In the annals of freakdom there are fewer more celebrated ‘musicians’ as Hapshash and the Coloured Coat – but not at the time of release as original copies of these vinyl albums have sold at auction for more than £70. These reissues are a fine indication of just how far ‘out there’ the psychedelic funsters of the mid-sixties could get and the albums take a few listens before the light-bulbs go on and the music begins to make real sense.
The origins of the band lie in the talents of Michael English and his partner Nigel Waymouth. At the beginning of the psychedelic revolution in London they were producing posters for the likes of Cream, The Jimi Hendrix Experience, Pink Floyd and even The Crazy World Of Arthur Brown and were encouraged into the studio by their manager Guy Stevens. Not actually beong of a musical bent they hooked up with a band called Art (featuring a young Luther Grosvenor and who later emerged as Spooky Tooth) and created the first of these ‘freakouts’.
Actually, the first album has a mesmeric quality, with pounding and shamanic drumming and chants with the occasional electronic additions and screams. The music is highly ‘druggy’, resembling an altered state of consciousness and was actually credited creating a trance-like state in listeners of the time – with the same assistance it would probably be highly effective today! There is a certain joyousness to the music when the band play – very much of its time but no less interesting for that.
After English left the project Waymouth teamed up with Michael Mayhew and attracted a very young Mike Batt to the cause. They hooked up with ‘proper’ musicians to make the second album, ‘Western Flyer’ which featured no less than Tony (TS) McPhee on guitars. The album is comprised of more conventional songs, although still not exactly ‘pop’ material, and while the singing is still less than perfect the album has real coherence and presence. There is a similar feeling to albums by Country Joe or Wild Man Fischer and strong touches of the ‘Krautrock’ scene in their mixing of musical and electronic elements.
All told a fascinating insight to one of the more extreme bands of the sixties and soime damn fine moments along the way.
by Andy Snipper
Tracks
1. Telephone Budreaux - 1:00
2. Colinda (Traditional) - 2:57
3. Chicken Run - 5:53
4. Big Bo Peep - 3:31
5. Blue Narcissus - 4:42
6. Car-Car - 2:10
7. Milk Shake Knock - 2:15
8. Wall - 4:47
9. You For Ophelia - 5:02
10.Fare You Well (Traditional) - 8:51
All songs by Michael Mayhew, Nigel Waymouth, Mike Batt except where stated
Personnel
*Nigel Waymouth - Vocals
*Michael Mayhew - Guitars
*Mike Batt - Piano, Accordion
*Michael Ramsden - Lead Vocals
*Andy Renton - Drums
*Tony T.S. Mcphee - Lead Guitar
*Eddie Tripp - Double Bass
*Freddie Ballerini - Violin
*The Rock'n Roll Women - Vocals
The album starts off well on an upbeat number: Art Reynolds's "Glory Glory." With a rolling piano, 12-string guitar, female backing, and a gospel beat, this song is just as appealing as the earlier Reynolds track "Jesus is Just Alright" on "Ballad of Easy Rider." Next, the band slows it down with the McGuinn-Parsons track "Pale Blue." Like McGuinn's "Untitled" compositions, this is a sentimental ballad. Unlike the "Untitled" tracks, however, this song is awash with strings.
Although many object to these as a pretentious addition, they don't intrude and actually enhance the song's beauty. Track 3 is McGuinn's Norman Vincent Peale inspired "I Trust." It starts off with a country-rock feel and then melds into country-gospel through more female backing and honky-tonk piano. With the catchy chorus and inspired feel good lyrics, this song is truly a pleasure to listen to. Unfortunately, the album and possibly the Byrds career, reach their nadir throughout the next three songs.
First comes the Battin-Fowley novelty "Tunnel of Love." The combination of piano, organ, horns, and carnival lyrics coming from a Byrds album is more than most fans with be able to take. This is, of course, until the listener moves on to the next track, the Battin-Fowley tune "Citizen Kane." Like "Tunnel" this is another novelty complete with 1930s style horns and inane lyrics. It's not a bad song necessarily, but as a Byrds track, it is over the top. Next follows the McGuinn-Levy "Gene Tryp" song "I Wanna Grow Up To Be A Politician." This composition also borders on the "novelty," but is much more listenable than the two Battin-Fowley tracks. Although "Politician" is a good song, following two out of character novelty songs, it's hard not to want to fast forward through this one too.
Although much maligned by critics and fans (oftentimes unfairly), the Battin-Fowley songwriting team occasionally scores and the seventh track "Absolute Happiness" delivers the goods. Inspired by Battin's Buddhist faith, this song has a nice mellow country-rock feel to it. After this, the band tackles bluegrass music on "Green Apple Quick Step," which is mainly a chance for Clarence White to show off his skills. Believe me, he does this well and demonstrates why he is such a highly rated guitarist. It also features his father Eric on harmonica and Byron Berline on fiddle.
Although an instrumental, it is an enduring, pleasant track to listen to. Next comes another song from Clarence White's roots: "My Destiny." This beautiful hymn features the vocals of Clarence White as he asks thoughtfully concerning the questions of life: "Is this my destiny?" The only problem with this track is that White's voice seems a little frail and he's difficult to understand. Next comes the beautiful and sentimental McGuinn-Levy "Kathleen's Song," which just might be McGuinn's best ever composition. The addition of warm strings has been controversial, but I personally think they make the song more wistful and enhance it. If you prefer the un-orchestrated version, it is on "Untitled/Unissued" and the Boxed Set. The original album closed with Jackson Browne's classic "Jamaica, Say You Will" that receives a loving treatment from his friend Clarence White. The rest of the Byrds chime in to provide eerie harmonies, proving they could still do it.
The bonus tracks are interesting too. First, there is an excellent cover of Bob Dylan's "Just Like A Woman," which at last puts a Dylan tune on Byrdmaniax. The next track is a stripped down version of "Pale Blue," which for those who dislike Melcher's additions, will be pleasing. The album ends with a lively Gene Clark composition "Think I'm Gonna Feel Better" featuring McGuinn's 12 string and another lead vocal by Clarence White. For Byrds fans this is an excellent inclusion; it doesn't matter that White's vocals are a bit strained.
"Byrdmaniax," since its original release, has been derided by many. Some of this has been justified, some of it not. For example, McGuinn's decision to include 2 Battin-Fowley novelty songs is difficult to understand. However, the worth of Melcher's additions is still debatable. Many fans like them, while many fans loathe them. However you feel about them, there are some genuinely good tracks on Byrdmaniax.
by Jonathan Bennett
Tracks
1. Glory, Glory (Arthur Reynolds) - 4:03
2. Pale Blue (Roger McGuinn, Gene Parsons) - 2:22
3. I Trust (Roger McGuinn) - 3:19
4. Tunnel Of Love (Skip Battin, Kim Fowley) - 4:59
5. Citizen Kane (Skip Battin, Kim Fowley) - 2:36
6. I Wanna Grow Up To Be A Politician (Roger McGuinn, Jacques Levy) - 2:03
7. Absolute Happiness (Skip Battin, Kim Fowley) - 2:38
8. Green Apple Quick Step (Gene Parsons, Clarence White) - 1:49
9. My Destiny (Helen Carter) - 3:38
10.Kathleen's Song (Roger McGuinn, Jacques Levy) - 2:40
11.Jamaica Say You Will (Jackson Browne) - 3:27
12.Glory, Glory (Single Version) (Arthur Reynolds) - 3:28
13.I Trust (Live) (Roger McGuinn) - 4:05
14.You Ain't Going Nowehere (Bob Dylan) - 2:28
15.Nothing To It (Traditional Arr. Doc Watson) - 1:38
16.Think I'm Gonna Feel Better (Gene Clark) - 2:35
17.Just Like A Woman (Bob Dylan) - 3:55
18.Pale Blue (Alternative Version) (Roger McGuinn, Gene Parsons) - 2:32
19.Glory, Glory (Stereo 45 Mix) (Arthur Reynolds) - 3:28
The Byrds
*Roger McGuinn - Guitar, Vocals
*Clarence White - Guitar, Vocals
*Skip Battin - Electric Bass, Vocals
*Gene Parsons - Drums, Harmonica, Banjo, Vocals
Additional Personnel
*Larry Knechtel – Piano, Organ
*Terry Melcher - Piano
*Sneaky Pete Kleinow - Pedal Steel Guitar
*Byron Berline - Fiddle
*Eric White, Sr. - Harmonica
*Jimmi Seiter - Percussion
*Merry Clayton - Vocals
*Jackson Browne - Piano
In later years, this singular set would leave a new generation of classic rock fans scratching their heads. Just what were so many superstars doing backing this unknown singer? However, in 1970, Colin Scot was at least as famous as any of those now legendary names that guested on this his debut solo album, with the singer/songwriter regularly packing the house for his frequent live shows.
Of course, those gigs brought Scot into the orbits of a host of other folk-tinged groups from the day, but it seems to have been producer John Anthony who brought most of this crew together. This included Brinsley Schwarz of the eponymous band, Genesis' Peter Gabriel and Phil Collins, Van Der Graaf Generator's Peter Hammill and David Jackson, King Crimson's Robert Fripp, then-Strawbs' organist Rick Wakeman, and his future bandmate Yes frontman Jon Anderson (the pair met at these sessions), and the list goes on and on.
Considering all the talent and egos in the studio, producer Anthony must have run an extremely tight ship, for he never allows any of the virtuosos to get in Scot's way or their excesses to overwhelm his songs. Nevertheless, the musicians left their marks, be it the shimmering guitars on "Do the Dance Now, Davey" that foreshadow the ones that strew glitter across Genesis' "The Music Box," or the quintessential Fripp chords that empower "Here We Are in Progress." "The Boatman" is buffeted by gusting wind, lapping waves, and exquisite guitar work, "Lead Us" sweeps listeners along with a choir of singers, while "Hey! Sandy," features some of the angriest acoustic guitars one's ever likely to encounter.
All four of those songs were well-chosen covers, while the country-tinged "My Rain," the brooding "Take Me Away," and the psychedelic laced "Nite People" showcased the strength of Scot's own pen. The finished album was handed to United Artists, at the time, a relatively new and adventurous label, and upon release sold respectably in its day, but has cried out for reissue since. Boosted by a quartet of alternate takes of album tracks, the return of Colin Scot will be welcomed by prog and folk fans around the world.
by Jo-Ann Greene
Tracks
1. Do The Dance Now, Davey - 5:28
2. My Rain - 3:07
3. Take Me Away - 3:23
4. Confusion - 2:55
5. Baby In My Lady (Mike Newbury) - 4:07
6. Lead Us (Neil Innes) - 4:34
7. You're Bound To Leave Me Now - 4:36
8. The Boatman (Davy Johnstone) - 3:08
9. Nite People - 4:15
10.Hey! Sandy (Harvey Andrews) - 4:14
11.Here We Are In Progress - 4:27
12.Long Time Gone - 3:26
13.Do The Dance Now, Davey (Take 3) - 5:42
14.My Rain (Take 1) - 3:51
15.Nite People (Take 2) - 4:42
All compositions by Colin Thistlewaite except where indicated
Previously Unreleased Bonus Tracks 12-15
A truly unique and wonderfully American band, the Lovin' Spoonful released nearly all of their creative legacy between 1965 and the end of 1966. The first album, Do You Believe in Magic, hit in 1965, with the second, Daydream, and the third, Hums of the Lovin' Spoonful, arriving in 1966. Also in 1966, the group delivered the soundtrack to Woody Allen's first film, What's Up, Tiger Lily? This set combines that soundtrack with Hums on a single disc, and truthfully, it works mostly because Hums, which contained such classic Spoonful numbers as "Lovin' You," "Rain on the Roof," "Coconut Grove," "Nashville Cats," and "Summer in the City," is such a fine album. Aside from the minor song "Pow" and a redo of "Fishin' Blues," the music on What's Up, Tiger Lily? is of the instrumental soundtrack variety. Things went downhill after 1966 for the Lovin' Spoonful. The two albums the band released in 1967,
by Steve Leggett
Tracks
1. Lenny Maxwell, Woody Allen - Introduction To Flick - 2:03
2. Pow (Theme From "What's Up, Tiger Lily?") (J. Butler, J. Sebastian, Skip Boone, Steve Boone, Z. Yanovsky) - 2:28
3. Gray Prison Blues (Joe Butler, John Sebastian, Steve Boone, Zal Yanovsky) - 2:15
4. Pow Revisited (Joe Butler, John Sebastian, Skip Boone, Steve Boone, Zal Yanovsky) - 2:30
5. Unconscious Minuet (Joe Butler, John Sebastian, Steve Boone, Zal Yanovsky) - 2:05
6. Fishin' Blues (Traditional) - 1:58
7. Respoken (John Sebastian) - 1:48
8. A Cool Million (Joe Butler, John Sebastian, Steve Boone, Zal Yanovsky) - 2:20
9. Speakin' Of Spoken (John Sebastian) - 2:40
10.Lookin' To Spy (Joe Butler, John Sebastian, Steve Boone, Zal Yanovsky) - 2:30
11.Phil's Love Theme (Joe Butler, John Sebastian, Steve Boone, Zal Yanovsky) - 2:15
12.End Title (Joe Butler, John Sebastian, Steve Boone, Zal Yanovsky) - 4:05
The Lovin' Spoonful
*Steve Boone - Bass, Piano
*Joe Butler - Drums
*John Sebastian - Autoharp, Guitar, Harmonica
*Zal Yanovsky - Guitar With
*Henry Diltz - Clarinet
*Larry Hankin - Jew's Harp
In the summer of 1970 at the ripe old age of 18, my girl friend and I packed our bags and left our apartment in Hollywood for Las Vegas. It was time for a change of scenery, and it didn't hurt that her parents had a home there. They were devout Jehovah's Witnesses and I am sure they were thrilled to have a hippie musician who'd been shacking up with their runaway daughter in LA move into their home. But the power of music can never be underestimated. Once they heard me sing they warmed up to me and I used to do shows for them and their friends. (For the record, no pamphlets were distributed during the performances).
I soon found employment at the University of Las Vegas in a coffee house. Although I'd played music all my life I did have a few other marketable skills that helped me get the gig: I worked in the kitchen, served drinks, cleaned up the place, even worked the cash register. But singing was more fun. As with most coffee houses of that era, each night featured various singers and songwriters. Before long I became the headliner. I did two or three sets a night depending on the crowds. Then, as a special reward for packing 'em in I had the priviledge of cleaning up when the show was over.
One night Mark Rodney's younger brother Jeff showed up and liked what he saw. He went home and told his brother that he HAD to go check out this guy at the coffee house. Apparently he told Mark my distinguising features were: "he sings really high like a girl and plays really cool original music." Mark showed up the next night and watched a set and was impressed. Although both of us had been from LA and actually went to the same High School, Mark had been living with his dad Red Rodney who owned a home in Vegas. Red was a famous Jazz trumpet player and I'm convinced he passed on that great musical feel to his son.
Mark introduced himself during a break and asked if he could sit in on the next set and play some guitar. That was the first time Batdorf and Rodney played. I loved the way the guy found such cool and tasty guitar parts that took the songs to a better place. Oh yeah, and it was fun.
We decided to rehearse and see what would happen. We practiced everyday either at Red's house, the park, or up at Mt. Charleston. We got really excited about this sound that was happening as we played, and we weren't alone. Soon we were packing them in at the coffee house. The manager there was so into the sound and the potential that he took us to a College entertainment show in Fresno to show off what UNLV had going on campus. We were a big hit and before long we had people wanting to join us, manage us, promote us, you name it. We were getting the offers.
We were feeling really good about what we had to offer and wanted to record it. On October 24, 1970, Mark and I were joined by our roadie Dan Bisker and a few others and we went up to Mt. Charleston armed with our guitars, a stereo cassette deck and two mics. We played a set of originals and really liked what we heard. Mark and I decided that we wanted to go back to LA and see if we could get a record deal.
We eventually booked some more sessions but this time in LA at Elektra Studios. Ahmet hired John Barbata on drums and Chris Etheridge on bass. Our engineer was Ross Myering. The sessions went great and everyone was pleased. Unfortunately because Ahmet was such a busy guy, it was hard to track him down and pin point a release date so the weeks passed and still nothing.
We hooked up with a manager, Harvey Kresky, who had managed Sonny and Cher among others and had a history with Ahmet. He got Atlantic to finally schedule a release date in late 1971 to the newly named duo Batdorf and Rodney, another good Ertegun idea. Off The Shelf Because the record sat on the shelf for so many months we appropriately named the record, " Off The Shelf". The album was finally out!!! We immediately got airplay everywhere. The playlists were not like today. AM radio actually played album cuts. A very famous DJ in LA at KRLA AM radio B. Mitchell Reid played many cuts and often. Mark and I went to the Beverly Hills Hotel on Thanksgiving to have dinner with Ahmet, David Geffen, Eve Babitz, Earl McGrath and a few others he invited. He had a boom box playing in the background and on came "Can You See Him". We all freaked and I told Ahmet, "Man we're going all the way, we're going platinum!!!" Ahmet said "Don't worry about that man, we made our mark," and he was right again.
That album didn't quite go platinum or gold or any other color but we toured and people loved us! On the road I was busy trying to write new songs for what would be our second album.
Tracks
1. Oh My Surprise - 2:45
2. Me And My Guitar - 3:28
3. Can You See Him - 6:04
4. Workin' Man, Blind Man - 3:49
5. You Are The One - 3:37
6. Don't You Hear Me Callin' - 4:40
7. Where Were You And I - 2:21
8. Never See His Face Again - 2:53
9. One Day - 2:47
10.Farm (John Batdorf, Mark Rodney) - 1:55
11.Let Me Go - 5:24
All songs by John Batdorf except track #10
By the time of 1971's Tightly Knit, the group had settled into a very comfortable groove and suddenly didn't seem to be trying so hard, instead letting the music speak for itself. This newfound confidence was also mirrored in the fact that eight of the ten tunes aboard were group-penned originals.
While they showed some versatility on tunes like "Little Link" and "Shoot Her If She Runs" (both exhibiting a strong country rock flavor), they still managed to sound like no one else but the Climax Blues Band on such familiar warhorses as "Spoonful" and Robert Johnson's "Come on in My Kitchen." Peter Haycock's lead guitar reached scorching levels on the almost-ten-minute-long "St. Michael's Blues"; "Who Killed McSwiggin" explored the Bo Diddley beat for all its worth, and the closing "That's All" took the pan-flute New Orleans groove into folk-singalong territory, making a top-notch finish for the group's most varied outing.
by Cub Koda
Tracks
1. Hey Mama - 3:33
2. Shoot Her If She Runs - 3:33
3. Towards The Sun - 3:20
4. Come On In My Kitchen (Robert Johnson) - 6:34
5. Who Killed McSwiggen - 4:59
6. Little Link - 1:37
7. St. Michael's Blues - 9:55
8. Bide My Time - 3:20
9. That's All - 2:14
10.Hey Mama - 3:37
11.Shoot Her If She Runs - 4:47
12.Spoonful (Willie Dixon) - 6:22
All songs by Climax Chicago except where indicated
Tracks 10-13 recorded Live at Blow Up London, Autumn 1970
The Climax Chicago
*Colin Cooper - Vocals, Saxophone, Harmonica, Guitar
*Pete Haycock - Vocals, Guitar, Bass
*Derek Holt - Bass, Guitar, Keyboards
*George Newsome - Drums
*Arthur Wood - Keyboards
The second and final collection of Wicked Lady tracks all came from 1972, following the replacement of original bassist Bob Jeffries with Del Morley. Nothing else about either the band or its recording approach changed otherwise, with what proved to be the group's remaining recorded legacy being more of the same style and approach on The Axeman Cometh. Still, there's a little more of a frenetic edge on songs like "I'm a Freak," with faster tempos as well as lines like "I don't know right from wrong/I think I'm gonna be a politician."
The band's one recorded cover shows up, a reasonable enough lumber through Jimi Hendrix's "Voodoo Chile" that has lead figure Martin Weaver throwing in a couple of queasy guitar moments all his own. Similarly, the hints of a little more stretching that can be heard at the end of The Axeman Cometh, with the stately enough near conclusion of "Tell the Truth," is more than welcome. "Ship of Ghosts," the final song on the collection, is also the band's longest at 22 minutes; while there are a couple of longueurs, its ambition is reasonably matched by the performance, from full adrenaline overdrive to near silence and back again, concluding on a gently lyrical note. "Passion" deserves a note as well for two reasons -- Morley's more notable basswork and Weaver's concluding line for the chorus: "Just tell me that you love me/And I won't throw your grandma on the fire."
by Ned Raggett
Tracks
1. I'm A Freak - 5:01
2. Tell The Truth - 5:08
3. Passion - 9:29
4. Voodoo Chile (Jimi Hendrix) - 4:41
5. Why Don't You Let Me Try - 5:00
6. Sin City - 7:04
7. Ship Of Ghosts - 22:00
All songs by Wicked Lady except where stated.
Wicked Lady
*Del "German Head" Morley - Bass
*Dick Smith - Drums
*Martin Weaver - Guitar, Vocals
Few Xian psych records got wackier or more harsh than this one. Tamalpais Exchange were an egalitarian sextet who emerged from the NYC area and somehow got signed to a big label, probably as a result of their work's obvious nod to the popular hippie musical trend of Christian themed Broadway shows like Hair, Godspell and Joseph & The Technicolor Dream Coat. The Tamalpais crew really hams it up on their only album, overloading the mics of these low budget takes with painfully wailing group vocals in performances that blast along with the power of an apocalyptic Mamas & The Papas, but way more punk.
Some songs slip into Anglo folk territory a la Buffy St. Marie or Joni Mitchell's early stuff, so the record has a truly schizo feeling as the group rarely hits any kind of middle ground between the quiet/loud extremes. The loud stuff here is the deal breaker though, so if you think your psych rock dream-come-true could be the sound of a church camp hootenanny screamin’ along to a pounding folk punk accompaniment then this one is a must-have.
by Mike Apichella
Tracks
1. Anthem - 2:20
2. If I Had The Answeres (Michael Knight, Mike Brandt) - 2:46
3. Here We Are - 3:06
4. Never Ever Land - 2:41
5. King - 2:35
6. Flying Somehow - 3:49
7. L.A. Incident - 2:35
8. World (Michael Knight, Mike Brandt) - 3:23
9. Balnesmoor Lane - 3:03
10.Pied Piper - 2:16
11.Maybe Tomorrow - 2:13
12.Understand It (Buckets Lowery, Mike Brandt) - 4:15
13.Why Don't You Believe Me? -
14.Wish (Michael Knight, Mike Brandt) - 2:10
All songs by Michael Knight except where noted.
In late 1968, Savoy Brown's schedule was booked solid with never fewer than six gigs a week. Audiences' reactions was always enthusiastic, as Kim explained to Beat Instrumental: "Since we've got the new line-up together, the band has been working much better. Interest in our sort of music is on the upsurge, and we're doing very well now."
In November, the band discharged bassist Jobe and asked former member Brunning (who had recently filled in for some gigs) to join again permanently. Brunning again declined, and so Tone Stevens (b. September 12, 1949) joined instead.
On December 6, 1968, the band performed at the City of Leicester College of Education. The performance was taped with Dave Peverett substituting for Chris Youlden, who was sick and couldn't sing well enough to perform. They recorded the set anyway, and three tracks, "Maybe Wrong," "It Hurts Me Too" and "Louisiana Blues" appeared on their next album. "Louisiana Blues", a largely instrumental song, became a showstopper on their forthcoming U.S. tour. A fourth live track, "Sweet Home Chicago," appears to have been lost in the Decca vaults. All of Peverett's vocals were re-recorded in the studio.
In December, the band returned to the studio to record more two tunes, "She's Got a Ring in His Nose and a Ring on Her Hand" and "Don't Turn Me from Your Door." On January 22, 1969, they recorded "Grits Ain't Groceries (All Around the World)." "Grits" was composed by Titus Turner and under the name "All Around the World" was a Top Ten r&b hit in 1955 as covered by Little Willie John. Little Milton revived the song in 1969 as "Grits Ain't Groceries". The song featured an explosive horn section and was paired with "Ring" for the U.S. market. In spite of the high calibre of both sides of this release, the single nevertheless failed to chart.
by Martin "Jet" Celmins and Jeff Wat
Tracks
1. Train To Nowhere (Chris Youlden, Kim Simmonds) - 4:12
2. Tolling Bells (Chris Youlden, Kim Simmonds) - 6:33
3. She's Got A Ring In His Nose And A Ring On Her Hand (Chris Youlden) - 3:07
4. Vickburg Blues (Bob Hall, Chris Youlden) - 4:03
5. Don't Turn Me From Your Door (John Lee Hooker) - 5:04
6. Grits Ain't Groceries (Titus Turner) - 2:42
7. May Be Wrong (Dave Peverett) - 7:50
8. Lousiana Blues (McKinley Morganfield) - 9:06
9. It Hurts Me Too (Elmore James, , Mel London) - 6:53
10.Raise Some Thunder (Kim Simmonds) - 2:33
11.Since You've Been Gone (Kim Simmonds) - 5:22
12.Medley - 20:45
a.I'm Tired
b.Hard Way To Go
c.Lousiana Blues
d.Street Corner Talkin'
e.Hellbound Train
f.Guitar Solo
Savoy Brown
*Chris Youlden - Guitar, Piano, Vocals
*Lonesome Dave Peverett - Guitar, Vocals
*Kim Simmonds - Guitar, Harmonica, Piano
*Bob Hall - Piano
*Rivers Jobe - Bass
*Tony Stevens - Bass, Percussion
*Roger Earl - Percussion, Drums With
*Alan Moore - Trombone
*Terry Flannery - Trombone, Tenor Trombone
*Keith Martin - Trombone, Tenor Trombone
*Brian Perrin - Trombone, Tenor Trombone
*Derek Wadsworth - Trombone, Tenor Trombone
*Mike Vernon - Percussion
Jack Grunsky's career as a singer-songwriter began in the mid 60's, spanning two continents and exploring a variety of musical genres from folk, pop, children's to jazz. In the past 20 years he has become one of Canada's leading voices in the children's music scene. His 12 self-produced recordings for children have received all of the most prestigious awards in children's media both in Canada and the US, including 3 JUNO Awards for Best Children's Recording (1993, 2000 & 2006). With his family concerts, symphony shows, festival appearances, school programs and keynote and music workshop presentations for early childhood educators, he has toured across Canada, US, central Europe and as far a-field as South Africa.
His singing and performing began in high school in Toronto, where he played drums in the dance band or strummed guitar in his folk singing trio. After graduating, he moved to his native Austria, where his music began to flourish. In 1966, he formed the popular folk group, Externe Verknüpfung 'Jack's Angels', who signed a 4-album record deal with Amadeo Records in Vienna. The group was short-lived, but Jack continued to record three more solo albums for the label and had a number of songs climb the European pop charts. One album was titled ‘Toronto' and was produced in London, England, by blues legend Alexis Korner, which featured several tracks with slide guitar playing by Mick Taylor of the Rolling Stones.
Jack performed and toured extensively throughout most of central Europe. Production and session work included, composing and producing three musicals for Austrian National TV - ORF, and creating music for film and TV. He has collaborated with pop icon Udo Jurgens, and a host of other European artists. He has recorded with bassist Jimmy Woode, (Duke Ellington), and jazz pianist, Friedrich Gulda. He shared the stage with Joan Baez, and was a featured guest on numerous radio and TV specials. For two years he also hosted his own weekly half-hour radio show on Austrian National radio, called ‘Folk With Jack'. In 1970 Jack was signed to the progressive German label, Kuckuck Records of Munich, where he produced three more critically acclaimed albums of original songs. These have currently been reissued in CD box sets. One song was titled, ‘Back Home To Canada' which became the theme of a short film for Austrian TV and expressed Jack's strong desire to return to his musical roots in Canada.
Tracks
1. I'll Live My Life Just Loving You (Peter Katzler) - 3:07
2. Julie Knows - 3:10
3. My Ship - 2:35
4. Good Moring Der Night - 2:39
5. In This Room - 3:23
6. I'm Turning Home - 3:00
7. Here I Come Again - 3:42
8. Train Station Blues - 2:52
9. Sally McGregor (Arthur Luber) - 2:35
10.These Hands - 3:20
11.South End Of The Town - 2:43
12.Raining In My Wine - 3:32
All copmpsitions by Jack Grunsky except where stated
Telegraph Avenue were formed in 1970, after lead guitarist Bo Ichikawa returned to Peru, after having stayed half a year in San Francisco, where he had been exposed to the vivid local hippie rock culture. On his return he assembled all kinds of American influences, in a very convincing powerful way, with songs in English, but with ideas for arrangements which were more typical for the best Peruvian bands from those days.
The full arrangements are incredibly contrasting. Nowadays it would be hard to find any other example of so many arrangements without any overlapping or blurring note, which is a combination of basically bass, acoustic guitars, drums, vocals and vocal harmonies with lots of rather exotic percussion. It is because there were two percussionists in the band. The first percussionist is Walo Carrilo (drums, percussion, maracas, tambourine), who, before Telegraph Avenue, had been a bandleader from Los Holy’s.
This previous, mostly instrumental group had been the earliest movement towards psychedelia in the mid ‘60s. They made one album called “Sueno Sicodélico”, in a conceptual psychpop style, as well as several singles. The additional percussionist is called Chachi Lujan (acoustic guitar, bongos, piano). The final member is the bass player Alex Nathanson (who also plays acoustic guitar, clavichord, piano). The styles of the songs are very varied, have bluesrock, Californian feelings, influences of soulrock and sixties flavoured styles. The “psychedelic” element is rather unique and can only be heard in the top Peruvian bands.
Though the Climax Chicago Blues Band formed in Stafford, England, the band would likely have made any of the howling bluesmen from that storied Illinois city proud. Part of the vanguard of the British blues boom that also included the original Fleetwood Mac, John Mayall’s Bluesbreakers and even Led Zeppelin, Cream and the Rolling Stones, the Climax Chicago Blues Band made its rip-roaring debut for Parlophone in 1969 and began a legacy which continues to this very day, albeit with a wholly different line-up than the one that founded the band all those many years ago. Esoteric Recordings, an imprint of the Cherry Red Group, has recently reissued the first three albums by the band in new expanded editions.
The self-titled The Climax Chicago Blues Band introduced the world to Colin Cooper (vocals/saxophones/harmonica), Pete Haycock (guitar/vocals), Arthur Wood (piano/organ/celeste/harmonium), Derek Holt (rhythm guitar/organ/bass), Richard Jones (bass) and George Newsome (drums). The sextet recorded its first album at Abbey Road under the auspices of budding producer Chris Thomas for George Martin’s AIR production company. Geoff Emerick was among its engineers. CCBB was recorded in just two days and largely based on the group’s well-honed live stage routine, blending original songs with covers including “Don’t Start Me Talkin’” by Sonny Boy Williamson, “How Many More Years” by Howlin’ Wolf and “The Entertainer” by Scott Joplin. Williamson and Wolf, a.k.a. Chester Burnett, were leading lights of the Chess Records-fuelled blues scene in (where else?) Chicago.
(“How Many More Years” would go onto inspire “How Many More Times” on Led Zeppelin’s debut, earning Wolf a songwriting credit decades later.) And “The Entertainer” showed the versatile group’s prescience; just a few years later, Marvin Hamlisch would reinvent the ragtime tune for his Academy Award-winning score to The Sting. The Climax Chicago Blues Band emphasizes the blues part of the blues-rock equation, though the heavier tracks like “And Lonely” certainly fit the bill for blues-rock. Esoteric’s reissue premieres a full complement of seven bonus tracks including alternate takes of “Don’t Start Me Talkin’,” “You’ve Been Drinking” and “And Lonely” and outtakes of four other songs. Another Sonny Boy Williamson staple, “Checking On My Baby,” and T-Bone Walker’s torrid “Stormy Monday” are among the tracks originally left in the vault and rescued by producer Mark Powell for this release.
by Joe Marchese
Tracks
1. Mean Old World (Big Bill Broonzy) - 3:52
2. Insurance (Waldense Hall, Charlie Singleton) - 3:49
3. Going Down This Road - 3:02
4. You’ve Been Drinking - 2:28
5. Don’t Start Me Talkin’ (Sonny Boy Williamson) - 3:18
6. Wee Baby Blues (Pete Johnson, Big Joe Turner) - 3:20
7. Twenty Past One - 3:08
8. A Stranger In Your Town (Colin Cooper, Lee Hazlewood) - 4:16
9. How Many More Years (Chester Burnett) - 2:58
10.Looking For My Baby - 2:50
11.And Lonely - 8:40
12.The Entertainer (Scott Joplin) - 2:44
13.Checking On My Baby (S. B. Williamson) - 3:24
14.Arthur's Boogie (A. Wood) - 1:35
15.Stormy Monday (T-Bone Walker) - 5:36
16.Don't Start Me Talkin' (Take One) (S. B. Williamson) - 2:54
17.Anybody's Boogie - 0:58
18.You've Been Drinking (Take One) - 4:11
19.And Lonely (Take Five) - 5:33
All songs by The Climax Chicago Blues Band except where stated.
The Climax Chicago Blues Band
*Colin Cooper - Vocals, Harmonica
*Peter Haycock - Lead Guitar, Slide Guitar, Vocal
*Arthur Wood - Piano, Organ, Celeste, Harmonium
*Derek Holt - Rhythm Guitar, Organ, Bass Guitar
*Richard Jones - Bass Guitar
*George Newsome - Drums
Gonn formed in Keokuk in 1965 as The Pagans, by the summer of ‘66 founding members Craig Moore (bass) and Gerry Gabel (organ) had been joined by Gary Stepp (rhythm guitar) from Keokuk, Rex Garrett (lead guitar) and Brent Colvin (drums) from Fort Madison.
The band changed the name because Rex’s mom didn’t like it and it was time for a change. The name was the result of throwing words around and settling on the hip term “gone.” They psychedelicized the spelling in the style of the era as a tribute to a great band from Ottumwa, MADD, that GONN held in highest regard.
GONN quickly evolved into a heavily English and West Coast-influenced no-holds-barred garage band; taking their sound and attitude from the likes of the Yardbirds, Rolling Stones, Chocolate Watchband, Doors, and Raiders.
They quickly became known as the “Loudest Band In Town” both on and off stage. By that winter the band had recorded a song written by Craig and Rex that has become legendary — “Blackout Of Gretely”; issued on Bur1ington’s Emir Records with b/w “Pain In My Heart.”
In 1967 former Pagan guitarist Larry LaMaster rejoined the group and Colvin was replaced by 14-year-old drummer Dave Johnson. They went to Freddie Tieken’s Quincy, Ill., IT Studio and recorded their second single “Come With Me” b/w “You’re Looking Fine.”
During 1966-1968, GONN opened concerts at the Burlington Memorial Auditorium with such acts as The Trolls, Mob, American Breed and many others. The band packed teen centers, KC halls all over their corner of the world, traveling in the same 1951 hearse that was used for Craig’s aunt’s funeral!
The original lineup played the 1966 Iowa State Fair to a positive response and in 1967 they came in second to Echos V (Hall of Fame 1998). The band felt their ever-expanding hard-edged psychedelic approach was maybe a little more than the Fair judges could assimilate. GONN appeared for the last time at the state fair in 1968.
Although a working band for a short 2 — years, the group’s members were never out of touch, reuniting in 1990 for a Keokuk riverfront show. In 1996 six of the seven 66-67 members got together to record an entirely new album “Gonn With The Wind” and released a CD of all their 60’s recordings “Frenzology — Punks Along The Mississippi.
Over the years the band received an endless stream of fan letters from around the world. “Blackout” and their intended but never released single “Doin’ Me In” (issued on the Voxx LP) were covered by nuevo garage bands from California to Paris and Rome and beyond. In February of 1997, a six-piece GONN toured Europe for the first time with shows in Rome, Turin, Amsterdam, Paris and others.
Tracks
1. Don't Need Your Lovin' (Arnold Arr. by Aguilar) - 3:46
2. Death Of An Angel (Donald Woods) - 2:40
3. Sometimes Good Guys Don't Wear White (Ed Cobb) - 2:34
4. Hey Joe (Billy Roberts) - 3:24
5. Blackout Of Gretely (Rex Garrett, Craig Moore) - 4:35
6. Doin' Me In (Rex Garrett, Craig Moore) - 2:53
7. You're Looking Fine (Ray Davies) - 3:44
8. Come With Me (Rex Garrett, Craig Moore) - 2:09
9. Alabama Song (B. Brecht, K. Weil) - 3:07
10.Doin' Me In (Rex Garrett, Craig Moore) - 3:20
11.Oh Yeah (Elias McDaniel) - 2:59
12.Fellow Slave (Walt Stewart) - 2:50
13.When I Was Young (Burdon, Weider, Briggs, McCulloch) - 3:23
14.Head In The Clouds (Craig Moore) - 3:27
15.Pretty Girl (Craig Moore) - 4:32
16.The Wind (Craig Moore) - 6:09
17.Shame On You (Rudi Prodrudi) - 3:47
Tracks 1-5 Recorded 1966
Tracks 6-8 Recorded 1967
Tracks 9-11 Recorded Live in 1990
Tracks 12-16 From the 1996 LP "Gone With The Wind"
Einar Vilberg started in the music business quit early, born in Reykjavik Iceland 1950. He started writing songs at the age of 14. Einars first appearance as a musician was as a singer in a school band called the "Beatnicks", (note the take off on the Beatles!!) In 1969 he flew to London England to cut his first record, (there where no recording studios in Iceland at that time) playing the role of songwriter and guitar player on a single called Insane world, an anti war project sung by one of Iceland’s most popular singer at that time.
Next year Einar provided songs and guitar playing on two more singles sung by prominent Icelandic artists. In 1972 after playing in different groups and doing some television shows Einar made the LP Gypsy Queen writing the lyrics and the songs.
Tracks
1. On A Riverboat - 2:39
2. Sweet Lady - 2:26
3. I Just Want Your Love - 2:31
4. A Song For Christine - 1:25
5. Gypsy Queen - 3:56
6. Look At All Those People - 2:42
7. Freedom For Our Lovin' - 3:13
8. See The Sun - 4:09
9. Music Forest - 1:48
10.How Can We Know God Is Real? - 3:51
11.Lucky Day - 2:30
12.Gypsy Queen - 0:21
All songs written by Einar Vilberg Hjartarson
Jónas Einar
*Jónas R. Jónasson - Vocals, Flute, Accordion, Percussion
*Einar Vilberg Hjartarson - Vocals, Guitars
*Timmy Donald - Drums, Congas
*Sigurdur Arnason - Bass
Over the course of their first three albums in the late 1960s, the New York Rock 'n' Roll Ensemble made their mark as one of the few bands of any era to comfortably integrate classical music and instrumentation into a rock format. Their 1968 self-titled debut had been co-produced by Shadow Morton (famous for his work with the Shangri-Las, Janis Ian, the Vanilla Fudge, and later the New York Dolls), and also showcased a quintet that could skillfully blend instrumental, compositional, and vocal input from five distinct and diverse musicians. The group's 1969 follow-up, Faithful Friends, solidified and expanded their assets while allowing themselves to take a stronger voice in the production.
Most of the songs on Faithful Friends were original compositions, and owed more to rock than classical music, with all five members contributing as songwriters. The band also inserted brief classical pieces by Bach ("Trio Sonata No. 2 in G Major") and Thomas Morley ("Aria"), as well as a lengthier adaptation of Bach's "Brandenburg." On top of all this was a cover of one of Jimi Hendrix's less celebrated songs, "Wait Until Tomorrow." With the frequent incorporation of oboe and cello into the arrangements, and the group's oft-noted performances in tuxedos and tails, they didn't quite sound or look like any other act on the late-'60s rock scene—quite a feat, at a time when so many artists were trying to outdo each other in eclecticism or outrageousness.
The division of most of the lead vocals between keyboardist/oboist Michael Kamen and rhythm guitarist Brian Corrigan as an asset. "Michael had the more 'cultured' voice, with some early stage experience in musicals prior to the NYR&RE (also in early bands)," he notes. "He wanted badly to be the American John Lennon. Brian had [a] more bluesy voice, and could be more easily compared with Jagger. The combination was great for us and helped to set off the songs, and also helped us to remain slightly enigmatic and not so easy to cubbyhole (are they classical? Rock? Or what?)—which was both an advantage and disadvantage." Adds lead guitarist Clif Nivison (who also takes a lead vocal on "Lazy Man"), "No band I've been in since had people who could all sing lead and harmony. Michael and [drummer/oboist] Marty [Fulterman] could both hear oboe parts in almost all songs, and the cello is such a beautiful sound; it always adds color."
Of the original songs on Faithful Friends, perhaps the most familiar-sounding to the general rock audience is "Sing Lady Sing," due to its similarity to a different record that ended up getting much more exposure. "Buddy Miles took pretty much all the guitar lines that Michael and I wrote and used them in 'Them Changes,'" says Nivison. "It is the same song with a different vocal." As for the group's cover of "Wait Until Tomorrow," written by a musician with whom Miles was soon to (briefly) play, Clif explains, "Michael and I were great Hendrix fans. He heard us play his song at [the New York club] The Scene in 1969. He told us he really liked it."
It was original material, however, that was at the core of Faithful Friends, often blending rock and classical flavors into the same track without either element clashing with or overwhelming the other. Although the New York Rock & Roll Ensemble were happy with how their music was progressing, Faithful Friends, like their debut, was not a big seller, possibly because it was so hard to categorize. "I think the media was still having problems with us, our image, and our 'place' in the rock developments of that time," feels Dorian. "The West Coast was coming on strong—hippies, war resisters, the whole '60s thing was exploding all around and we were exploding with it. However, we still had our tuxedos and tails we wore playing live, and we were still often connected to the New York 'Beautiful People' scene—a difficult image that was becoming more and more of a burden. In fact, during the time of this record's release, we were breaking away from that, and so I guess we were getting mixed signals—very positive from our fan base, and more restrained from the new audience we were beginning to reach out to." The band's association with Atlantic Records was already on the verge of ending, but not before a third album of a very different sort, Reflections, emerged—a story told on Collectors' Choice Music's CD reissue of that unusual recording.
For their third--and certainly best--record the band recruited Greek composer and songwriter Manos Hadjidakis. The resulting REFLECTIONS plays like a film score--not surprisingly, given Hadjidakis's experience as a composer of just such works--with epic instrumental sweeps and passages of quiet melancholy. Many of the tracks, such as "Orpheus," "The Day," and "Kemal," incorporate the folk melodies of Hadjidakis's homeland while maintaining a baroque psychedelic touch.
by Richie Unterberger
Tracks Faithful Friends 1969
1. I'm Too Busy (Brian Corrigan, Martin Fulterman) - 3:05
2. City (Michael Kamen) - 3:18
3. Asking Too Much (Brian Corrigan, Michael Kamen) - 2:39
4. Trio Sonata No. 2 In G Major (Johann Sebastian Bach) - 0:53
5. Kite Song (Brian Corrigan, Michael Kamen) - 2:20
6. Wait Until Tomorrow (Jimi Hendrix) - 3:50
7. Sing Lady Sing (Brian Corrigan, Michael Kamen) - 3:17
8. Nel Cox (Brian Corrigan, Michael Kamen) - 2:53
9. Thinking Of Mary (Brian Corrigan, Dorian Rudnytsky) - 3:06
10.Faithful Friends (And Flattering Foes) (Martin Fulterman) - 3:10
11.Aria (Thomas Morley) - 1:05
12.Lazy Man (Clifton Nivison) - 2:47
13.Brandenburg (Johann Sebastian Bach, B. Corrigan, M. Fulterman, M. Kamen) - 5:20 Reflections 1970
14.Orpheus (Manos Hadjidakis, Dorian Budnytsky) - 2:37
15.The Day (Manos Hadjidakis, Brian Corrigan) - 3:42
16.Love Her (Manos Hadjidakis, Brian Corrigan) - 5:02
17.Dance Of The Dogs (Manos Hadjidakis) - 3:30
18.Kemal (Manos Hadjidakis, Martin Fulterman) - 4:32
19.Dedication (Manos Hadjidakis, Clifton Nivison) - 2:51
20.The Three Answers (Manos Hadjidakis) - 3:50
21.Street Song (Manos Hadjidakis, Brian Corrigan) - 3:23
22.Bitter Way (Manos Hadjidakis, Brian Corrigan) - 4:39
23.Noble Dame (Manos Hadjidakis, Dorian Budnytsky) - 3:31
The New York Rock 'N' Roll Ensemble
*Dorian Rudnytsky - Bass, Cello
*Martin Fulterman - Drums, Oboe
*Michael Kamen - Keyboards, Oboe
*Clifton Nivison - Lead Guitar
*Brian Corrigan - Rhythm Guitar With
*Manos Hadjidakis - Orchestral Arrangements (14-23)
America’s great lost acid rock band. Who knew California band Crystal Syphon had an album’s worth of material sitting in the can waiting to be heard by 60s psych rock fans? This has to be not only one of the best reissues of 2012 but also one of the best archival classic rock discoveries of the year.
Crystal Syphon’s origins can be traced back to the Morlochs, a garage band who formed in 1965 and hailed from the San Joaquin Valley area. As the years went by (and after several personnel changes) the Morlochs changed their name to Crystal Syphon. Crystal Syphon played the S.F. live circuit with some of the era’s biggest names while the major labels expressed serious interest in this promising, up-and-coming group. As the 60’s passed into the 70’s, no album or single appeared and the group members moved on to other projects, effectively putting an end to Crystal Syphon. Roaratorio did a superb job in assembling this excellent LP (vinyl only release), which was cobbled together from studio sessions, demos and live shows. It’s arguably a fuller picture then any studio LP could give the listener, as all sides of the band are on full display, whether it be in the studio or on the live stage.
Does the music live up to the hype? You bet. The earliest tracks have a rawer sound than the later material, which is clearly influenced by big time S.F. bands Quicksilver Messenger Service, The Grateful Dead and Jefferson Airplane. “In My Mind,” recorded in 1968, sounds like a lost outtake from the first Quicksilver album. The deep vocals and vibrating guitar tones strongly recall the mighty Quicksilver Messenger Service. No matter, it’s an excellent track that could have easily made any psych compilation you care to name. “Marcy, Your Eyes” and “Paradise” two of the earliest cuts from 1967, have thick garage fuzz, naive teen vocals, and cascading acid guitar work – outstanding. The last 15 seconds of “Paradise” are especially great.
The guitarist starts playing eastern scales and just when you think they are about to explode into the most intense raga solo you’ve ever heard the song ends – what a clever trick! Other highlights are the menacing acid rock of “Fuzzy and Jose,” “Family Evil” and “Winter Is Cold.” These cuts are longer, slow paced and closer in sound to Jefferson Airplane and Quicksilver Messenger Service – lots of acid guitar work, creative arrangements and spacey vocals. “Try Something Different” is another earlier cut with a lilting folk-rock sound that recalls Buffalo Springfield in it’s guitar figures.
Every cut on Family Evil is worthwhile. There’s nearly 50 minutes of great psych rock here – so not only a significant discovery but an absolute must own for any 60s rock fan.
by Jason Nardelli
Tracks
1. Marcy Your Eyes - 3:36
2. Paradise - 3:08
3. Have More of Everything - 5:25
4. Try Something Different - 3:42
5. Fuzzy And Jose - 7:33
6. Are You Dead Yet - 2:17
7. In My Mind - 2:43
8. Family Evil - 5:41
9. Fails to Shine - 5:46
10.Winter Is Cold - 7:01
All songs by Crystal Syphon
Dearest Brothers and Sisters
Make no mistake about this album, it is loud, heavy, alive and ready. Lincoln St. Exit was formed in June of 1964. Since then they lost one of their musicians, Paul Chapman(who died). The three original members, Michael Martin, Mac Suazo and Lee Herres, still remain with the group. Their music is influenced greatly by the American Indian culture of New Mexico.
This is evident in the hard-driving beat and hypnotic rhythm pattern that is maintained throughout the album. Their own personal feelings and the many hard times they have encountered along the way all come through in their music. As co-writer on some of the material, our view of the war is expressed in the two compositions "Man Machine" arid "Time Has Come Gonna Die".
We move from such gospel-orientated tunes as "Going Back Home" and "Soulful Drifter" to the down home sound of "Teacher Teacher" and "Dirty Mother Blues", the latter being so heavy it shakes all of your \ital organs Our snnga also deal with modern sexual mores, as in "Straight Shootin1 Man", "Got You Babe" and "Phantom Child". Lincoln St. Exit have been together for over six years, and they're going to make it.
God Bless The Exit.
As told to Mark Janowski by Tommy Bee
This is my cup of tea, one of my desert island records. Dirty, rough, Garage, Psych, Roots 'n' Roll, Folk, well it's everything abount Rock 'n' Roll in a magic cauldron, just give a spin and let yourself to enjoy a trip far and beyond...
Lincoln St. Exit were Albuquerque, New Mexico’s premiere garage/ psych band of the late 60′s, early 70′s. In early 1969 Lincoln St. Exit, Mike Martinez, Mac Suazo, RC Gariss and Lee Herrerra recorded in Clovis New Mexico at the Norman Petty Studios and the song "Soulful Drufter" emerged from the "Drive It" Album. The album was distributed by Mainstream Records.
Artists like Janis Joplin (Pre Columbia Records) and Amboy Dukes recorded for the label at the same time. Soulful Drifter gained radio station play and Exit had a hit record along the Great Lakes Area. The airplay was enough to catch the ear of Motown records in Detroit.
At that time Motown was looking to increase it’s catalog of new artists on their new Rare Earth label and Exit filled the need. Motown liked the group, a new sound, a new look and a new direction was needed. So the idea was that they would return to their roots and create. A new sound in music was born “American Indian Rock”. Under the management of Tom Bee the new sound emerged and the new Xit name was born. The acronym was XIT for Xing of Indian Tribes came about because of some of the group’s ethnic background.
The first album for Motown was “Plight of the Redman” released in 1971. It’s a history lesson from the beginning to end sung by member Mike Martinez and tells the story from the beginning of peace in the New World to their struggles with the white man in America and finally to the climatic end of the narrative speech by Mac Suazo.
XIT played many venues including the Whiskey A Go-Go in Hollywood and in 1972 the 8th International Music Festival in Venice Italy. This festival was broadcasted to over 30 million people throughout Europe, along with countless concerts in cities and reservations across the United States and Canada.
Tracks
1. Man Machine - 4:02
2. Dirty Mother Blues - 6:55
3. Got You Babe - 3:06
4. Teacher Teacher - 2:45
5. Soulful Drifter - 2:00
6. Time Has Come Gonna Die - 4:06
7. Going Back Home - 3:03
8. Straight Shootin' Man - 3:00
9. Phantom Child - 3:14
10.The Bummer - 2:22
11.Sunny Sunday Dream - 2:58
12.St. Louis Mama (B-Side 1968) - 2:35
13.Whatever Happened To Baby Jesus (Parts 1 & 2 1968 Single) (Bonus Track) - 6:18
14.The Bummer (A-Side 1967) - 2:23
15.Sunny Sunday Dream (B-Side 1967) - 3:33
16.Who's Been Driving My Little Yellow Taxi Cab (A-Side 1966) - 2:16
17.Paper Lace (B-Side 1966) - 2:20
18.Half A Man (Bonus Track) - 3:00
19.She's Upon Her Way (Bonus Track) - 2:49
20.Open Doorway (Bonus Track) - 2:45
21.Orange Benevolent (Bonus Track) - 2:45
22.Forever Or Not At All (Bonus Track) - 3:48
23.Yellow Man Of Paris - 2:40
24.She's My Everything (Bonus Track) - 3:05
Lincoln St. Exit
*Michael Martin - Lead Vocals, Lead Guitar
*Mac Suazo - Heavy Bass Guitar
*Lee Herres - Drums And Percussion
*R. C. Gariss - Second Lead Guitar Free Text Text Host
