After playing in rock bands for nearly ten years, Terry Frank (T-Bone) began his Bone Deluxe ensemble in 1980 as 'Black Cat Bone' against the advice of loyal followers in order to 'play the music I love'. He quickly proved that playing from your heart gets 'em every time and has worked steady in the Midwest ever since gaining fans everywhere the band goes.
In 1981 Terry Frank released a private press LP “Loaded To Fire” where he played most of the instruments (except drums), the album was filled with hard blues rock inspired by Robert Johnson, Tampa Red, Buddy Guy, Freddie King, Johnny Winter, Mick Taylor, Duane Allman, Stevie Ray Vaughan for contemporary.
In the years to follow he changed the name of the band to “Bone Deluxe” and was nominated for many awards continuing to draw strong crowds. The band has also been a regular feature at Milwaukee’s Summerfest since 1985.
With some line up changes and his wife Cheryl on Bass, Terry recorded and released a couple of records. Terry and Bone Deluxe, put on the most high energy and up-tempo shows of any Blues group in the area, getting the crowd up, moving and keeping their attention for the course of the night. Terry kept his blues flame lit on stage until his death in 2009.
Tracks
1. Stepping Out (Bracken) - 2:20
2. Drinkin' Blues - 5:00
3. Shotgun Shuffle - 3:45
4. Dining Duck (Estes) - 3:35
5. Walking Blues (Traditional) - 2:27
6. Hideaway (F. King) - 2:55
7. Loaded To Fire - 2:30
8. Laid Back Feeling - 5:45
9. All Along The Watchtower (B. Dylan) - 4:55
10.Beyond The Rainbow - 6:45
All songs by Terry Frank except where stated
Despite a fabled team-up of Max Webster and Rush on the song "Battlescar", 1980's 'Universal Juveniles' had a noticeable absence of that trademark Watkinson keyboard sound and the band was falling apart from constant touring in towns where feverish fans were unable to purchase the band's records - especially stateside. The lack of promotion and poor management organization is sited as the cause for Kim Mitchell's resignation during a tour with Rush in April 1981. With this the band split up but they had actually been close to hitting the big time, so Anthem capitalized with a posthumous greatest hits package called 'Diamonds, Diamonds'.
Mitchell went on to a very successful solo career, but the continued cult status of Max Webster, particularly in Ontario, prompted Mitchell, Watkinson, McCracken, and Tilka to reunite in 1990. Their first performance was a short set at the Toronto Music Awards that year to 3000 hysterical fans who refused to pay attention to the awards given out after their set, continuing to chant "Max! Max! Max!" for the rest of the night. Anthem capitalized on the new-found Max fervour by releasing another best of package that year. Delighted with this response, the four musicians continued to do one-off dates around Ontario as Max Webster well into the late 1990's with Kim Mitchell Band bassist Peter Fredette filling in for Tilka.
In 2007, Mitchell, Tilka, McCracken and Watkinson reunited yet again for Toronto radio station Q107's 30th Anniversary bash along with David Wilcox, Goddo, Sass Jordan and Alannah Myles. The event was filmed but has yet to be released.
Kim Mitchell is the drive-time host on Q107-FM in Toronto. He still performs solo gigs in Southern Ontario; Gary McCracken still lives in Sarnia and owns a very successful music store/school. Aside from playing in ZZ Top tribute band Tres Hombres in the 80s and 90s, he has released several eclectic solo albums; Terry Watkinson performs with Mike Tilka in the band Antlers and occasionally joins Frank Soda live. Watkinson has been successful as a painter and displays his works in galleries around Ontario
Tracks
1. In The World Of Giants (P. Dubois, K. Mitchell) - 4:18
2. Check (P. Dubois, K. Mitchell) - 2:37
3. April In Toledo (P. Dubois, K. Mitchell) - 3:40
4. Juveniles Don't Stop (P. Dubois, K. Mitchell) - 3:32
5. Battle Scar (P. Dubois, K. Mitchell) - 5:48
6. Chalkers (P. Dubois, D. Myles) - 3:45
7. Drive And Desire (P. Dubois, K. Mitchell) - 3:53
8. Blue River Liquor Shine (P. Dubois, K. Mitchell) - 4:15
9. What Do You Do With The Urge (P. Dubois, G. McCracken) - 3:20
10.Cry Out Your Life (P. Dubois, K. Mitchell) - 5:33
Hookfoot, created by Southampton based musicians vocalist Ian Duck, bassist Dave Glover and drummer Roger Pope, was virtually the side act to their day jobs as session musicians for Elton John. The band started life as an R&B band The Soul Agents in 1965. A name change to The Final One then led to Hookfoot. The debut album, which found the band ploughing a similar Country Rock furrow to Cochise and covering songs by Neil Young, saw the addition of vocalist Peter Ross.
Hookfoot turned up en masse to supply the session music for solo artist John Kongas debut of the same year on Elektra Records as Quaye, Pope and Glover provided the backing.
The follow up album had Hookfoot joined by second guitarist American Bob Kulick. A period of flux followed as Kulick quit (later finding notoriety with session work for Kiss and his stints with Blackjack, Balance, Meat Loaf and Skull). To keep things on the move after Glover departed Cochise guitarist Mick Grabham subbed on bass. Third album 'Communication' had the band up to full strength with bassist Fred Gandy.
Hookfoot made four albums under their own name between 1971 and 1974, none of which did particularly well anywhere. None charted in the States. And by 1974, the bandmembers’ reputations as session players led to the breakup of the band. According to bassist Fred Gandy, who had replaced Glover, “We were all getting offers to work elsewhere . . . the temptations were just too great.” Pope and Quaye would eventually join Elton John’s new band in 1975.
Guitarist Caleb Quaye appeared on numerous 70's Rock projects including The Who's 'Tommy' Extravaganza, Colosseum man Dick Heckstall-Smith's 1972 solo album, Cochise's debut 'Swallow Tales', Grabham's 'Mick The Lad' solo effort and ex Hawkwind man Steve Swindells 1974 solo album. The guitarist has also worked with Paul McCartney and Pete Townsend.
Far from the heaviest Rock Band Hookfoot nevertheless produced some interesting albums with worthy guitar work courtesy of Quaye. Glover became a studio engineer in later years working with Cinderella among others.
Tracks
1. Tradin' Riffs (Caleb Quaye) - 4:36
2. Rockin' On The Road (Ian Duck) - 5:06
3. Maybe Tomorrow (Roger Pope, Caleb Quaye) - 3:44
4. Surely Lost Our Way (Ian Duck) - 2:44
5. In Many Ways (You're So Beautiful) (Ian Duck) - 4:33
6. Three Days Out (Caleb Quaye) - 4:45
7. Ridin' On A Thunderstorm (Ian Duck) - 6:00
8. Take It Where You Want It (R. Pope, I. Duck, C. Quaye, F. Gandy) - 0:56
9. There's A Chance (Caleb Quaye) - 3:41
10.Roll Of Drums (Ian Duck) - 5:34
11.Sweet Sweet Funky Music (Caleb Quaye) - 3:16
12.Living In The City (Caleb Quaye) - 4:56
13.If I Had The Words (R. Pope, I. Duck, C. Quaye, D. Glover) - 3:18
14.Gunner Webb's Changes (Ian Duck) - 3:14
15.The Painter (Caleb Quaye) - 6:06
Sherman Hayes Sr is a Californian who first recorded with Del Courtnet's band in 1939 & 1940. Hayes led a "White" hotel orchestra, in which he played tenor sax and vocalized. The band then featured "sweet" arrangements, a steel guitar, a Lombardo-styled sax section, period vocals by the leader, and a femme singer simply billed as 'Wyoma' (actually Sherman's wife Wanda). In the early 1950s, the band was last heard on a remote broadcast from the Hotel Roosevelt in New Orleans, LA.
Then, in 1973, Sherman Hayes Jr surfaced with his version of "Catman", released on Barnaby Records. The session features David Cohen, Dick Rosmini, Ralph Shuckett, Larry Knechtel, Joe Osborne and others, including members of "Pan" as well as Tom "Zippy" ("Zip") Caplan on lead guitar, arrangements & special effects, and Mick ("Slick"] Stanhope on lead vocals, lyrics & percussion. Mick is best known as drummer in the 3-piece power trio, "White Lightning." Mick moved to Los Angeles in 1971 with "Zip" Caplan (lead guitarist extraordinaire in "The Litter" & "White Lightning") and Pat Rains, their "White Lightning" manager.
Living in L.A. eventually led "Slick" and "Zip" to their little known yet amazing studio appearance on this fine southern rock styled Sherman Hayes (Jr.) album, titled "Catman." Released by the Andy Williams owned Barnaby Records, 1973's "Catman" offers up a weird combination of swamp rock, pop and country influences. Hayes certainly had a likeable voice which was at its best on the more blues and rock oriented numbers like the bizarre opening title track, 'Keepin' To the Backroads' and 'Creepy Crawly Feelin'. To be honest, most of the ten tracks are quite catchy (particularly where Hayes' swamp rock moves recall Tony Joe White), but the rural feel that infuses tracks such as 'Winter's Just Like Comin' Home' and The Dreamer' probably won't have much appeal to most rock fans. Elsewhere, boasting one of those irritating hooks that stick with you all day long, 'Mandy' would have made a dandy single.
Unfortunately, the combination of the OPEC gas crises (which drove vinyl prices through the roof), coupled with the collapse of Barnaby's distribution agreement with the label ensured the album got next to no promotion, explaining why it instantly vanished into cutout bins.
CD Liner-notes
Tracks
1. Catman (Sherman Hayes) - 2:51
2. Winter's Just Like Comin' Home (Sherman Hayes) - 4:10
3. South's Gonna Rise Again (Bob Mcdill) - 2:55
4. The Dreamer (Sherman Hayes) - 4:00
5. Keepin' To The Backroads (Sherman Hayes) - 3:46
6. Creepy Crawly Feelin' (Sherman Hayes) - 2:55
7. Mandy (Sherman Hayes, Dann Lottermoss) - 2:05
8. Spirit (Larry Murray) - 2:08
9. Waitin' For Tomorrow (Sherman Hayes) - 2:45
10.Country Rain (Sherman Hayes) - 2:54
The band had started to diversify and develop its sound on the albums Collage (1970) and Indian Reservation (1971), something they continued with the final studio album for Columbia Records, Country Wine. Lead singer Mark Lindsay had also taken over production duties from the band's 1960s mentor, Terry Melcher (eulogised in the groovy soul-jazz instrumental Terry's Tune', the B-side to Indian Reservation'), and his confidence in the studio was reflected in the quality of the material on offer, 'Country Wine' was an up-tempo pop-rock number, the equal of anything they'd recorded previously.
The single B-side, Lindsay's 'It's so Hard Getting Up Today', was a smouldering jazz-blues number not that far removed from what Leon Russell was doing at the same time. The crunching “Powder Blue Mercedes Queen', also written by Lindsay, found the band taking on the riff-heavy sound of Mountain's 'Mississippi Queen' and coming up with an effective example of the heavy metal form. The irony here is that Columbia was intent on promoting new hard rock signings like Blue Oyster Cult and Aerosmith while the Raiders' Country Wine album and subsequent singles got lost in the rush.
It's worth investigating the band's line-up changes circa the early to mid 1970s, The back cover of the Country Wins album shows the band comprising Mark Lindsay (lead vocals), Paul Revere (keyboards), Keith Allison (bass and guitar, who had replaced Phil Volk), Freddy Weller (guitar, who had replaced Jim Valley) and Mike "Smitty" Smith (drums, who had replaced Joe Correro Jr. in 1970 and had already been a member during the 1960s).
After 'Indian Reservation' had become a hit, they added musicians to the live band so they could more readily reproduce the sound of the record. Omar Martinez (drums) and Bob Wooley (keyboards), both ex- Peach, joined the touring Raiders In late 1971.
Smitty left at the end of 1972 and Martinez became an official band member. Weller departed in early 1973 to be replaced by Doug Heath, whose first session with the band was for the'... All Over You' single.
Lindsay left in early 1975 and Martinez was promoted to lead singer (from behind the drums), Allison left in April to be replaced by Ron Foos. The band reverted to the moniker of Paul Revere and the Raiders, with the line-up of Revere, Martinez, Wooley, Heath and Foos touring until the end of 1976. The final single for Columbia, 'Your Love (Is the Only Love)' b/w 'Gonna Have a Good Time', featured this post-Lindsay line-up and doesn't fit on this collection.
Over the decades, a large amount of mystique has built up around the Raiders’ final Columbia album. Between 1972 and 1973, the Raiders had recorded enough material for a full album which the label chose not to release. The tracks were: “Song Seller”, “A simple Song”., “Love Music”, Goodbye No9”, “seaboard Line Boogie”, “Tobacco Road”, “Angels of Mercy”, “Chain Of Fools”, “Kept It In The Family”, “Billy Come Down” and “Union Man”
A number of the tracks appeared on singles; 'A Simple Song' as the B-side to 'Song Seller' and 'Goodbye, No. 9' as the B-side to love Music', white the jaunty R&B country song 'Seaboard Line Boogie' later showed up as the B-side to'.,. “All Over You” although that was a totally different take. Much later, the terrific covers of John D. Loudermilk's 'Tobacco Road', Rallene Ellison's 'Angels of Mercy' and Don Covay's 'Chain of Fools' saw release on the 1990 double CD collection The Legend of Paul Revere.
From the late 1970s onwards, various groups from the punk movement, the Paisley Underground and the garage rock revival have acknowledged the Raiders' influence (specifically their 1965-1967 recordings). Tracks such as 'Steppin' Out', 'Just Like Me', 'Kicks', 'Hungry', 'I'm Not Your Stepping Stone', 'Good Thing', 'Him or Me - 'What's it Gonna Be' and 'Ups and Downs' still hold up as bold and unpretentious pop classics, as durable as anything by the Roiling Stones, Them, the Who, the Kinks, the Standells, the Music Machine and dozens of other 1960s bands of that ilk.
The Raiders’ latter day albums displayed a more mature pop-rock direction but have tended to be overlooked. So alongside Collage and Indian Reservation, Country Wine is now ripe for serious re-evaluation.
by Ian McFarlane
Tracks
1. Country Wine (E. Villareal, W. Watkins) - 2:33
2. Powder Blue Mercedes Queen (Mark Lindsay) - 3:07
3. Hungry For Some Lovin' (Robert Siller) - 3:16
4. Baby Make Up Your Mind (John P'Andrea, John Porter) - 3:17
5. Take A Stand (Mark Lindsay, Keith Allison) - 4:05
6. Where Are Your Children (Leslie Ward Chandler) - 2:46
7. Ballad Of The Unloved (P. Weiss, S. English) - 3:29
8. American Family (Alan Earle O'Pay) - 3:43
9. Golden Girls Sometimes (M. Lindsay, K. Allison) - 2:38
10.Farewell To A Golden Girl (Mark Lindsay) - 2:46
11.Terrystune (Mark Lindsay) - 3:19
12.It's So Hard Getting Up Today (Mark Lindsay) - 2:42
13.Song Seller (Jimmy Webb) - 3:33
14.A Simple Song (Mark Lindsay, John D'Andrea) - 3:01
15 Love Music (Dennis Lambert, Brian Potter) - 3:43
16.Goodbye, No. 9 (Mark Lindsay) - 2:58
17.(If I Had To Do It All Over Again, I'd Do It) All Over You (Bob Dylan) - 2:43
18.Seaboard Line Boogie (Mark Lindsay, Keith Allison) - 3:10
19.Tobacco Road (John D. Loudermilk) - 3:30
20.Angels Of Mercy (Rallene Ellison) - 3:30
21.Chain Of Fools (Don Covay) - 3:12
The group was formed in 1962 in Stockholm and called The Janglers. When Ola Håkansson joined the band in 1963 changed the name to Ola and The Janglers. At that time members were Ola, vocals, Ake Eldsäter. bass, John Olsson. organ, Christer Idering. guitar and Leif Johansson on drums. Idering replaced in December 1965 by Claes "Clabbe" Af Geijer, who also became the group's songwriter.
In spring 1964, the group won the second place in Nalens Pop Artists Competition and also appears in several gigs. Their first single was Little Girl with I'll Stand By Your Side B side released on the label, Warner Brothers.
Ola and The Janglers breakthrough came in early 1965 when single She's Not There was released on record label Gazell. It went up on the Top Ten in on March 27 at 10th place. In September it was time for No No No on both Top Ten and Kvällstoppen with a 5th place as best in Top Ten.
Their first number one came through "Clabbes" song Land of a 1000 Dances which entered the Top Ten March 5, 1966 and remained for 8 weeks. And it was during 1966 as Ola and The Janglers was in class with the Hep Stars, Shane and Tages in popularity. Six singles were released this year, including five ended up on the Top Ten and four in the evening peak.
Their third album, released in late 1966 with titled Limelight. Ola and The Janglers was at its peak during 1966 and 1967 released five singles in 1967 and two LPs.
In 1968 they recorded a version of Chris Montez’s hit Let's Dance, another Top Ten. Let's Dance also became the band's biggest hit and the first Swedish pop hit in U.S. (Billboard Hot 100 in May 1969), reached at #93 and stayed three weeks on top100.
Even so that wasn’t enough to keep the band together for a long time, after couple of singles the band call it quits in 1971.
PS. Yesterday was a sad day for me. I lost my best friend (bloodbrother) -he was 52y- a great man and remarkable musician, guitar palyer. This is dedicated to his memory. Thank you Pavlos, for all the good time we lived together, all the music we enjoyed together, you're are now part of Heaven's big band.
Tracks
1. Light Of Lime (Claes "Clabbe" Af Geijerstam) - 3:06
2. Mary Come Home (J. Olsson, C. Af Geijerstam) - 2:42
3. Now I Like Her (J. Olsson, C. Af Geijerstam) - 2:16
4. No One Knows What Happens Round The Corner (C. Af Geijerstam) - 2:28
5. How Come (J. Olsson, C. Af Geijerstam) - 2:27
6. Poetry In Motion (Paul Kaufman, Mike Anthony) - 2:35
7. Alex Is The Man (C. Af Geijerstam) - 2:53
8. Chained And Bound (Otis Redding) - 3:22
9. Our Love (C. Af Geijerstam) - 1:56
10.Bird's Eye View Of You (C. Af Geijerstam) - 3:11
11.Heart (J. Olsson, C. Af Geijerstam) - 2:19
12.We've Got A Groovy Thing Goin' (Paul Simon) - 2:14
Ola And The Janglers
*Ola Håkansson - Vocals, Tambourine, Maraccas
*Claes "Clabbe" Af Geijerstam - Guitar
*Johannes Olsson - Hammond Organ, Electric Piano, Vibes, Harp
*Åke Eldsäter - Bass
*Leif Johansson - Drums
Initially released by the obscure Evolution label in 1969, the self titled album by Arzachel has long been regarded as one of the best lost gems of the British psychedelic and progressive rock scene. The album bombed when it first came out due to lack of promotion, and the surviving copies of the original LP can command ridiculous sums of money.
Confusingly enough, the Arzachel record was not recorded by a band called Arzachel at all. The grooves on this record were put down by Uriel, a group which contained guitar virtuoso Steve Hillage along with the three members of the progressive group The Egg: Dave Stewart on organ, Mont Campbell on bass and Clive Brooks on drums.
Uriel - Steve Hillage / Dave Stewart
Formed by Steve Hillage and Dave Stewart in 1967, Uriel were a straight psychedelic outfit with a summer residency on the Isle of Wight. When Hillage left for University in 1968, the remaining remembers stayed together and started playing original material. This subsequently led to a contract with Decca records and a change of name to The Egg.
Shortly after they had signed to Decca, they were offered a day in the studio to record a psychedelic album by Zackariya Enterprises. Since they were already under contract with Decca, Hillage was brought back and Uriel was reformed.
The album they recorded was later released in 1969 under the name of Azachel, and for contractual reasons all of the musicians on the album were given fake names and biographies in the notes.
It’s incredible that this album was put together in just one day and recorded “just for a laugh” as Hillage once remarked. The musicianship never falls below awe-inspiring throughout, which is an extraordinary feat in itself as not one of the players was in their twenties.
The sense of fun is evident throughout the album, especially on side one. “Garden of Earthly Delights” kicks things off with some very Deep Purple sounding organ swathes under crunching power chords and fat drum breaks, before descending into pleasing psych-pop territory, with decidedly English, whimsical vocals and a soaring guitar workout from Hillage.
“Azaroth” is more sinister, with Stewart’s organ set to “church” and some melodramatic vocals. The instrumental “Queen St Gang” has long been a favourite of beat diggers, with its lazy break-beat and heavy funk bass-line. With swathes of organ and an incessant groove, the track comes across as a slick piece of cosmic sixties soul and could quite happily find its way onto any KPM library record.
“Leg” begins with a fairly ludicrous, carnival-esque organ line before exploding into a heavy blues riff and pounding drums. It’s fairly derivative of the other blues rock groups of the sixties, but nevertheless it’s an awesome track, full of fire and fury and some memorable guitar solos.
Metempsychosis
The second half of the album is more experimental than the first, the two cuts being more in the vicinity of wild cosmic jams. “Clean Innocent Fun” is an epic blues rock number. Campbell and Brooks lay out a slow rhythm for Hillage to wax lyrical over Stewart’s organ chords, before quickening the pace and turning the track into a full on psychedelic jam.
The massive sprawling “Metempsychosis” closes the album with its 16 minutes of Pink Floyd-esque experimentation. There are some true moments of inspiration and inventive playing on this track, and the fact that the band holds it all together over the course of the 16 mins is a testament to the sheer musicality of the group.
The Arzachel album is rightly lauded as a lost gem of British rock and it is an important and essential album not least because it bridges the gap between the psychedelic lunacy of Pink Floyd and the beginning of the Progressive music of the Canterbury scene. It is a highly entertaining and highly recommended piece of work.
Arzachel Collectors Edition by Uriel (2007, Egg Archive CD69-7201), released directly through Egg's own private archive label. Original Arzachel album (first released on vinyl in 1969) remastered, plus six previously unavailable bonus tracks. Includes 18 page booklet with extensive band history & recollections written by band members, along with numerous previously unseen photographs.
by Gerard Fannon
Tracks
1. Garden of Earthly Delights (M.Campbell) - 4:26
2. Azathoth (D. Stewart, M. Campbell) - 4:26
3. Soul Thing (Mansfield arr. M. Campbell) - 4:32
4. Leg (S. Hillage, Vinall) - 5:49
5. Clean Innocent Fun (S. Hillage, Vinall) - 10:34
6. Metempsychosis (Uriel) - 16:58
7. Introducing the Bass Guitarist (Mr Campbell and son) - 0:21
8. Egoman (M.Campbell) - 4:12
9. Swooping Bill (D.Stewart) - 3:19
10.The Salesman Song (M. Campbell) - 2:56
11.Saturn, The Bringer of Old Age (Holst arr. M. Campbell) - 3:45
12.The Stumble (F. King) - 0:46
Uriel
*Dave Stewart - Organ, Piano
*Mont Campbell - Bass, Vocals, French Horn, Tuba
*Clive Brooks - Drums
*Steve Hillage - Guitar, Vocals
The closest me an' the buds ever came to viewing Max in the flesh (until '96's brief reunion tour) was being denied entrance (underage) at one of the band's near final shows at some bar in Nelson, B.C. We obviously missed a legend, a classic, cagey, canny circus act that cut its collective fangs on the cornerstones of technical brilliance, humour, artful restraint when required, and an uncommon attention to detail.
So it's no surprise that Live Magnetic Air is a well-recorded and well-executed romp through some of Max's celebratory anthems, a veritable love-in of sound and galactic obtusion, a record demonstrating demonstrably a deft kid-gloving of heavy and light through the free 'n' easy juxtaposition of all the delicate hits with about a third of the band's acerbic noiseniks. I look into my crystal ball and pronounce that Max Webster will forever find a welcome home on Canadian classic rock airwaves, the band's sparkling arch-Canuck observations possessing the ability to reveal new hopeful possibilities for advancing waves of generations inexorably drawn to the fringes.
by Martin Popoff
Tracks
1. America's Veins (K. Mitchell, P. Dubois) - 4:09
2. Paradise Skies (K. Mitchell, P. Dubois) - 3:34
3. In Context Of The Moon (K. Mitchell, P. Dubois) - 5:20
4. Night Flights (Terry Watkinson, P. Dubois) - 3:20
5. Lip Service (K. Mitchell, P. Dubois) - 4:14
6. Sarniatown Reggae (K. Mitchell, P. Dubois) - 1:25
7. Here Among The Cats (K. Mitchell, P. Dubois) - 3:48
8. Gravity (K. Mitchell, P. Dubois) - 4:47
9. Waterline (K. Mitchell, P. Dubois) - 4:30
10.Charmonium (Watkinson) - 4:37
11.Hangover (K. Mitchell, P. Dubois) - 5:41
All is silky, ethereal, and crisp as winter snow on Max's most polished piece of studio jewelry, the band's lightest footprinted excursion. A Million Vacations chimes clear as a bell, the album lovingly layered with keyboards, buoyant with bright guitars and lush, letter-perfect harmonies. Highlight of the collection comes with what proved to be the band's biggest hit Paradise Skies, a masterwerk of dynamics and uncompromising professionalism with one of the most gushingly enjoyable drum sounds ever plucked from, then tweaked for, the airwaves.
Other aural sculptures that spot and dot Max's moving target of offbeat inversion include the whacked-out Rascal Houdi, the live and unkempt Research (At Beach Resorts), the spring water-pure Charmonium, and last but not least, the good feeling boogie rockin' title track. The sounds on this truly awesome head trip simply ebb and flow as if the band were wrapped in a dream, all the while firmly rooted in an earthly and knowing pride in its obvious accomplishment, creating high upon high, working with a shared love of quality craftsmanship, eye askance to big brothers Rush for professional guidance.
The final result is evident within the grooves, rhythms which just sing with enthusiasm, no small thanks to the album's state-of-the-art Maxmix. As history would have it, A Million Vacations is largely considered Max Webster's quintessential, defining work, most likely due to its maturity, accessibility, and seemingly elliptical but somehow comfortable cohesion, not to mention the (Canuck) hit status of no less than four songs: Paradise Skies, copasetic pop hummer Let Go The Line, airy prog masterpiece Night Flights, and to a lesser extent the title track. But to my mind, putting side such base and shackling commercial concerns, the record is merely yet another masterpiece comprising a body of work that baffles, elates, provokes and charmingly, good-naturedly pokes fun.
by Martin Popoff
Tracks
1. Paradise Skies (K. Mitchell, P. Dubois) - 3:15
2. Charmonium (Terry Watkinson) - 4:15
3. Night Flights (Watkinson, P. Dubois) - 3:02
4. Sun Voices (K. Mitchell, P. Dubois) - 4:50
5. Moon Voices (K. Mitchell) - 3:05
6. A Million Vacations (Gary McCracken, P. Dubois) - 3:10
7. Look Out (K. Mitchell, P. Dubois) - 4:53
8. Let Go The Line (Watkinson) - 3:25
9. Rascal Houdi (K. Mitchell, P. Dubois) - 3:28
10.Research (At Beach Resorts) (K. Mitchell, P. Dubois) - 4:45
The start of the Seventies was an uncertain time for lovers of grown-up popular music. Monterey had led to Woodstock, which had become Altamont. Much of that deep and meaningful West Coast stuff had turned to self-indulgence, and the deaths in quick succession of Joplin, Morrison, Hendrix, etc., had heralded the emergence of Glam Rock and the increasing influence of heavy metal.- Fortunately, however, in the early Seventies there were acts who followed their own inclination, ignoring current fashions .and just doing;:what seemed to come naturally. One such was Storyteller, a quintet who were probably closer to folk vain than any other genre, although we are not talking about finger in the ear traditional folk, but more the art of songwriter who wants to make a point or tell a story.
Perhaps appropriately Storyteller’s two albums were released by Britain's then foremost folk label, Transatlantic, their eponymous debut LP in 1970, and their last will and testament, 'More Pages' in 1971. These were not chart albums (far from it), bat particularly the first LP remained a pleasant memory for over 25 years until that nine, Mr.Dane asked me whether there were any Transatlantic album that he might consider reissuing.
As Storyteller seemed to have been forgotten by everyone but me that was my recommendation. Write a sleeve note, then sure, if you can tell me where to find them. The Group's focal point was probably Caroline Attard, and if memory serves, she was married to Andy Bown, who used to be in The Herd with Peter Frampton in the Sixties, then joined a group which achieved rather less than was expected of it called Judas Jump. Storyteller threw in the towel in 1971, Terry Durham returned to Leeds in Yorkshire, Caroline became mrs Bown, and Andy became permanent keyboard player with Status Quo, also released some solo albums.
by John Tobler
Tracks
1. Floor Of The Park (Durham, Moon) - 3:18
2. Man In The Moon Passage Song (Durham, Moon) - 4:15
3. Alice Brown (Moon) - 2:47
4. The Lake (Durham, Moon) - 2:35
5. Ginger Bread Man (Moon) - 1:16
6. Over The Hills (Moon) - 2:22
7. Story (Durham) - 1:13
8. First Week In January (Moon) - 4:03
9. Has Been (Clark) - 3:18
10.Morning Glow (Durham, Bown) - 3:23
11.Ballad Of Old Three-Laps (Durham, Bown) - 3:23
12.Song For Buster (Durham, Moon) - 2:57
13.Love's A Blind (Durham, Moon) - 3:50
14.Night Games (Durham, Bown) - 3:07
15.Bosworth Field (Durham, Moon) - 3:50
16.Laugh That Came Too Soon (Durham, Moon) - 2:45
17.Beautiful Affair (Moon) - 4:40
18.Wolf In The Water (Durham, Bown) - 2:58
19.Fall In All Directions (Moon) - 3:00
Pulse was led by Bronx born songwriter, drummer and vocalist Carlo Mastrangelo, who'd been a founder member of Dion and The Belmonts, with whom he sang, bass and drummed. As such he was on the poorly orfanized ill-fated tour during which Buddy Holly was killed in February 1959 (it has been reported that the bus they usually travelled on was so cold that Mastrangelo had to light newspapers in the aisle for woarmth). Dion later recalled that Holly was so impressed by Mastrangelo's drumming that he'd offered him twice what he was being paid to defect to him.
After the Belmonts split in 1963, Mastrangelo recorded a few solo 45s on Laurie, the worked with bands named The Demilles and Carlo's Crown Jewel (who issued a 45 on Tower later in the decade).
Pulse are through to have been intially called Endless Pulse, and had a hard rock sound far removed from the Belmonts' doo-woop ballads. The quartet consisted of Mastrangelo Vovals, Drums, Richie Goggin Guitars, Vocals, Kenny Sambolin Bass, Vocals and Chris Gentile Organ, though Bill Golden also contributed some Keyboard parts.
Their sole LP was recorded in New York late in 1971, and its producer was the legendary Orrin Keepnews (who'd been responsible for jazz classics by Bill Evans, Thelonius Monk, Wes Montgomery and many others.) Issued on the tiny Thimble label in the spring of 1972, it sank like a stone, through it stands up well today.
The band issued no further recordings, though Sambolin is known to have continued in the music industry, penning for Mahogany Rush in the early '80's, while Mastrangelo currently lives in West Palm Beach Florida, and continues to play Drums.
CD Liners-notes
Tracks
1.Understanding - 6:05
2.Peace I - 1:11
3.I Want To Live - 4:43
4.I’ll Cry Tomorrow - 6:45
5.Why Can’t She See Me? - 3:54
6.Peace II - 1:11
7.She’s Coming Home - 3:06
8.Break Of Day - 4:29
9.Long Ago - 6:32
10.Peace III - 1:07
Pulse
*Carlo Mastrangelo - Vocals, Drums
*Richie Goggin - Guitars, Vocals
*Kenny Sambolin - Bass, Vocals
*Chris Gentile - Organ With
*Bill Golden - Keyboards
The Max machine keeps ascending further into the bright blue with this cooler, darker, and mellower release, fashioned sorta like a dry Martini intravenous. The boys are sounding more like a Steely Dan entombed in ice, Kim's Strat coming out to play less often and less inflamed, preferring quieter, intimate moments with the nether bits of the listener's mind.
With respect to the more aggressive cuts, The Party finds the band in free-form, progressive heaven, closest in acerbic kinship with Zappa, while Lip Service rides a jagged funk edge through to its bluesy Fripp-riffed finale. Both hoser anthems became concert favourites as Max traversed Canada and let squeal its laughing gases into every nook, cranny and tiny mining town of the band's vast, empty homeland.
Of the mellower material, Astonish Me is the most heartening, small and jewel-like with Watkinson's Freddie Mercury-poignant piano stylings leading the star search and wish list. Overall, call this another fine but disturbed and slightly hostile Max project, one that finds the band perhaps a bit too self-aware of its oddity yet comfortable with it, never alienating their strange fanbase, Kim and troupe offering up what can only be seen as an integral piece of the band's moonscaped psyche-caressing fuzzy wuzzy puzzle.
by Martin Popoff
Tracks
1. Lip Service (K. Mitchell, P. P. Dubois) - 4:02
2. Astonish Me (Terry Watkinson) - 4:49
3. Let Your Man Fly (Terry Watkinson) - 2:46
4. Water Me Down (K. Mitchell, P. Dubois) - 3:13
5. Distressed (K. Mitchell, P. Dubois) - 4:12
6. The Party (K. Mitchell, P. Dubois) - 4:46
7. Waterline (K. Mitchell, P. Dubois) - 4:08
8. Hawaii (K. Mitchell, P. Dubois) - 3:03
9. Beyond The Moon (K. Mitchell, P. Dubois) - 6:17
The one unifying factor coursing through Max Webster's magnificent premiere was a rural warmth that evoked images of. I dunno. Carved cherry wood. In comparison, High Class In Borrowed Shoes, although no heavier, evokes a sheen of polished aluminum, with its bright, uncompromising headphone-ready drum sound, its everlite, dewdropped piano work, and its painstakingly perfect execution.
But High Class sails the same passionate seas of wanton adventure, offering arguably four metal or hard rock works, most panoramic, scorching and insistent being America's Veins and the swooping and snatching title track, the song improbably combining boogie and pomp until circumstance breeds good fortune. Lyricist Pye Dubois, although not an official noise-making member of the band (in the great tradition of The Dead's Robert Hunter), continues to be the Max Webster's philosophical engine and perfect, crucial soulmate to Kim Mitchell's fluid guitar mathematics, Pye offering memorable yet cryptically cast aspersions on society's ills and man's monologue with respect to his allotted space.
And as was the case with the debut, all points of the compass lead to the heart no matter what the action level, the album scrubbed clean then chiming by way of elegant Terry Watkinson keyboard work, and absolutely top-of-the-line pride in craftsmanship on the part of the whole circus. It seems almost a mixed symbol that the band would so plainly embrace controversy with the gender-bending weirdness of the cover art, given that all parties involved, including producer Terry Brown, worked so hard to make Max's challenges so warmly inviting and simultaneously so state-of-the-art. It basically stands as more evidence that the complexities of both Max's message and its medium were beyond marketing comprehension, and unfortunately, as history would bear out, beyond the market.
by Martin Popoff, from his book " The Collectors Guide to Heavy Metal - Volume 1: The Seventies"
Tracks
1. High Class In Borrowed Shoes - 4:00
2. Diamonds Diamonds - 3:18
3. Gravity - 4:53
4. Words To Words - 3:34
5. America's Veins - 4:08
6. Oh War! - 4:25
7. On The Road - 3:25
8. Rain Child (Terry Watkinson) - 4:22
9. In Context Of The Moon - 5:13
All Songs written by Kim Mitchell, Pye Dubois, except where noted.
Toronto's Max Webster blended metal, prog, and rock elements into a genre-defying blend that won the group a cult following in the mid- to late '70s. Formed in 1973, the band's sound focused on the contrast between vocalist/guitarist Kim Mitchell's aggressive attack and vocalist/keyboardist Terry Watkinson's more melodic approach, with drummer Gary McCracken and bassist Mike Tilka providing a propulsive backdrop. Additional lyricist Pye Dubois was considered the band's fifth member, adding extra theatrical flourishes to Max Webster's concerts.
by Heather Phares
Max Webster was an unusual beast as bands go. They seemed to try for a sound that bordered on anthemic arena rock and progressive rock. However, the textures of the music made it feel like they just barely missed. The group had a sound that was quite quirky and off-kilter, while still trying for those more accessible rock sounds. This disc, their debut, certainly shows off all of those textures.
The material ranges from hard-edged straightforward metal to rock ballads and fun, almost punky, territory. The final track on the album, "Lily," is an extended progressive rock jam that is the strongest piece on the disc. That cut seems to embody sounds of such groups as Yes and Rush, but still with a touch of Max Webster's weirdness. If you are looking for an intriguing take on the arena rock/prog territory, give these guys a chance, but remember that their sound is definitely on the quirky side.
by Gary Hill
Tracks
1. Hangover - 4:36
2. Here Among The Cats - 3:07
3. Blowing The Blues Away (Terry Watkinson) - 3:33
4. Summer Turning Blue - 3:05
5. Toronto Tontos - 3:40
6. Coming Off The Moon - 3:38
7. Only Your Nose Knows - 4:16
8. Summer's Up - 2:45
9. Lily (Kim Mitchell) - 7:42
All songs by Kim Mitchell, Pye Dubois except where indicated
No one ever squeezed more juice out of the basic rock-band lineup than The Sonics did when they cut the earsplitting teenage anthems found on Infroducing The Sonics. The album (actually the band's third longplayer, not their first) features the classic Sonics lineup: razorblade-gargling lead vocalist/ keyboard man Gerry Roslie, apocalyptic guitarist Larry Parypa, honking tenor saxman Rob Lind, leather-fingered bassman Andy Parypa, and caveman drummer Bob Bennett. And lefs get one thing straight here:
The Sonics were, hands down, the most powerful band ever to come from the Pacific Northwest. The Tacoma quintet didn't just play songs, they assaulted mem with the heartstopping howl of someone who's accidentally pulled the hair dryer into the bath tub along with them on Saturday night.
Just look at these boys on the cover: gathered 'round somebody's swimming pool in their cool haircuts, cutaway bolero jackets, gnarly vests, stubby neckties, pencil- thin drainpipe trousers with high-rise, toreador cuffs, and Cuban heels pointy enough to impale unsuspecting passersby.
They have the look of teenage assassins, ready to blow the minds (and eardrums) of every kid lucky enough to stagger into Saturday's dance at the local armory after downing a bottle of Ripple out in the parking lot. When Reddy Kilowatt saw The Sonics coming, he must have ducked over to the other side of the street, pulled up his collar and pretended to be window-shopping in deference to these scary newfound Kings of High Voltage.
Has anybody ever kicked off an album with a song hatf as smoking as The Sonics' monstrous garage killer "The Witch?" "She's gonna make you itch/Cuz she's the witch," shrieks Roslie as every kid in the crowd makes up his own rhyming couplet to the song mat would become a regional smash.
"You Got Your Head On Backwards" is a deep bow in the direction of "I'm A Man" by Mr Bo Diddley and The Yardbirds, complete wilh scathing put-down out-chorus: "The way you're walkin' talkin,' it ain't lookin' right/The way you've been actin' is too far outta sight." Hey, everybody knows some stuck-up girl just like that, and it's about time she got what was coming to her. And if you dug that, have a listen to the real, bona fide "I'm A Man," with screaming guitar, thumping drums, howling organ, and wailing harp-all coming together in the traditional, orgasmic conclusion that'll leave you gasping for breath and lighting a coffin nail.
John Sebastian's sweat-stained Lovin' Spoonful tale of life in the fast lane, "On The Road Again," gets the complete Sonics wakeover, as our heroes rip through me tune like they just wrote it on the back of a ketchupstained paper napkin over a 3:00 a.m. lumberjack breakfast. Ihe legendary "Psycho"-another Sonics smasheroo-finds Roslie letting go with one of his all-time best howls, art earwax-melting blast guaranteed to keep your pad pest-free for at least a year.
Everybody's gotta take a deep brealfi now and then, and "Love Lights" does very nicely as a back seat make out ballad for the over stim ulated teens who've just spent the night shaking like crazy to the frantic sounds of The Sonics. "I'm Going Home" is a wailing, Eric Burdonlike lament about being treated bad in the big city. Come on home, boys. Tacorna will always welcome you with open arms. "High Time" lets you know The Sonics mean business. As if there was any other time for these guys than high time! “I’mARogingStone" is one of those soulful, mid-tempo things, kinda like, uhh, The Rolling Stones, but carried into the stratosphere by Lind's paint-blistering sax and Roslie's ultra-cool, roller-rink organ.
As the man says: "I've been wearing real long hair/ What people say, baby, I don't care." You bet. The carbon monoxide fumes fairly swirl on garage wailer "Like No Other Man," until Larry Parypa cuts loose with an air-sucking guitar run that would put the lid on the fire inside Mt. Vesuvius. "All the birds love me, they know I'm a star," snickers Roslie on "Maintaining My Cool" while his pals croon, "Wine, women and song" in the background.
Next up, four monstrous bonus tracks, not found on the original LP. "Bama Lama Bama Loo”, written by Georgia Peach and King Of Screech, Little Richard, finds Lind's volcanic tenor erupting here like he just stepped off the Greyhound bus, elbowed Mr. Penniman's sax-man off the bandstand, and started blowing like somebody had o gun to his head. "Leave My Kitten Alone"- produced by Jerry Dennon and engineered by Kearney Barton (tike everything here except for "The Witch" and "Psycho"}- serves as fair warning to anybody contemplating meddfing in the love life of these fair-haired boys.
Man, you'd have to be crazy to even think about it! The insinuating "Dirty Old Man" slinks through the back alleys of Tacoma like some old geezer with an oversized raincoat and a sticky stack of French postcards, while Roslie and his boys cackle like dazed octogenarians. "Diddy Wah Diddy"-a tune that could have been written just for The Sonics-gives versions by The Remains, Bo iddley, and Captain Beefheart a run for heir money, no mean feat.
If there were any justice in the world, the Sonics would have been inducted into the Rock & Roll Hall Of Fame long ago and be living as tax exiles in the south of France, sipping vintage wine and playing baccarat while bikini-clad nubiles bring them frosty drinks. Instead, they can rest easy knowing full well that they created a small body of napalm-hot rock ‘n’ roll that can stand up to anybody's. And I mean anybody's.
by Jud Cost, Santa Clara, CA
Tracks
1. The Witch (Gerald W. Roslie) – 2:39
2. You Got Your Head Oh Backwards (Gerald W. Roslie, Andy Parypa, Larry Parypa, Rob Lind) - 2:20
3. I'm A Man (Ellis McDaniel) – 2:57
4. On The Road Again (John Sebastian) - 1:44
5. Psycho (Gerald W. Roslie) – 2:09
6. Love Lights (Gerald W. Roslie) – 2:43
7. I'm Going Home (Gerald W. Rosle, Larry Parypa) - 2:23
8. High Time (Gerald W. Rosle, Andy Parypa) - 2:03
9. I'm A Rolling Stone (Gerald W. Roslie, Andy Parypa, Larry Parypa) - 2:21
10.Like No Other Man (Gerald W. Roslie) – 1:59
11.Maintaining My Cool (Gerald W. Roslie) – 1:50
12.Bama Lama Bama Loo (Richard Penniman) – 2:38
13.Have My Kitten Alone (Willie John, James McDougal, Tumer Titus)- 2:41
14.Dirty Old Man (Gerald W. Roslie) – 2:14
15.Diddy Wah Diddy (Andy Christensen) - 2:25
Bonus tracks 12-15
The Sonics
*Gerry Roslie - Organ, Piano, Lead Vocals
*Andy Parypa - Bass Guitar
*Larry Parypa - Lead Guitar, Vocals
*Rob Lind - Saxophone, Vocals, Harmonica
*Bob Bennett - Drums
After a mere three albums in just under three years, Cream called it quits in 1969. Being proper gentlemen, they said their formal goodbyes with a tour and a farewell album called -- what else? -- Goodbye. As a slim, six-song single LP, it's far shorter than the rambling, out-of-control Wheels of Fire, but it boasts the same structure, evenly dividing its time between tracks cut on-stage and in the studio.
While the live side contains nothing as indelible as "Crossroads," the live music on the whole is better than that on Wheels of Fire, capturing the trio at an empathetic peak as a band. It's hard, heavy rock, with Cream digging deep into their original "Politician" with the same intensity as they do on "Sitting on Top of the World," but it's the rampaging "I'm So Glad" that illustrates how far they've come; compare it to the original studio version on Fresh Cream and it's easy to see just how much further they're stretching their improvisation.
The studio side also finds them at something of a peak. Boasting a song apiece from each member, it opens with the majestic classic "Badge," co-written by Eric Clapton and George Harrison and ranking among both of their best work. It's followed by Jack Bruce's "Doing That Scrapyard Thing," an overstuffed near-masterpiece filled with wonderful, imaginative eccentricities, and finally, there's Ginger Baker's tense, dramatic "What a Bringdown," easily the best original he contributed to the group. Like all of Cream's albums outside Disraeli Gears, Goodbye is an album of moments, not a tight cohesive work, but those moments are all quite strong on their own terms, making this a good and appropriate final bow.
by Stephen Thomas Erlewine
Tracks
1. I'm So Glad (Skip James) - 9:08
2. Politician (Jack Bruce, Pete Brown) - 6:17
3. Sitting On Top Of The World (Walter Vinson, Lonnie Chatmon, Arr. Chester Burnett) - 5:01
4. Badge (Eric Clapton, George Harrison) - 2:45
5. Doing That Scrapyard Thing (Jack Bruce, Pete Brown) - 3:14
6. What A Bringdown (Ginger Baker) - 3:56
Tracks 1–3 Recorded Live At The Forum, Los Angeles, 19 October 1968
Cream
Jack Bruce – Bass Guitar, Piano, Organ, Vocals
Ginger Baker – Drums, Percussion, Vocals
Eric Clapton – Guitars, Vocals With
Felix Pappalardi – Bass, Piano, Mellotron
George Harrison (Credited As "L'Angelo Misterioso") – Rhythm Guitar
