The Sonics - Here Are The Sonics (1965 us, pioneer garage punk, New Rose rare Vinyl issue)

The Sonics were the hottest, rawest and most legendary garage band of the 60's. The Sonics, of Tacoma and Bremerton, Washington, helped forge the Northwest sound—merging garage rock and rhythm and blues. But the Sonics transcend the Pacific Northwest. Keith Richard, Pete Townshend, George Harrison, Bruce Springsteen, Joey Ramone and Johnny Rotten (Lydon), have all cited the Sonics as an early influence on their music, according to D.J.'s and other knowledgeable sources. 

The Sonics were innovative and wild at a time when most bands were playing the fox trot at high school chaperoned dances. The Sonics 1st single "The Witch," which ultimately became the Northwest's top selling single, (save for "Louie, Louie",) had trouble getting airplay because programmers thought it would alienate homemakers. Teenage demand forced stations to start playing "The Witch". Parents were alarmed by the band's loud and frenetic antics and wild reputations. Engineers were dismayed by the band's lack of respect for staid studio techniques. They were not used to the Sonics full energy attack. On guitar, was Larry Parypa. Larry was always fooling around with the amps, sticking ice picks, and such, in. 

They were always overdriven. His experiments with distortion and feedback predated any of the people we now know for it, and became part of the trademark Sonics sound. Driving the band on bass guitar, and as group leader, was Andy Parypa, Larry's brother. Rob Lind played the sax that added a dirty, full sound. Bob Bennett's unique machine-gun style of drumming hit rimshots everytime. On top of all this was Gerry Roslie, the monumental screamer-cum-singer, whose Jerry Lee Lewis style stage antics gained the Sonics much of their reputation. Gerry was all out in his singing and his writing, composing most of the band's tunes. These tunes are now available in their original form thanks to Etiquette Records re-issues. 

You don't have to live in Washington state to easily place your hands on them! "Their magical blend of raw garage music can be heard in everyone from the Beatles to Bruce Springsteen, but why go to any other source than the original?" 

by Charles R. Cross, Seattle "Rocket", June, 1984.

Tracks
1. The Witch - 2:41
2. Do You Love Me (Berry Gordy, Jr.) - 2:19
3. Roll Over Beethoven (Chuck Berry) - 2:49
4. Boss Hoss - 2:24
5. Dirty Robber (John Greek, Kent Morrill, Rick Dangel) - 2:03
6. Have Love, Will Travel (Richard Berry) - 2:04
7. Psycho - 2:18
8. Money (That's What I Want) (Gordy, Jr., Janie Bradford) - 2:01
9. Walkin' The Dog (Rufus Thomas) - 2:46
10. Night Time Is The Right Time (Lew Herman) - 2:58
11. Strychnine - 2:13
12. Good Golly Miss Molly  (Robert Blackwell) - 2:09
Songs written by Gerry Roslie unless otherwise noted.

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

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Inner Sanctum / Sunset Love - Psychedelic Moods, Pt. 2: Journey Thru Inner Space (1967-68 us, impressive garage psych)

After releasing the “Psychedelic Moods” album, in October of 1966, Mark Barkan envisioned another psychedelic album for his next release.  It was to be performed by a Greenwich Village band called “Inner Sanctum”.   The theme of the album was to be a psychedelic journey into the various psyches of the mind.  

The trip started with a journey into the past (The House Of Yesterday) then covered the inner workings of the mind (ID) then the descent into madness (Hydro Pyro) hallucination (Purple Floating) and finally culminating in nirvana (Snow Petals).  Unfortunately, Barkan was unable to find a record company willing to lease the masters and so they languished for decades unreleased. Now, at long last the masters for this aborted album are mixed from the original four track tapes and forty plus years later the psychedelic sounds of “Inner Sanctum” are now ready, willing, and able to blow your mind.

“Sunset Love” was comprised of band members from New Mexico and Texas.  In the fall of 1968, thirteen original songs and two covers were recorded for a potential album, but nothing was ever released.  “Sunset Love’s” lush harmonies, soaring vocals, superior song writing, and flower power consciousness pervaded their songs with a depth and quality unheard of from most 60s’ bands.  While their sound can be compared to such bands as “The Mamas and The Papas”, “The Peanut Butter Conspiracy”, “Spanky and Our Gang”, and “The Love Exchange”,  “Sunset Love” had their own inimitable style that transcended a generic stereo-type.  

Had Sunset Love released their album in the 60’s, there is no doubt it would have been an instant rarity of excellence. The “Sunset Love” tapes are sourced from the original stereo versions and reveal the great harmonies and surrealistic lyrics of an undeservedly overlooked and forgotten band from the late 60’s.  

Cicadelic

Artists - Tracks - Composer
1. Sunset Love - Change - 2:04
2. Sunset Love - Tribute to Kay - 2:39
3. Sunset Love - Run to the Sun - 2:38
4. Sunset Love - Reach Out - 2:39
5. Sunset Love - Little Children - 3:08
6. Sunset Love - Winters Day - 3:58
7. Sunset Love - Sunset Love - 3:47
8. Sunset Love - Green Hippie - 2:44
9. Sunset Love - World of Pain - 2:38
10.Sunset Love - A Man in the Park - 3:29
11.Sunset Love - Father Paul - 3:35
12.Sunset Love - I Will - 1:43
13.Sunset Love - Wheels - 2:07
14.Sunset Love - Push - 2:26
15.Sunset Love - Innocence Dies Young on Our Street - 3:00
16.Inner Sanctum - The House of Yesterday (Mark Barkan, David Blackhurst) - 1:56
17.Inner Sanctum - ID - 2:02
18.Inner Sanctum - Hydro-Pyro - 2:06
19.Inner Sanctum - Purple Floating (Mark Barkan, David Blackhurst) - 1:53
20.Inner Sanctum - Snow Petals (Mark Barkan, David Blackhurst) - 2:11
21.Inner Sanctum - Little Tin Soldier - 2:32
22.Inner Sanctum - The Man Who Shot Your Mother - 1:49
Tracks 1-15 written by William J. Stone II, Victor Kay Lindsay

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The Deep - Psychedelic Moods (1966 us, great fuzz garage psych, bonus tracks edition)

Recorded in a darkened Philadelphia studio in August 1966, this amazing album was the first to have the word ‘psychedelic’ in its title, and is well-established as an pioneering acid classic. Presented here in both its mono and stereo mixes (which have fascinating differences), it still sounds truly unique and is a must for all fans of true American psychedelia.

Despite having long enjoyed a high reputation amongst psych afficionados, to this day remarkably little is known of the Deep. The project was the brainchild of Rusty Evans (b. Marcus Uzilevsky), a New Yorker who’d already made a number of rockabilly singles and at least three unremarkable solo folk LPs (1962’s Showdown, 1963’s Songs Of Our Land and 1964’s Railroad Songs), as well as a 1964 LP for Reprise as part of the All Night Singers, before tiring of the Greenwich Village scene.

In 1965 he visited LA and made a rare 45 for the Musicor label 1983 / The Life Game (as Ry Cooper), before joining the New Christy Minstrels for a few months and then heading for Philadelphia. There he fell in with a group of musicians including David Bromberg, Mark Barkan and the enigmatically named D Blackhurst.

Together they recorded Psychedelic Moods over a couple of days in August 1966. An eccentric collection of brief pop and garage rock tunes, sound effects and studio trickery, it was released by the local Cameo-Parkway label, perhaps in a bid to crack the burgeoning hippy market. The label was also home to garage chart-toppers ? and the Mysterians, but did little to promote the Deep’s LP when it appeared in October 1966.

Perhaps they suspected it was too forward-looking to sell: for a start, it was the first album to include the word ‘psychedelic’ in its title (just ahead of the Blues Magoos' Psychedelic Lollipop and the 13th Floor Elevators' Psychedelic Sounds, both released in November). The anonymous group did not tour to support the LP, and soon after its release Barkan and Blackhurst relocated to Greenwich Village, where they produced a number of unreleased psych-pop cuts for teenage LSD nuts Hydro Pyro on April 24th 1967 (included here as bonus tracks).

Evans, meanwhile, had signed a deal with Columbia. Credited to the Freak Scene, his next effort, 1967’s Psychedelic Psoul, was very similar in mood and sound to the Deep. When it too missed the charts, he formed Eastern Productions with songwriter and producer Teddy Randazzo, and signed the Third Bardo and the Facts of Life. With the former he produced the all-time classic psych 45 I'm Five Years Ahead of My Time (Roulette, 1967) before moving back to LA and finding work with the Take Six label (including another garage 45, the Nervous Breakdown's I Dig Your Mind).

He also worked with the much-loved Matthew Katz for a while, participating in some It’s A Beautiful Day sessions. By 1969 he’d reverted to his original name, and released an album as Marcus for Epic subsidiary Kinetic. A syrupy blend of folk and pop, it sold no better than his previous efforts, and he chose to focus on painting thereafter, though he released a further album on Folkways a decade later, Life's Railway Heaven. He’s now a widely-respected and collected artist, and has also released ambient world music as Uzca, as well as working with his son in the popular Johnny Cash-inspired rockabilly band Ring Of Fire. It’s all a long way from a darkened studio in Philadelphia, forty five years ago.

 Tracks
1. Color Dream (Evans) - 2:36
2. Pink Ether (Blackhurst, Evans) - 2:21
3. When Rain Is Black (Blue, Evans) - 2:11
4. It's All A Part Of Me (Evans) - 2:55
5. Turned On (Blackhurst, Evans) - 2:26
6. Psychedelic Moon (Blackhurst, Evans) - 2:42
7. Shadows On The Wall (Evans) - 3:13
8. Crystal Nite (Blackhurst, Barkan) - 1:41
9. Trip #76 (Barkan, Pogan, Evans) - 2:37
10. Wake Up And Find Me (Evans) - 2:20
11. Your Choice To Choose (Geller, Evans) - 1:53
12. On Off - Off On (Evans) - 2:22
13. Color Dream (Evans) - 2:36
14. Pink Ether (Blackhurst, Evans) - 1:57
15. When Rain Is Black (Blue, Evans) - 2:12
16. It's All A Part Of Me (Evans) - 2:56
17. Turned On (Blackhurst, Evans) - 2:27
18. Psychedelic Moon (Blackhurst, Evans) - 2:42
19. Shadows On The Wall (Evans) - 3:12
20. Crystal Nite (Blackhurst, Barkan) - 1:39
21. Trip #76 (Barkan, Pogan, Evans) - 2:16
22. Wake Up And Find Me (Evans) - 2:20
23. Your Choice To Choose (Geller, Evans) - 1:54
24. On Off - Off On (Evans) - 2:11
25. 1983 - 2:59
26. The Life Game - 2:20
Tracks from 1-12 Stereo.
Tracks from 13-24 Mono
Bonus tracks  25-26

*Rusty Evans - Guitars, Vocals

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Ebo Taylor - Life Stories (1973-80 ghana, spectacular jazzy funky soul psych afrobeat, 2011 Strut two disc set release)

Following his recent studio album with Afrobeat Academy, ’Love And Death’, his first international release, Ghanaian highlife guitar legend Ebo Taylor teams up again with Strut for a long overdue definitive compilation of his seminal 1970s recordings, ‘Life Stories’. 

During Ghana’s highlife explosion during the 1950s and ‘60s following wartime highlife pioneers like E.T. Mensah, Ebo Taylor made his name as a prolific composer, arranger and frontman leading two of Ghana’s greatest big bands - Stargazers and Broadway Dance Band. Moving to London to study music in 1962 alongside West African luminaries like Fela Kuti and Peter King, Taylor formed the Black Star Highlife Band and began incorporating jazz elements into traditional highlife forms. 

Returning to Ghana, Taylor became an in-house arranger and producer for Dick Essilfie-Bondzie’s Essiebons label, working with other major Ghanaian stars like C.K. Mann and Pat Thomas. Through the ’70s, he then recorded a number of solo projects, exploring unique fusions and borrowing elements from regional Ghanaian folk music, Afrobeat, jazz, soul and funk. 

This compilation revisits this heyday of Taylor’s work, focusing on his solo albums and some of his lesser known side projects including the dynamite Apagya Show Band and short-lived Taylor-led combos Assase Ase, Super Sounds Namba and The Pelikans. The selection also touches on his writing and production work for C.K. Mann and a collaboration recording with fellow member of early ‘70s nightclub band Blue Monks, Pat Thomas. 

Tracks include the anthemic ’Heaven’, sampled by Usher on his hit with Ludacris, ’She Don’t Know’, the original version of the poignant ’Love And Death’ and the rare 15-minute nugget, ’Aba Yaa’. The package features rare photos, original album artwork and sleeve notes by Soundway Records’ Miles Cleret.

Strut-recs

Tracks

Disc 1

1. Heaven - 6:04 

2. Atwer Abroba - 8:14 

3. Victory (feat. Uhuru-Yenzu) - 4:20 

4. Ohiani Sua Efir (Traditional) (with Assase Ase) - 4:02 

5. Kwaku Ananse (with The Apagya Show Band) - 3:11 

6. Peace On Earth - 7:45 

7. Aba Yaa - 14:59 

8. Ene Nyame Nam 'a' Mensuro (feat. Pat Taylor, Pat Thomas) - 6:16 

Disc 2
1. Tamfo Nyi Ekyir (with The Apagya Show Band) - 3:57
2. Love and Death (feat. Uhuru-Yenzu) - 8:19
3. Ohye Atar Gyan - 6:07
4. Yes Indeed (with Super Sounds Namba) - 4:56
5. Mumude (The Apagya Show Band) - 3:04
6. What is Life (feat. Uhuru-Yenzu) - 4:38
7. Etuei (with C.K. Mann) - 6:28
8. Egya Edu (feat. Pelikans) - 6:51
All compositions by Ebo Taylor except where indicated.

*Ebo Taylor - Guitars, Vocals

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Various Artists - The Essential Pebbles Collection, Vol. 1: The Best of American Garage (60's us, diamonds are forever)

The Essential Pebbles Collection, Vol. 1 serves two functions. The first, fulfilled by disc one, is to distill the first ten volumes of the Pebbles '60s garage rock singles compilation series. The second is a bonus disc full of even more insanely rare material that has never appeared on Pebbles albums or myriad other '60s compilations. 

Considering the staggering amount of material reissued by Archive International, in addition to myriad '60s compilations released by other companies worldwide, casual observers of this phenomenon might wonder what the fuss is all about. The singles compiled by these releases are from an era where local bands' records shared airplay with the major hitmakers. The Pebbles series' most important accomplishment has been to provide a glimpse of the musical life beyond the hits in constant rotation on many oldies radio stations.

Pebbles compiles the best independent-label '60s singles that weren't national hits, but their local reputations have insured that the records trade for high prices on the collectors' markets. Lack of significant sales outside of its geographical region doesn't mean that the records lack polish; tracks like the Motifs' "Someday" demonstrate a mix of Motown and Atlantic soul influences with some of the harder-edged British Invasion group sounds, while the bands from Chicago have a bluesy sound but incorporate other influences as well, like the jagged Zombies-esque organ solo on the Omens' "Searching." 

There was even a Pebbles volume called Ear-Piercing Punk, showcasing the hardest-rocking songs, packaged to appeal to fans of the then-current wave of late-'70s punk. With this look back at its legacy, The Essential Pebbles Collection, Vol. 1 looks backward and forward at the same time, providing listeners with something old and new -- the true essence of garage rock compilations. 

by Jim Powers

Artists - Tracks

Disc 1

1.Preachers - Who Do You Love? - 2:17

2.Grains of Sand - Going Away Baby - 2:10

3.Jujus - You Treated Me Bad - 1:54

4.Haunted - 1-2-5 - 2:26

5.Wilde Knights - Beaver Patrol - 2:20

6.Lyrics - So What!! - 2:50

7.Green Fuz - Green Fuz - 2:02

8.Teddy And His Patches - Suzy Creamcheese - 3:10

9.T.C. Atlantic - Faces - 2:45

10.William Penn Fyve - Swami - 2:56

11.Tree - No Good Woman - 2:38

12.Plague - Go Away - 1:55

13.Gentlemen - It's a Cryin' Shame - 2:32

14.Omens - Searching - 2:28

15.Foggy Notions - Need a Little Lovin' - 2:30

16.Dean Carter - Rebel Woman - 2:38

17.Lost Agency - One Girl Man - 3:03

18.Trolls - Every Day and Every Night - 2:30

19.Starfires - I Never Loved Her - 2:46

20.Beckett Quintet - No Correspondence - 2:31

21.Dovers - She's Not Just Anybody - 1:52

22.Hysterics - Everything's There - 2:07

23.Good Feelings - Shattered - 2:20

24.Breakers - I Ain't Dead Yet - 2:08

25.Uncalled For - Do Like Me - 2:46

26.Gonn - Doin' Me In - 2:47

27.Mile Ends - Bottle Up and Go - 2:11

28.Bohemian Vendetta - Enough - 2:44

29.Keith Kessler - Don't Crowd Me - 2:41

Disc 2
1.Motifs - Someday - 3:00
2.Shays - Brainwashed - 3:38
3.Sinners - Sinnerisme - 2:31
4.Missing Lynx - Hang Around - 2:21
5.Mixed Emotions - Can't You Stop It Now - 2:52
6.Thunderbolts - Heart So Cold - 2:12
7.Strangers - What a Life - 2:11
8.Roosters - You Gotta Run - 2:24
9.Peter And the Wolves - Hey Mama - 2:57
10.Peter And the Wolves - Only Everything - 2:43
11.Sound Apparatus - Travel Agent Man - 3:13
12.Shades - Down the Road a Piece - 2:38
13.Dynamic Nutones - Sick and Tired - 2:21
14.Dry Grins - You're Through - 2:58
15.Hustlers - Sky Is Black - 2:06
16.Other Half - Girl With the Long Black Hair - 3:01
17.Thorns - I'm in Love - 3:26
18.Malibus - I've Gotta Go - 2:23
19.Malibus - I Want You to Know - 2:33
20.Creations - I Want You - 2:40
21.unknown - I Just Don't Know - 2:21
22.unknown artist - Fed Up - 2:24
23.Banshees - I've Had It - 2:20
24.Roy And the Bristols - It's Your Fault - 2:08
25.Terry Dee And the Roadrunners - Some Other Guy - 2:03
26.Unknown Artist - Go Go Girl - 2:01

Essential Pebbles Vol. 2
Essential Pebbles Vol. 3

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Timothy Leary - You Can Be Anyone This Time Around (1970 us, acid psych superb speech jam)

Leary takes the philosophy of the revolution one step further; inward to go outward with mind-altering drugs that no one knew how or why or where it affected the neurotransmitters of the brain. No one knew the correct dosages, or even if there were correct Dosages, or knowing who was susceptible to bad trips, throwing the neurochemicals into a logjamming mode, blocking essential personality traits from ever surfacing again. 

Blow your mind, damn straight. but, as leary postulates, nicotine causes cancer, uquor destroys livers, guns can be bought with a permit; their dangers are known, posted for all to see, and yet they are legal why not LSD? it's one more freedom to fight for, the freedom to change your mind, the freedom to make up your own mind (starting from scratch), the freedom to blow it if you want to. Ultimate freedom, ultimate frivolity, a never-ending commute.

Tracks
1. Live And Let Live - 13:56
2. You Can Be Anyone This Time Around - 9:03
3. What Do You Turn On When You Turn On - 6:03

Musicians
*Timothy Leary - Rap
*Stephen Stills - Guitar
*John Sebastian - Guitar
*Jimi Hendrix - Bass
*Buddy Miles - Drums

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Renaissance - Turn Of The Cards (1974 uk, brilliant progressive art folk rock, Original Sire Vinyl issue and 2006 remaster edition)

The third album by this incarnation of Renaissance was a match for their previous success, Ashes Are Burning, with equally impressive performances and songwriting and a few new musical twists added. The songs here fit more easily into a rock vein, and the prior album's folk influences are gone. 

Turn of the Cards rocks a bit harder, albeit always in a progressive rock manner, and Jon Camp's bass and Terence Sullivan's drums are both harder and heavier here, the bass (the group's only amplified instrument) in particular much more forward in the mix. This change works in giving the band a harder sound that leaves room for Jimmy Horowitz's orchestral accompaniments, which are somewhat more prominent than those of Richard Hewson on the prior album, with the horns and strings, in particular, more exposed. 

Annie Haslam is in excellent voice throughout, and finds ideal accompaniment in Michael Dunford's acoustic guitar and John Tout's piano. The writing team of Dunford and Betty Thatcher also adds some new wrinkles to the group's range -- in addition to progressive rock ballads like "I Think of You," they delivered "Black Flame," a great dramatic canvas for Haslam and Tout, in particular; and "Mother Russia" is a surprising (and effective) move into topical songwriting, dealing with the plight of Alexander Solzhenitsyn and other victims of Soviet repression (you had to be there in the 1970s to realize what a burning issue this was). 

And then there were the soaring, pounding group virtuoso numbers like "Things I Don't Understand," which managed to hold audience interest across nine or ten minutes of running time. 

by Bruce Eder

Tracks
1.Running Hard - 9:35
2.I Think Of You - 3:07
3.Things I Don't Understand (Dunford, Jim McCarty) - 9:27
4.Black Flame - 6:25
5.Cold Is Being - 3:00
6.Mother Russia - 9:17
All Songs credited to Michael Dunford, Betty Thatcher except where noted.

Renaissance
*Annie Haslam - Lead, Backing Vocals
*Jon Camp - Bass, Backing Vocals
*John Tout - Keyboards, Backing Vocals
*Terence Sullivan - Drums, Percussion, Backing Vocals
*Michael Dunford - Acoustic Guitar, Backing Vocals
Orchestral Arrangements: Jimmy Horowitz

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Robert Lester Folsom - Music And Dreams (1976 us, sparkling folk rock, 2010 korean remaster)

I was born at Moody Air Force Base in Lowndes County, Georgia January 3rd, 1955. I grew up in Adel, a small rural town in south central Georgia about 40 miles north of the GA/FL border. My parents were raised by poor sharecroppers and music played a large role in their hard day to day lives. Singing in church and listening to the Grand Ole Opry radio was a great source of musical entertainment. 

My mom's high soprano and my father's deep bass put me somewhere in the middle. They used to listen to the local AM radio station which featured gospel, country, pop, soul and Paul Harvey at noon. They also joined the Columbia Record Club and not only did I get to listen to Fat's Domino and Johnny Cash, they let me have a selection and that first choice was Rubber Soul by The Beatles. What a huge impact! Until then I thought The Beatles were just "yeah yeah yeah!" This was my favorite pop/rock band obviously inspired by Bob Dylan. So then there was Dylan. Now not only could I mimic The Beatles, but I could also write songs that expressed my every emotion. I started a band before I could even play the guitar. I traded my record player for my first guitar and the strings were so high off the neck that they could cut your fingers.

 My mother bought me a Mel Bay Chord Book and I went to town. I wrote song after song and formed band after band with my friends. Then a friend and I bought a Sears 4 track reel to reel and I started recording everything and everybody. Every reel of tape was an album. Eventually we would transfer a reel to 8 tracks and sell them to friends. We would pass around our lyric books to girls and we were rock stars in our own little world. We would play for 4-H Club events, church functions, and parties. This went on through high school.

I went on to South Georgia College where I met other musicians. I went there as a music major, but I was seriously looking into music in a much more major sort of way. I met Sparky Smith among many others and not only was he my bass player, but he became a forever trustworthy friend. Then there was Hans Van Brackle who I had already hooked up with in high school and Van Whiddon, Jimmy Whiddon and Sparky's buddy Don Anderson. There were others, like Don Fleming our amazing manager, but this was the nucleus of what would become my band Abacus. 

We played proms, VFW dances and parties mixing covers with our original music. It worked for the most part but we felt there had to be more, at least I did. We had a good grouping of original songs and we went to Atlanta to find a studio to record a demo. I grew up listening to the LeFevre Gospel Family and knew they had a fine studio in Atlanta so we went there first. There we were introduced to their head engineer Stan Dacus. He seemed like a nice cool guy so we booked a session there. 

We often rehearsed at Sparky's parents' house in Broxton, GA and his mom liked us quite a bit so she said she would pay for us to record our first serious demo. The session went great, Dacus was impressed and I had the fever to do something serious. I had a wonderful band, but it was hard for us all to get on the same page about recording. This frustrated me a little and I couldn't wait to sort it all out and do something. I told Stan Dacus that I wanted to do a solo album and he said he would like to help. I let him listen to some of the old tapes of my music and he said let's get started ASAP. I took out a loan at my local bank and booked some time at LeFevre in Atlanta. I told my band what I was doing and asked them if they would like to participate. 

They were all on board to get the opportunity to record so we began rehearsing. We got real tight with the music I had selected and soon in the summer of 1976 we started recording. We would lay down the basic tracks with a guide vocal, then we would add overdubs with instruments and serious vocals. Stan was helpful in getting the time we needed. We would book 4 hours and get 6. We spent serious time mixing. 

I introduced some new effects, especially a flanger which enabled us to get a sound that stood out over other music of that time. I may have thought at some point we went overboard but in retrospect I think we were dead on as far as capturing the sounds I was hearing in my heart and mind. We had vinyl and 8 tracks made, Danny Dickens (a college art major friend) did the cover art, and Music and Dreams became a reality. 

There was Georgia success and maybe some north Florida, but not nearly enough airplay and not enough money to do gigs to do the album justice. Music and Dreams became a small town success with a big debt to pay. I later recorded two songs ("Blues Stay Away" and "Warm Horizons") for a 45 rpm single as a possible leader to a follow-up LP but that was not to be realized. 

by Robert Lester Folsom 

Tracks
1. Music and Dreams - 3:28
2. Ginger - 2:48
3. Biding My Time - 3:28
4. April Suzanne - 4:03
5. Weeping Willow Tree - 3:38
6. My Stove's On Fire - 2:48
7. Untitled - 1:19
8. Spanish Lady/Brown Eyed Lady With Blonde Hair - 5:52
9. A New Way - 2:39
10.Show Me To the Window - 3:25
11.Jericho (My Quiet Place) - 3:43
12.Please Don't Forget Me - 3:24
13.Blues Stay Away - 2:35
14.Warm Horizons - 5:08
All compositions by Robert Lester Folsom.

Musicians
*Robert Lester Folsom - Acoustic, Electric Guitar, Hammond B3, Piano, Vocals
*Stephen Clayton - Drums, Syndrum
*Stan "Quack" Dacus - Percussion
*Alva Dickerson - Guitar
*Fonda Feingold - Clavinet
*Roni Goss - Bass
*Mark Hammond - Drums
*Danny Heitzhausen - Bass
*Sparky Smith - Bass, Vocals
*Hans Vanbrackle - Electric, 12 String Acoustic, Slide Guitar, Bass, Vocals
*Jimmy Whiddon - Hammond B3, Vocals
*Van Whiddon - Fender Rhodes, Piano, Vocals

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The Buoys - Timothy "Golden Classics" (1971-73 us, fine classic rock with counrty folk influence)

"Timothy” really was about a mule, but a lot of people thought he was another trapped miner." Rupert Holmes, the man who wrote "Timothy", was still trying to explain his 1971 hit for The Buoys in a 1988 interview to promote his new Broadway musical, "The Mystery of Edwin Drood." Laughing, Holmes swore the anguished song about the two survivors in a trio of trapped miners was not an ode to cannibalism. 

It was easy to laugh then, but it wasn't so funny when Scepter Records issued the single by the Wilkes-Barre, Pennsylvania quintet. Even though the song would eventually go into Billboard's Top 20, many radio programmers were reluctant to play the song, especially when listeners called demanding to know why some band was singing about eating this poor miner. It also didn't help when there were media reports about college students holding 'Timothy For Lunch Bunch" gatherings. 

Whatever the song was about, the notoriety did help get a hit for the group made up of Fran Brozena - keyboards, Gerry Hludzik - bass, Chris Hanlon - guitar, Carl Siracuse - drums, and Billy Kelly - lead vocals. They were discovered by a Scepter engineer, who then approached Holmes about writing a song to help the quintet get some attention. He agreed, and the song ultimately became Holmes' first real hit as a writer. Holmes also wrote a number of songs and played keyboards on The Buoys' debut Scepter album. 

It featured 'Timothy" and two other minor chart successes that also told odd stories. "Bloodknot" was said to be about a reform-school ritual while "Give Up Your Guns" was about an old West shootout. Although Holmes would go on to chart success as a singer, going Top 10 with "Escape (The Pina Colada Song)" and "Him", The Buoys soon sank out of sight. Scepter issued a few other singles, all featured here. 

The group then signed to Polydor, cutting two singles, "Don't Try To Run" and "Liza's Last Ride", also included on this album. In 1980, a couple of Buoys - Billy Kelly and Gerry Hludzik, who was also known as Joe Jerry - were back in music as a group called Dakota. Their self-titled album on Columbia failed to generate any attention.

by  Mark Marymont

Tracks
1. Timothy (Rupert Holmes) - 2:49
2. Give Up Your Guns (Rupert Holmes) - 4:16
3. Sunny Days/Memories - 5:02
4. Tell Me Heaven Is Here - 3:33
5. The Prince of Thieves (Rupert Holmes) - 4:17
6. Castles - 2:27
7. Bloodknot (Rupert Holmes) - 2:13
8. Tomorrow (Rupert Holmes) - 3:26
9.Streams Together - 2:48
10.Good Lovin' - 2:30
11.Pittsburgh Steel - 4:13
12.Absent Friend - 3:51
13.These Days - 2:47
14.Sunny Days - 1:25
15.Don't Try to Run (Brozena, Kelly, Hludzik) - 3:21
16.Dreams (Brozena, Kelly, Hludzik) - 3:26
17.Look Back America - 6:34
18.Liza's Last Ride - 2:55
All songs written by the Buoys except where noted

The Buoys
*Bill Kelly - Lead Vocals, Guitar
*Jerry G. Hludzik - Bass, Vocals
*Chris Hanlon - Guitar
*Fran Brozena - Keyboards
*Carl Siracuse - Drums
with
*Sally Rosoff - Cello

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Reg King - Reg King (1971 uk, great classic rock with glam shades)

Reg King belonged to the Action, Mighty Baby, Blossom Toes,  B.B. Blunder family tree, leaving the Action before they became Mighty Baby and performing with (ex-Blossom Toes) B.B. Blunder after releasing this acclaimed and rare solo record.

Members from the bands above would form the backbone for this project, recorded over three years and guesting Stevie Winwood on keys. The Action had cut their teeth covering Motown soul during the mid 60s and those influences had not gone amiss for this LP, albeit through distorted guitars and stoney jams. 

The leadoff track “Must Be Something Else Around” is a blistering slice of hard English rock that probably gave Led Zep a brief jolt of anxiety. “That Ain’t Living” has the explosive impatience of certain tracks I know from The Action, but add this album’s key ingredient: raw and relentless blue-eyed soul, propelled by Reg King’s voice – probably the best of the British hard-rock-soul singers.

It’s not a grand slam on the other hand. I’m not much of a blues-hound, so “Down The Drain,” or six-minutes of predictable blues doesn’t do it for me. But “That Ain’t Living” pushes hard through a fully worthwhile six of spirited rock. There are a couple less memorable tracks, but the good hooks make this record worth a spin. Perhaps a good introduction to the Action family tree .

by Brendan (The Rising Storm)

Tracks
1. Must Be Something Else Around - 4:35
2. You Have Yourself a Good Time (Reg King, Peter Dale) - 3:10
3. That Ain't Living (Reg King, Peter Dale) - 6:41
4. In My Dreams (Reg King, Alan King) - 3:54
5. Little Boy - 2:57
6. 10,000 Miles (Reg King, Peter Dale) - 3:30
7. Down the Drain - 6:15
8. Savannah - 11:52
9. Gone Away (Reg King, Peter Dale) - 2:38
10.Must Be Something Else Around (Guide Mix) - 6:20
11.Must Be Something Else Around (Rough Mix) - 4:37
12.You Have Yourself a Good Time (Reg King, Peter Dale) - 4:23
13.Down the Drain - 3:10
14.Nobody Knows Where We Are - 5:58
15.10,000 Miles (Reg King, Peter Dale) - 4:05
16.Gone Away (Reg King, Peter Dale) - 4:21
All tracks written by Reg King unless as else stated

Musicians
*Reg King - Guitar, Vocals
*Brian Auger - Keyboards
*George Barker - Trumpet
*Brian Belshaw - Bass, Vocals
*Marc Charig - Trumpet
*Peter Dale - Vocals
*Elton Dean - Saxophone
*Michael Evans - Bass
*Frank Farrell - Bass
*Brenda French - Vocals
*Brian Godding - Guitar, Vocals
*Barry Jenkins - Drums
*Nic Jones - Percussion
*Alan "Bam" King - Guitar
*Danny McCulloch - Bass
*Paul Nieman - Trombone
*Roger Powell - Drums
*Martin Stone - Guitar
*Peter Swales - Vocals
*Mick Taylor - Guitar
*Dick Thomas - Drums
*Doris Troy - Vocals
*Kevin Westlake - Drums, Guitar
*Ian Whiteman - Bass, Flute, Keyboards
*Steve Winwood - Keyboards
*Jo Wright - Guitar

Related Act
1964-90  Action - The Ultimate Action

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The Skeptics - The Complete Early Years (1965-69 us, splendid garage beat, 2012 Gear Fab release)

The Skeptics were one of Oklahoma's most famous rock bands. They started playing as a band sometime in either 1964 or 1965 and hailed from the town of Bartlesville, about 80 miles north of Tulsa. Jerry Waugh, their lead singer, a principle songwriter , had his first known recording with  “It's A New Thing To Me” b/w “Not Another Cloudy Day” which was released in early 1965. 

“Not Another Cloudy Day” featured the female vocals of Nedra Price, who had an earlier hit “Let’s Have A Party” with the Moonglows in 1964 on the Ponca label with b/w “Sugar Booger”. Bobby Shivel  played bass for Nedra on this recording, thus the connection to The Skeptics. 

The Skeptics first release as a band came in 1965 with “For My Own” w/b “I Told Her Goodbye” on the Trush label with a great picture sleeve. Original members included Jerry Waugh on Vocals and Harp, Bobby Shivel on Bass, Gary Shivel on Organ,  Luis Biggerstaff on Lead Guitar, and Garry Mars on Drums.  

The group enlisted the songwriting service of Wayne Carson Thompson for their final two 45’s. Thompson had enjoyed some earlier success with such hits as “Always On My Mind”,  “The Letter” and “Somebody Like Me”. This line up continued on until 1969 when Jerry Waugh left the band and the group moved towards for more of the funky, horn driven sounds of the early 70’s. 

They formally disbanded in 1974. Rumor has it that their manager  released an unauthorized  LP in 1969 which contained all their 45’s but a copy of it has yet to turn up with collectors. 

by Roger Maglio, April 2012

Tracks
1. It's A New Thing To Me (Jerry Waugh) - 2:03
2. Not Another Cloudy Day (Maynard Helmuth) - 2:54
3. For My Own (Jerry Waugh) - 2:42
4. I Told Her Goodbye (Jerry Waugh) - 2:15
5. Ride Child (Jerry Waugh) - 2:15
6. Apple Candy (Original Version) (Jerry Waugh) - 2:56
7. Apple Candy (Alternate Version) (Jerry Waugh) - 3:01
8. Stripes (Jerry Waugh) - 3:09
9. Certain Kind Of Girl (Jerry Waugh) - 2:46
10.Bit O' Honey (Wayne Carson Thompson) - 2:14
11.East Side Tenement House (Wayne Carson Thompson) -2:39
12.Turn It On (Wayne Carson Thompson) - 2:24
13.She's A Gas (Wayne Carson Thompson) - 2:25
14.Down To the Bone (The Skeptics) - 2:53

The Skeptics
*Jerry Waugh - Vocals, Harp
*Bobby Shivel - Bass
*Gary Shivel - Organ
*Luis Biggerstaff - Lead Guitar
*Garry Mars - Drums
Guest
*Nedra Price - Vocals

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Various Artists - Sing Me A Rainbow: A Trident Anthology (1965-67 us, marvelous sunshine psych folk garage beat, double disc set)

Previous volumes in the Nuggets From The Golden State series devoted to the late Frank Werber’s Trident Productions have been enthusiastically received, and Big Beat is proud to issue the best of the rest in this double CD package, “Sing Me A Rainbow: A Trident Anthology 1965-67”.

Werber formed Trident Productions in 1964 and dissolved it in late 1967. As manager and ‘fourth member’ of the incredibly successful Kingston Trio, he had taken the act’s profits and invested them on their behalf in a range of intellectual properties, such as publishing, and physical ones, such as the Trident Restaurant in Sausalito and, most significantly, the flat iron Columbus Tower building in San Francisco’s North Beach district. With the production company, Werber wanted to apply his proven management abilities to a new wave of artists, but he didn’t bargain with how different, and contrary, that next generation might be. Based as it was in the San Francisco of the mid-1960s, Trident was at once in the vanguard of rock’s next phase, and a victim of it. The organization only foundered because, after ten years at the top of his profession, the man driving the whole shebang didn’t want to play the game anymore.

Based on a thorough investigation of his catalogue, this collection documents Werber’s attempts to create a Brill Building-like production line of writers, producers and acts, though focused on the new folk-rock San Francisco sound. His flagship artist in this regard was the hugely popular We Five, and the comp includes rare mono single and album mixes not previously on CD. Cuts by the Mystery Trend, Sons Of Champlin and Blackburn And Snow are also previously unissued rarities that are not featured on their respective anthologies.

Werber believed in nurturing his handpicked acts, and we have included his best examples here, such as the Justice League, the San Franciscans, the Front Line and the Tricycle. Outside of We Five, none of Trident’s acts had any success. Yet, although Sing Me A Rainbow contains 95% unissued material, it is a surprisingly strong and accomplished set of folk rock, pop and garage band sounds with a San Francisco flavour. There is also a rare folk rock experiment by Kingston Trio member John Stewart and selected demos by hopefuls who auditioned for Trident, including Thorinshield, The All Nite Flight and The New Tweedy Brothers.

by Alec Palao 

Artists - Tracks - Composer

Disc 1

1. We Five - You Were on My Mind (Sylvia Fricker) - 2:36 

2. Randy Steirling, John Stewart - Leave Me Alone (Randy Cierley, John Stewart) - 2:52 

3. Front Line Assembly -  Need You No More (Dennis Lanigan) - 2:00 

4. San Franciscans - I Love You So (Jack Fischer) - 2:16 

5. Blackburn And Snow - Stranger in a Strange Land (Samuel F. Omar) - 2:41 

6. Herb Jackson Group - She's Mine (Herbert Jackson) - 1:55 

7. Front Line Assembly - I Don't Care (Dennis Lanigan) - 2:58 

8. San Franciscans - If You Lie (Jack Fischer) - 2:25 

9. We Five - You Let a Love Burn Out (Randy Steirling) - 2:11 

10.Front Line Assembly - Got Love (Dennis Lanigan) - 1:51 

11.Randy Steirling - Green Monday (Randy Steirling) - 3:10 

12.Blackburn And Snow - It's So Hard (Jeff Blackburn) - 2:10 

13.Justice League Featuring Kwame - Love Me Not Tomorrow (John Stewart) - 2:12 

14.We Five - Five Will Get You Ten (Frank May) - 2:19 

15.Thorinshield - Brave New World (Bobby Ray) - 2:04 

16.Randy Steirling - Places I've Been (Randy Cierley) - 2:29 

17.The Mystery Trend - Carrots on a String (Bob Cuff) - 2:01 

18.Frank May - I'll Make You Happy (Frank May) - 2:08 

19.Justice League Featuring Kwame - I Really Want You (Ron Cornelius) - 2:11 

20.The Sons of Champlin - Sing Me a Rainbow (Estelle Levitt, Lou Stallman) - 3:06 

21.New Tweedy Brothers - Letters (Steven Ekman) - 3:27 

22.Jeff Blackburn, Randy Cierley, John Lennon, Estelle Levitt, Paul McCartney, Rob Moitoza, Lou Stallman - MGM Verve Presentation Medley: Green Monday/Sing Me a Rainbow/Fat City/ - 5:27 

Disc 2
1. Blackburn And Snow - Stranger in a Strange Land (Samuel F. Omar) - 2:28
2. We Five - There Stands the Door (Herbert Jackson) - 2:25
3. New Tweedy Brothers - Time (Steven Ekman) - 4:01
4. The Mystery Trend - Johnny Was a Good Boy (Bob Cuff) - 2:37
5. Justice League Featuring Kwame - Thinkin' It Over - 2:12
6. Thorinshield - Wrong My Friend (Bobby Ray) - 2:03
7. All Nite Flight - Here I Stand (Jack King) - 2:39
8. We Five - What's Goin' On - 2:16
9. Ron Davies - This Time (Ron Davies) - 3:45
10.The Mystery Trend - Mambo for Marion (Bob Cuff) - 2:04
11.Justice League Featuring Kwame - Can't Get Over How You Left Me (Ron Cornelius) - 2:59
12.The Sons of Champlin - Go and Hide (Bill Champlin) - 2:13
13.Tricycle - All the Time (Mason Williams) - 2:20
14.Ron Davies - Pleasant Avenue (Ron Davies) - 1:45
15.Tricycle - Not a Single Word (Debbie Burgan, Jerry Burgan) - 2:33
16.Crystal Set - She's on My Mind (Ron Cornelius) - 2:34
17.Blackburn And Snow - Time (Jeff Blackburn) - 2:47
18.Ron Nagle - 61 Clay - 1:33
19.Crystal Set - Peaceful Times (Ron Cornelius) - 2:50
20.Tricycle - Somewhere (Ron Davies) - 2:25
21.Blackburn And Snow - See More Tomorrow (Jeff Blackburn) - 3:32
22.The Sons of Champlin - Shades of Grey (Barry Mann, Cynthia Weil) - 3:13

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The Strawberry Alarm Clock - Incense And Peppermints (1967 us, classic psychedelic flower power, debut album, 2011 sundazed issue)

The Strawberry Alarm Clock made musical history with its first single, the infectiously psychedelic “Incense and Peppermints,” which topped the singles charts in December 1967. It remains one of the Aquarian Age’s most enduring anthems. And as the California combo’s debut LP demonstrates, there was a lot more to the Strawberry Alarm Clock than their iconic trademark hit.

Incense and Peppermints combines gorgeously melodic flights with a Sunset Strip sensibility—the album is filled with trippy soundscapes, fuzzy guitars, sophisticated harmonies and the evocative lyrics of tracks such as “The World’s on Fire,” “Birds in My Tree,” “Rainy Day Mushroom Pillow” and “Paxton’s Back Street Carnival.” The result is a surprise-filled collection that All Music Guide calls “a strangely compelling mix of psychedelia, sunshine pop, garage rock, and California harmony.”

Mastered from the original stereo UNI?reels, this compact disc edition includes new liner notes by Domenic Priore and features the album’s unique original cover art. 

Sundazed

Tracks
1. The World's on Fire (E. King, G. Bunnell, L. Freeman, M. Weitz, R. Seol) - 8:25
2. Birds in My Tree (S. Bartek, G. Bunnell) - 1:54
3. Lose to Live (C. King, T. Stern) - 3:15
4. Strawberries Mean Love (G. Bunnell) - 3:02
5. Rainy Day Mushroom Pillow (S. Bartek, G. Bunnell) - 3:04
6. Paxton's Back Street Carnival (S. Bartek, E. King, G. Bunnell, L. Freeman, M. Weitz, R. Seol) - 2:04
7. Hummin' Happy (E. King, G. Bunnell, L. Freeman, M. Weitz, R. Seol) - 2:24
8. Pass Time With The SAC (G. Bunnell, L. Freeman, E. King, J. Pitman, M. Weitz) - 1:21
9. Incense and Peppermints (J. Carter, T. Gilbert) - 2:47
10.Unwind with the Clock (E. King, M. Weitz) - 4:13

Strawberry Alarm Clock
*George Bunnell - 2nd Bass Guitar, Vocals
*Randy Seol - Drums, Bongos, Vibes, Vocals
*Lee Freeman -  Rhythm Guitar, Harmonica, Vocals
*Edward King - Guitar, Vocals
*Mark Weitz - Vocals, Organ, Piano, Harpsichord
*Gary Lovetro - 1st Bass Guitar, Vocals

For more Strawberries
1968  Wake Up...It's Tomorrow
1968-69  The World In A Sea Shell / Good Morning Starshine

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Betty - Handful (1971 us, rough psych biker boogie roll, Shadoks remaster)

Originally recorded in 1971 by California's long-forgotten Betty, Handful is an interesting and frustrating album, but not because of any of the songs on it. The ten tracks are standard for the time period and show that the musicians were competent if not particularly imaginative songwriters. Opener "Boogie with You" has a distinct roadhouse feel reminiscent of the Doors or Canned Heat. Guitarists Mike McMahon and Anthon Davis lay down some funky guitar licks accented by Tom Jordan's piano and an able rhythm section comprising Al Rodriguez on drums and Kerry Kanbara on bass. And the other nine songs on the album are variations on this theme.

"Blind with Shame" contains some poppy guitar hooks and a catchy chorus, and "Thank You" replaces the piano with an organ and blues riffs with Moby Grape-inspired metal chords. On "Lights Gonna Shine," the band travels the farthest afield by trading out the shouted lyrics and boogie sensibility of the other tracks for a more folk-oriented point of view. 

Listening to the album does pique an interest in the band that put them together, and in that regard Shadoks Music misses out. There was a huge opportunity here to track down the members of the band for interviews and have them put Handful into both an artistic and a historic context. It's nearly impossible not to wonder what became of Betty. 

by Mike Burr

Tracks
1. Boogie With You (Anthon Davis) - 2:53
2. Blind With Shame (Anthon Davis) - 2:60
3. Just For Fun (Mike Mcmahon, Anthon Davis) - 4:01
4. High Rollin' On The Freeway (Lee Marks, Anthon Davis) - 3:33
5. River Bummin' (Lee Marks, Anthon Davis) - 3:35
6. Handful (Of Love) (Mike Mcmahon, Anthon Davis) - 3:19
7. Thank You (Lee Marks, Anthon Davis) - 4:09
8. Learn How To Boogie (Lee Marks, Anthon Davis) - 3:28
9. Harley Perdoo (Lee Marks, Anthon Davis) - 3:23
10.Lights Gonna Shine (Mike Mcmahon, Anthon Davis) - 3:05

Betty
*Al Rodriguez - Drums
*Mike McMahon - Guitar
*Kerry Kanbara - Bass, Vocals
*Anthon Davis - Lead Vocals, Guitar
Guest Musicians
*Tom Jordan - Keyboards
*Lee Marks - Chorus
*Ed O'Donnell - Chorus

1973  Good Dog Banned - Good Dog Banned 

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The Who - Live At Fillmore East (1968 uk, high energy rock 'n' roll, japan press, excellent sound quality)

The second night of The Who's first run ever playing at the Fillmore East is an unbelievably great document of the band in its early prime, still full of the punk attitude that they would initially define while beginning to venture off into more artistic and experimental territory. Every minute of this performance is fascinating and much of this material cannot be found, in better quality or at all, on any other Who recordings. This set captures the entire band fully engaged in their music. Although many songs were still short and concise during this stage of their career, the intensity level is undeniable. Opening the show with Eddie Cochran's "Summertime Blues," they immediately set a bar that most other bands could never even approach.

The previous year, two members of The Rolling Stones were arrested on drug charges under questionable circumstances, and were victimized by the U.K. courts. They were harshly sentenced in an attempt to make an example out of them, which immediately caused an uproar that shook London to the core. Following Jagger and Richards' ridiculous sentencing, The Who quickly recorded two of their more popular songs in support and vowed to record nothing but Stones songs until the two were released. Their second song of this set is the Stones' cover of the Allen Toussaint penned "Fortune Teller," which they had just performed for the first time ever the previous night.

They continue with "I Can't Explain," one of the few songs American audiences were familiar with at the time, but with a new level of aggression that wasn't apparent on that early single. Next up is their current single at the time, "Happy Jack," a tune that found them exploring new directions and beginning to experiment with dynamic changes. Extremely rare live performances of "Relax" and "My Way" follow and continue to explore and expand on the boundaries within the band's music. "Relax" surprisingly turns out to be one of the heavier numbers on this set and the band takes flight into some inspired jamming following the verses. Unfortunately, the jam fades out and is incomplete.

John Entwistle then steps up for his defining song, "Boris The Spider," lending his dark sense of humor to the proceedings. At this point, the band launches into "My Generation" and this version is amazing. The improvisational section following the verses is a great early example of the band letting the music propel itself. Although at times it seems like they are on the verge of being out of control, they never are, and early signs of Townshend developing themes within a jam are also surfacing. The approach to their instruments and the sound they create as a unit is utterly unique and unlike any other band at that time. The reels were changed during this jam, so a small part of it is missing on this recording.

This surely must have left the audience breathless, so while they were recovering, the band embarks on their most experimental composition yet, "A Quick One While He's Away," which is incomplete and begins in the middle of the song. This adventurous suite of songs, loosely tied together, is a hint at Townshend's future aspirations that would eventually be realized in his first full-blown rock opera, Tommy. This is a fascinating performance for its entire eight minutes.

They close their set this night with another propulsive jam on "Shakin' All Over," again letting the music propel the band through several pulverizing jams, including spontaneous flailing of riffs familiar from other songs. Again, the raw energy is astounding. This and the previous night's performance must have gone a long way towards cementing their reputation in New York City. This should be required listening for anyone interested in that era of rock music and especially for anyone interested in The Who - absolutely essential.

The Wolf-gang

Tracks
1. Summertime Blues - 4:17
2. Fortune Teller - 2:29
3. Tattoo - 4:01
4. Little Billy - 2:32
5. I Can't Explain - 2:20
6. Happy Jack - 3:00
7. Relax - 8:07
8. A Quick One While He's Away - 8:03
9. My Way - 2:31
10.Shakin' All Over - 9:28
11.Boris The Spider - 2:52
12.My Generation - 9:28
13.I'm A Boy - 2:53
14.Substitute - 2:51
15.My Generation - 4:50
Tracks 13-15 recorded Live at The Pier Pavillion, Felixstowe, UK.

The Who
*Pete Townshend - Guitar, Vocals
*Roger Daltrey - Vocals
*John Entwistle - Bass
*Keith Moon - Drums

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Emily - Emily (1972 us, amazing vocals in an acid psych folk rock trip, 2011 edition)

Emily Bindiger is a NY singer who has performed on hundreds of recordings, including commercials, movie soundtracks, industrials and records, as well as concert stages worldwide. 

She started out as a teenager playing clubs in Greenwich Village, then moved to France at 16 where she recorded and released in the spring of 1972, this extremely rare album that has been acclaimed as a psychedelic folk masterpiece. With sensitive backing from local progressive rockers Dynastie Crisis, the eight self-penned songs feature delicate arrangements and lyrics that show remarkable maturity and depth. A firmly established rarity in its original incarnation.

By her returning to US she made her Broadway debut in "Shenandoah," immediately followed by the revival of "Hair," and for seven seasons she starred as "Frannie" on the Peabody Award-winning children's TV show, "The Great Space Coaster." Emily has recorded and/or performed with such diverse artists as Leonard Cohen, Buster Poindexter, Ann Hampton Callaway, Joan Osborne, Lou Reed, Steve Van Zandt, Oscar Brand, Mary Fahl, Andy LaVerne, The Klezmatics, Peter White, Kevin Mahogany, Deodato, Michael Amante, Lesley Gore, Kathie Lee Gifford, David Friedman, Christine Lavin, Ben Vereen, Bobby Caldwell, Black 47, Laurie Beechman, Patti Austin, Ronnie Spector, Catherine Russell, Julie Gold, and the legendary Neil Sedaka, with whom she toured for several years.

Tracks
1. Confession - 2:28
2. Sunflower Seeds - 1:55
3. Jesus Said -  3:52
4. My Mother’s House - 4:00
5. Song For Steven (lyrics by Jeanne Claire Severac) - 2:35
6. Born Again -  2:39
7. Song Of Decision - 2:22
8. Old Lace (To John) - 9:26
Words and Music by Emily Bindiger except where indicated.

Musicians
*Emily Bindiger - Vocals, Guitar
*Jacques Mercier - Vocals, Guitar
*Jacky Chalard - Bass
*Philippe Lhommet - Keyboards
*Geza Fenzl - Drums

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