but was much grittier. That said, Pappalardi ensured that a piece by Jack Bruce was on there, even though it wasn’t one of the composer’s best efforts. The one-hit-wonder that Mississippi Queen would prove to be aside, songs such as Never in My Life (very popular back then), with their heavy, hypnotic riffs, were the early signs of hard rock’s coming of age. On Side B, back when you had to turn a record over and that pause in the proceedings actually mattered (not like with today’s CDs and USBs), the psychedelic hues present were more along the lines of progressive rock. At times it’s quite impossible to not think of Rush.  

Apart from the elaborate and perfectionist work of West, also of note is the music played by Knight on the piano in Boys in the Band – almost the only chance that the keyboard player got to shine in an album ruled by West’s Gibson Les Paul Jr., a guitar that he is famous for, along with the Electra Plexiglass that he used to fool around with during his early concerts.  

However, the hidden gem that can be found in Climbing! is the acoustic beauty, To My Friend, and the only song that West wrote entirely on his own. A fine example of just how well this maestro of the six strings can play.

Guitars Exchange

Tracks
1. Mississippi Queen (Corky Laing, David Rea, Felix Pappalardi, Leslie West) - 2:32
2. Theme From An Imaginary Western (Jack Bruce, Pete Brown) - 5:08
3. Never In My Life (Corky Laing, Felix Pappalardi, Gail Collins, Leslie West) - 3:53
4. Silver Paper (Corky Laing, Felix Pappalardi, Gail Collins, George Gardos, Leslie West, Steve Knight) - 3:19
5. For Yasgur's Farm (Corky Laing, David Rea, Felix Pappalardi, Gail Collins, Gary Ship, George Gardos) - 3:23
6. To My Friend (Leslie West) - 3:38
7. The Laird (Felix Pappalardi, Gail Collins) - 4:39
8. Sittin' On A Rainbow (Corky Laing, Gail Collins, Leslie West) - 2:23
9. Boys In The Band (Felix Pappalardi, Gail Collins) - 3:43
10.For Yasgur's Farm (Live) (Corky Laing, David Rea, Felix Pappalardi, Gail Collins, Gary Ship, George Gardos) - 4:19
Bonus Track #10

Mountain
*Leslie West - Guitars, Vocals
*Felix Pappalardi - Bass Guitar, Piano, Rhythm Guitar, Vocals
*Corky Laing - Drums, Percussion
*Steve Knight - Organ, Mellotron

1974  Mountain - Twin Peaks (2005 digi pak)
Related Acts

1965-68  Vagrants - I Can't Make a Friend (2011 remaster)

1969  Kensington Market - Aardvark (2008 remaster)   
1969  Leslie West - Mountain (Japanese edition)

1972  West Bruce And Laing - Why Dontcha (2012 remaster) 

1973  West Bruce And Laing - Whatever Turns You On (2008 remaster)

1973  Back Door - 8th Street Nites

1976  The (Blues) Creation With Felix Pappalardi - Live At Budokan (rare double disc japan issue) 

1977-78  Laing • Hunter • Ronson • Pappalardi - The Secret Sessions (2011 Retro World)

1979  Felix Pappalardi - Don't Worry Ma (2004 edition)

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Prentice And Tuttle - Prentice And Tuttle (1971 us, acoustic bluesy folk, 2011 korean edition)

First record from this duo, recorded while they were still in high-school.  This two young Boston based folk duo released this strong rural inspired beautiful folk album. The album is nowhere near as well known as the slightly more produced "Every Loving Day", but it will appeal to the same people, and just may well be a better album. 

It’s a distinctive and well-written collection of 14 short songs, starkly arranged in the best tradition of 1962 Greenwich Village (they even cover a Fred Neil song) and with an old-timer kind of world-weary feel. Some pianos and acoustic 12-string guitars give the album some variety despite the simple arrangements. This is not “pretty” folk, but it is melodic nonetheless. It doesn’t get much more “real” than this album. Highly recommended to any fan of folk/loner folk.

Acid Archives

Tracks
1. Drink Away Your Blues - 2:25
2. Lisa - 3:25
3. Don`t Make Promises (Tim Hardin) - 2:40
4. Nothing To Say (Stephen Tuttle) - 3:14
5. Chase It Away (Steve Prentice) - 1:45
6. Hello Hobo - 2:28
7. Granny`s Bacon - 3:27
8. You Couldn`t Tell (Stephen Tuttle) - 3:09
9. Mr. Sandman - 2:32
10.Don`t Cry For Me (Stephen Tuttle) - 2:27
11.A Friend - 2:25
12.I Go Crazy - 1:59
13.Only Good Nights - 2:46
14.Don`t Go To Sleep Maria - 0:41
Music and Words by Stephen Tuttle, Steve Prentice excpet where stated

Musicians
*Stephen Tuttle - Vocals, Guitar, Harmonica
*Steve Prentice - Six, Twelve String Guitars, Harmonica, Vocals
*David Cain - Bass
*John Gerbron - Drums
*Andy Robinson - Piano

1972  Prentice And Tuttle ‎- Every Loving Day 

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The Amboy Dukes - Journey To The Center Of The Mind (1968 us, outstanding hard garage psych, 2018 japan remaster)

In early 1968 the Dukes went on to studio to record their second album "Journey to the Center of the Mind", it was released in April 1968, on the local "Mainstream" label. 

The title track, which Nugent wrote the music for Steve Farmer's lyrics, was released as a single and climbed the U.S. pop chart to number 16. Despite its apparent drug related theme, Nugent himself claims to have "never smoke a joint...never done a drug in my life. I thought 'Journey to the Center of the Mind' meant look inside yourself, use your head, and move forward in life".

This raw heavy acid psych gem was recorded amidst a whirlwind of lineup changes, many of them due to Nugent’s commandeering of the band and then firing everyone who, lyrics notwithstanding, struck him as a wee bit too pro-drug for real life. 

At this point in time, the Nugent was an ambitious but interesting guitar player who was excessively hairy and liked jumping on top of things (moving cars, battle of the band judge tables, speaker cabinets, etc.). After his raging tours and hits of the late 70s, he quickly turned into a conservative caricature with a remarkable talent for being simultaneously entertaining and vile. 

Tracks
1. Mississippi Murderer - 5:12
2. Surrender To Your Kings (Ted Nugent) - 2:53
3. Flight Of The Byrd (Ted Nugent) - 2:50
4. Scottish Tea (Ted Nugent) - 4:01
5. Dr. Slingshot - 3:09
6. Journey To The Center Of The Mind - 3:33
7. Ivory Castles (Steve Farmer) - 3:21
8. Why Is A Carrot More Orange Than An Orange (Steve Farmer) - 2:26
9. Missionary Mary (Steve Farmer) - 2:35
10.Death Is Life (Steve Farmer) - 2:09
11.Saint Philips Friend (Steve Farmer) - 3:33
12.I'll Prove I'm Right (Steve Farmer) - 1:39
13.Conclusion (Steve Farmer) - 1:59
14.You Talk Sunshine, I Breath Fire - 2:45
All somgs by Ted Nugent, Steve Farmer except where noted

The Amboy Dukes
*Ted Nugent – Lead Guitar
*Greg Arama – Bass
*John  Drake – Vocals
*Steve Farmer – Rhythm Guitar, Vocals
*Dave Palmer – Drums
*Andy Solomon – Organ, Piano, Vocals

1967  The Amboy Dukes (2007 bonus track remaster)
1969  The Amboy Dukes - Migration (korean remaster)

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Tony Joe White - Black And White (1969 us, remarkable swamp rock, 2012 japan remaster with extra tracks)

Tony Joe White grew up in rural Louisiana and was nicknamed “the Swamp Fox” due to his ability to write songs that conveyed the humidity, idiosyncrasies and tensions of the US south.

The best known of these was Rainy Night in Georgia, which gained global recognition not through his own version but via a cover in 1970 from Brook Benton, followed by a number of other popular interpretations over the years, by artists from Ray Charles to Randy Crawford and Rod Stewart.

In fact his swamp songs proved surprisingly universal, and were recorded by everyone from Elvis Presley and Tina Turner to Dusty Springfield and Rory Gallagher. When his career was flagging in the 1980s, Turner brought his song Steamy Windows to wider attention as a Top 20 hit in various countries, and also used three of his other compositions on her highly successful 1989 album, Foreign Affair.

White was born into a farming family, the seventh son of Virgie (nee Andrews) and Charlie White, in Oak Grove, a small town in north-eastern Louisiana, and he grew up harvesting cotton and corn. A keen interest in music, especially the blues his African-American neighbours played, found White, upon graduating from high school, playing Texan honky-tonks where he recalled “the beer bottles would get to flying”.

In 1967 he was working as a dump truck driver for the local authority in Marietta, Georgia, and while doing so heard Bobbie Gentry’s groundbreaking 1967 hit Ode to Billie Joe. This inspired him to write songs about southern life and one of the first was Polk Salad Annie, a wry rocker about “a girl that I swear to the world/ would make the alligators look tame”.

White guessed he had something and, in late 1967, drove to Nashville. There he parked up and walked into the first music publisher’s office he came across. They asked him what kind of music he made and he replied, “well, it’s kind of swampy”. Directed across the road to Combine Music, the publisher of Dolly Parton and Kris Kristofferson, its head, Bob Beckham, recognised in White a maverick talent. Beckham suggested that Monument Records, the label that had made Roy Orbison famous, should sign White – and they did.

While his 45s initially failed to chart in the US – although Soul Francisco was a hit in France – White was certain that Polk Salad Annie had potential, as southern audiences loved the song. For almost a year the single’s momentum built as local radio stations played it, but it took a major Los Angeles radio station to add it to their playlist for White to get his break – Polk Salad Annie reached No 8 on the US pop charts in July 1969, his only US Top 40 hit. Presley, recognising a kindred spirit, began performing it in concert. White capitalised by releasing his debut album, Black and White, in 1969.

by Garth Cartwright, Sun 28 Oct 2018  

When "Polk Salad Annie" blared from transistor radio speakers in the summer of 1969, the first thought was of Creedence Clearwater Revival, for Tony Joe White's swamp rock bore more than a passing resemblance to the sound John Fogerty whipped up on Bayou Country and Green River. But White was the real thing -- he really was from the bayou country of Louisiana, while Fogerty's bayou country was conjured up in Berkeley, CA. Plus, White had a mellow baritone voice that sounded like it had been dredged up from the bottom of the Delta. Besides "Annie," side one of this album includes several other White originals.

The best of these are "Willie and Laura Mae Jones," a song about race relations with an arrangement similar to "Ballad of Billie Joe," and "Soul Francisco," a short piece of funky fluff that had been a big hit in Europe in 1968. "Aspen, Colorado" presages the later "Rainy Night in Georgia," a White composition popularized by Brook Benton. The second side consists of covers of contemporary hits, with the funky "Who's Making Love" and "Scratch My Back" faring better than the slow stuff. Dusty Springfield had a minor hit with "Willie and Laura Mae Jones," and White's songs were recorded by other performers through the years, but "Polk Salad Annie" and the gators that got her granny provided his only march in the American hit parade. 

by Jim Newsom

Tony Joe White, singer and songwriter, born 23 July 1943; died 24 October 2018

Tracks
1. Willie And Laura Mae Jones - 4:57
2. Soul Francisco - 1:57
3. Aspen Colorado - 2:50
4. Whompt Out On You - 2:25
5. Don't Steal My Love - 3:52
6. Polk Salad Annie - 3:46
7. Who's Making Love (Homer Banks, Bettye Crutcher, Don Davis, Raymond Jackson) - 3:14
8. Scratch My Back (James Moore) - 3:03
9. Little Green Apples (Bobby Russell) - 4:01
10.Wichita Lineman (Jimmy Webb) - 2:53
11.Look Of Love (Burt Bacharach, Hal David) - 3:24
12.Georgia Pines (John Adkins, Buddy Blue) - 2:58
13.Ten More Miles To Louisiana - 2:23
All compositions by Tony Joe White except where noted

Musicians
*Tony Joe White – Vocals, Guitar, Harmonica
*David Briggs: Piano, Organ
*Jerry Carrigan – Drums
*Norbert Putnam – Bass
*Chip Young – Guitar
*Jimmy Isbell – Drums

1969  Tony Joe White - ...Continued (2012 japan remaster) 
1970  Tony Joe White - Tony Joe (2013 Japan remaster) 
1969-2004  Tony Joe White - Collected (2012 three discs release)

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The Glass Menagerie - Have You Forgotten Who We Are? The Anthology (1968-69 uk, a precious glimpse of beat psych rock, 2019 digi pak remaster)

When guitarist Alan Kendall (ex-Kris Ryan & The Questions) and bass player from Nelson John (Megs) Medley left the backing group of The Truth (singers Frank Aiello and Steve Gold, who had reached number 27 in the charts in 1966 with the Beatles song Girl) they teamed up in August 1967 with three ex - members of Burnley band The Raging Storms: Lou Stonebridge (from Bury), vocals, Keith O’Connell, organ, and Bill Atkinson, drums.

Inspired by the new wave of progressive/psychedelic rock, they were initially a covers band, playing material by Blood, Sweat and Tears, Leonard Cohen, The Doors, Traffic, Lovin’ Spoonful and Jefferson Airplane. They quickly developed into an excellent group with a strong following, and in 1968 they signed with the John Gunnell agency, gained a recording contract with Pye Records, and moved to London. Soon after, organist Keith O’Connell left to join Geno Washington and The Ram Jam Band, and Lou Stonebridge took over on organ as well as vocals.

In 1968, three singles, produced by John Schroeder, were recorded for Pye: She’s A Rainbow/That’s When I Start To Love Her, You Didn’t Have To Be So Nice/Let’s All Run To The Sun and Frederick Jordan/I Said Goodbye To Me.

Although these were all excellent singles and enjoyed decent radio airplay, they were not hits, despite Glass Menagerie building up a national following via gigs, broadcasts on John Peel’s popular Top Gear BBC radio show and regular appearances at venues like London’s Marquee club.

In 1969 the John Gunnell agency amalgamated with the Robert Stigwood Organization and Glass Menagerie signed with Polydor Records and producer Chas Chandler. Two singles were recorded in 1969 – Have You Forgotten Who You Are/Do You Ever Think and Do My Thing Myself/Watching The World Pass By – and also an LP, but the singles were not hits and the LP was not released.

At the end of 1969, disillusioned by lack of success, Alan Kendall and John Medley left the band, the latter to return to his home town of Nelson. Tony Dangerfield, ex–Screaming Lord Sutch, was recruited on bass, and the band continued as a three-piece. After a tour of Europe with John Mayall in early 1970, Glass Menagerie broke up.

Lou Stonebridge worked with Paladin, with whom he recorded two albums, Paladin (1971) and Charge! (1972). He then joined McGuinness Flint, recording with them Rainbow (1973) and C’est La Vie (1974). He later worked with The Blues Band, The Dance Band and the Dave Kelly Band, and as a writer, producer and session musician.

Alan Kendall joined Cliff Bennett’s group Toe Fat and appeared on the LP Toe Fat Two. In 1971 he replaced Vince Melouney in the Bee Gees, and with Blue Weaver and Dennis Bryon from Amen Corner he was part of the Bee Gees Band that recorded Saturday Night Fever and received a share of the group’s earnings for the album. He remained with the Bee Gees, on and off, until the death of Maurice Gibb in 2003.

Bill Atkinson joined Mogul Thrash, a jazz-rock band formed by ex-Colosseum guitarist James Litherland. Personnel included Roger Ball and Malcolm Duncan, later of The Average White Band, and bassist John Wetton, later of King Crimson, Roxy Music and UK. They recorded one album in 1971 and disbanded. Atkinson returned to Nelson and, with Glass Menagerie colleague John Medley, formed a heavy rock band called Thunderbird Sabden. He died in 1992.

by Geoffrey Wills

Tracks
1. She's A Rainbow (Keith Richards, Mick Jagger) - 2:20
2. That's When I Start To Love Her (Alan Kendall, Lou Stonebridge) - 1:52
3. You Didn't Have To Be So Nice (John Sebastian, Steve Boone) - 2:24
4. Let's All Run To The Sun (Alan Kendall, Lou Stonebridge) - 1:53
5. I Said Goodbye To Me (Harry Nilsson) - 3:29
6. Frederick Jordan (John Medley) - 3:14
7. Have You Forgotten Who You Are (Lou Stonebridge) - 3:47
8. Do You Ever Think (Alan Kendall, Bill Atkinson, John Medley, Lou Stonebridge) - 3:34
9. Do My Thing Myself (Lou Stonebridge) - 2:23
10.Watching The World Pass By (Lou Stonebridge) - 3:41
11.She's A Rainbow (Keith Richards, Mick Jagger) - 2:47
12.Somebody To Love (Darby Slick) - 2:49
13.Run Out Of Time (Lucky Peterson, Paul Butterfield) - 2:56
14.Love Me Two Times (Jim Morrison, John Densmore, Ray Manzarek, Robby Krieger) - 2:14
15.Dear Mr. Fantasy (Chris Wood, Jim Capaldi, Steve Winwood) - 5:31
16.I Said Goodbye To Me (Harry Nilsson) - 2:45
17.I Can't Quit Her (Al Kooper, Irwin Levine) - 2:30
18.Putting It Off Till Another Day - 2:43
19.Chequebook Girl - 2:38
20.Life Is Getting It Togethe - 5:58
21.She Came From Hell - 4:01
22.Have You Forgotten Who We Are? (Lou Stonebridge) - 5:08
23.Do You Ever Think (Alan Kendall, Bill Atkinson, John Medley, Lou Stonebridge) - 3:33

The Glass Menagerie
*Alan Kendall - Guitar
*Lou Stonebridge - Vocals, Organ (1968-69)
*Bill Atkinson - Drums
*Keith O’Connell - Organ (1968)
*John “Megs” Medley - Bass (1968-69)
*Tony Dangerfield - Bass (1970)

Related Acts
1970  Mogul Thrash - Mogul Thrash (2011 extra tracks reissue) 
1971  Paladin - Paladin (2007 remaster)
1972  Paladin - Charge! (2007 remaster)

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Chris Stainton Glen Turner - Tundra (1976 uk, awesome classic rock, 2014 remaster)

Tundra was the result of Chris Stainton's blossoming solo exploits that had followed in the wake of his association with legendary singer Joe Cocker. There was a hallowed preserve of Sheffield musicians who had cut their musical teeth in the late 1950s skiffle boom before relocating to London, some of which became more famously known as the Grease Band. The Grease Band backed Cocker on his debut outing Marjorine for Regal Zonophone in 1968 although it was actually the work of Cocker, Stainton and an assembled cast of session players including Jimmy Page, Albert Lee and Clem Cattini. Stainton's role within the band fast became pivotal to Cocker and they would both recruit a professional line-up which included another notable figure in Tommy Eyre who, with sufficient interest from RCA in 1971, eventually recorded an LP with Riff Raff and Vertigo's Juicy Lucy. 

Ironically, Stainton replaced Eyre on keyboards after the release of Cocker's debut LP vacating bass for new recruit Alan Spenner. Stainton and Spenner had also collaborated with Henry McCullough in Spooky Tooth in 1970 for their Last Puff LP. The Grease Band would go their own way after Joe Cocker established himself as a solo artist with A&M in 1970, although Stainton kept a close distance appearing in production credits. Meanwhile, Stainton was busily preparing and moving within the ranks of the Grease Band. Ex Bluesology guitarist Neil Hubbard and Henry McCullough (Eire Apparent) were enrolled into what, by 1972, would be the Chris Stainton Band, before a negative review of their appearance in Madison Square Garden prompted a call on Joe Cocker who re-joined to front the band. Sessions with Cocker back at the helm were promptly arranged resulting in A&M's release of Something To Say. The LP was a self-evaluating portrait of Cocker's uncompromising honesty with Stainton providing a reliable shoulder for support. 

Released in Cocker's name only, the album had it's detractors who commented on Cocker's voice giving way at times and it may have played a part in Stainton and Cocker's decision to finally part company, but Stainton was always looking to create something more fertile as he had done from the start with freakbeat hopefuls, Made In Sheffield back in 1967. Stainton immediately absorbed himself with session work and set about forming his new band with Jimmy McCulloch (One In A Million, Stone The Crows), future Motorhead bassist Mickey Feat (soon replaced by Glen Turner) and trusted ex-Herd member and session drummer Henry Spinetti. Spinetti's old friend Charlie Harrison would quickly replace the departing McCulloch who opted to join McCartney's Wings. Harrison had recently completed a stint with Coast Road Drive and had previously played alongside Spinetti in Judas Jump. With Turner now switching to guitar, the revised line-up set about writing and recording enough material for their LP which would eventually arrive in 1976 somewhat delayed! 

It was prompted by a lone single having appeared two years earlier on Decca's Goodear imprint featuring They Don't Know b/w Love Is All You Have To Do neither of which made it onto the LP. Rather notably, Tundra was issued in the USA as Glen Turner's Tundra. In the intervening years Stainton worked with old mates Alan Spenner and Neil Hubbard of the Grease Band for their forthcoming Amazing Grease LP and the trio's other outlet Charge with Smiley Dejonns of Afro-rockers Assagai. Meanwhile, Stainton and Turner's Tundra project was failing to attract sufficient interest and Stainton parted with the band favouring more session work. His departure from the band signalled Glen Turner's adoption of Tundra with Goodear issuing their last single on 5th September 1975. Stainton's session work was proving to be a promising move with inspiring artists such as The Who, Jim Capaldi and Bryn Haworth calling on his talents aside from more obscure acts such as Druick and Lorange (with Neil Hubbard), Chris Jagger and Boxer (Mike Patto).

Prog Temple's retrospective analysis of this band's brief, but valid existence emphasizes Chris Stainton's convictions and illustrates the missing links in a vital part of British rock music history. Names such as Joe Cocker, Jim Capaldi, Bryn Haworth, Mike Patto and The Who offers only a glimpse of the iconic wealth surrounding one man's career and a band that was clearly striving for something more than cheap rewards.

CD Liner Notes

Tracks
1. Say You Don't Want It (Glen Turner) - 6:06
2. Double Crossed (Glen Turner) - 3:42
3. Dancers Dilemma (Chris Stainton) - 1:52
4. Flat On The Ground (Glen Turner) - 5:06
5. I Want To Tell You (Charlie Harrison) - 4:42
6. Calling Of The Wind (Glen Turner) - 2:54
7. Get It Free (Chris Stainton, Glen Turner) - 4:36
8. Temperature Cold (Glen Turner) - 3:19
9. Dead Of Night (Glen Turner) - 2:49
10.What Else Can I Say? (Peter Cetera) - 5:42

Musicians
*Charlie Harrison - Bass, Vocals
*Henry Spinetti - Drums, Percussion
*Chris Stainton - Guitar, Keyboards,
*Glen Turner - Guitar, Vocals

Related Acts
1968  Joe Cocker - With A Little Help From My Friends (2015 SACD)
1970  Joe Cocker - Mad Dogs And Englishmen (2005 two disc set)
1970  Judas Jump - Scorch (2009 Retro issue)
1974  Coast Road Drive ‎- Delicious And Refreshing (2013 korean remaster) 

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The Paupers - Magic People (1967 canada, superb psych rock with west coast breeze, 2019 japan remaster)

In 1967 the great band from the North released their debut record. The Paupers, along with the Guess Who, were one of the first Canadian bands to capitalize on the British Invasion. They started releasing singles in 1965 with a lineup consisting of Denny Gerrard (Bass), Skip Prokop (Drums), Bill Marion (Guitars) and Chuck Beal (Guitars). Prokop and Marion handled all the songwriting chores on their first clutch of singles.

Their early sound was a classy mixture of roots music, blues and folk-rock (think early Byrds or Lovin’ Spoonful crossed with the Blues Project circa 1965). The band began rehearsing 14 hours a day, honing their setlist and evolving into one of the tightest bands around. They hit the hip Yorkville District of Canada, playing to packed out venues daily and in return this gained them immense popularity.

Rumor has it that the Paupers blew the mighty Jefferson Airplane off stage one night. In 1966/1967, Bill Marion exited the band for reasons unknown, prompting the Paupers to recruit Adam Mitchell. Mitchell (guitar and vocals) proved to be an excellent songwriting partner for Prokop, and at this point the band set out to create their debut lp.

Magic People has a good mid 60’s sound and is anchored by the band’s folk-rock leanings. There are a trio of good psychedelic sunshine pop fuzz rockers on the record. These songs, Magic People, It’s Your Mind and Think I Care, are highlighted by Prokop’s distinct drum patterns, special guitar effects, and great raga soloing. The only dud on the album is One Rainy Day, which is a jaunty good time Lovin’ Spoonful rocker. The remaining six songs are good to great folk-rockers, that recall the Byrds, Buffalo Springfield and the Beau Brummels.

The catchy You and Me feels like a throw back to a 1965 Byrds or Brummels folk-rock sound. Tudor Impressions is excellent, reflective, and abstract, including horns, sparkling accoustic guitars and a Beach Boys-like harmony pop ending. Black Thank You Package and My Love Hides From Your View have a great outsider feel. Black Thank You Package has a distinct, exciting intro and a catchy chorus while My Love Hides is an absolute haunting masterpiece of acid-folk.

Later on in the year the band would play at the seminal Monterey Pop Festival. Everything that could go wrong for them did. Band members took doses of acid that were way too strong and had equipment/sound check problems. Thus, it was the beginning of the end for the Paupers, a group of individuals who had began with so much promise. In 1968, beneath all the internal turmoil, the Paupers were able to squeeze one more lp out. Ellis Island is a little mini psychedelic gem and fans are strongly urged to check this great album out as well.

by Jason Nardelli

Tracks

1. Magic People - 2:45
2. It's Your Mind - 5:21
3. Black Thank You Package - 3:12
4. Let Me Be - 3:10
5. Think I Care - 3:56
6. One Rainy Day - 2:15
7. Tudor Impressions - 4:15
8. Simple Deed - 2:47
9. My Love Hides Your View - 3:18
10.You And Me - 2:39

All songs by Adam Mitchell, Skip Prokop.

The Paupers

*Dennis Gerrard - Bass

*Skip Prokop - Drums, Bass Guitar

*Adam Mitchell - Rhythm Guitar, Drums

*Chuck Beal - Lead Guitar

1968  The Paupers · Ellis Island  (2008 remaster)
Related Acts
1969  Lighthouse (2012 extra tracks edition)
1969  Lighthouse - Suite Feeling (2010 Korean remaster)
1970  Peacing It All Together (2010 korean remaster)
1971  One Fine Morning (2012 Blu-Spec)
1971  Thoughts Of Movin' On (2016 edition)
1972  Sunny Days (2008 RDI issue)
1973  Can You Feel It?  (2008 RDI issue)
1976  Lighthouse - Good Day (2016 remaster)
1969  The Live Adventures Of Mike Bloomfield And Al Kooper
1969  Michael Bloomfield with Nick Gravenites And Friends - Live At Bill Graham's Fillmore West (2009 remaster and expanded) 

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Badger - White Lady (1975 uk, fabulous soulful art rock, 2015 remaster)

By 1974, Badger was reduced to Kaye and Dyke, who reconstructed the group along somewhat different lines with the addition of Paul Pilnick, late of Stealers Wheel, on lead guitar, Kim Gardner (of Ashton, Gardner and Dyke) on bass, and ex-Apple alumnus Jackie Lomax on vocals. In essence, it became Lomax's group, and he pushed the band away from progressive rock and into soul in a serious way; Badger's second album, White Lady, was made up entirely of songs co-authored by Lomax, and produced in New Orleans at Allen Toussaint's studio. The change in direction would have been difficult enough to pull off under the best of conditions, but stability wasn't one of Badger's long suits at this date -- the group had split up before White Lady was even issued, leaving bewildered fans of both the old sound and new to ponder what had just happened.

Pilnick later returned to the orbit of Stealers Wheel's Joe Egan and Parrish went on to cut a solo album, while Lomax signed with Capitol for two solo albums and Dyke passed through bands behind Pat Travers and jazz veteran Chris Barber. Tony Kaye was a member of Detective and later passed through a re-formed version of Badfinger before re-emerging with Yes in the 1980s, and even got to sing a little on the Union album. Finally, a quarter century after it was recorded.

by Bruce Eder

Tracks
1. A Dream Of You - 4:15
2. Everybody - Nobody - 3:17
3. Listen To Me - 4:56
4. Don't Pull The Trigger - 4:02
5. Just The Way It Goes - 4:45
6. White Lady - 4:47
7. Be With You - 3:37
8. Lord Who Give Me Life - 3:04
9. One More Dream To Hold - 4:01
10.The Hole Thing - 6:09
Music by Jackie Lomax, Lyrics by Robert Ashley

Badger
*Jackie Lomax - Vocals, Rhythm Guitar
*Paul Pilnick - Lead Guitar
*Tony Kaye - Keyboards, Mellotron, Moog
*Kim Gardner - Bass
*Roy Dyke - Drums
With
*Bryn Haworth - Slide Guitar
*Barry Bailey - Slide Guitar
*Jeff Beck - Lead Guitar
*Allen Toussaint - Piano, Organ, Congas, Vocals, Horn Arrangements
*Carl Blouin - Baritone Saxophone, Flute
*Alvin Thomas - Tenor Saxophone
*Lester Caliste - Trumpet
*John Lango - Trombone
*Mercedes Davis -Backing Vocals
*Joan Harmon - Backing Vocals
*Teresipa Henry - Backing Vocals
*Bobby Montgomery - Backing Vocals
*Jessie Smith - Backing Vocals

Related Acts
1969  Jackie Lomax - Is This What You Want? (2010 extra tracks reissue) 
1969  Ashton Gardner And Dyke - Ashton Gardner And Dyke 
1970  Ashton, Gardner And Dyke - The Worst Of 
1971  Ashton, Gardner and Dyke - Let It Roll / Live
1972  Ashton Gardner Dyke And Co - What A Bloody Long Day It's Been 

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Byzantium - Seasons Changing (1973 uk, elegant silky prog rock, 2013 edition)

Originally issued in 1973, "Seasons Changing" was their third and final album release, and found them blending concise pop-rock songs and ballads with a lengthy three-part suite. Dreamy and atmospheric, and featuring some notable early use of synthesizer as well as guest appearances from BJ Cole on pedal steel, and Frank Ricotti on percussion.

Tracks
1. What A Coincidence (Robin Lamble) - 3:55
2. My Season's Changing With The Sun (Mick Barakan) - 2:37
3. Show Me The Way (Chas Jankel) - 4:03
4. I'll Always Be Your Friend (Chas Jankel) - 4:08
5. October Andy (Mick Barakan) - 5:22
6. Something You Said (A Trilogy)  (Jamie Rubinstein) - 20:42
.a.Something You Said
.b.I Can See You
.c.Mornin

Byzantium
*Robin Lamble - Bass, Guitar, Vocals
*Jamie Rubinstein - Guitar, Vocals
*Mick Barakan - Acoustic, Electric Guitar, Vocals
*Chas Jankel - Guitar
*Stevie Corduner - Drums, Shaker, Maracas
With
*Frank Ricotti - Congas, Cabasa
*B.J. Cole - Pedal Steel Guitar
*David Hentschel - Synthesizer
*Robin Sylvester - Synthesizer

1972  Byzantium - Byzantium (2013 reissue) 
1972  Byzantium - Live And Studio
Related Act
1969  Ora - Ora (2016 double disc edition)

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