Plain and Fancy: September 2024

Sunday, September 29, 2024

Voudouris And Kahne - Street Player / There's A Secret Goin' On (1975-76 us, pleasant orchestrated funky blue eyed soul, 2000 japan remaster)

Voudouris & Kahne a duo consisting of Roger Voudouris and David Kahne, with Roger on guitar and vocals and David on keyboards and vocals.

They have released two albums, “There's A Secret Goin' On” (1975) and “Street Player” (1976). Here we have both albums on CD from Vivid Sound in Japan in 2000, but both albums are now hard to find.

Roger Voudouris, born in Sacramento, California, USA on December 29, 1954. In 1978, Roger Voudouris started as a solo artist under Warner Bros label and released the album “Roger Voudouris”. In 1979 Roger Voudouris his second solo album “Radio Dream” were released, and from this album the song “Get Used To It” gave him his first Billboard Top 30 hits. With these two album Roger Voudouris got established as a west coast american rock musician and followed to release album in this music style backed up by great session musicians such as: Jay Graydon, Michael Omartian, Jeff Porcaro, Neil Stubenhaus, Tom Scott, Jerry Hay, Jim Horn, Richard Page, Steve George and others.

Two albums followed: “A Guy Like Me” (1980) and “On The Heels Of Love” (1981) and Roger Voudouris got established as an artist in Japan also. Most of his albums has been re-released in the 90´s on Japanese labels. Roger Voudouris passed away on August 3rd, 2003.

The title track, “Street Player. It is a funky and groovy number with a sharp performance and Roger's wild and passionate vocals. Backing musicians include Chuck Domanico (b), James Gadson (ds), and Bobby Hall (perc). Saxophone soloist Mike Butera, who also played on the first album, is a lively soloist, and his performance fits the title of the song “Street Player” perfectly. Wonder Of Wonders” is sweet pop soul. Roger's vocals are gentle and soulful.

It Will Happen With Us” is a refreshing, sweet and sour acoustic number. The skilled performance is softly enveloped by delicate strings, creating a pleasant sound. Arranged by David Kahne, who also arranged all the songs on this album, “Were You Alone Last Night” shows a jazzy flavor, and the album has a lot to offer.

Producer Michael Stewart is known for his work on Billy Joel's “Piano Man” (1973) and “Streetlife Serenade” (1974), and on the AOR side he has produced albums by Kenny Rankin, Randy Edelman, Evie Sands, and others. In the AOR field, he produced albums by Kenny Rankin, Randy Edelman, Evie Sands, and others.

David Kahne began his music industry career as an artist signed to Capitol Records. He then began working as independent producer/engineer in the San Francisco Bay area, working with seminal underground bands like Romeo Void, Rank and File, and Pearl Harbor & the Explosions. In 1983, he began a long tenure at Columbia Records, serving 8 years as a Staff Producer before being named Senior Vice-President of A&R in 1991. While at the company, he produced and arranged for a wide range of artists including Tony Bennett, The Bangles, Fishbone, Presidents of the United States of America, Billy Joel, Dionne Ferris, Shawn Colvin, and Bruce Springsteen.

David left Columbia in 1995 and returned to independent production, producing albums for, among others, Sublime, Soul Coughing, and Sugar Ray.

In 1998, David was named Senior Vice-President of A&R for Reprise Records, and in 2000 he was named Executive Vice-President of A&R for Warner Bros. Records. During his tenure there, he produced Orgy, Chris Isaak, Stevie Nicks, KD Lang, and New Order, among other artists.

In 2002, David left Warners to return to independent production. He has produced many projects, including Paul McCartney, The Strokes, Regina Spektor, Sean Lennon, Reeve Carney, Butterfly, Kelly Clarkson, Matisyahu, Taking Back Sunday, and Renee Fleming.

David is also a composer of orchestral music, having written 3 full-length ballets and composing for film, including the score for the Dublin-produced "Bloom", a film adaptation of Joyce's "Ullyses" starring Stephen Rea. He also co-wrote a piece for Twyla Tharp, "Surfer at the River Styx" with Don Knaack. David has his own studio, SeeSquared Studios, situated at Avatar Studios, where he does most of his production work.

Tracks

1. Street Player - 3:06

2. Wonder Of Wonders - 3:30

3. It Happen With Us - 3:26

4. Were You Alone Last Night - 4:33

5. Monterey - 4:36

6. Our Song - 3:42

7. Flamingo Sky - 4:45

8. Ladies In Mercedes - 3:05

9. Are You Willing? - 3:35

10.Endings - 5:04

11.There's A Secret Goin' On - 3:19

12.Lying To Me You - 3:17

13.Take Your Music To The People - 3:26

14.Good Friend Of Mine - 3:20

15.Run Eddie Run - 5:05

16.I Only Wanted To Know Your Name - 3:50

17.Time Is Love - 2:49

18.Sidney - 2:51

19.Beautiful Love Between Beautiful People - 4:12

20.Rock Me Baby - 3:31

21.I'll Come Ridin' - 3:56

Music and Lyrics by Roger Voudouris, David Kahne

Tracks 1-10 from 1976 "Street Player" LP

Tracks 11-21 from 1975 "There's A Secret Goin' On" LP

Musicians

*Roger Voudouris - Acoustic, Electric Guitars, Vocals

*David Kahne - Acoustic Pianos, Fender Rhodes, Synthesizers, Clavinet, Hammond B-3, Celeste, Vocals

*Mike Butera - Alto Saxophone

*James Gadson - Drums (Tracks 1-10)

*Bobbye Hall - Percussion (Tracks 1-10)

*Chuck Domanico - Electric, Acoustic Bass (Tracks 1-10)

*William Snuth - Hammond B3 Organ Clavinet (Tracks 1-10)

*Jimmie Haskell – Strings, Horns Arranged, Conducted (Tracks 1-10)

*Emory Gordy, Jr. - Electric Bass (Tracks 11-21)

*Ron Tutt - Drums (Tracks 11-21)

*Victor Feldman - Vibes, Marimba, Percussion (Tracks 11-21)

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Saturday, September 28, 2024

The Nick Gravenites John Cipollina Band - Monkey Medicine (1982 us, solid blues rock)

There's nothing new in the idea that some of the best rock musicians of the last 15 or 50 years are not as famous as they ought to be; genuine talent has always counted for less than image, hype or sheer luck. Nick Gravenites (or if you prefer Nick da Greek) is a classic case; despite being a great guitarist, songwriter and producer, (as well as being in possession of one of the most powerful voices in the business) genuine success has always eluded him, which is a pity because few white people have the knowledge or feeling for the blues that he does; he's got so much of it, it's coming out of his ears.

Gravenites was originally part of a thriving folk and blues scene in Chicago in the early '60s but in 1962 he travelled out west to San Francisco.

The Beats had gone but folk was booming and Gravenites was able to gig regularly at places like The Fox and Hound and The Coffee Gallery, both in the city's North Beach district. Quite often sharing the bill was a young fresh in from Texas, called Janis Joplin. Many musicians, later to attract the attention of the world's press during the 'Summer of Love', were also on the circuit - pre-electricity and, largely pre-acid.

Within in a couple of years Gravenites was in Chicago running a blues club called the Burning Bush, amongst other things, however when '67 rolled around, with every musician in the States heading out to San Francisco, Nick did likewise. Things were different from '62 everywhere was peace, love and good vibes, for a couple of months at least. Gravenites was there primarily to join Mike Bloomfield's new band, known at the time as An American Music Band but shortly to change their name to The Electric Flag. The Flag became the definitive blues/funk outfit of the late '60s, albums like 'A Long Time Coming' were required listening for anyone remotely interested in the 'new rock'. Gravenites' amazing gravelly voice was heard on hi-fi's all over the western world. After a couple of years the band ground to a halt, he made a solo album 'My Labors' and joined a last gasp, post Janis version of Big Brother.

The '70s proved a lean time for Gravenites, until it became apparent that people in Europe still wanted to hear him play, especially as he'd teamed up with the ubiquitous John Cipollina, guitar picker extra-ordinaire, wolf fetishist and refugee from the pioneering acid-rock outfit, Quicksilver Messenger Service. QMS were the definitive proponents of the guitar-based San Francisco sound, who should have conquered the world but failed to, owing to a seemingly in-built self destruct mechanism. Their music owed much to Cipolllina's playing, at times menacingly growling, at other times hard edged and bluesy.

Quicksilver staggered on into the mid '70s but Cipollina wisely quit at the end of 1970, taking his distinctive playing into Copperhead and then on to various loose aggregations, notably Terry & the Pirates. The link up with Gravenites came in 1979 when it seemed that neither of them were likely to play live in Europe again. However, since then they have been fairly regular visitors, especially to Germany and Italy where they are able to fill concert halls night after night.

This album was recorded during a recent tour, when they were augmented by Marcus David on drums and Al Staehely on bass. Staehely is notable for having the distinction of having played in a bogus line-up of Spirit, he now doubles as a lawyer in L.A.

This album is, of course, blues based and displays Gravenites' interpretations of a couple of standards plus some fine new songs, not to mention a reworking of his own classic 'Buried Alive in the Blues'.

Staehely also contributes a couple of excellent originals and needless to say Cipollina's guitar is as fiery as ever, notably on 'Bad Luck Baby' which has echoes of the old Quicksilver and the reworking of 'Pride of Man', the Hamilton Camp number, which was an integral part of the old QMS set.

In terms of chart success this album is unlikely to compete with Soft Cell, which is a pity because music played with this kind of integrity and ability is all too rare these days. I, for one, am glad that these guys are still doing it.

by John Platt, (Editor, Comstock Lode magazine)

Nicholas George Gravenites passed away in Santa Rosa, California on September 18, 2024, at the age of 85.

Tracks

1. Blues In The Bottle (Sam Hopkins) - 4:07

2. Six Weeks In Reno (Nick Gravenites) - 4:33

3. I'll Pull The Trigger (Nick Gravenites) - 3:34

4. Trust Me (Al Staehely) - 3:52

5. Buried Alive In The Blues (Nick Gravenites) - 5:18

6. Born In Chicago (Nick Gravenites) - 4:14

7. Bad Luck Baby (Nick Gravenites) - 7:36

8. Signs Of Life (Al Staehely) - 3:51

9. Pride Of Man (Hamilton Camp) - 3:54

10.Hot Rods And Cool Women (Al Staehely) - 3:36

11.Small Walk-In Box (Nick Gravenites) - 7:48

Personnel

*John Cipollina - Guitars

*Nick Gravenites - Guitars, vocals

*Marcus David - Drums

*Al Staehely - Bass, vocals

1967 Electric Flag - The Trip
1968-69 Electric Flag - An American Music Band / A Long Time Comin'
196?-7? The Electric Flag - Live

1974 The Electric Flag - The Band Kept Playing (2002 edition)
1969 Michael Bloomfield with Nick Gravenites And Friends - Live At Bill Graham's Fillmore West
1969 Nick Gravenites - My Labors

1968 The Barry Goldberg Reunion - There's No Hole In My Soul

1969 Barry Goldberg - Two Jews Blues (vinyl edition)
1970-71 Big Brother And The Holding Company - Be A Brother / How Hard It Is

1972 Nick Gravenites And Mike Bloomfield - Steel Yard Blues (2015 remaster)
1973 Bloomfield, Hammond, Dr.John - Triumvirate (Japan remaster)
1976 KGB - KGB
1976-77 Michael Bloomfield - Live at the Old Waldorf
1977 Prescription For The Blues
1972 Various Artists - Mill Valley Bunch Casting Pearls

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Friday, September 27, 2024

The Grasshoppers - Let It Be That Way (1966-68 us, spectacular garage beat, 2023 release)

Formed in 1965, the group of White Bear Lake ΜΝ teens started as The Eskorts, changing theirname to The Grasshoppers after a booking agent suggested they adopt a bug name like the Beatles. Acheson played rhythm guitar. Other band members included Greg (Jiggs) Lees, lead singer;Ben Hamar, lead guitar; Tim Black, bass guitar and Phil Scollard, drums. They rehearsed inBlack’s basement.

It was December 1967 and the band was in a recordingstudio playing a song called “Sugar and Spice” (originally recorded by The Searchers) for a 45-rpm single. The back, or B-side, was “Very Last Day,” originally done by Peter, Paul and Mary.The 45 played on Twin Cities radio stations; it was the only single The Grasshoppers released. The newly compiled album, called “Let It Be That Way,” contains that lone 45 and 14 unheardtracks, including eight original songs written by guitarist Hamar. The songs were recorded in adifferent session later that same month in ’67. The CD also contains a bonus tune written byHamar, a Dutch immigrant who moved to White Bear with his parents at age 14.

The Grasshoppers played their last gig March 10, 1969. Three of the five stayed with music, allon a part-time basis, Acheson said. He finally sold his guitar and amp in 1982, the same year heput his turntable, tuner and speakers in storage.

Tracks

1. Sugar And Spice (Tony Hatch) - 2:31

2. Still In Love With You Baby (Ron Elliott) - 2:38

3. Riding In My Car (Bernard Hamar) - 3:09

4. With This Kiss (Dale Menten) - 2:10

5. Words Of Love (Bernard Hamar) - 1:42

6. Paper Cup Beggar (Bernard Hamar) - 2:05

7. The Muffin Man (Bernard Hamar) - 1:45

8. Our Love (Bernard Hamar) - 2:48

9. Mustang Sally (Mack Rice) - 3:16

10.Look Through Any Window (Charles Silverman, Graham Gouldman) - 1:55

11.Watch People (Bernard Hamar) - 1:49

12.Let It Be That Way (Bernard Hamar) - 2:00

13.Mister, You're A Better Man Than I (Brian Hugg, Mike Hugg) - 3:23

14.Lonely Me (Bernard Hamar) - 3:00

15.Very Last Day (Paul Stookey, Peter Yarrow) - 2:46

16.Chini Wong (Bernard Hamar) - 2:20

The Grasshoppers

*Jiggs Lee - Lead Vocals

*Ben Hamar - Vocals, Lead Guitar

*Tim Black - Bass

*Tom Acheson - Rhythm Guitar

*Phil Scowler - Drums

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rep> Man - Man (1971 uk, sensational guitar bluesy psych prog space rock, 2007 remaster with extra tracks)

The group Man evolved from the Bystanders, a mid-'60s Welsh combo whose blend of Beatlesque harmonies and blue-eyed soul yielded a number of well-received singles, most notably the progressive and poppy "Royal Blue Summer Sunshine Day." That side was indicative of the direction they would take after changing their name to Man. Perhaps due to the eponymous moniker, this album has long been mistaken as a debut effort. However, prior to this title, they had already released a pair of LPs, Revelation (1969) and the somewhat more centered and ambitious follow-up 2 Ozs. of Plastic with a Hole in the Middle (1969). By the time of this platter, Clive John (organ/piano/electric guitar/harpsichord/vocals), Deke Leonard (guitar/vocals), Martin Ace (acoustic guitar/bass guitar/vocals), Terry Williams (percussion/drums), Roger Leonard (acoustic guitar/piano/electric guitar/steel guitar/vocals), and Micky Jones (acoustic guitar/electric guitar/vocals) had settled into what most enthusiasts consider to be a seminal aggregate.

In addition to their exceptional improvisational skills, Man would display a more aggressive sound. The opening track, "Romain," instantly gels into driving blues behind Leonard's woozy steel guitar interjections. "Country Girl" is reminiscent of the New Riders of the Purple Sage, complete with a distinct West Coast county-rock lilt. Both of the extended pieces, "Would the Christians Wait Five Minutes?...The Lions Are Having a Draw" and "Alchemist" are pastiches of well-developed instrumentals, although at times they come off as somewhat dated. There is plenty of inspired interaction, however, especially on the latter song as they unleash some definitive heavy metal licks that could easily be mistaken for seminal Black Sabbath. "Daughter of the Fireplace" is another highlight as a compact and attitude-heavy rocker.

by Lindsay Planer

Tracks

1. Romain (Martin Ace, Clive John, Micky Jones, Deke Leonard, Terry Williams) - 6:13

2. Country Girl (Martin Ace, Deke Leonard) - 3:07

3. Would The Christians Wait Five Minutes?/The Lions Are Having A Draw (Martin Ace, Micky Jones) - 13:.02

4. Daughter Of The Fireplace (Deke Leonard) - 5:17

5. Alchemist (Martin Ace, Clive John, Micky Jones, Deke Leonard, Terry Williams) - 20:47

6. Daughter Of The Fireplace (Deke Leonard) - 3:07

7. Alchemist (Martin Ace, Clive John, Micky Jones, Deke Leonard, Terry Williams) - 24:22

Man
*Micky Jones - Guitars, Vocals
*Deke Leonard - Guitars, Piano, Vocals
*Terry Williams - Drums, Percussion
*Martin Ace - Bass, Acoustic Guitar
*Clive John - Organ, Piano, Guitar, Harpsichord, Vocals

1969 Man - Revelation (2009 remaster and expanded)

1969 Man - 2 Ozs Of Plastic With A Hole In The Middle (2009 remaster)

1972 Man - Be Good To Yourself At Least Once A Day (2007 remaster with extra tracks)
1974 Man - Slow Motion (2008 remaster and expanded)
1974 Man - Rhinos Winos And Lunatics (2007 double disc remaster)

1975 Man With John Cipollina - Maximum Darkness (2008 remaster with bonus tracks)

1976 Man - Welsh Connection (2013 double disc remaster)

1971-73 Help Yourself - Reaffirmation An Anthology (2014 Remaster)
1973 Help Yourself - 5 (2004 release)

1973 Deke Leonard - Iceberg (2015 remaster and expanded)

1974 Deke Leonard - Kamikaze (2015 remaster with extra tracks)

1975 Clive John - You Always Know Where You Stand With A Buzzard (2004 remaster)

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Thursday, September 26, 2024

The Mourning Reign - Satisfaction Guaranteed (1966-67 us, awesome garage blues psych, 2013 edition)

If any event delineated the differences between the music of San Jose and what was happening in San Francisco's Haight-Ashbury, 50 miles to the north, it might have been the night that all the South Bay heavyweights played the Continental Ballroom in Santa Clara. "Everyone was there," recalls Steve Canali, rhythm guitarist for the Mourning Reign, of this Gathering of the Tribes: "the Watchband, the Count Five, the Syndicate of Sound." And what was the main event of the evening? Mantras recited by Allen Ginsberg? Acid-laced Kool-Aid ladled out by Ken Kesey? "Actually," smirks Canali, "they lined all the bands up on opposite sides of the wall, and we had a pie-throwing contest."

The Mourning Reign-whose classic line-up consisted of Canali, Jagger-esque vocalist Beau Maggi, Johnnie Bell on lead guitar, bassist Charlie Gardin and Beau's brother Craig Maggi on drums-did share one trait with their SF hippie brethren. "We all lived together," says Canali. "Craig's girlfriend found this old house in the middle of a fruit orchard on Alum Rock Avenue. We used the music to the Byrds" "So You Want to Be a Rock and Roll Star' and made this great Super 8 film of the band, cutting up around the house, just like in A Hard Day's Night."

Canali soon took a leave of absence from the Reign-against the advice of his dad, John Canali, who managed and booked the band-to play topless joints in New Jersey with the Tribe, a Doors cover combo formed by singer Sonny Johnson, former leader of Canali's first band the House Pets. "People back east thought those songs were ours," Canali chuckles. When Canali rejoined the Reign-with Tom O'Bonsawin now in for Bell-he brought along Johnson to replace the recently drafted Beau Maggi.

It soon became evident the bloom was off the rose. Before long the band changed its name to Roadhouse and plunged headlong into the '70s. Not, however, before their legendary appearance at the Northern California Folk Rock Festival in 1968 alongside the Doors, the Airplane, Big Brother, Kaleidoscope, Eric Burdon and the Youngbloods. "The Mourning Reign never played a battle of the bands," muses Canali. "We were above that. We already knew we were on top."

by Jud Cost, Santa Clara, CA, 1998

Tracks

1. Evil Hearted You (Graham Gouldman) - 2:28

2. Get Out Of My Life Woman (Allen Toussaint) - 2:38

3. Satisfaction Guaranteed (Rick Keefer) - 2:21

4. Our Fate (Frank Maggi) - 2:28

5. Light Switch (Frank Maggi) - 2:11

6. Run Run Run (Pete Townshend) - 2:14

7. Tales Of Brave Ulysses (Eric Clapton, Martin Sharp) - 2:50

8. Signed D.C. (Arthur Lee) - 3:07

9. Cut Back (Frank Maggi, Steve Canali) - 2:04

10.Light Switch (Frank Maggi) - 2:20

The Mourning Reign

*Charlie Gardin - Bass Guitar

*Craig Maggi - Drums

*Frank "Beau" Maggi - Vocals, Guitar

*Johnnie Bell - Lead, Rhythm Guitar

*Tom O'Bonsawin - Lead, Rhythm Guitar

*Steve Canali - Rhythm Guitar

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Tuesday, September 24, 2024

Sagittarius - The Blue Marble (1969 us, miraculous baroque sunny folk psych, 2008 and 2001 digipak remasters with bonus tracks)

The second and final album from Sagittarius was the first for the ambitious Together Records in 1969, but the label folded soon afterward, leaving The Blue Marble virtually unheard for over 30 years. The British label Poptones remedied the situation in 2001 with an expanded CD edition of the original LP. Like its predecessor Present Tense, The Blue Marble is producer Gary Usher's (the Beach Boys, the Byrds) take on the decidedly late-'60s sunshine pop genre, and features members of the Millennium, including the legendary Curt Boettcher. The record opens with an interesting, intermittently discordant version of the Beach Boys' paean to childhood empowerment, "In My Room" (which Usher co-wrote with Brian Wilson).

A new plaything, the Moog synthesizer, is employed on many of the numbers, and the results are distracting, leaving this period music even more dated. It's as if Usher used Robert Moog's invention to spruce up the weaker songs, instead of letting the tune carry the track. The country-tinged "Will You Ever See Me" showcases what Sagittarius could do with a strong melody, while the tempo-shifting "Gladys" is an intriguing anomaly of dark psychedelic pop. Of the bonus tracks, "Navajo Girl" is the most startling: a country-cum-sunshine pop song with a raga intro, layered vocal harmonies, and soaring horn section, it's a wonder it wasn't included on the initial release.

by Bart Bealmear

Gary Usher died of lung cancer in 1990 at the age of 51. Curt Boettcher died in June 1987, while being treated for a lung infection at Los Angeles County Hospital. He was only 43.

Tracks

1. In My Room (Gary Usher, Brian Wilson) - 2:09

2. From You Unto Us (Curt Boettcher) - 1:47

3. Will You Ever See Me - 2:14

4. Gladys (Gary Usher, Jeannie Piersol) - 2:46

5. I Sing My Song (Michele O'Mally, Dena Adams) - 2:45

6. The Blue Marble (Gary Usher, Lee Mallory) - 2:59

7. Lend Me A Smile - 3:11

8. I Still Can See Your Face - 2:42

9. I See In You - 3:14

10.Cloud Talk - 2:24

11.I Guess The Lord Must Be In New York City (Harry Nilsson) - 2:32

12.I Still Can See Your Face - 2:55

13.In My Room (Gary Usher, Brian Wilson) - 2:10

14.Navajo Girl (Gary Usher, Sandy Salisbury) - 2:39

Songs 2,3,7,8,9,10,12 written by Gary Usher

Bonus Tracks 11-14, Sundazed edition

Bonus Tracks Poptones 2001 edition

11. In My Room (Gary Usher, Brian Wilson) - 2:10

12. Navajo Girl (Gary Usher, Sandy Salisbury) - 2:42

13. I Guess The Lord Must Be In New York City (Harry Nilsson) - 2:33

14. I Still Can See Your Face (Gary Usher) - 2:56

15. Will You Ever See Me (Gary Usher) - 2:24

Musicians

*Curt Boettcher - Vocals, Keyboards, Guitar

*Gary Usher - Vocals, Keyboards

*Glenn Campbell - Vocals, Guitar

*Ron Edgar - Drums

*Mike Fennelly - Guitar

*Bruce Johnston - Vocals, Guitar

*Doug Rhodes - Keyboards, Guitar

*Sandy Salsbury - Vocals

*Joey Stec - Vocals

1966-68 Sagittarius - Present Tense (2006 japan)

Releated Acts

1966-70 The Ballroom - Preparing For The Millennium

1973 Curt Boettcher - There's An Innocent Face

1967-68 The Millennium - Pieces (2013 Blu Spec)

1968 The Millennium - Begin (2013 Blue Spec edition)
1969 Curt Boettcher - Another Time (2013 Blu Spec)

1970-71 Curt Boettcher - Chicken Little Was Right (2013 blu spec)

1969 Sandy Salisbury - Do Unto Others (2013 Blu Spec)

1967-69 Sandy Salisbury – Everything For You Vol.1 (2013 blu spec)

1966-69 Sandy Salisbury - Falling To Pieces (2002 remaster)

1966-69 Lee Mallory - Many Are the Times (2013 blu spec)

1965-71 Ruthann Friedman ‎– Hurried Life / Lost Recordings

1966-73 Ruthann Friedman - Windy - A Ruthann Friedman Songbook (2013 remaster)

1966 Tandyn Almer - Along Comes Tandyn (2013 digipak)

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Monday, September 23, 2024

The Love Generation - Love And Sunshine The Best Of (1967-68 us, groovy harmony sunny pop, 2002 remaster)

Of the many sunshine pop groups that proliferated in Southern California in the late '60s, the Love Generation were one of the most wholesome and downright sunniest. "Sunniest" is not necessarily synonymous with "best," even for a genre called "sunshine pop." The Love Generation's records were about as over-the-top as their name in their smiley-face, see-no-evil, upbeat, even anodyne harmonized pop/rock, commercial enough to often be mistaken for commercial jingles. Taking the advances of sunshine pop godfathers and godmothers the Mamas & the Papas to the most saccharine extremes (with echoes of the Beach Boys and the Association as well), the Love Generation released three albums in 1967 and 1968, getting small hit singles with "Groovy Summertime" and "Montage From How Sweet It Is (I Knew That You Knew)." The Love Generation were not quite as faceless as some acts plundering this territory, though, as much of their material was written by brothers John Bahler and Tom Bahler. The arrangements were densely crafted blends of male-female vocal harmonies and orchestrated pop/rock that put quite a bit of frosting on the incessantly chipper tunes.

At its outset, the group was a sextet of the Bahler Brothers, Ann White a former member of The New Christy Minstrels, Marilyn Miller (who had supplied Sally Field's singing voice on the Gidget TV show), Mitch Gordon, and Jim Wasson,a member of the vocal group that backed Patricia Morrison. John Bahler took the greatest share of the lead vocals, and session musicians played the instruments. The lyrics often tapped into the most optimistic and innocuous traits of the early hippie generation, with references to love-ins, sunshine (naturally), summer, dreams, candy, and magic peppering not just the words but the song titles: "Fluffy Rain," "Meet Me at the Love-In," "Consciousness Expansion," "Love and Sunshine," "Candy," "Magic Land," and "Love Is a Rainy Sunday" were just some of them.

The group really existed in name only by the third and last album, Montage, on which only the Bahlers and producer/arranger Tommy Oliver were listed in the liner notes. Gordon, White, and the Bahlers all sang as studio backup vocalists in subsequent years, with Tom Bahler writing songs for others including Cher ("Living in a House Divided") and Michael Jackson ("She's Out of My Life"), as well as co-writing "We Are the World." The Bahlers might be most famous/notorious, though, for recording and supplying several songs used in early episodes of The Partridge Family, several of them appearing (with the Bahlers' lead vocals) on the Partridge Family's first album.

by Richie Unterberger

Tracks

1. Groovy Summertime (Dick Ross, Keith Colley, Tom Bahler) - 2:24

2. The Love In Me (Jim Wasson, John Bahler) - 2:23

3. Hey, Look Around (Tom Bahler, Noelle Green) - 2:19

4. Not Be Found (Jimmy Seals) - 2:39

5. She Touched Me (Ira Levin, Milton Schafer) - 2:46

6. Meet Me At The Love-in (Keith Colley, Tom Bahler) - 2:13

7. When The Sun Goes Down (Tommy Oliver) - 2:13

8. Playin' On The Strings Of The Wind (Keith Colley, Nancy Mantz) - 2:39

9. Consciousness Expansion (Jim Wasson, John Bahler) - 3:19

10.You (Dave Mani, Ed Fournier) - 2:33

11.Leaves Grow Grey (Jim Wasson, John Bahler) - 2:44

12.The Bummer (Guide Me Home) (Jim Wasson, John Bahler) - 2:39

13.Epitaph (A World Without Love) (Dick Ross,Tom Bahler) - 2:19

14.Fluffy Rain (Christine Copeland, John Bahler, Tom Bahler) - 2:14

15.W.C. Fields (Christine Copeland, John Bahler, Tom Bahler) - 2:42

16.Montage From "How Sweet It Is" (I Knew That You Knew) (Jim Webb) - 3:03

17.Let The Good Times In (Carole Bayer, Neil Sedaka) - 2:13

18.I Keep On Talking (Michael Z. Gordon) - 2:09

19.Love And Sunshine (Tommy Oliver) - 2:44

20.A Touch Of Love (Dick Ross, Tom Bahler) - 3:10

21.Candy (James Griffin, R. Wilson Royer) - 2:27

22.Love Is A Rainy Sunday (Ray Chafin) - 2:40

23.The Pill (John Bahler, Mitch Gordon, Tom Bahler, Tommy Oliver) - 1:37

24.Magic Land (Tom Bahler, Tommy Oliver) - 2:10

25.Catchin Up On Fun (Mark Barkan, Ritchie Adams) - 2:22

The Love Generation

*Annie White - Vocals

*Jim ''Little Flower'' Wasson - Vocals

*John Bahler - Vocals

*Marilyn Miller - Vocals

*Mitch ''The Count'' Gordon - Vocals,

*Tom Bahler - Vocals

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Saturday, September 21, 2024

Flo And Eddie - Illegal Immoral And Fattening / Moving Targets (1975-76 us, a nice melt of multi rock sounds with satyrical mood, 2007 remaster)

After issuing a pair of thoroughly excellent albums on Reprise Records, the Phlorescent Leech & Eddie aka Flo & Eddie -- who were embodied by Mark Volman (Flo) (vocals/guitar) and Howard Kaylan (Eddie) (vocals) -- moved over to the Columbia label for two additional LPs Illegal, Immoral and Fattening (1975) and Moving Targets (1976). The contents of the former are split between studio and live material containing considerable overdubs. The support backup band for the project consists of West Coast session talents Phil Reed (lead guitar), Erik Scott (bass), Andy Cahan (keyboards), and Craig Krampf (drums) -- with one notable exception that will be dealt with shortly. As the anti-authoritarian title track "Illegal, Immoral & Fattening" instantly reveals, the performances are victims of -- or perhaps too-accurately parody -- mid-'70s glam metal, which is heavier and may come off as slightly pretentious when compared to their earlier outings.

What certainly has not escaped them are their immutable vocal harmonies or the vicious Flo & Eddie sense of funny business. Kaylan and Volman's tenure as co-founders of 1960s folk-rockers the Turtles likewise reveal their remarkable sensitivity when interpreting ballads. Their version of Albert Hammond's "Rebecca" and the catchy, lithe "Let Me Make Love to You" are this platter's quintessential examples. Fellow Turtles and Mothers of Invention member Jim Pons is co-credited with the first of several obligatory cuts to feature their mature-theme gags circa the Mothers' anything goes stage shows under Zappa's baton. "Kama Sutra Time" -- which also handily pokes fun at Elton John and T. Rex -- as well as the "Sanzini Brothers Return," are filled with plenty of locker-room humor. Then there is the case of the rapid, multi-syllabic "Tiberian Memory Trick" tongue twister. This famous bit of convoluted conversation was handed down from the likes of Del Moore and Jerry Lewis. By the time Danny Kaye began incorporating it into his act, it was named "The Tibetan Memory Trick." And it remained an integral part of Flo & Eddie's stage act ever after.

The funky, wah wah driven "Livin' in the Jungle" and the demented power ballad "Cheap" are on par with their best straight-ahead rockers -- although the term "straight-ahead" is definitely relative. The "Kung-Fu Killer" is a brilliant piece of live shtick that -- on-stage at least -- seems to have developed out of an update of the Turtles' hit "You Showed Me." They draw upon the concurrent pop hit "Kung Fu Fighting" and even the Doors' Oedipal climax to "The End" before remaking the Mothers' classic "Eddie, Are You Kidding?" circa Just Another Band from L.A. (1972) appropriately enough. "The Pop Star Massage Unit" is another sexually suggestive wink and nod that also includes allusions to "Jumpin' Jack Flash," and "My Sweet Lord." Wrapping up the effort is a rock & roll spin on Irving Berlin's "There's No Business Like Show Business" that boasts a significantly different combo of all-stars -- namely Danny "Kootch" Kortchmar (guitar), Leland Sklar (bass), Ian Underwood (keyboards), and Aynsley Dunbar (drums).

For their final (of two) projects for Columbia Records in the mid-'70s, Mark Volman (Flo) (vocals/guitar) and Howard Kaylan (Eddie) (vocals) serve up a mixed bag of rockers as only Flo & Eddie can. With the exception of the Turtles' "Elenore" and "Guns" -- the latter of which features a shared credit with former Turtles' and Mother of Invention bandmate Jim Pons -- the remainder of Moving Targets (1976) was written entirely by the pair. While their lyrics might come off as cynical (read: realistic) or whiney to some, they counteract the typical pop/rock fare by presenting the listener with an undeniably fresh vantage point. The (perhaps) semi-biographical "Mama, Open Up" seems to be a psychological profile of its authors disguised as a typical '70s power ballad. Sounding like a combination of Chicago and Todd Rundgren, Alan MacMillan's horn-fuelled arrangement on "The Love You Gave Away" -- not to mention Flo & Eddie's impeccable harmonies -- almost disguise the odd spin on a love triangle.

Marked by a bright jangle guitar introduction and strong dual-lead vocals, "Hot" stands out as a return to a feel that recalls earlier Flo & Eddie material. MacMillan's brass score provides some punch to "Best Friends." The compact and catchy tune lives up to its parenthetical moniker that indicates it as a "theme to the unsold T.V. pilot." "Best Possible Me" is truly exceptional, equaling anything in the Flo & Eddie cannon. MacMillan earns his keep as the orchestration underscores the powerful melody. In a very different way, the same can be said of the tongue-in-cheek "Keep It Warm" as they mull over their life and future as singer/songwriters. "Guns" is an upbeat rocker with the occasional anti-war sentiments, while the new recording of "Elenore" is taken at a noticeably quicker pace that reflects the way Flo & Eddie were concurrently performing the song in their live shows. "Make Your Own Kind of Music" meets "Add Some Music to Your Day" on "Sway When You Walk" as the highly recommended entry not only brims with positivity, it taps into the duo's silly and cerebral sides as well. Bucking the norm of placing the title track at the beginning of the disc, "Moving Targets" can be found at the conclusion of the platter. The mid-'70s proto-heavy metal vibe bears an Alice Cooper or Kiss influence, contrasting the rest of the effort in its relative straightforward approach.

by Lindsay Planer

Tracks

1. Illegal Immoral And Fattening - 3:14

2. Rebecca (Albert Hammond, Michael Hazlewood) - 2:43

3. Kama Sutra Time (Marc Bolan, Howard Kaylan, Jim Pons, Mark Volman) - 6:40

4. The Sanzini Brothers Return (Howard Kaylan, Ian Underwood, Mark Volman) - 2:53

5. Livin' In The Jungle - 3:43

6. Cheap - 2:40

7. The Kung Fu Killer - 3:00

8. Eddie, Are You Kidding? (Howard Kaylan, Mark Volman, Frank Zappa, John Seiter) - 2:22

9. The Pop Star Massage Unit (Howard Kaylan, Mark Volman, George Harrison, Mick Jagger, Keith Richards) - 4:56

10.Let Me Make Love To You - 2:21

11.There's No Business Like Show Business (Irving Berlin) - 3:39

12.Mama, Open Up - 4:12

13.The Love You Gave Away - 3:33

14.Hot - 3:26

15.Best Friends - 2:02

16.Best Possible Me - 4:06

17.Keep It Warm - 4:16

18.Guns - 3:56

19.Elenore (Howard Kaylan, Al Nichol, Jim Pons, John Barbata) - 2:11

20.Sway When You Walk - 2:03

21.Moving Targets - 4:44

Words and Music by Howard Kaylan, Mark Volman except where indicated

Musicians

Howard Kaylan - Vocals

Mark Volman - Guitar, Vocals

Andy Cahan - Drums, Keyboards

Aynsley Dunbar - Drums

Craig Krampf - Drums

Danny Kortchmar - Guitar

Erik Scott - Bass

Ian Underwood - Keyboards

Leland Sklar - Bass

Phil Reed - Guitar

1972-74 Flo And Eddie - The Phlorescent Leech And Eddie / Flo And Eddie (2008 double disc remaster)

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Thursday, September 19, 2024

Flo And Eddie - The Phlorescent Leech And Eddie / Flo And Eddie (1972-74 us, fascinating varied rock expressions, 2008 double disc remaster)

Of all the Mothers of Invention (MOI) alumnae, the Phlorescent Leech (aka Flo) and Eddie remain one of the most musically consistent. Part of the reason could be traced back to Mark Volman (Flo) (vocals/guitar) and Howard Kaylan (Eddie) (vocals) having achieved significant success as the lead vocalists behind '60s folk-rockers the Turtles prior to hooking up with Frank Zappa in 1970. Although rarely mentioned, one-time Leaves' member and longtime Turtles' bassist Jim Pons was also recruited to be a Mother of Invention, where he, Volman, and Kaylan remained until the band was unceremoniously dissolved when Zappa was pushed off stage by unstable audience member Trevor Howell. Zappa landed ten feet below onto a concrete orchestra pit on December 10,, 1971 at the Rainbow Theatre in London.

The incident effectively put Zappa out of commission, leaving the Mothers to find work elsewhere. In fairly short order, Volman and Kaylan were signed to Reprise Records as Flo & Eddie where they resurfaced with the excellent, self-titled Phlorescent Leech & Eddie (1972). Their second and final Reprise album -- titled Flo & Eddie (1974) -- was ostensibly created so that the duo would have product to push during their high profile opening slot on Alice Cooper's (then) big-budget Billion Dollar Babies (1974) tour. Primary components of the Cooper production team -- including producer Bob Ezrin, engineers Shelly Yakus and Jack Douglas, as well as Cooper's masterful design and concept team at Pacific Eye & Ear -- collectively updated Flo & Eddie's sound and image.

While the results did yield a slicker and less organic product, it is actually what Volman and Kaylan bring to the festivities that arguably makes Flo & Eddie (1973) the better of the two endeavors. At the heart and soul of Flo & Eddie is their vocal blend -- which they can (and occasionally do) turn into a full-blown choir, thanks to a few vocal overdub passes. The hearty syncopated rocker "If We Only Had the Time" provides a great example of this technique. The Kinks' "Days" is the first of several superbly chosen covers. Simply stated, Kaylan and Volman effortlessly embody the song's profound sense of loss and wistful nostalgia as if the tune had been penned for them. The jaunty "You're a Lady" hearkens back to the memorably quirky melodies and catchy choruses that defined the Turtles at their best -- a la "She's My Girl" and "You Showed Me". "The Original Soundtrack from 'Carlos and De Bull'" is an odd tale of a matador that recalls Flo & Eddie's dramatic ventures in 200 Motels, and the brilliant saga of "Billy the Mountain" from their Zappa days. Another grand slam remake follows as they upgrade the Small Faces' "Afterglow" with a slightly metallic tinge -- no doubt thanks to Ezrin's handiwork. Fellow '60s survivor and Reprise recording artist John B. Sebastian lends his dulcet tones to a modern doo wop update of the Ronettes' "Best Part of Breaking Up" that is driven by the same type of hard-hitting rhythm that accompanied Gary Glitter's "Rock and Roll (Part One)".

A final dip back into their MOI tenure as the "Sanzini Brothers" -- better known as Aldolph, Rip-Off, Rudolph, and Jack -- are heard performing the "horrible sodomy trick". The opening of "Another Pop Star's Life" is clearly inspired by Roger Daltery's blood-curdling wail at the climax of the Who's "Won't Get Fooled Again". The tale of excess and debauchery was later revealed to have been an observation on the lifestyle of Marc Bolan from T Rex. The acoustic "Just Another Town" may well have its subject matter rooted in the 200 Motels motif of "touring can make you go crazy" as they depict a substance-less nomadic existence. The Kaylan-penned seven-plus-minute "Marmendy Mill" is a pastoral epic featuring orchestration by Alan MacMillian -- whose other notable Ezrin productions include Lou Reed's Berlin (1973) and Alice Cooper' sWelcome to My Nightmare (1975). The youthful ode to the freedom and innocence of childhood perfectly caps what is -- by most accounts -- the best of what Flo & Eddie are all about.

by Lindsay Planer

Tracks

Disc 1

1. Flo And Eddie Theme - 0:58

2. Thoughts Have Turned - 3:06

3. It Never Happened - 2:05

4. Burn The House - 3:15

5. Lady Blue - 3:30

6. Strange Girl - 3:16

7. Who But I - 4:22

8. I Been Born Again - 3:46

9. Goodbye Surprise (Gary Bonner, Alan Gordon) - 2:54

10.Nikki Hoi (Howard Kaylan, Mark Volman, Jeff Simmons) - 1:58

11.Really Love - 3:23

12.Feel Older Now - 4:24

13.There You Sit Lonely - 3:36

All songs by Howard Kaylan, Mark Volman except where stated

Disc 2

1. If We Only Had The Time - 4:20

2. Days (Ray Davies) - 3:15

3. You're A Lady (Peter Starsdadt) - 2:41

4. Carlos And The Bull (Barnaby Conrad, Howard Kaylan, Mark Volman) - 3:45

5. Afterglow (Ronnie Lane, Steve Marriott) - 3:24

6. Best Part Of Breaking Up (Pete Andreoli, Phil Spector, Vince Poncia) - 2:27

7. The Sanzini Brothers (Howard Kaylan, Ian Underwood, Mark Volman) - 2:52

8. Another Pop Star's Life - 3:43

9. Just Another Town - 3:28

10. Marmendy Mill (Howard Kaylan, Mark Volman, Dick Wagner, Bob Ezrin) - 7:07

Tracks 1,8,9 written by Howard Kaylan, Mark Volman

Personnel

*Howard Kaylan - Vocals

*Mark Volman - Vocals and Guitar

*Aynsley Dunbar - Drums

*Gary Rowles - Lead Guitar

*Jim Pons - Bass

*Don Preston - Keyboards (Disc 1)

*Barry Keene - Narrator on Nikki Hoi (Disc 1)

*John Herren - Keyboards (Disc 2)

*Steve Madaio - Trumpet (Disc 2, Track 3)

*Steve Hunter - Guitar (Disc 2, Tracks 1,5,8)

*Bob Ezrin - Piano (Disc 2, Tracks 5,7)

*John Sebastian - Vocals (Disc 2, Track 6)

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Tuesday, September 17, 2024

The Turtles - Solid Zinc The Turtles Anthology (1965-70 us, magnificent folk sunny psych, 2002 double disc release)

For anyone who wants to get more Turtles than a greatest-hits collection offers, yet isn't interested in getting everything the Turtles did, this 51-song, two-CD compilation is the ticket. Mind you, most average '60s rock fans will still be more than satisfied by the average greatest-hits collection, as the band's familiar hits were truly the best things they did. If you want to fill in the gaps with lesser-known (and sometimes downright flop) singles and relatively seldom-heard LP tracks, this does so well. However, though the Turtles were more adventurous than much of their AM radio competition, those lesser-known efforts are pretty erratic and often not that interesting, which might disappoint those wondering if this set could lead to a serious re-evaluation of the group's importance.

On the plus side, on disc one there are some good, and not great, solid folk-rock obscurities, like their cover of P.F. Sloan's "I Get out of Breath"; the little-known, very early Warren Zevon songs "Outside Chance" and "Like the Seasons"; the almost early Kinks-like "Almost There"; and the spooky pop/rock of "She'll Come Back." On the minus side, much of the non-hit material on both discs is well-crafted pop/rock without the hooks of the hits and without the inspiration of greater bands like the Beatles, the Kinks (the cover of Judee Sill's "Lady-O" sounds rather like a blend of early solo Paul McCartney and turn-of-the-decade Ray Davies), and the Byrds, though it's apparent they were trying to reach those heights with their more sophisticated and/or stranger tracks. Just two cuts were previously unreleased, neither of them special: demos of "Marmeny Mill," later done by Flo & Eddie, and "How You Loved Me" (re-recorded for Turtle Soup), in which the Ray Davies influence was especially strong. As a minor criticism of a very well-assembled package, it would have been good if one or two items from the surf band the Turtles evolved from (the Crossfires) had been included at the expense of some of the more dispensable selections, like their cover of Kenny Dino's "Your Maw Said You Cried."

by Richie Unterberger

Tracks

Disc 1

1. It Ain't Me Babe (Bob Dylan) - 2:14

2. Almost There - 2:16

3. Let Me Be (P.F. Sloan) - 2:24

4. Wanderin' Kind - 2:08

5. Your Maw Said You Cried (Robert Glazer, Steve Schloks) - 1:44

6. Glitter And Gold (Barry Mann, Cynthia Weil) - 2:09

7. It Was A Very Good Year (Ervin Drake) - 1:57

8. Let The Cold Winds Blow - 2:20

9. Eve Of Destruction (P.F. Sloan) - 2:45

10.Flyin' High (Al Nichol) - 1:47

11.You Baby - 2:19

12.I Know That You'll Be There - 2:16

13.Just A Room (Artie Kornfeld, Steve Duboff) - 2:31

14.She'll Come Back (Howard Kaylan, Nita Garfield) - 2:40

15.Tie Me Down (David Gates) - 2:04

16.I Can't Stop (Dennis Lambert) - 2:08

17.I Get Out Of Breath - 3:16

18.So Goes Love (Gerry Goffin, Carole King) - 2:39

19.Grim Reaper Of Love (Al Nichol, Chuck Portz) - 2:25

20.Is It Any Wonder? - 2:34

21.Like The Seasons (Warren Zevon) - 1:54

22.We'll Meet Again (Hugh Charles, Ross Parker) - 2:01

23.Outside Chance (Glenn Crocker, Warren Zevon) - 2:09

24.Makin' My Mind Up (Gary Montgomery, Ray Roberts) - 2:41

25.Can I Get To Know You Better - 2:37

Tracks 2,4,8 written by Howard Kaylan

Tracks 11,12,17,20,25 written by P.F. Sloan, Steve Barri

Disc 2

1. Happy Together - 2:54

2. Too Young To Be One (Eric Eisner) - 2:00

3. Me About You - 2:32

4. She'd Rather Be With Me - 2:21

5. Guide For The Married Man (John Williams, Leslie Bricusse) - 2:44

6. You Know What I Mean - 2:01

7. She's My Girl - 2:35

8. Cat In The Window - 1:39

9. Sound Asleep (Mark Volman) - 2:47

10.The Last Thing I Remember (The First Thing I Knew) (Mark Volman) - 3:32

11.The Story Of Rock And Roll (Harry Nilsson) - 2:48

12.The Battle Of The Bands (Harry Nilsson, Chip Douglas) - 2:16

13.Elenore (Howard Kaylan, Al Nichol, Jim Pons, John Barbata) - 2:31

14.You Showed Me (Gene Clark, Roger McGuinn) - 3:13

15.Surfer Dan (Howard Kaylan, Al Nichol, Jim Pons, John Barbata) - 2:41

16.Earth Anthem (Bill Martin) - 3:57

17.Somewhere Friday Nite (Howard Kaylan, Al Nichol, Jim Pons, John Seiter) - 3:23

18.Marmendy Mill - 3:15

19.How You Loved Me (Howard Kaylan, Al Nichol, Jim Pons, John Seiter) - 3:43

20.House On The Hill (Howard Kaylan, Al Nichol, Jim Pons, John Seiter) - 3:00

21.You Don't Have To Walk In The Rain (Howard Kaylan, Al Nichol, Jim Pons, John Seiter) - 2:45

22.Love In The City (Howard Kaylan, Al Nichol, Jim Pons, John Seiter) - 3:43

23.There You Sit Lonely - 3:43

24.Goodbye Surprise - 2:57

25.We Ain't Gonna Party No More - 4:58

26.Lady-O (Judee Sill) - 2:53

Tracks 1,3,4,6,7,8,24 written by Alan Gordon, Garry Bonner

Tracks 9,10,23, 25 written by Howard Kaylan

The Turtles

*Howard Kaylan - Guitar, Keyboards, Organ, Percussion, Vocals

*Mark Volman - Harmonium, Percussion, Special Effects, Tambourine, Vocals

*Al Nichol - Lead Guitar, Keyboards, Vocals

*Jim Tucker - Rhythm Guitar (1965-67)

*Chuck Portz - Bass (1965-66)

*Don Murray - Drums (1965-66)

*Joel Larson - Drums (1966)

*Chip Douglas - Bass, Horn Arrangements, Keyboards, Pump Organ (1966-67)

*John Barbata - Drums, Percussion, Vocals (1966-69)

*Jim Pons - Bass, Guitar, Vocals (1967-70)

*John Seiter - Drums, Piano, Vocals (1969-70)

With

*Alan Robinson - French Horn

*Allan Harshman - Viola

*Amy Utstein Project Assistant

*Art Pepper - Alto Sax

*Bill Holman - Horn Arrangements, Tenor Sax

*Bill Perkins - Tenor Sax

*Bob Edmondson - Trombone

*Bob Jenkins - Bongos, Congas

*Bobby Bruce - Violin

*Bobby Knight - Trombone

*Bones Howe - Percussion

*Bonnie Douglas - Violin

*Bud Brisbois - Horn Arrangements, String Arrangements, Trumpet

*Charlie Shoemake Vibraphone

*Darrel Terwilliger - Viola

*David Duke - French Horn

*Dick Hyde - Trombone

*Don Randi - Piano

*Donald Peake - Horn Arrangements

*Douglas Davis - Cello

*Dwight Tunji Trio- Percussion, Special Effects

*Francis Fitzpatrick - Trumpet

*Freddie Hill - Trumpet

*Gareth "Garry" Nuttycombe - Viola

*George Hyde - French Horn

*George Poole - Violin

*Hal Blaine - Drums

*Harry Nilsson - Piano

*Henry Sigismonti - French Horn

*Irving Lipschultz - Cello

*Isadore Roman - Violin

*Jack Nitzsche - Orchestral Arrangements

*Jerry Yester - Organ, Piano, String Arrangements

*Jesse Ehrlich - Cello

*Jim Horn - Saxophone

*John Audino - Trumpet

*John DeVoogdt - Violin

*John Santulis - Violin

*John Thomas Johnson - Tuba

*Joseph Saxon - Cello

*Judee Sill - Acoustic Guitar

*Jules Chaikin - Trumpet

*Larry Knechtel - Bass, Piano

*Lee Lasseff - Percussion, Special Effects

*Leigh Hall - A&R

*Leonard Malarsky - Violin

*Lew McCreary - Trombone

*Lou Blackburn - Trombone

*Lynn Blessing - Vibraphone

*Manny Klein Trumpet

*Michel Rubini - Keyboards

*Nick Pisani - Violin

*Norman Botnick - Viola

*Ollie Mitchell - Trumpet

*Paul Beaver- Moog Synthesizer

*Paul Shure - Violin

*Plas Johnson - Saxophone

*Ray Kelley - Cello

*Ray Pohlman - Horn Arrangements, String Arrangements

*Ray Triscari - Trumpet

*Richard Leith - Trombone

*Roy Caton - Horn Arrangements, String Arrangements, Trumpet

*Sidney Miller - Bassoon

*Thomas Shepard - Trombone

*Tibor Zelig - Violin

*Tom Scott - Saxophone

*Tony Terran - Horn Arrangements, String Arrangements

*Warren Zevon - Guitar

*Wilbert Nuttycombe - Violin

*William Hinshaw - French Horn

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Monday, September 16, 2024

The Flowerz - Flyte (1967-68 us, nice garage beat)

What you're holding is nothing less than a remarkable historical document. Coming off a number two record in Reading, PA ("I Need Love Now"), the group was booked to play a WXAC record hop on February 16, 1968. For the event, engineer Clay Barclay masterminded a novel idea. Prior to the show, the Flowerz spent one long, 18-hour day at Barclay's Shillington recording facility. There they printed to tape high-octane versions of highlights from their live set.

During the performance, not only was Flowerz' on-stage sound amplified, but the musicians played [mostly] in sync with the pre-recorded tape which was also pumped out through the PA system. Barclay's rationale was that this ingenious concept would result in twice the energy and excitement. And from all reports, it succeeded big time!

Despite a few technical issues (like the band not always recalling what the next cued track on the tape was), the Flowerz plowed through song after song with confidence. Between cuts, the school's own disc jockeys emceed the event. Fortunately, most of their entertaining dialogue was captured for posterity.

On this CD are those pre-recorded studio tracks (the composite live sound wasn't recorded) along with the playful on-stage banter. For anyone who wishes to relive an authentic '60s teen dance, this artifact is the Holy Grail.

With talent, tight musicianship and team spirit on their side, the mighty Flowerz run circles around your prototypical teenage rock and roll combo. Aside from their way cool originals, the band lashes out rippin' versions of the rock hits of the day (a prerequisite of bands from that era). As you'll hear for yourself, many of these remakes give the "hits" a run for their money. Sure, the Flowerz were fertilized by a hearty appetite of Stones, Animals, and Byrds records-but managed to blossom with their own patented kick-butt sound.

Prejudice aside (yes, I run the label), singer Jeff Stout is unquestionably in the same league as top shelf '60s punkmeisters that include the Chocolate Watch Band's Dave Aguilar and the Electras' Tim Elfving (lest we forget Starlite and Barclay recording artist Steve Musser, who not only is known to '60s aficionados for his snarling vocal on the apocalyptic "I Can't See You," but also produced both Flowerz killer singles).

Musically speaking, these 22 Flowerz tracks (most of which have never been circulated) are as exciting as the genre gets. The band's chemistry adds up to something really special. Mike Leece and Barry Tucci's harmonious guitar counterpoint, Larry Skillman's grounded bass lines, Bill Sheffer's atmospheric organ parts and Jim Leinbach's rock solid drumming all add up to one heck of a great band. By nudging the established song tempos into overdrive (their secret weapon), you have the formula for a '60s garage-a-holic's wet dream.

Roll over Mick Jagger. Eat your heart out Eric Burdon. I hear the Flowerz are coming up strong and looking for a fight. Or was that Flyte...

by Erik Lindgren, February, 1998

Tracks

1. I Need Love Now (Mike Leece, Steve Musser) - 2:53

2. Talkin' About Love (Barry Tucci) - 2:43

3. Flyte (Barry Tucci, Steve Musser) - 2:17

4. Ups And Downs (Mark Lindsay, Terry Melcher) - 2:13

5. Hey Joe (Billy Roberts) - 2:40

6. Under My Thumb (Keith Richards, Mick Jagger) - 2:24

7. It's My Life (Carl D'Errico, Roger Atkins) - 2:51

8. Come On Down To My Boat (Jerry Goldstein, Wes Farrell) - 2:16

9. Let's Spend The Night Together (Keith Richards, Mick Jagger) - 3:15

10.Heart Of Stone (Keith Richards, Mick Jagger) - 3:12

11.Gimme Some Lovin' (Muff Winwood, Spencer Davis, Steve Winwood) - 2:44

12.Bend Me Shape Me (Larry Weiss, Scott English) - 2:19

13.Light My Fire (Jim Morrison, John Densmore, Ray Manzarek, Robby Krieger) - 2:29

14.Wonderland By Night (Klaus Günter Neumann, Lincoln Chase) - 3:32

15.My Sad Story (Barry Tucci) - 2:08

16.All Day And All Of The Night (Ray Davies) - 2:13

17.Do You Believe In Magic (John Sebastian) - 1:58

18.Rumble (Fred Lincoln Wray, Sr., Milton Grant) - 2:47

19.He Was A Friend Of Mine (Roger McGuinn) - 2:10

20.Little Latin Lupe Lu (Bill Medley) - 2:41

21.WXAC Concert Report - 1:32

22.Saturday Morning (Barry Tucci) - 2:30

The Flowerz

*Barry Tucci - Guitar, Vocals

*Bill Sheffer - Keyboards, Vocals

*Jeff Stout - Percussion, Vocals

*Jim Leinbach - Drums, Vocals

*Larry Skillman - Bass, Vocals

*Mike Leece - Guitar, Vocals

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Saturday, September 14, 2024

Canned Heat - The Ties That Bind (1970-74 us, awesome blues rock, 2021 remaster)

Boogie-woogie blues rockers Canned Heat serve up a gyrating platter of previously-unleashed material, all recorded during three separate studio sessions. The album’s final three cuts (“Reefer Blues”, “You Tease Me” and “Something’s Gotta Go”) are the final recorded output from Heat founder/guitarist Alan Wilson, who committed suicide a few weeks after these studio sessions were made.

The album kicks off with the good-time party ambience of “Saturday Night Fish Fry”. Track four, “Drunk”, is a reeling ‘n’ rocking slab of slide guitar magic. Then there’s the rhythm and blues grinder, “Harry’s Open Pit and Bar B Que”.

Canned Heat fell by the wayside in the ’70s with the advent of disco and punk rock, but while those musical stylings have a tendency to come off as cliche and dated today, the Heat’s blistering rhythm and blues still sounds as fresh and new as the day it was canned.

by Yvette Cadeaux

The previously unreleased Atlantic Records session from 1974. Negotiated out of their UA contract, Canned Heat moved to Atlantic where notable blues enthusiasts the Ertegun Brothers were persuaded to give the band another chance. The tapes were released back to the band after the label lost interest due to the impending disco craze, and the infamous Lester Bang’s eloquent 1973 Rolling Stone thrashing of “The New Age.” LP. Fito de la Parra released the album in 1997.

An excellent boogie-blues record in a time that didn’t understand the music, The two unreleased Alan Wilson Tracks (Get Off My Back, Somethings Gotta Go) also appear on the newly released and available “The Boogie House Tapes Vol. 2”, and are a studio and live track that were some of his last recordings.

by Brett Lemke, Maximum Ink, 2004