Keith Christmas - Pigmy (1971 uk, sensational acid folk psych rock, 2012 remaster)

Acid Folk is one of those musicological genre headings that had to be invented retrospectively because it didn’t exist when the music it describes was extant in the late sixties. These days it’s taken to cover the acoustic singer-songwriter individuals and combos who sprang from Dylan-inspired folk-pop roots, picked up psychedelic overtones and morphed into the complexity of prog-rock – which satisfyingly describes Keith Christmas’s most creative period, up to and including Pigmy.

Originally an Essex lad, Christmas was an undergrad at Bath University (coincidentally my own alma mater at around the same time, though we never met) where he studied Building Technology in between extensive gigging on the vibrant London and Bristol folk club circuits. Never a true folkie but certainly influenced by the likes of Bert Jansch and John Rembourn, he combined an enviable fingerstyle technique on an unfashionable but strident Fender Palomino with hippie bedsitter lyricism and a reedy but distinctive voice, a combination also evident in the work of his contemporaries Nick Drake and Al Stewart. The schizophrenic nature of Keith’s career at this time – recording with session musicians but invariably gigging solo – is mirrored in the three albums he cut between 1969 and 1971, these setting his formidable acoustic guitar work alternately against orchestral ensembles and jazzy rock band backings.

Christmas has disowned his first album, 1969’s vaguely country-rock Stimulus, recorded with musicians from Mighty Baby and pedal steelist Gordon Huntley, as “overproduced”; I’d say it was rather a venture in an unsuitable musical direction for the man. He hit his stride eighteen months later with the second, Fable Of The Wings, recorded with session musicians with folk-rock credentials, which subsequently established the folk-baroque-prog template for which he’s best remembered today. There’s little to choose quality-wise between this and the ensuing Pigmy, which for me just has the edge, offering immaculate, restrained orchestral arrangements by Robert Kirby (who did the same for Nick Drake) and the LSO on its first side of introspective ballads, notably the earnest but cerebral “Timeless And Strange”, and powerful keyboards from Rod Argent and bass from Fuzzy Samuels on the other side’s trio of extended classy rockers, culminating in the extraordinary “Forest And The Shore” with its swelling, Ligeti-like choral interludes. Keith’s acoustic shimmers like a harpsichord on the top side, and his ferocious acoustic rhythm work on the flip is leavened with some fluid electric soloing. The album artwork shows him appropriately framed by a Narnia-like background, wispily-bearded, Afghan-coated and apparently rolling a joint, the true zeitgeist of the period.

Although critically his best-received works, neither Fable nor Pigmy sold in droves at the time, and after an even less successful move in a rock/soul direction Christmas threw in the professional music business. While his contemporaries Al Stewart and Nick Drake had gone on to contrasting fates – one to superstardom in LA, the other to clinical depression and an untimely death – Keith became a renovator of old houses and eventually a schoolteacher, settling in a pleasant village near Bristol and making music for his own pleasure, issuing privately-recorded small-circulation albums at intervals and occasionally gigging local pubs and small venues, his acoustic guitar mastery undiminished. Stimulus has been bootlegged for CD, but Fable and Pigmy remain unreissued and are now great rarities on vinyl; however, almost their entire contents are available on the excellent Castle compilation CD Timeless And Strange, whose title encapsulates his music of that period and which is available direct from Keith himself at his website.

by Len Liechti

Tracks
1. Travelling Down - 4:11
2. Timeless And Strange - 4:42
3. Evensong - 4:28
4. Spanky - 2:38
5. Poem - 2:01
6. The Waiting Grounds - 3:29
7. Song For A Survivor - 9:18
8. Forest And The Shore - 7:07
All compositions by Keith Christmas

Musicians
*Keith Christmas - Vocals, Guitars
*Rod Argent - Piano, Organ
*Calvin 'Fuzzy' Samuels - Bass
*Adrian Shaw - Bass
*Conrad Isidore - Drums
*Roger Powell - Drums
*Mac Kissoon - Backing Vocals
*Kathy Kissoon - Backing Vocals
*Mike London - Backing Vocals
*Ray Warleigh - Saxophone
*Bob Stewart - Swedish Psaltery
*Robert Kirby - String, Choral Arrangements
*London Symphony Orchestra - Strings

1969  Keith Christmas - Stimulus (2012 remaster) 

1970  Keith Christmas - Fable Of The Wings (2012 remaster)
1974-76  Keith Christmas - Tomorrow Never Ends The Anthology (2010 Two Disc Set)

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Don Nix - In God We Trust (1971 us, spiritual blues rock, 2016 SHM remaster)

Born in Memphis, Nix attended Messick High School with Donald "Duck" Dunn and Steve Cropper of the famed Stax house band Booker T. & the MG's. After graduation, Nix spent a short stint in the Army before returning to Memphis, where he joined Dunn and Cropper, along with Wayne Jackson, Packy Axton, Terry Johnson, and Smoochy Smith, as a saxophonist in the Mar-Keys.

The group scored a smash hit with the instrumental "Last Night" on the Satellite label (later Stax/Volt), and Nix went on the road with the group, while a house band from Memphis attempted to recorded follow-up hits under the Mar-Keys' name.

After the success of "Last Night" fizzled, Nix returned to Memphis and spent the next several years as a horn for hire, occasionally playing gigs with a re-formed version of the Mar-Keys or backing Stax stars such as William Bell and Carla Thomas.

In the mid-'60s, Nix began making trips to L.A. to visit Leon Russell and Carle Radle, friends he'd met through touring. The friendship with Russell, a big producer at the time, landed Nix a position in Dick Clark's Caravan of Stars backing one of Russell's acts, Gary Lewis & the Playboys. Their friendship also provided Nix the opportunity to see how a session was put together, and he began engineering and producing at studios around Memphis such as Stax and Ardent. 

Nix spent the next several years writing and producing for artists such as Freddie King, Albert King, Sid Selvidge, and Charlie Musselwhite. In 1970, he signed a recording deal with Shelter Records (co-owned by his old friend Leon Russell) and released a solo album, In God We Trust and followed it a year later with Living by the Days. Neither album sold very well, and after a few more attempts, Nix returned to recording other artists, producing records for John Mayall and the Muscle Shoals Rhythm Section. 

by Steve Kurutz

Tracks
1. In God We Trust - 4:29
2. Golden Mansions - 4:08
3. I'll Fly Away (Traditional) - 3:29
4. He Never Lived A Day Without Jesus (Don Nix, Bobby Whitlock) - 4:07
5. Nero My God To Thee (Traditional) - 1:09
6. Amos Burke - 3:03
7. Long Way To Nowhere (Don Nix, Larry Rasberry) - 3:38
8. Iuka - 5:20
9. Will The Circle Be Unbroken (Traditional) - 3:58
10.I've Tried - 1:29
All songs by Don Nix except where indicated

Musicians
*Don Nix - Vocals
*Barry Beckett - Keyboards
*Roger Hawkins - Drums
*David Hood - Bass
*Eddie Hinton - Electric, Rhythm, Slide Guitars
*Furry Lewis - Slide Guitar
*Larry Rasberry - Rhythm Guitar
*J.A. Spell - Fiddle

1971  Don Nix - Living By The Days (2011 japan SHM remaster)

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Lee Michaels - Recital (1968 us, awesome classic rock with prog shades, 2016 hard sleeve remaster)

A big, demanding voice seeping with melody, combined with crafty keyboard exercises were prime factors engraved in the songs of Lee Michaels. Prior to adopting such a stance, the Southern California based musician held membership in a surf rock band called the Sentinals, trailed by stints with the Joel Scott Hill Group and the Family Tree. Leaving the band thing behind, Lee launched a solo career that parented a string of fine albums.

Powered by limitless energy and imagination, Lee’s second album, Recital taps into his multiple talents from track to track. Along with piano and Hammond organ, Lee also plays guitar and harpsichord, while his songwriting is strong and expressive. A crack band further contributes their mojo to the disc. Noted session musician Larry Knechtel handles bass, and both John Barbata (the Turtles, Jefferson Airplane) and Frank Davis supply drum duties.

The first song on the album, “If I Lose You”  radiates with harmonious motions shaped of punchy hooks, digging rhythms and a soul-inflected swagger. As an incentive, former Paul Revere and the Raiders guitarist adds a run of steamy licks to the cut. Beginning on mid-tempo footing, “The War” eventually develops into a muscular force of intensity. A tasty blend of driving harpsichord and organ flourishes accent the folky angst of “Basic Knowledge,” where “Spare Change” starts out on a funky feel before turning into an ear-splitting experimental endeavor pulsating with pounding keyboard passages tinted with classical leanings.

Composed of catchy arrangements and stirring instrumentation, “Time Is Over,” “Blind” and “Grocery Soldier” weigh in as other excellent songs featured on the record. An exciting listen from side to side, Recital captures Lee at the peak of his presence. His ability to incorporate rock, pop, blues and soul into a progressive soundscape remains stunning.

Although Lee’s music swayed more towards the underground edge of the spectrum, he managed to score a pair of hit singles during the latter days of 1971. “Do You Know What I Mean” reached number six on the charts that autumn, followed by a cool cover of Marvin Gaye’s “Can I Get A Witness,” which made it to the number thirty-nine position. But after that, his profile waned and he soon disappeared from the scene altogether. An artist ripe for rediscovery, Lee Michaels truly commands the recognition he deserves. And Recital proves to be just one of his many masterstrokes. 

by  Beverly Paterson

Tracks
1. If I Lose You (Larry Marks, Lee Michaels) - 2:23
2. Time Is Over - 3:45
3. No Part Of It - 2:14
4. Fell In Love Today - 1:59
5. Blind - 2:53
6. Grocery Soldier - 2:28
7. What Can He Do - 0:45
8. Basic Knowledge - 3:29
9. Gonna Leave - 2:22
10.The War - 3:12
11.Spare Change - 7:24
All songs by Lee Michaels except where stated

Personnel
*Lee Michaels - Vocals, Piano, Harpsichord, Organ, Bass
*Drake Levin - Guitar
*John Barbata - Drums
*Frank Davis - Drums
*Larry Knechtel - Bass

1968  Lee Michaels - Carnival Of Life (2010 remaster)
1969  Lee Michaels - Lee Michaels 
1970  Lee Michaels - Barrel

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Trilogy - I'm Beginning To Feel It (1970 us, magnificent classic rock with folk tinges, 2019 korean remaster)

Skip Griparis has flourished in many of the performing arts. After first studying piano and saxophone as a boy, he began his professional career while at Joliet West High School as a singer/guitarist in the first of a succession of top-rated pop/rock bands. Skip also found the time to work as an announcer at WJRC-AM Radio. Following high school, he continued his music studies at Joliet Junior College.

Soon Skip released his first album on Mercury Records as a member of Trilogy, a Joliet- based band that opened for such artists as Count Basie and Buddy Rich. Griparis also became a staff writer for United Artists Publishing, where he penned songs that have sold worldwide. Next, he joined Chicago's MCA recording artists New Colony Six. After a two-year stint, he left to sing and play in the Olivia Newton-John band, a position he held for four years. Skip performed with Olivia in a wide range of venues, including the Bu-Do Kan in Tokyo, the Metropolitan Opera House in New York, and on Johnny Carson's Tonight Show. 

After his tours with Newton-John ended, Griparis performed in several Joliet Drama Guild productions, and then completed a Bachelor of Arts degree in Theater at Lewis University. He has acted in everything from professional world-premier productions to classic Shakespeare. His film and TV appearances include the role of Monte the colorman in the blockbuster hit movies Major League I and II.

Always looking for a new challenge, Skip combined his sense of humor with his music and acting skills to produce a satiric musical comedy act. In addition to performing numerous times at the Rialto Theater, he has headlined Dangerfield's in New York, Zanies in Chicago, and the Ice House in Los Angeles. A Chicago Tribune poll recognized Griparis as one of the top five comics in the country.

Joliet City

American classic rock band with folk shades, good vocal hamonies and excellent guitar with some psychedelic influences. They were from Chicago area but in their hearts they must have been from San Francisco.

Tracks
1. Red Wine (Skip Griparis) - 3:43
2. Thought (#1) (Skip Griparis) - 0:41
3. Three Blind Minds (Kevin McCann) - 3:35
4. The Royal Shut (Kevin McCann) - 2:57
5. Thought (#2) (Bob Wilson) - 0:21
6. Removing Myself  (Bob Wilson) - 2:47
7. Thought (#3) (Kevin McCann) - 0:27
8. Goodbye Flying  (Skip Griparis) - 3:13
9. I'm Beginning To Feel It (Kevin McCann) - 2:45
10.March 16th (My Closet Shelf) (Bob Wilson) - 2:58
11.Comin Up Soon (Skip Griparis) - 4:07
12.Thought (#4) (Kevin McCann) - 0:52
13.For An Occasion (After The Ball) (Kevin McCann) - 2:10
14.Trilogy For Carol (Bob Wilson) - 5:17

Trilogy
*Skip Griparis - Lead Guitar, Piano, Vocals,
*Kevin McCann - Guitar, Harmonica, Organ, Vocals,
*Bob Wilson - Lead Guitar, 12-String Guitar, Vocals
With
*Bernie Pershey - Drums, Tabla
*Rick Barr - Drums
*Thom Richards - Bass, Flute

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

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

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

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

by Richie Unterberger

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

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

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

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

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

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

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

by Thom Jurek

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

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

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

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

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

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

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

1969  A.B. Skhy - A.B. Skhy 

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

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

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

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

by Joe Viglione

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

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

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

1968  Buzz Linhart And Eyes Of Blue - Buzzy 

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

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

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

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

No Depression

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

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

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

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

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

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

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

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

by Alec Palao

Tracks

Disc 1

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

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

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

4. Night Time Girl - 2:33

5. Up In Her Room - 9:56

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

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

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

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

10.Pushin' Too Hard - 2:53

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

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

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

14.Night Time Girl - 2:31

15.Up In Her Room - 9:56

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

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

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

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

20.900 Million People Daily All Making Love - 4:55

21.Pushin' Too Hard - 2:56

All songs by Sky Saxon except where noted

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

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

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

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

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

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

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

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

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

Guitars Exchange

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

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

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

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

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

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

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

1973  Back Door - 8th Street Nites

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

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

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

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

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

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

Acid Archives

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

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

1972  Prentice And Tuttle ‎- Every Loving Day 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

by Garth Cartwright, Sun 28 Oct 2018  

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

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

by Jim Newsom

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

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

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

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

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

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

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

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

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

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

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

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

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

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

by Geoffrey Wills

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

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

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

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