Tim Rose - Tim Rose / Through Rose Coloured Glasses (1967/1969 us, folk rock, with blues and psych feeling)

Quite coincidentaly, Tim Rose has re-emerged strongly in Britain in the mid-1990s, after an viapparent absence of around twenty years, and a new album has been released on a British independent label, while there has also been talk of Nick Cave (a very fashionable name with the ultra-hip writers of NME and Q), producing a new Tim Rose album which would be released by Creation Records, making him a label-mate of Oasis. Clearly, there is something about Tim Rose, and it is probably largely to do with the two albums which are now combined in this package.

In particular, the earlier 'Tim Rose' album included what are – perhaps unjustly, as he is certainly a songwriter of some merit - his three 'Greatest Hits', 'Hey Joe, 'Morning Dew and 'Come Away, Melinda', all of which he didn't write and all of which are on this album, making it a powerful piece of work.

All three songs credit Rose as arranger rather than writer, but there is no shame in this, as Rose's versions of these three songs are still highly rated today, 30 years later, which is why his already mentioned new album includes newly recorded live versions of all three.

Tim Rose was born in Washington in 1940 and raised in Virginia. As a teenager, he apparently displayed rebellious tendencies - attending a seminary, where he was training to become a priest, he was expelled for smoking.

In New York's Greenwich Village in the early Sixties, he worked with several of the musicians who would later form two of the earliest (and best) folk/rock groups, The Mamas & The Papas and The Lovin' Spoonful, and supposedly joined a group called variously The Smoothies or The Thorns, which is said to have also included singer/songwriter Jake Holmes, although the very little information about this group that has recently been available (not to mention the highly contrasting group names) suggests that this was conceivably little more than an amusing pastime.

He served in the U.S.Air Force as a navigator, and when he left the service, relocated in Washington, where he met, and started performing with, 'Mama' Cass Elliott.

This duo metamorphosed into The Big Three with the addition of James Hendricks (emphatically not Jimi Hendrix - wrong colour), who married Cass Elliott (reportedly to avoid being drafted for military service). This group did some recording (several singles and two IPs), but no-one was too interested until Elliott became a star a couple of years later, when the group were billed on records as The Big 3 featuring Mama Cass Elliott' - you can get a 21 track CD today.

Rose left the group in 1964, in search of a solo career, and, according to some sources, because he was moving away from folk/rock into bluesier material.

Just to complete the circle, Elliott and Hendricks then joined Denny Doherty and Zal Yanovsky (who had worked together in a Canadian folk group, The Halifax Three), and the resulting quartet became The Mugwumps, who were joined by John Sebastian.

When The Mugwumps fell apart, Sebastian and Yanovsky formed The Lovin' Spoonful, while Elliott and Doherty teamed up with John & Michelle Phillips as The Mamas & The Papas. James Hendricks later made an under-rated solo album for SOL City, the label launched by Johnny Rivers, but never achieved great fame.

But Tim Rose carried on, and there is a suggestion that he was in a group with Jake Holmes (was it the same one as the group before The Big 3, or was there not a group before The Big 3? Confusing hardly describes the issue...).

And while we're at it, there's another suggestion that Rose had worked as the lead guitarist of The Journeymen, the group whic" included John Phillips (before The Mamas & The Papas) and Scott McKenzie (whose 1967 hit single, 'San Francisco (Wear Flowers In Your HalrJ is widely felt to be the anthem of the so called 'Summer Of Love' - the song was written by John Phillips).

Maybe Rose did, and maybe he was also offered the chance to join the New Christy Minstrels (from which another star of the time, Barry 'Eve Of Destruction1 McGuire, had graduated), and turned it down.

Anyway, he was working both solo and as part of a group in Greenwich Village, and was appearing at a club called The Night Owl' (which was where The Lovin' Spoonful spent their scuffling days? when he was spotted by Columbia Records producer David Rubinson.

Rubinson was impressed, and signed him to the label, but a debut single (apparently recorded in Nashville and produced by Bob Johnston, who was also working with Bob Dylan around this time flopped.

At this point, Rubinson himself assumed the production role, and Rose's second single was his version of 'Hey Joe, which was also recorded in 1966 by Love, The Byrds and Jimi Hendrix, whose career was effectively launched by his version.

There are some who maintain that Hendrix adapted Tim Rose's version, but another distinct possibility is that Hendrix heard the song played by Love, whose leader, Arthur Lee, had known Hendrix some years before.

Love conceivably heard the version by The Byrds, as Bryan Maclean had worked as a roadie for The Byrds before joining Love.

The precise origin of the song is not too relevant, as all four versions have their devotees... Rose's wasn't a hit - in fact, the US hit with the song was by The Leaves, at least one of whom later joined The Turtles; you may be tested on all this later, so please pay attention! - but the Rose version was apparently successfully regionally.

Hey Joe was included on the 'Tim Pose' IP, released in 1967, whose sleeve picture portrayed Rose (according to the sleeve note of a US reissue of the album) as "wearing a black T-shirt with his thumbs in his belt, his thin cigar at an angle that would reduce a chip on his shoulder to redundancy". A pint of what he's drinking, landlord, if you please...

The album also included five Rose originals, a cover version of the 1964 Gene Pitney hit, 'I'm Gonna Be Strong', and his supercharged version of Bonnie Dobson's 'Morning Dew'(on which he claims co-writing credit, almost certainly because his re-arrangement of the song was a huge airplay hit – whiie Bonnie Dobson will not deny that Rose's version increased her income, she maintains that if anyone deserves a co-writing credit for the new arrangement, it should be another erstwhile New York folksinger, Fred Neil, who also wrote 'Everybody's Talkin", a huge hit for Harry Nilsson).

However, this is not the place to debate the opposing claims of Bonnie Dobson and Tim Rose - a measure of the power of Rose's version is that the sleeve notes on the first Jeff Beck Group LP, 'Truth' (with a then little-known Rod Stewart as vocalist), acknowledges Rose's version as the one which inspired them to record their splendid version of 'Morning Dew".

This was probably the closest Rose has come to a hit single so far, and it was played by the then "pirate" disc jockeys (notably John Peel) to British audiences who were equally enthusiastic, although not quite enough to propel it into the chart.

Another powerful song on the LP was 'Come Away Melinda', an anti-war song co-written by Fred Hellerman (ex-The Weavers), which had first notably appeared on the extraordinary 1964 LP, 'Judy Collins #3, the sleeve of which is unforgettable.

Rose, who was probably most potent as a live performer, made it his own (so to speak) in the same way as 'Hey Joe and 'Morning Dew. Among the musicians backing Rose on the LP were Felix Pappalardi (bass player of Mountain and producer of Cream, who was shot dead, apparently by his wife, in 1983), and guitarists Hugh McCracken and Jay Berliner.

This was a hot album, but somehow it failed to chart. Rose came to the UK and was apparently backed by The Aynsley Dunbar Retaliation (one of the more bizarre group names of the time) and not only played the Savile Theatre (probably with Brian Epstein as his promoter), UFO (the ultra-trendy club where up-and-coming groups like Pink Floyd played), and Muso hangout The Speakeasy, but even appeared on Top Of The Pops'.

In 1968, he toured here for three months fronting a trio which included Led Zep drummer John Bonham. He released a couple more singles, and the story was that George Harrison was interested in producing him, as was Denny Cordell, but contractual obligations prevented both potential liaisons.

Another rumour had Rose strongly considered as the replacement for Brian Jones in the Rolling Stones, a job which eventually went to Mick Taylor.

The problem - his declining fortunes back in the US - has been interpreted as directly due to the long and frequent periods he spent in Europe.

In 1969, he released a second LP for CBS, 'Through Rose Colored Glasses' (sic), which was produced by Jack Tracy (not a familiar name) and apparently recorded in New York.

This is the latter half of this reissue, and, being perfectly frank, it is difficult to find anything much to say about it, as no musician's credits appeared, and the album was largely ignored on both sides of the Atlantic.

Maybe he should have recorded it in the UK with Beatle George and his chums, but he didn't - perhaps the main shortcoming of the second album was that it inevitably lacked the exciting freshness of the eponymous LP, and the four cover versions were less inspired choices, including a song written by The Bee Gees (who were still at the cutting edge of their first wave of popularity, and not yet dabbling in disco).

After this LP, he moved to Capitol Records, for whom his first single was a cover of 'I've Gotta Get A Message To You (also by the Brothers Gibb), so it was no gimmick to record their songs.

The Capitol LP was 'Love, A Kind Of Hate Story, which was produced by Shel Talmy (who had produced the first hits by both The Kinks and The Who), but it too was largely ignored and seems to confirm that there is some truth in the adage about only being as good as the last thing you did.

However, Rose didn't starve, as he was also a charter pilot - he is said to be passionate about flying - and a successful 'voice' for TV advertisements, some of which he also wrote, sang and produced. If more musicians developed a second string to their bow...

He recorded another LP in 1972. Again titled simply 'Tim Rose', it featured musicians like Mick Jones (later of Foreigner) and Gary Wright, who also produced it.

It was apparently the first album released by Playboy Records (connected with 'Playboy' magazine), and suffered from the teething troubles which affect any new label. It was released in the UK in 74 on Pye's "progressive" label, Dawn, after Pye had negotiated a licensing deal with Playboy.

Reviews were good, but the album didn't chart. Rose also undertook an unlikely UK tour sharing the billing with Tim Hardin, whom he reportedly blew offstage most nights - Hardin became a fatal casualty of the music industry lifestyle, Rose is still here. Rose made his next LP in 1975, 'The Musician', released on Atlantic, recorded at Rockfield and backed by noted musicians like Andy Summers (later guitarist of The Police), pedal steel virtuoso B.J.Cole (who, quite coincidentally, plays on Sting's recent album), keyboard star Tommy Eyre (of Joe Cocker fame), drummer Dave Charles of Help Yourself, etc.

Guess what? The album stiffed. There may have been occasional records between 1974 and the Nineties, when Rose's back catalogue started appearing on CD, but really nothing to speak of until this year, when a London independent label released 'Haunted1, the "new" album, which includes live recordings from this summer's Royal Albert Hall shows when Rose was Nick Cave's support act.

It seems likely that this will not be the end of the Tim Rose story, but until something else happens, BGO is pleased to present his first two albums on CD - the 'Tim Rose' album apparently appeared briefly on CD in 1994, but is long gone, and 'Through Rose-Colored Glasses' has never, to our knowledge, been previously digitalised. He still performs some of these songs today.
John Tobler, 1997

Tracks
1967 Tim Rose
1. I Got a Loneliness (Rose) - 2:16
2. I'm Gonna Be Strong (Mann, Weil) - 2:05
3. I Gotta Do Things My Way (Hussan, Rose) - 2:19
4. Fare Thee Well (Rose) - 2:54
5. Eat, Drink and Be Merry (ForTomorrow You'll Cry) (Furguson) - 4:13
6. Hey Joe (You Shot Your Woman Down) - 3:01
7. Morning Dew (Dobson, Rose) - 3:43
8. Where Was I? (Martin) - 2:35
9. You're Slipping Away from Me (Rose) - 3:15
10.Long Time Man (Rose) - 5:04
11.Come Away Melinda (Hellerman, Minkoff) - 3:38
12.King Lonely the Blue (Andriani, Pomme) - 2:10

1969 Through Rose Colored Glasses
13.The Days Back When (Rose) - 2:54
14.Roanoke (Rose) - 2:17
15.Hello Sunshine (Rose) - 1:56
16.When I Was a Young Man (Rose) - 2:01
17.What'cha Gonna Do (Rose) - 2:36
18.Maman (Charnin, Thomas) - 5:29
19.Let There Be Love (Gibb) - 3:27
20.Baby Do You Turn Me On? (Rose) - 3:06
21.Apple Truck Swamper (Henderson) - 1:49
22.Angela (Rose) - 2:57
23.You'd Laugh (Becaud) - 3:31
24.You Ain't My Girl No More (Rose) - 2:42

Musicians
1967 Tim Rose
Tim Rose - Vocals, Guitar
David Rubinson - Producer
Richard Hussan - Bass
Jay Berliner - Guitar
Bernard Purdie - Drums
Hugh Mccracken - Guitar
Art Butler - Keyboards
Felix Pappalardi - Bass
Jim Fischoff - Percussion
Charlie Smalls, Patti Brown - Piano
Chuck Rainey - Bass
David & Deanna Lucas - Backing Vocals

1969 Through Rose Colored Glasses
Tim Rose - Vocals, Guitar, Bass
Various studio musicians chosen by the producer provided the additional accompaniment. No information is available as to who they were.

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Maximillian - Maximillian (1969 us, rough heavy psych, blues rock, digi pack akarma edition)

"And it came to pass in the year 1969 that Golgotha music was one of the few surviving vestiges of truth. Its prophets of love and truth such as B.B. King, Bob Dylan, Donovan, Aretha Franklin, Arlo Guthrie, Joan Baez and others, sang the psalms of the time.

The crucifixion of the social heroes of the day, such as Dr. Mar Luther King Jr. Preside John F. Kennedy, Malcolm X, and Senator Robert F. Kennedy, had made even bigger demands on the importance and value of music, thus creating new prophets of lone and truth. Behold: Maximillian!"

Maximillian was formed by three New York based musicians who adopted much of the Hendrix style and line-up (bass, guitar, drums) releasing this sole album in 1969. Led by guitarsit Mojack Maximillian and produced by songwriter Teddy Vann, they deliver a soul bluesy infected psych-rock, full of fuzz and wah-wah distorsions and effects. The LP has meanwhile become extremely rare, whicl this CD has been properly remastered and elegantly digi-packaged.

Tracks
1. Naked Ape - 3:47
2. Kickin' 9 to 5 - 4:30
3. Scar on My Memory - 3:36
4. Road Rat - 2:58
5. Little Amazon - 5:15
6. Name of the Game - 3:51
7. New Lover - 4:18
8. Moby's House - 2:21

Maximillian
*Buddy Bowzer - Vocals, Sax
*Mojack Maximillian - Lead Guitar
*Moby Maximillian (Aka Joseph Moby Medina) - Bass
Supporting Musicians
*Jerry Nolan - Drums

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Blodwyn Pig - Ahead Rings Out (1969 uk, awesome blues rock, 2006 remaster and expanded edition)

None of Jethro Tull's progressive rock tendencies or classical influences followed Mick Abrahams into his creation of Blodwyn Pig, even with the inclusion Jack Lancaster's sax- and flute-playing prowess. Instead, Abrahams built up a sturdy British blues-rock sound and used Lancaster's horn work to add some fire to the band's jazzy repertoire.

Ahead Rings Out is a stellar concoction of gritty yet flamboyant blues-rock tunes and open-ended jazz centered around Mick Abrahams' cool-handed guitar playing, but it's the nonstop infusion of the other styles that makes the album such a solid listen. After only one album with Jethro Tull, Abrahams left to form this band, and it's evident that he had a lot of pent-up energy inside him when he recorded each of the album's tracks.

With a barrage of electrifying rhythms and fleeting saxophone and woodwind excursions, cuts like "Sing Me a Song That I Know," "Up and Coming," whip up highly energetic sprees of rock and blues.

Most of the tracks have a hearty shot of rock up the middle, but in cuts like "The Change Song"  the explosive riffs are accompanied by a big band style of enthusiasm, adding even more depth to the material. Andy Pyle's bass playing is definitely distinct throughout each track and is used for anything but a steady background, while labeling Ron Berg's drumming as freewheeling and intemperate would be an understatement. It's apparent that Blodwyn Pig's style is indeed distinct, releasing a liberated and devil-may-care intensity while still managing to stay on track, but the fact that each cut convokes a different type of instrumental spiritedness is where the album really gains its reputation.

Wonderfully busy and even a tad motley in some places, Ahead Rings Out shows off the power and vitality that can be channeled by combining a number of classic styles without sounding pretentious or overly inflated. A year later, Blodwyn Pig recorded Getting to This before Abrahams left the band, and although it's a solid effort, it falls just a smidgen short of Ahead Rings Out's bluesy dynamism.
by Mike DeGagne

Tracks
1. It's Only Love - 3:23
2. Dear Jill - 5:19
3. Sing Me a Song That I Know - 3:08
4. The Modern Alchemist (Jack Lancaster) - 5:38
5. Up and Coming (Abrahams, Lancster, Andy Pyle, Ron Berg) - 5:31
6. Leave It With Me (Lancaster) - 3:52
7. The Change Song - 3:45
8. See My Way (Abrahams, Lancaster, Pyle, Berg) - 5:53
9. Ain't Ya Coming' Home, Babe? (Abrahams, Lancaster, Pyle) - 6:04
10.Sweet Caroline - 2:51
11.Walk on the Water - 3:42
12.Summer Day (Abrahams, Pyle) - 3:44
13.Same Old Story - 2:36
14.Slow Down (Larry Williams) - 4:20
15.Meanie Mornay - 4:45
16.Backwash - 0:53
All songs by Mick Abrahams, except where indicated.

Blodwyn Pig
*Mick Abrahams - Guitar, Vocals, Seven-String Slide Guitar
*Jack Lancaster - Flute, Violin, Tenor Sax, Baritone Sax, Soprano Sax, Brass Arrangements
*Andy Pyle - Electric Bass, Six-String Bass
*Ron Berg - Drums

1971   Mick Abrahams
2004  Blodwyn Pig - Pigthology

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KGB - KGB (1976 us/uk, supergroup, blues rock with funky soul vibes, 2005 remaster edition)

KGB were the supergroup of the supergroups, the creme de la creme, a mid seventies collective featuring of the most impeccable musicians in the UK and USA, they created a controversy, a mystique and a collectability that has endured and grown for almost 30 years. Even today, rumours persist that Grech's old mucker Stevie Winwood contributed anonymously to the recordings although no one has ever confirmed this. Released here for the first time on CD. Complete with the original sleeve artwork, it makes for fascinating listening, particularly since it reveals Bloomfield as a team player, one member of an allband effort. This may well have been dictated by his growing discomfort with celebrity. Given his gift for the guitar, he would ve been forgiven for running riot all over the album, but he doesn't. What he does do is tasteful and awe-inspiring.

On the opening track. "Let Me Love You", a Ray Kennedy co-wnte. his playing wheels and soars around the solid, funky structures, and there is no guitar solo. Nor is there one in the laid-back, pianolaced blues of Paul Rosenberg's "Midnight Traveler". Already, Kennedy's singing has stamped its character on the KGB. His is a soulful, blues-rock voice, confident and flexible enough to carry any song on its own. Sometimes he's joined by a group of female backing singers who are there to help build atmosphere and drama, or to add a gospel flavour where necessary.

Three tracks in, things get seriously strange with a cover of The Beatles' "Let It Be" track. "I've Got A Feeling". Bloomfield's piercing and eccentric guitar work in the intro continues throughout the song, an intricate and slightly mad arrangement of changing tempos and moods and vocal theatrics. It shouldn't really fit together as compellingly as it does. By contrast, "High Roller", written by Daniel Moore, is a gently rolling ballad with Bloomfield's guitar lines curling round the edges of the melody, while "Sail On Sailor" revels in its anthemic punchline and a full-blown orchestral outburst.

"Workin' For The Children", a reggae number cowritten by Bloomfield and Goldberg, fades out with a guitar solo, as does Kennedy's "You've Got The Notion". Here, a delicate, frosty opening gives way to an amiable swing that incorporates a steel guitar and some vivacious piano flashes. The guitar playing is barely noticeable on "Baby Should I Stay Or Go", another Bloomfield/Goldberg composition. Essentially, this is a vocal and piano epic, a spectacularly angst-ridden ballad. Funking things up again, "It's Gonna Be A Hard Night", written by Goldberg and Will Jennings, sees
Bloomfield playing along in the general, dancey melee, only taking the limelight towards the end with some trademark high-flying licks. "Magic In Your Touch", another Kennedy song, closes the album in shades of midnight blue, a moody, melodic, string-laden love song with a big slow burn to the climax.

Both Bloomfield and Grech left KGB after the album's release, and the group recorded another LP, "Motion", with replacement musicians before disbanding. Bloomfield carried on through the 70s with a series of under-achieving blues albums and film soundtracks while his health declined, allegedly due to drug abuse. In November 1980.

Bloomfield joined Bob Dylan onstage in San Francisco for a popular rendition of "Like A Rolling Stone", a song they had recorded together for "Highway 61 Revisited". Three months later, on February 15. 1981, Bloomfield, still in San Francisco, was found dead from a drug overdose. He was buried in LA- ironically, a city he disliked - and Goldberg gave the eulogy at the request of Bloomfield's family. Goldberg later declared: "I say a memorial prayer when the anniversary of his passing comes up. Not a day goes by when I don't think about him. He's still very much alive inside of me."
by Carol Clerk

Tracks
1. Let Me Love You (R.Kennedy, J. Conrad) - 3:22
2. Midnight Traveler (Paul Rosenberg) - 5:10
3. I’ve Got A Feeling (John Lennon, Paul McCartney) - 4:03
4. High Roller (Daniel Moore) - 3:40
5. Sail On Sailor (B. Wilson, R. Kennedy) - 3:14
6. Workin’ For The Children (B. Goldberg, M. Bloomfield) - 3:20
7. You Got The Notion (R.Kennedy) - 3:34
8. Baby Should I Stay Or Go (B. Goldberg, M. Bloomfield) - 5:05
9. It’s Gonna Be A Hard Night (B. Goldberg, Will Jennings) - 2:49
10.Magic In Your Touch (R.Kennedy) - 4:45

KGB
*Michael Bloomfield - Guitar
*Ray Kennedy - Sax, Vocals
*Barry Goldberg - Keyboards
*Rick Grech - Bass
*Carmine Appice - Drums

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Michael Bloomfield - Live at the Old Waldorf (1976-77 us, superb electric and acoustic blues rock, with Nick Gravenites and other great Musicians)

Michael Bloomfield's legend continues to grow out off the memories of those people who heard him perform live in the Sixties with the Butterfield Band, at Newport with Bob Dylan, and later with his own band – The Electric Flag. But when we share these memories with others and they go out and listen to his recordings, they seem to have a hard time understanding why we thought he was so great what all the excitement is about.

Somehow there was always a gap between what Michael was purported to be, and what material found its way to records. There are undoubtedly great moments of raw energy in his performances on the first Paul Butterfield Blues Band album and unique and striking arrangements on the first Electric Flag album, but even with the Flag he often laid back deferring to the big horn band concept, content to punctuate the arrangements with carefully placed "stings" and concise solos. Someho' we never got to hear him play the guitar like we had heard him perform live. Until now.

This recording captures Bloomfield's playing in a way that lays bare his genius and stands alone when compared to what has been available of his recorded work. These performances were recorded over a six month period from December 1976 through May 1977 in San Francisco, mostly at the Old Waldorf nightclub* where "Michael Bloomfield and Friends" was a regular attraction almost every weekend. Michael was in his own element here—his hometown, his close friends, and his fans. There were no expectations, it was a loose, friendly atmosphere with no pressure. So Michael and I thought it might be interesting to record everything and see what we would get.

To that end, Michael enlisted the best musicians he could think of to play with him, and more importantly a group of musicians who shared the same love of the same music with him, and had worked extensively with him in the past. On rhythm guitar and frequent lead vocals was Nick Gravenites, who was one of the key vocalists in The Electric Flag, a highly original songwriter who wrote for and performed with Paul Butterfield, Janis Joplin, and many others—an absolute legend and original in his own right.

On piano, Mark Naftalin, who came out of the original Butterfield Band with Michael, and is arguably one of the best blues pianists alive. On Fender electric bass and sharing the lead vocals, Roger "Jelly Roll" ITroy, who was a great blues singer, had played bas with many legendary rhythm n1 blues artists, and was widely admired as a "musician's musician." On drums and some lead vocals, Bob Jones, a talented drummer who drove the band like a runaway train and whose voice and Michael's guitar become at times, on this record, like one stunning unrecognizable new sound that is neither wholly Ivoice or guitar, but something new that is both.

Sitting in occasionally was Barry Goldberg, from Bob Dylan's first electric band at Newport on organ, Mark Adams, a bay-area harmonica player in the tradition of Butterfield, and George Rains, a local drummer of impeccable taste and sensitivity. These musicians were the perfect band to showcase Michael's extraordinary and absolutely original guitar playing. They always played under the name "Michael Bloomfield and Friends." Sometimes they were great, sometimes they were sloppy, and once in a while they were hair-raisingly unreal.

Those transcendent moments are the basis for Michael's legend, and for his reputation as a complete original. Those moments are what is captured on this recording. I listened to the accumulated output of this band in those magical six months and selected the best of what they did-those moments where it all jelled and they rose to an extraordinary level of musical synergy. I believe these performances reveal, finally, what Michael Bloomfield could really do with the guitar.

Live At the Old Waldorf is a gift, not only for his fans and all those who appreciate great guitar playing, but also for all those who have heard his legend and want to know what it was really all about. In my view, the uncovering of this material will lay to rest any doubts anyone ever had about Michael's authentic place in the history of American music. I am grateful to have had the privilege of recording and producing this album, and I am happy to have this opportunity to share these historic performances.
by Norman Dayron

Track List
1. Blues Medley: Sweet Little Angel/Jelly Jelly - 7:45
2. Feel So Bad - 4:26
3. Bad Luck Baby - 5:52
4. The Sky Is Cryin' - 5:53
5. Dancin' Fool - 3:49
6. Buried Alive in the Blues - 4:55
7. Farther up the Road - 3:16
8. Your Friends - 7:18
9. Bye, Bye - 4:25
(with the exception of'Blues Medley" which was recorded live before
an audience at The Record Plant in Sausalito on November 10, 1974)

Musicians
*Mark Naftalin - Piano
*George Rains - Drums
*Mark Adams - Harmonica
*Bob Jones - Guitar, Vocals
*Barry Goldberg - Hammond Organ
*Nick Gravenites - Rhythm Guitar, Vocals
*Roger Troy - Bass, Vocals
*Michael Bloomfield - Guitar, Vocals

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Beau - Creation (1971 uk, marvellous folk rock, 2008 japan edition)

The ‘Creation’ album was recorded over three days in 1971 at Hollick and Taylor studios, Birmingham, England. Musicians involved were myself (Beau), Steve Clayton and Jim Milne of The Way We Live. Control room duties were handled by John Brierley, The Way We Live’s recording engineer and producer, and studio owner/chief engineer, John Taylor.

For musos out there, I played my Harmony Sovereign H-1270 12-string guitar on all the songs; also clavioline on ‘April Meteor’ and Farfisa organ on ‘Creation’. Jim took all other guitar and bass parts and sang harmony vocals on ‘Release’, and Steve played all drums and percussion. If I remember rightly, Jim used a Gibson SG as his main electric instrument, and a home-built bass! Steve used his Ludwig kit. The sleeve for the album was created by Forehead Designs, London, under the supervision of John Peel’s business partner (and Dandelion co-owner) Clive Selwood.

The photo on the back was taken at a park in Leeds called The Hollies by Ken Willcock, a photography student. Forehead went on to design several covers for later Dandelion albums. There is however a story behind the cover design. Originally, a totally different sleeve had been planned. Created by Nick Cudworth (of the band Siren), John Jones and Boris Brook, the sleeve was even printed and is now something of a collectors’ item. But the concept of this first cover was thought to be too dark and forbidding, so the new, more optimistic ‘sunrise’ sleeve was produced. This is how the first design looked. In retrospect, I think we were right to go with Plan B!
by C J T Midgley

Tracks
1. 9 Minutes - 2:52
2. There Once Was A Time - 3:39
3. Spider - 2:40
4. April Meteor - 2:43
5. Is This Your Day - 3:06
6. Creation - 4:09
7. Blind Faith - 3:55
8. Ferris Street - 2:20
9. Release - 2:38
10.A Reason To Be - 3:21
11.Silence Returns - 3:55
12.Sky Dance - 2:57
All Songs written by Christopher John Trevor Midgley.

Musicians
*Christopher John Trevor Midgley - 12 string Harmony Guitar
*Jim Milne - Lead Guitar, Bass
*Steve Clayton - Drums

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White Light - White Light / Velvet Sandpaper (1970/73 us, junkie fuzz garage psych)

Rare private press 1970 US LP White Light and related rare LP Velvet Sandpaper both licensed and reissued on CD on one CD in Germany by Two Of Us # 001. Mix of sleazy junkie fuzz garage with electric piano moves, wasted vocals, dark atmosphere.

"Velvet Sandpaper" from ex-White Light vocalist with unusual worldweary "older guys" sound and titles such as "Mistrust-Separation-Divorce". Hard to describe accurately, but traces of late-period Doors and Tim Buckley can be found on things like the excellent "Blue Love". Comparable to the experience of sharing a drink with a stranger down on his luck at a desolate nightclub, then seeing him actually get up on stage and sing a few songs about his misfortunes as the closing hour approaches.

Also a harder fuzz edge with creeping menace on a couple of tracks such as the terrific "Light", and some hints of the barrock groove aspirations of White Light, but these are exceptions to the overall scotch-laden introspection Mr Mississippi projects. Pro-sounding band and vocals that hit just the right spot. This strikes me as a lot better than the White Light LP, and it's strange that it hasn't become more well-known.

Originally from New York, Gary "Mississippi" Abrams recorded this album in California 1973 with two completely separate sets of musicians. In 1980 he released another LP titled "Breaking Out". He worked with the Perron Brothers (White Light) for several years under various band names.

Tracks
1. Instrumental - 2:25
2. What Is This - 3:11
3. You'll Loose A Good Thing - 3:33
4. Baby What You Want Me To Do - 2:50
5. But I Don't Know Why - 2:07
6. Cold Shot - 4:24
7. I'm Waiting For The Man - 4:19
8. Always Always - 4:13
9. Heartbreak Hotel - 3:26
10.I Coulden't Get Hiigh - 1:54
11.Instumental II - 2:43
12.Mistrust/Seperation/Divorce - 2:31
13.Sleepin' - 2:39
14.Blue Love - 4:51
15.Heat Chills - 3:30
16.The Poem Song - 2:16
17.Light - 4:22
18.Rejection - 2:49
19.Debbie - 2:31
20.Crashin' - 2:36
21.Vdfm - 2:38

White Light
Mississippi - Vocals, Lead Guitar, Rhythm Guitar
Kurt Perron - Electric Piano, Organ, Drums, Bass Guitar, Lead Guitar
Joel Perron - Lead Guitar, Bass Guitar, Drums
Guest Musicians
Bob Ohsiek - Lead Guitar, Harmony Vocals, Slide Guitar
Joe Mac Phail - Piano, Organ
Frank Norman - Bass Guitar
Julio Rymer - Drums

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East Of Eden - Snafu (1970 uk, progressive masterpiece, eclectic bonus tracks edition)

Once upon a time, long long ago, there was a silver age of music called the 1960s. This in turn was followed by a golden age called the 1970s. Now, as strange as it may seem, there were people in the 1960s and '70s who liked strange and unusual music, which later became more popular, and it was named ... avant garde.

Joking aside - this music is probably the great-grand-daddy of today's avant garde progressive music. It is an eclectic blend of psychedelia, jazz, blues, folk, celtic, eastern, and various forms of world music. Instruments include bass, flute, sax and alto sax, trumpet, drums and guitar - and keyboards are largely dispensed with in favor of Dave Arbus's electric violin which provides plenty of texture and background, as well as taking the lead in many passages. There are long sections driven by a jazzy bass guitar playing with almost loop-like repetition, while solo spots are taken in turn by guitar, violin, flute and sax. Vocals are sparse, which is fortunate as Geoff Nicholson's singing isn't strong.

With song titles like "Xhorkom","In the Snow for a Blow", "Nymphenburger" and "Leaping Beauties for Rudy", you can imagine that this is an off-the-wall piece that isn't meant to be taken too seriously. It's fun, it displays some stellar musicianship, and it's adventurous. This was originally released in 1970 when experimentation was peaking - and this CD was at the forefront of that movement. The 1970s listening public was more receptive to this kind of music and SNAFU made the British Top-30, "Ramadhan," made number 2 in France, and the Celtic novelty song "Jig-a-Jig" hit the Top-10 in England. Despite that brief success though East Of Eden remained something of a cult act, and - like all avant garde music, it never really took off in even the progressive music circles.

This Eclectic Discs release was re-mastered from the original master tapes and features many unreleased bonus tracks and alternate demo recordings. The cover booklet includes an extensive essay, interviews and previously unseen photographs.

Snafu should be required listening for students of prog - it is central to the history he more challenging side of prog music.
by Duncan Glenday

Tracks
1. Have To Whack It Up - 2:18
2. Leaping Beauties For Rudy / Marcus Junior - 7:03
3. Xhorkham / Ramadham / In The Snow For A Blow - 8:09
4. Uno Transito Ciapori - 2:28
5. Gum Arabic / Confucius - 8:17
6. Nymphenburger - 6:15
7. Habibi Baby / Beast Of Sweden / Boehm Constrictor - 6:20
8. Traditional: Arranged By East Of Eden - 1:34
9. Jig-A-Jig - 3:46
10. Petite Fille - 3:55
11. Biffin Bridge - 5:52
12. Blue Boar Blues - 7:14
13. Nymphenburger - First Take - 5:16
14. Marcus Junior - 5:12
15. Jig-A-Jig - Take Nine - 4:17
All compositions by East Of Eden except:
"Marcus Junior and "Confucius" by Drummond
"Jig-a-Jig", "Traditional" arranged by East Of Eden
"Petite Fille", "Biffin Bridge" and "Blue Boar" by Cains, Arbus, Nicholson.

East Of Eden
*Dave Arbus - Violin, Wind Instruments
*Geoff Britton - Drums, Percussion
*Ron Caines - Saxophones, Vocals
*Geoff Nicholson - Guitars, Vocals
*Andy Sneddon - Bass

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Golden Earrings - On The Double (1969 dutch, 4th album, garage beat rock, 2017 remaster))

Fourth album, and first double-vinyl for the restless spirit of the Dutch Band Golden Earrings.

As the decade draws to a close, George Kooymans and his friends are slowly leaving the Mod-Beat sound , looking for more hard and dirty paths, both in sound and lyrics, of course in the musicality of the compositions there is always an essential component of Kooymans and Gerritsen, basic songwriters of the band.

In "On the Double" they are drawing the first touches of the raw sonic canvas which they will give us in the releases that will follow. The Opening Track "Songs On A Devil's Servant" begins powerfully with the guitar and rhythm section to give an impressive and imposing introduction, Angelina is a beautiful ballad that is based on the rate 3 / 4.

Changing their musical colors from song to song, placing an acoustic path by using more frequently keyboards, flute, some Strings and other wind instruments, they managed to create an exceptionally colorful musical puzzle, while throwing small eyeshots in the past, with Honky Tonky and Beat sounds.

"On The Double" will not disappoint all those who loved Earrings from their first steps, more likely some times is more exciting and makes the mood for the forthcoming releases, in which they will make a small change in their name. God bless the day, God Bless the Earring-s

Tracks
1. Song Of A Devil's Servant - 3:45
2. Angelina - 3:11
3. Pam Pam Poope Poope Loux - 2:44
4. Hurry, Hurry, Hurry - 4:23
5. My Baby Ruby - 3:18
6. Judy (Rinus Gerritsen) - 1:44
7. Goodbye Mama - 3:09
8. Murdock 9-6182 - 3:12
9. Just a Little Bit of Peace in my Heart - 5:20
10.The Sad Story of Sam Stone (Rinus Gerritsen) - 2:26
11.High in the Sky - 3:22
12.Remember my Friend (Rinus Gerritsen) - 2:57
13.Time is a Book - 4:06
14.Backbiting Baby - 5:37
15.I'm a Runnin' - 3:27
16.I Sing my Song - 4:00
17.Mitch Mover - 3:00
18.God Bless the Day - 2:40
19.The Grand Piano (Rinus Gerritsen) - 3:26
All songs by George Kooymans except otherwise.

Golden Earrings
*Jaap Eggermont - Drums
*Rinus Gerritsen - Bass, Keyboards
*Barry Hay - Flute, Rhythm Guitar, Vocals
*George Kooymans - Guitar, Vocals

The Golden Earrings are here:
1966 - Winter Harvest
1968- Miracle Mirror

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Beau - Beau (1969 uk, splendid folk rock, 2008 japan bonus tracks remaster)

Reissue album from the late British DJ John Peel's short-lived indie label Dandelion Records, Beau is undeniably a minor work that would likely not get much attention were it not for its connection to such a beloved figure. Although released in 1969, the skeletal arrangements -- just a 12-string acoustic guitar and vocals -- have more in common with the very first wave of post-Dylan singer/songwriters.

Think David Blue, Tom Paxton, and Phil Ochs, not the later swell of rock and psych-influenced pretenders to the throne. Christopher John Trevor Midgley -- it's immediately obvious why he chose to change his name professionally -- was the first act signed to Dandelion; as the comprehensive liner notes point out, Peel's business partner, Clive Selwood, was also the European head of A&R for Elektra Records, and the stripped-down earnestness of these songs is entirely in keeping with Elektra's singer/songwriter aesthetic.

However, it's also clear that Dandelion got Beau because Elektra wasn't interested in an act that was already a throwback by the standards of then-current Elektra acts like the Stooges and the Doors. With several decades' hindsight, however, the low-key and gentle charms of Beau are more obvious. Although the album is clearly overshadowed by the outstanding single "1917 Revolution," a piece of passionate folk-rock weirdness that bears fruitful comparison to Tom Rapp's Pearls Before Swine, even less unique tunes like "Pillar of Economy" and "A Nation's Pride" are thoughtful folk songs with better than average lyrics powered by Beau's truly inventive guitar playing.
by Stewart Mason

Tracks

1. Welcome - 3:43

2. Imagination - 2:34

3. 1917 Revolution - 4:22

4. Soldier In The Willow - 3:00

5. Fishing Song - 2:15

6. The Painted Vase - 3:19

7. Pillar Of Economy - 5:25

8. A Nation's Pride - 2:50

9. The Sun Dancer - 3:24

10.Rain - 2:36

11.Morning Sun - 3:52

12.The Summer Has Gone - 3:13

13.The Ways Of Winter - 3:10

14.Welcome - Tag Piece - 1:26

15.Sleeping Town - 3:11

16.Time - 3:07

17.Love Is - 3:27

18.Miss Alice Preece - 2:50

19.The Wine Was Sweeter Then - 2:52

20.Rats - 2:34

21.Black Raven Of The Morning - 1:33

22.The Roses Of Eyam - 5:29

23.The Heaviest Stone - 3:09

Beau - Vocals, 12-String Harmony Guitar

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East Of Eden - New Leaf (1971 uk, great progressive rock, 2002 extra tracks edition)

Re-issue of the 1971 album by this UK progressive outfit originally released on Harvest Records which contained the brilliant opening cut, 'Bradshaw The Bison Hunter',which is worth admission price alone.This was to be the multi-instrumentalist's Dave Arbus' last album for the band.

This -4th album- from East O Eden is another blaster of good progressive rock with violin, at times reminding of High Tide, but more progressive. On the other hand, a track like "Home blues" could might as well be written by Jimi Hendrix !!

Tracks
1. Bradshaw The Bison Hunter (D. Jack, J. Roche, J. Allen, D. Arbus) - 6:10
2. Ain't Gotta Do You No Harm - 2:57
3. Get Happy - 4:18
4. Don't Be Afraid - 4:18
5. Man Said - 2:20
6. Song For No One - 3:43
7. Joe - 3:35
8. Nothin' To Do - 3:22
9. Road Song - 2:23
10. Home Blues - 3:46
11. Jig-a-Jig - 3:38
12. Boogie Woogie Flu - 3:20
13. Last Dance of the Clown - 3:50
14. Sin City Girls - 3:38
15. All Our Yesterdays - 2:48
All compositions by David Jack except where indicated

East Of Eden
*Dave Arbus - Violin, Saxophone, Flute
*Jim Roche - Guitar
*David Jack - Bass
*Dave Weller - Saxophone
*Jeff Allen - Drums

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East Of Eden - East Of Eden (1971 uk, brilliant progressive rock, repertoire remastered edition)

Long ago and far away, there was a time when musicians ruled the pop world. Those strange beings gifted at playing musical instruments were allowed to make records and even stranger ~ their work was so popular It actually got into the charts! Although this now seems like a far fetched alien concept in an age ruled by computers and *boy bands', there are wise men who can recall those ancient times and swear it is true.

Once such example was the UK musical ensemble known as East Of Eden whose experimental work resulted in them being hailed by critics as pioneers of progressive rock. Yet, such was the open minded and receptive attitude prevailing in the late Sixties, the band's music was eagerly accepted by a wide audience. Teenage girls were seen entering record stores and asking 'May I have the latest waxing by East Of Eden please? I hear they are really fab’. Pipe smoking intellectuals discussed their latest albums and offered profound insights into their lyrics.

Even housewives turned up their wireless sets a notch louder when the band's hit record "Jig A Jag" came on the air. This lively instrumental number, featuring the violin playing of Dave Arbus, got to Number 7 in the UK charts in April 1971. Dave Arbus (violin, saxes, flute) was a founder member of the West Countrygroup, which got together in 1968. The first line up included Ron Gaines (alto sax), Geoff Nicholson (lead guitar), Andy Sneddon (bass) and London born drummer Geoff Britton. A one-off single called 'King Of SianV appeared on the Atlantic label before they were signed to Deram in 1969.

Their first album 'Mercator Projected' was released in 1969 and showcased a mixture of styles, from rock to jazz and Eastern style music. Arbus also played trumpet and flute and was much inspired by the work of jazz composer and bassist Charles Mingus. Their next album 'Snafu' was released in 1970. It was a time when exciting new bands like ELP and Deep Purple were developing the progressive rock style and there were scores of clubs and venues where bands could work and earn a living. All this provided a healthy environment for a group that wasn't afraid to blend raga, jazz and folk, all within the space of a few bars.

East Of Eden took a quantum leap forward in terms when “Jig A Jag” was a hit. It stayed on the charts for 12 'weeks and seemed destined to transform their financial fortunes. That same year the band switched from Decca’s Deram to EMI's Harvest label and the 'East Of Eden' album featuring Dave Arbus with David Jack Cvocals, bass, acoustic guitar} Jim Roche (guitars) and Jeff Allen (drums & percussion) - was released in 1971, at the height of the band's commercial popularity Progressive Rock fans suddenly found themselves supporting an act that was apperaring on TV alongside the likes of T.Rex and there was some confusion about the band’s identity and musical direction.

This lead to tension within the ranks, as is often the case when the spotlight is focused on one member of the band. The result was a drastic change of personnel and by 1972! There wasn’t an original member of the group left. This turn over suggests there must have been much recrimination in the dressing rooms after each gig. “Why can't we have a bass solo instead of all that fiddle stuff!" As new members took over they kept the East Of Eden name alive in order to continue recording and touring. The band was later fronted by Joe O'Donnell (violin) backed by Garth Watt-Roy (guitar), Martin Fisher (bass) and Jeff Allen (drums). The group produced such albums as the appropriately titled “Nee Leaf” (1971), 'Another Eden'i(l975), “Here We Go Again” (l976), “It’s the Climate” (1976) and “Silver Park” (1978).

Sadly there were no further hit singles, but it was a remarkable fact that the band 'were able to continue working well into the mid- Seventies, until they hit the buffers of the punk rock era. At this point it was every man for himself and many great 'live9 bands bit the dust. In the intervening years the band's original fiddle player Dave Arbus established a name for himself as a top session player. He contributed to The Who's 'Who's Next' album and was featured on the track 'Baba O'Riley'.

After a spell with The Wild Angels, former Eden drummer Geoff Britton was invited to join Paul McCartney's Wings in the Spring of 1974- He stayed with the band for nine months until he quit to join Champion, with guitarist Dave Clempson. East Of Eden could have been more successful if they'd been more focused in their approach. They were not destined to join bands like Jethro Tull or Yes on the stadium rock circuit. Yet at their best, the group created some rousing, imaginative music. You can hear how they developed their style on such tracks as 'Wonderful Feeling', 'Goodbye' and 'Crazy Daisy' which are among the highlights of this fascinating CD.
by Chris Welch

Tracks
1. Wonderful Feeling - 6:11
2. Goodbye - 5:48
3. Crazy Daisy - 6:54
4. Here Comes The Day - 4:33
5. Take What You Need - 5:03
6. No Time - 6:03
7. To Mrs. V - 5:18
All songs composed by David Jack.

East Of Eden
*David Jack - Vocals, Bass, Acoustic Guitar
*Jim Roche - Guitars
*Dave Arbus - Violin, Saxes, Flute
*Jeff Allen - Drums, Percussions

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The Golden Earrings - Miracle Mirror (1967-68 dutch, magnificent mod beat rock, 2009 RPM bonus tracks edition)

1968 album Miracle Mirror was magnificent. Consummate psychedelic pop, this was as good as anything coming from Britain, yet it escaped attention beyond the Netherlands' borders. A US release of the album got hardly any attention. Yet, five years later - as Golden Earring - the band would be soaring worldwide with Radar Love. Finally, this musical landmark is receiving a CD release outside the band's native Holland.

The third Golden Earrings album marked their creative peak to date. They had first hit the Dutch charts in 1965 and already had two classic albums behind them - ig65's Just Earrings and 1967'$ Winter Harvest, both also reissued by RPM International. Yet somehow they had escaped attention outside the Netherlands. They would break through internationally after their first US tour in 1969 and then they became Golden Earring. In 1973/4 they scored a massive international hit with Radar Love.

Back in 1968 they were fashioning world-class psychedelic pop, showcased on Miracle Mirror Supplemented by the band's contemporary singles, this reissue is very special. One listen and it's obvious why. The first Golden Earrings single of 1967 had been In My House, a :ra;* extracted from their January album Winter Harvest. Although a hit it was really part of their past - a consolidation.

This was underlined by the fact that just after it left the charts the band had a new singer, Barry Hay, the former frontman of fellow Hague band The Haigs. Original singer Frans Krassenburg played his last show with the band in July beginning National Service. Hay first took the stage with the bane - August. Muziek Express magazine noted 'Barry is a native Englishman and though it has been 10 years since he first came to the Netherlands, he still speaks better English than Dutch.'

Despite the fact that the new line up - Jaap Eggermont (drumsX Rinus Gerritsen (bass), Barry Hay (vocals, guitar, flute) and George Kooymans (guitar) - had been settled on, their next single was transitional: both Hay and Krassenburg appeared on Sound Of The Screaming Day, even though the lead vocal was by guitarist and songwriter George Kooymans. Hay did play flute though (he is seen on vocals in the promo film aired by Dutch TV). Krassenburg was limited to backing vocals and didn't appear on the single's sleeve. More straightforwardly, the B-skJe, She Won't Come To Me, was sung by Hay.

Sound Of The Screaming Day was issued in July 1967. The basic trarhad been recorded at Phonogram Studios in Hilversum, while the editing and mixing was completed at Kingsway Studios in London. The fluidity of the personnel made no difference to the Netherlancs record buyers. Sound Of The Screaming Day flew up the charts arc made number four in early September.

It was Kinks-ish commentary on workaday life that effectively built layers of instrumentation over its circular melody. Barry Hay's debut outing, She Won't Come to Me, was moodier, with a late night feel. George Kooymans told Muziek Express 'Barry sings fantastic, but on top of that he plays the bass and flute ver> well. That gives new possibilities. We can go many different ways' With a settled line up, The Golden Earrings spent August exploring those new and different ways in accommodation rented from the Circus Boltini (a famous traveling circus in Holland), writing material for their new album.

The first evidence of the strength of the new compositions was Together We Live, Together We Love, issued as a single in October. The summer of '67 was the summer of love, everyone was into flower power' said Rinus Gerritsen 'And for us, it was Together We Live, Together We Love. Together We Live, Together We Love, sung by both Hay and Kooymans, was recorded at Kingsway Studios.

Although in keeping with the flowers and love vibe of 1967, The Golden Earrings hadn't submerged their tendency to fashion a direct melody and used instrumental arrangements that served, rather than buried, the song. It was another triumph, and - of course - another massive hit. The more introspective flipside, I Wonder Preview Together We Live And Love, would, for a lesser band, have been a fine A-side. Watch out for the A-side-referencing coda that suddenly appears at the end of the song.

The year ended with a celebratory New Year's Eve show at The Hague's Club 192, the venue run their manager Jacques Senf at which they had established themselves in 1965. The year also ended with Teenbeat magazine previewing the album that would become Miracle Mirror. 'It is going to be a superb record,' said Rinus Gerritsen. 'We use many, many guitars: piano and organ only where it is absolutely necessary. We are working with new sounds, but all the effects and experiments we do as much as possible with the guitars, so we can do the same when playing live. Many groups nowadays do something different because they're in the hit parade, by using oompah bands and children's choirs, we prefer not to do that.'

It's intriguing that Gerritsen made a point of explaining that the songs could be played live. Although the post-Sgt Pepper world allowed for studio trickery, The Golden Earrings were making sure their arrangements weren't so far out as to be unreproducable. Listening to Miracle Mirror, the success of the balance between ambition and the practical is clear: although definitively psychedelic pop with no shortage of modeishness, there's no loss in contemporaneous sonic texture.

Recorded at The Hague's GTB Studios, the album was completed at Hilversum's Phonogram Studios, where wind instruments and violins were added (arranged by Frans Mijts, who had also co-written songs for Delft band The Tee-Set). Miracle Mirror was mixed at Phonogram and issued in January 1968. A classic of the era, the album was as masterly as The Zombies' Odessey And Oracle, and The Hollies' Butterfly. The urgent opening moments of The Truth About Arthur make it immediately clear that The Golden Earrings were using the good time vibes of the era as the jumping off point for something darker.

Walking through the bar room of the dead' were hardly lyrics for the love and kisses crowd. Indeed, Miracle Mirror evinced an attractive sense of melancholy, both melodically and lyrically. Circus Will Be In Town In Time might have been influenced by the band's stay at Circus Boltini, but it is was suffused with yearning and melancholy.

Album track I've Just Lost Somebody - hardly a light number - became a single in March. Talking about the song, Rinus Gerritsen explained that 'in those days you also had Paul and Barry Ryan, who made this kind of film music with a lot of orchestral music. Our arranger Frans Mijts was the perfect man for this kind of orchestration. First George played it to us on the acoustic guitar and then we recorded it. The tape then went to Mijts, who wrote the orchestra score.

This was then added to in the studio, and then it became apparent that we had a kind of overkill in the wind section - Mijts was originally a trumpet player, so it figures. Half of it was then left out and there we had a song that remains untouched by the passing of time.' He also said that the song had originally composed by George Kooymans for Henk Smitskamp, the former bassist of rival Hague outfit The Motions, but producer Freddie Haayen said it was so good that they shouldn't give the song away. Its chart Dosilion of seven showed that Haayen was right.

Although Miracle Mirror was issued in America by Capitol Records and I've Just Lost Somebody became a British single for the Major Minor label, The Golden Earrings weren't getting much attention beyond the Netherlands. That soon changed. The band formed its own production company, Red Bullet, in 1968, scored its first Dutch number one that year, toured that States for the first time in 1969 and became Golden Earring. Dates with the MC5 and Led Zeppelin emphasised that they were looking forward: building on what they'd learnt during the '6os.

The culmination was Radar Love, the proof to record buyers everywhere that they were a world-class band. But everyone in the Netherlands already knew that.
One listen to Miracle Mirror is testament to that .
by Kieron Tyler, March 2009

Tracks
1. The Truth About Arthur - 2:55
2. Circus Will Be In Town In Time - 3:25
3. Crystal Heaven - 3:50
4. Sam And Sue - 1:42
5. I've Just Lost Somebody - 3:06
6. Mr. Fortune's Wife - 3:15
7. Who Cares? - 3:44
8. Born A Second Time - 2:39
9. Magnificent Magistral - 2:43
10. Must I Cry? - 2:17
11. Nothing Can Change This World Of Mine - 3:21
12. Gipsy Rhapsody - 3:17
13. Sound Of The Screaming Day - 2:52
14. She Won T Come To Me - 2:32
15. Together We Live, Together We Love - 3:09
16. I Wonder - 3:36
17. Remember My Friend - 2:59
All songs by Geoge Kooymans and Rinus Gerritsen
From13-17 bonus tracks from 1967 singles.

Golden Earrings
*Jaap Eggermont - Drums
*Rinus Gerritsen - Bass, Keyboards
*Barry Hay - Flute, Vocals
*George Kooymans - Guitar, Vocals
*Frans Krassenburg - Vocals
*Cesar Zuiderwijk - Drums

1965  The Golden Earrings - Just Ear Rings (2009 extra tracks issue)
1966  The Golden Earrings - Winter-Harvest (2009 extra tracks issue)

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The Golden Earrings - Winter-Harvest (1966 holland, fantastic mod beat with , r 'n 'b traces, 2009 RPM extra tracks issue)

The Golden Earrings were riding high in 1966. Their first three singles had been massive Dutch hits, and the previous year had seen the release of their classic debut album Just Earrings. Although it would be another seven years before Radar Love became an international hit, and another three before they would first play America - under their new name Golden Earring - The Golden Earrings were already making records that should have been heard beyond the borders of their native Holland.

This special reissue of Winter Harvest, The Golden Earrings' second album, is supplemented by the contemporary non-album singles. Surprisingly, considering its greatness, it's the album's first release outside Holland on CD. Also out on RPM International are their first and third albums: 1965's Just Earrings and 1968's Miracle Mirror. These gems have always deserved a wider audience.

Winter Harvest marries a tough mod-beat approach to sensitive minor-key melodies, merging The Small Faces' kineticism with the moody sensibilities of The Zombies. The sound was unique to The Golden Earrings, a band that carved their own niche from the start While other Dutch legends like 065 and The Outsiders were unhinged and freaked-out, The Golden Earrings focused their energies on structure and songwriting. The irresistible Winter Harvest is a testament to their success.

After establishing themselves in 1965 as one of the Netherlands' top beat-era bands, the Hague's Golden Earrings entered 1966 at full speed. The previous year had seen Please Go, their debut single, hit Holland's charts. It was followed by the release of their first album, Just Earrings. The quintet - Jaap Eggermont (drums), Rinus Gerritsen (bass), George Kooyrnans (guitar), Frans Krassenburg (vocals) and Peter de Ronde (rhythm guitar) - had charted twice so far in 1966: in January with That Day and in May with If You Leave Me.

The band emerged from The Hague's fertile music scene in 1963 as The Golden Earrings. Before that, they were known as The Tornados and were exclusively instrumental. As the beat boom influence spread across the North Sea, their focus changed and by 1964 they had found a line up that ensured they could be contenders. They signed with Polydor Records in August 1965. A year later they were riding high after three hit singles. All three hits had been kinetic numbers that relied on driving rhythms to make their mark.

When the next single arrived in late August 1966 it became clear The Golden Earrings were absorbing the new textures that could be applied to pop. Like their previous couple of singles, Daddy Buy Me A Girl was completed at London's Pye Studios. Beginning with a Lovin' Spoonful-like strum of an autoharp, Daddy Buy Me A Girl employed rhythmic shifts and counterpoints. Guitars were mainly acoustic and when electric were for tasteful colour rather than block-chord fill.

It's a fair bet that The Kinks' recent hit Sunny Afternoon was an influence. The B-side, What You Gonna Tell, was more Who-like. As usual. The Golden Earrings soon soared to the upper reaches of the Dutch charts. Daddy Buy Me A Girl was helped to immortality by a memorable promotional film shown on the Dutch TV show Twien in October 1966.

The band are seen riding animals from The Hague's circus Heros with a go-go dancer. The clip still crops up on Dutch TV. November 1966 saw the release of their next non-album single, Don't Run Too Far. Although another chart smash, this was a less immediate song, where melody was sacrificed in favour of an emphasis on mass vocals and the integration of brass. The flip, Wings, although attractive, was rather perfunctory. It was a rare misfire, perhaps explained by tensions in the band that came into view in late November when it was announced that rhythm guitarist Peter de Ronde had left the band. No reason was given for his departure.

Continuing as a four piece after the loss of de Ronde, the band immediately began recording their second album. Winter Harvest was completed at Hilversum's Phonogram Studios: budgetary constraints meant that although they could afford to record singles in London, they couldn't fund sessions for a whole album there. The producer was Freddie Haayen, who had been behind the band signing with Polydor. Winter Harvest was issued on 27 January 1967. The Golden Earrings' next album was no misfire.

Winter Harvest was a quantum leap. There were no cover versions, and no songs that had already been issued as singles. This was a selfcontained album. The infectious Lionel The Miser betrays the influence of The Kinks' real-people songs, while Smoking Cigarettes incorporate a moody soul atmosphere. Overall, however, the sound was of a band that were in total control and utterly confident. The departure of de Ronde had strengthened the band. The process of stretching out was underlined by the presence of jazz keyboard player Cees Schrama. A fellow Hague native, he contributed organ, piano and vibes. He also took time out from the sessions to teach Rinus Gerritsen piano at his house.

The Golden Earrings were so taken with Schrama that they became the backing band on his rare May 1967 album The Beast And I , which also featured the otherwise unavailable Gerritsen/Kooymans song Sir Henry The Dancer. Schrama would become one of Holland's top session players, contributing to hits by The Shoes, Shocking Blue and The Tee Set.

By this time, The Golden Earrings were actively looking beyond Holland's borders. They played dates in Stockholm and Hamburg just before the release of Winter Harvest, and also licensed the album to Capitol Records in America. In the process it lost its title - it was issued as The Golden Earrings. They even featured on the cover of the 14 January 1967 issue of US trade magazine Cashbox. But they didn't find an American audience and it would be another two years before they would really get the chance to make an impact there while touring.

Back home, In My House and Smoking Cigarettes were extracted from Winter Harvest as a single coupling in April 1967 As usual it was another massive Dutch hit. The single was followed by the departure of vocalist Frans Krassenburg. His replacement was Barry Hay, the frontman of Hague band The Haigs. Their melodic but tough approach reflected The Golden Earrings' style and he fitted in immediately. Intriguingly, Rinus Gerritsen has said that around this time they were also exploring a partnership with guitarist Robbie van Leeuwen, from fellow Hague band The Motions. Although this came to nothing, they did work together in the studio.

Van Leeuwen went on to form Shocking Blue. This wasn't the only extra-band activity: as songwriters, Gerritsen and Kooymans were increasingly sought after. Hague band The Nicols recorded their non-Golden Earrings' song I've Been Thinking as a single. Kooymans also composed girl singer Bojoura's June 1967 hit Everybody's Day. The new line up with Barry Hay debuted live in August 1967. Frans Krassenburg played his last show as a member of The Golden Earrings in early July. A new phase for The Golden Earrings had begun. Together with Barry, they would complete the magnificent Miracle Mirror album.
by Kieron Tyler, March 2009

Tracks
1. Another Man In Town - 2:23
2. Smoking Cigarettes -2:20
3. In My House - 3:57
4. Don't Wanna Loose That Girl - 2:15
5. Impeccable Girl - 2:15
6. Tears And Lies - 2:00
7. You've Got To The Intention To Hurt Me - 3:07
8. Dream - 2:39
9. You Break My Heart - 2:00
10. Baby Don't Make Me Nervous - 2:24
11. Call Me - 2:17
12. Happy And Young Together - 3:04
13. Lionel The Miser - 2:29
14. There Will Be A Tomorrow - 2:19
15. Daddy Buy Me A Girl - 2:42
16. What You Gonna Tell - 1:45
17. Don't Run Too Far - 2:15
18. Wings - 2:09
All songs by Geoge Kooymans and Rinus Gerritsen.
Bonus Tracks 15-18  from 1966 singles.

The Golden Earrings
* Jaap Eggermont - Drums
* Rinus Gerritsen - Bass, Keyboard
* George Kooymans - Guitar, Vocals
* Frans Krassenburg - Vocals
* Cees Schrama - Piano, Organ, Vibes

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Melanie - Born To Be / Affectionately Melanie (1968-69 us, gorgeous sweet soft folk country pop, debut and 2nd album, 2007 edition)

No talent who came out of Woodstock and who continued actively performing more than a quarter century later remained as closely associated with the 1960s and "flower power" than Melanie. Born Melanie Safka in Astoria, Queens, in 1947, she made her first public appearance at age four on a radio show, later studying at the New York Academy of Fine Arts. After mounting a singing career while in college, she later sang in clubs in Greenwich Village, and was signed to a publishing contract in 1967. She recorded her first single, "Beautiful People," for Columbia Records that same year. Her relationship with the record company was short-lived, however, and after one more single she left the label.

In 1969, she chanced to meet producer Peter Schekeryk, and after a hastily arranged audition, he took charge of her career. Her first album, Born to Be, was recorded and released by Buddah later that same year. On August 16, Melanie took the stage at the Woodstock Music & Art Festival in Bethel, New York; her song "Birthday of the Sun" was later released on the Woodstock 2 album, and 20 years later it was released on video as part of Woodstock: The Lost Performances, alongside the work of Janis Joplin, Crosby, Stills & Nash, and the Who.

Soon afterward, she cut her second album, Affectionately, which did slightly better than her first; however, her commercial breakthrough came 11 months after Woodstock, when she released the song "Lay Down (Candles in the Rain)," recorded with the Edwin Hawkins Singers. The song, written as a tribute to the audience at Woodstock and displaying the feel of a gospel hymn, rose to number six on the U.S. charts, while the accompanying LP, entitled Candles in the Rain, reached the Top 20.

After 1970's Leftover Wine, a live album recorded at a Carnegie Hall concert, she issued a plaintive version of the Rolling Stones' "Ruby Tuesday." In January of 1971, Melanie's own version of "What Have They Done to My Song, Ma," a recent smash for the New Seekers, got to number 39 in Britain, where she emerged as a major star. In March, however, her new release, The Good Book, peaked on the U.S. charts at just number 80, despite the presence of several impressive tracks, among them a hauntingly beautiful cover of Phil Ochs' prophetic, doom-laden self-eulogy, "Chords of Fame."

At around this time, Melanie rebelled against her contract with Buddah, which required her to supply albums more or less on demand -- she'd had four LPs released in half as many years, and wanted more control over her work and career. With help from Schekeryk, whom she had married, she organized her own label, Neighborhood Records, during the summer of 1971. Her first subsequent single, "Brand New Key" hit number one on the U.S. charts while on its way to becoming a million seller; thanks to its not-so-subtle sexual undertones, the song became a kind of "in" dirty joke in some circles, and was even censored on some radio stations, but it also made Melanie one of the top-selling artists of the year 1971.

The accompanying album, Gather Me, was the best produced long-player she had ever released, and reached a chart position of number 15, earning a gold record in the process. This huge success prompted Buddah to release Garden in the City, consisting of previously unreleased outtakes. At the same time that 1971's Gather Me spawned the single "Ring the Living Bell," Buddah decided to capitalize more directly on Melanie's catalog and released "The Nickel Song"; the presence of two singles in release simultaneously from two different labels and distributors -- each competing for radio play and listener dollars -- damaged both releases, and they effectively canceled each other out.

Garden in the City rose to number 19, but her next new album on Neighborhood, Stoneground Words, only got to number 70 late in 1972. In June of 1973, her double-concert album, At Carnegie Hall, recorded the previous year, didn't even make the Top 100. By this time, Melanie had withdrawn from the stage, and was devoting her time to more personal and domestic concerns, having the first of three children in as many years. She re-emerged in 1974 for a short series of concerts, but her new album of that period, Madrugada, barely made it on to the charts, and her subsequent two LPs, As I See It Now and Sunset and Other Beginnings, released in 1975, barely sold. Neighborhood Records was later closed down.

A year later, Photograph was released to lackluster sales on Atlantic; the follow-up, Phonogenic, also failed to chart, and her last album for the next five years, Ballroom Streets, appeared on the Tomato label in 1977. In 1982, Melanie cut a comeback album, Arabesque, for RCA; a year later, her single "Every Breath of the Way" scraped the middle of the British charts and led to a series of concerts in England. Neighborhood was soon reactivated just long enough for Melanie to release one last album, Seventh Wave.

At the end of the 1980s, she re-emerged once again with her theme music for the popular television series Beauty and the Beast. By that time, Woodstock nostalgia was beginning to be stoked by the media and concert promoters, and Melanie appeared at one of the 20th anniversary events. She continued to periodically perform at clubs in the United States and larger festivals in Europe, where her association with the 1960s made her a major draw, and every so often released an album of new songs or re-recordings of her classic numbers.
by Bruce Eder

Tracks
1. In The Hour - 3:07
2. I’m Back In Town - 2:18
3. Bo Bo’s Party - 3:52
4. Mr Tambourine Man (Bob Dylan) - 4:24
5. Momma, Momma - 3:44
6. I Really Love Harold - 4:10
7. Animal Crackers - 2:13
8. Christopher Robin (Is Saying His Prayers) (Alan Alexander Milne, Harold Fraser-Simson, Melanie Safka) - 2:34
9. Close To It All - 3:20
10.Merry Christmas - 2:49
11.I’m Back In Town - 0:13
12.Tuning My Guitar - 4:01
13.Soul Sister Annie - 3:30
14.Any Guy - 2:12
15.Uptown And Down - 2:11
16.Again - 3:18
17.Beautiful People - 3:35
18.Johnny Boy - 2:41
19.Baby Guitar - 3:27
20.Deep Down Low - 3:21
21.For My Father 2:28
22.Take Me Home - 2:23
All songs by Melanie Safka except otherwise.

Tracks 1-10 from "Born To Be" 1968

Tracks 11-22 from "Affectionately Melanie" 1969

Melanie Safka - Vocals, Guitar

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