Sunday, May 5, 2024

Sanctuary - Sanctuary (1971 us, magnificent jazzy psych art rock, 2022 remaster and expanded)



Reissue of a relatively obscure but rare US prog album from 1971.  Sanctuary was based out of Kansas.  They featured Erik Bikales on flute - he later went on to a popular career in the New Age genre.  This is anything but that.  Its a mix of original and cover tunes and frankly the covers are the most interesting part.  

Beginning with “All In My Dreams,” the flute’s light and colorful timbre captures the ear, serving as a clarion call for all to follow and creating moments of majesty, as music and message seamlessly transform into one. Sanctuary’s interpretations of Yes’s “Time And A Word” and Edgar Winter’s “Winter’s Dream” are not mere covers. They are bright and bold musical statements, refusals to submit to the negativity of the times. Their unique take on these compositions, as well as their own, provides the kind of bright eyed anthems their generation’s voice needed to compete against the backdrop of war and social upheaval dominating the headlines."
Tracks
1. All In My Dreams (Roger Bruner) - 5:28
2. 1982A (Bill Champlin) - 3:58
3. Time And A Word (David Foster, Jon Anderson) - 4:54
4. Hard To Be (Roger Bruner) - 8:43
5. Winter's Dream (Edgar Winter, Johnny Winter) - 20:43
6. Things Get Better (Roger Bruner) - 6:40
7. Freedom Rider (James Capaldi, Stephen Winwood) - 5:32
8. Rainmaker (Harry Nilsson, Bill Martin) - 6:51
9. Magnificent Sanctuary Band (Roger Bruner) - 3:46
Bonus tracks 6-9

Sanctuary
*Eric Bikales - Keyboards, Flute, Recorder, Vocals 
*Roger Bruner - Guitar, Vocals 
*Dennis Loewen - Bass Guitar, Vocals 
*Norman Weinberg - Drums, Percussion, Vocals

Saturday, May 4, 2024

Don 'Sugar Cane' Harris - Fiddler On The Rock (1971-72 us, amazing avant garde jazz blues rock, feat. Harvey Mandel, 2007 digipak remaster with extra tracks)



Don “Sugarcane” Harris, from Pasadena, California was born in 1938, and by his teens was playing R&B guitar and violin with Dewey Terry under the name Don and Dewey. In the 60’s they separated, and Harris began to concentrate on electric blues violin. He made many appearances as a sideman, with artists such as John Mayall and the Bluesbreakers, Johnny Otis, John Lee Hooker and Little Richard. He is probably best remembered, though, for his work with Frank Zappa in the 1970’s, notably the grinding, take-no-prisoners rocking blues “Weasels ripped my Flesh”. Here he makes the most of his raw, shredding sound, frequent “harmonica” trills, tremelo and double stops. His playing can be fast and fluent, but is most effective on slow numbers, where his distinctive thin tone and shaky vibrato come across as vulnerable and sensitive. After a lengthy battle with pulmonary disease, on December 1, 1999 he was found dead in his Los Angeles apartment at the age of 61. 

David Lindley (It's A Beautiful Day) referred to Sugar Cane as a “force of nature”, while Dave Arbus, of East of Eden, said “there are quite a few violinist on the scene, but Sugar Cane is the only true rock fiddler. His feeling, his phrasing, his timing, unreachable!”

Guitarist Randy Resnick, who played with Don in the band Pure Food and Drug Act (PFDA)in the 1970’s had this to say; “I never got chills in any other band like the ones I got when Don took off alone in a cadenza or when he and Paul did violin-drums duets. It was tribal, it was primitive and it was real music with all the faults that make us human. Don had a swing to his playing, a groove, a soulfulness that you don't hear anywhere else. No one plays with such gut-wrenching rawness, because musicians are trained to play "better". 

"Fiddler On The Rock", released 1971 is a tripped-out batch of funk rock tracks – one of the biggest crossover successes of the MPS lable! Don Harris sings and plays violin – and he gets some very heavy backing by a trio that includes Harvey Mandel on guitar, wailing away with those slow choppy riffs that made him the west coast equivalent of Dennis Coffey's east of the Mississippi fuzzed-out guitar groove. Features the slow funk classic "The Pig's Eye", plus "No Inspiration", "The Buzzard's Cousin", and "Eleanor Rigby". 
Tracks
1. Eleanor Rigby (John Lennon, Paul McCartney) - 9:35
2. I'm Gonna Miss You - 4:48
3. The Buzzard's Cousin - 6:04
4. The Pig's Eye - 6:27
5. So Alone - 7:05
6. No Inspiration - 4:00
7. 'Till The Day I Die - 7:08
8. My Soul's On Fire (Victor Conte, Don "Sugarcane" Harris, Paul Lagos, Harvey Mandel, Randy Resnick) - 4:12
9. Little Soul Food (Don "Sugarcane" Harris, Shuggie Otis) - 4:03
10.What Comes Around Goes Around (Victor Conte, Don "Sugarcane" Harris, Paul Lagos, Harvey Mandel, Randy Resnick) - 4:21
11.Eleanor Rigby (John Lennon, Paul McCartney) - 11:51
All compositions by Don "Sugarcane" Harris except where stated
Tracks 1-6 from the original album "Fiddler On The Rock" 1971
Tracks 7-11 from "Pure Food And Drug Act - Choice Cuts" 1972, recorded live at " The Fresh Air Tavern ", Seattle, Washington

Personnel
*Don "Sugarcane" Harris - Violin, Vocals
*Harvey Mandel - Guitar
*Larry Taylor - Bass (Tracks 1-6)
*Paul Lagos - Drums
*Randy Resnick - Rhythm Guitar (Tracks 7-11)
*Victor Conte - Bass (Tracks 7-11)

Related Acts
1968  Harvey Mandel - Cristo Redentor (2003 remaster and expanded)
1969-70  Harvey Mandel - Righteous / Games Guitars Play (2005 remaster)
1971  Harvey Mandel - Baby Batter (2016 remaster)
1972  Harvey Mandel - The Snake (2016 remaster)
1965-66  The Barry Goldberg Blues Band - Blowing My Mind ..Plus (2003 remaster and expanded)
1967  Charley Musselwhite - Stand Back! Here Comes Charley Musselwhite's Southside Band
1968  The Barry Goldberg Reunion - There's No Hole In My Soul
1969  Barry Goldberg - Two Jews Blues (vinyl edition) 
1967-73  Canned Heat - The Very Best Of (2005 issue with previous unreleased track)
1970  Canned Heat - Future Blues (remastered and expanded) 
1971-72  Canned Heat - Historical Figures And Ancient Heads (extra track remaster issue)
1974  Love - Reel To Reel (2015 deluxe edition)

Friday, May 3, 2024

Dragonwyck - Dragonwyck (1968/70 us, awesome rough fuzzy psych rock, 2008 edition)



In case you're wondering, Dragonwyck is the title of a 1944 historical romance by Anya Seton, made into a movie starring Gene Tierney and Vincent Price. This Dragonwyck, on the other hand, was a psych band from Cleveland. Before taking on their eventual name, they called themselves Sunrise and recorded five songs in 1968 shortly after forming. Those tracks are included here as a bonus to the first Dragonwyck album, which dates from 1970 and includes refined versions of three of the Sunrise tunes. To a certain extent it shows that the musicians were quite young at the time, but from the start they show promise, operating in a realm of dark psychedelia with fuzz guitar and prominent keyboards. 

Skip ahead to 1970 and you get a step up in virtually all respects: the recording quality is better, the playing is better, and they’ve refined their compositions. Only singer Bill Pettijohn and guitarist Tom Brehm remain from Sunrise, though they tend to define the sound, so there is continuity. Keyboards are expanded to include harpsichord in addition to organ. While I wouldn't exactly call this music proto-progressive, it's certainly headed in that direction. Unfortunately, the band never managed to find a sympathetic label to release their music, and only 85 LPs were pressed at the time. 

Apparently the master tape was found, from which this reissue is taken. The band stuck at it until the mid 70s, recording two more albums' worth of material (also on World in Sound's slate). 
by Jon Davis, Published 2007-03-01
Tracks
1. My Future Waits (Kenneth Staab) - 5:38
2. Ideas Within You (Kenneth Staab, Tommy Brame) - 1:47
3. Fire Climbs (Bill Pettijohn) - 9:02
4. Run To The Devil (Bill Pettijohn, Tommy Brame) - 3:55
5. God's Dream (Kenneth Staab) - 4:40
6. Ancient Child (Bill Pettijohn, Tommy Brame) - 4:57
7. The Vision (Bill Pettijohn) - 2:21
8. Fire Climbs (Bill Pettijohn) - 4:27
9. Flowers Grow Free (Bill Pettijohn) - 3:11
10.The Vision (Bill Pettijohn) - 7:02
11.Anything I'd Give (Bill Pettijohn, Tom Brehm) - 3:11
12.Ancient Child (Bill Pettijohn, Tom Brehm) - 4:51

Dragonwyck
*Tommy Brame - Guitars
*Michael Gerchak - Bass, Vocals
*Jack Boessneck - Drums
*Bill Pettijohn - Vocals
*Kenneth Staab - Piano, Organ, Vocals


Wednesday, May 1, 2024

Demon Fuzz - Afreaka! (1970 uk, extraordinary psych soul heavy funk prog afro-jazz acid rock, 2009 remaster with extra tracks)



Some bands seem only to have existed to provide future generations with cool samples. So it is with UK-based band Demon Fuzz, often classified as Afro-rock, who existed for a few years from 1968 into the early 1970s. Although Afreaka! is a good, occasionally great album, the band’s story is even more interesting.

Demon Fuzz was formed in London by a group of Caribbean ex-pats – Trinidadian saxophonist and percussionist Paddy Corea, keyboard player Ray Rhoden, guitarist Winston Raphael Joseph, bass player Sleepy Jack Joseph, singer Selwyn “Smokey” Adams, trombonist Clarence Brooms Crosdale and drummer Steven John. Initially things went well for the band, and they signed to Dawn Records, an offshoot of Pye, then a major label in the UK, if not exactly a signifier of quality. But the UK media didn’t really know what to make of a Black band that didn’t play reggae or soul, and, with little promotion, Demon Fuzz’s very of-its-era brand of semi-improvised funk-jazz-rock struggled to find an audience (though they were a live staple in the festivals of the era).

The band’s “Afro-rock” tag mostly seems to derive from the title, since the original album itself consists of five long, occasionally slightly aimless but often hypnotic and always funky jams, with only the slightest of African influences, unless you take into account that pretty much all western popular music ultimately has its roots in the continent. The first track is the 10-minute “Past Present and Future,” a driving but slightly bloated showcase for the band’s excellent ensemble playing. Initially, it’s an intriguing mixture of ominous, heavy, fuzz-toned guitar and percussion which becomes even better with the introduction of a slightly Middle Eastern beat, wah-wah guitar, ceremonial-sounding brass and groovy organ. But once everything is in place and the track really takes off about halfway through, it becomes a far more conventional but still enjoyable piece, a bit like an extended Deep Purple or Uriah Heep jam with added brass, which then softens into a more old-fashioned, bland rock ‘n’ roll feel, albeit with the unusual feature of a trombone solo.

The more concise, five-minute “Disillusioned Man” is more characterful, but could almost be the product of a different band. Light and jazzy, it features some great drumming and a nice, charismatic lead vocal by Adams that suggests that the band could have had a very different, more chart-centric career. To do that they would have had to forgo the song’s extended soloing, which would have been a mistake though; Corea’s light and fluid solo is one of the song’s most appealing features.

From the album’s title and cover, Afreaka! seems to suggest something dark, edgy and radical, but in fact the fairly standard and slightly unadventurous (if very enjoyable) jazz-rock continues throughout. Though the promotional material promises – and again, the album’s title hints at – the influence of African music, the eight-minute “Another Country” is an Electric Flag cover, and that really indicates the kind of direction Demon Fuzz were looking in for inspiration. The track isn’t vastly different from the 1968 original in style; it’s pretty much jazz-rock, being a little reminiscent also of Uriah Heep’s immortal “Wake Up (Set your Sights)” with its very late-‘60s hippie atmosphere. The song features another appealing vocal performance and is notable for an abrupt change of pace/mood, from organ-led rock to an atmospheric, sultry, Eastern-flavored sax solo in place of the elaborate Mike Bloomfield jazz guitar solo of the orginal. It’s a strong, forceful performance, but the guitar is oddly muted in comparison with the gritty rock tone that opened the album, and after snaking effortlessly along, the song ends with unexpected abruptness and feels slightly truncated, even at eight minutes long.

“Hymn to Mother Earth” is another eight-minute track, and though in a similar mold to the songs that precede it, it feels like it should be the album’s centerpiece. A slow, melodic, dense and initially, tranquil, organ-heavy paean to the Earth that is a reminder that ecological concerns are hardly new, even if they were largely ignored in the past. As with most of the album’s tracks, the song launches into another, busier phase at the halfway point, transforming into Afreaka!’s most convincing jazz-funk section, the sax playing against the percussion, bass and organ before the impassioned vocal comes back in and gives the song a kind of psychedelic, quasi-gospel, or at least spiritual lift as it fades away. It’s probably the album’s most well-balanced song; neither the vocal section or the soloing dominates and the transition between the different passages is smooth and logical.

Even if the whole album had been up this standard though, Afreaka! would be more of an interesting minor curio than a lost masterpiece. But in fact, the album continues on with more of the same. “Mercy (Variation No. 1)” was originally the album’s closing track and it begins strongly with pulsing bass, clattering percussion and a bit of nice wah-wah guitar, but its groove, though bustling and atmospheric, is so repetitive that the track’s nine minutes feels interminable, despite a somewhat jumbled change of time signature early on. It’s not bad though, dramatic and hypnotic, a rare example – or possibly the only one – of the album sounding something like it looks.

Initially, Afreaka! ended on a high with this performance, but Radiation’s reissue follows the example of the reissue by including the band’s only other release for Dawn, the “I Put a Spell on You” maxi-single. Surprisingly, the version of “I Put a Spell on You,” though strong enough, is far less distinctive and less atmospheric than the Screamin’ Jay Hawkins original. Smooth and organ-centric, it’s a very pleasant version and complements the album tracks nicely, but it isn’t hugely distinguished, and limited to the three-and-a-half minute format, the band feels a little cramped and compromised.

“Message to Mankind” is similarly succinct, one of the most soul-oriented tracks the band recorded, with Adams and Rhoden particularly shining, though the brass is nowhere to be heard. The final track is, depending on your point of view, promisingly or unpromisingly-titled “Fuzz Oriental Blues,” but aside from a great, driving beat, it feels almost like a mashup of various different tunes, like one of those old Hammond Organ covers albums from the ‘70s. It’s a nice showcase for the band’s excellent interplay and especially for Rhoden’s Procol Harum-like organ playing, but at under seven minutes and with little soloing apart from the organ, it feels like they are just getting into it as the song thunders to a halt.

Afreaka! is definitely not an album that needs to be approached with caution, but it comes with a lot of keywords which are slightly misleading. It is funky and jazzy and it has been sampled by a handful of hip-hop artists, but it’s not quite the cool treasure trove of beats, bass and flute that you might hope for if you came across its imposing cover in a thrift store. However, it is enjoyable, accomplished and easy to listen to, especially if you have an appetite for early ‘70s jazz-rock atmospheres and long organ solos. 
by Will Pinfold, November 15, 2022
Tracks
1. Past Present And Future - 9:50
2. Disillusioned Man - 4:58
3. Another Country (Ron Polte) - 8:28
4. Hymn To Mother Earth - 7:00
5. Mercy (Variation No. 1) (Ray Harris) - 9:20
6. I Put A Spell On You (Screamin' Jay Hawkins) - 3:54
7. Message To Mankind - 3:52
8. Fuzz Oriental Blues - 6:48
All compositions by Ray Rhoden, Winston Raphael Joseph except where noted
Bonus Tracks 6-8

Demon Fuzz
*Sleepy Jack Joseph - Bass
*Ayinde Folarin - Congas
*Paddy Corea - Congas, Flute, Sax, Arrangements
*Steven John - Drums
*W. Raphael Joseph - Guitar
*Ray Rhoden - Piano, Organ
*Clarance Brooms Crosdale - Trombone
*Smokey Adams - Vocals

Supersister - Pudding En Gisteren (1972-73 holland, impressive canterbury prog rock, 2008 remaster with bonus tracks))



Originally called Sweet O.K. Supersister, Supersister is formed in The Hague by Robert-Jan Stips (vocals and keyboard), Sacha van Geest (flute), Marco Vrolijk (drums) and Ron van Eck (bass). Supersister’s progressive sound sticks out among the beat and rock music and the band spearheads the local hippie scene. In the spring of 1970 Supersister’s first single She Was Naked is released. It’s the group’s first hit and it earns them a record deal with Polydor.

The third Supersister album is a big favorite with prog fans because it provides a good representation of the group's combination of Caravan-inspired jamming and Zappa-esque humor. Pudding and Gisteren consists of a pair of pop songs and pair of lengthy prog jams. The songs are instantly appealing: both "Radio" and "Psychopath" combine witty narratives with jaunty, hook-laden tunes that pack plenty of musical complexity into a compact space. 

The longer-form jams show great technical prowess and the occasional element of wacky humor ("Judy Goes on Holiday" finishes with an unexpected but amusing parody of doo wop music), but they lack the cohesiveness and memorable themes that define the best prog rock epics. That said, fans of art rock are likely to enjoy this album thanks to the group's considerable instrumental chops: Robert Jan Stips in particular shines, coaxing a variety of sounds out of his electric piano to fit the shifting styles of the music. Ultimately, the appeal of Pudding and Gisteren will depend on the listener's tolerance for eccentricity and musical self-indulgence, but it will offer plenty of surprises and musical fireworks for the patient prog rock enthusiast. 
by Donald A. Guarisco
Tracks
1. Radio (Robert Jan Stips, Ron Van Eck, Sacha Van Geest, Marco Vrolijk) - 4:01
2. Supersisterretsisrepus (Robert Jan Stips) - 0:18
3. Psychopath (Robert Jan Stips) - 3:59
4. Judy Goes On Holiday (Robert Jan Stips, Ron Van Eck, Sacha Van Geest, Marco Vrolijk) - 12:39
5. Pudding En Gisteren - Music For Ballet (Robert Jan Stips, Ron Van Eck) - 21:01
6. Dead Dog (Robert Jan Stips) - 2:43
7. Wow (Live Version) (Robert Jan Stips, Ron Van Eck, Sacha Van Geest, Marco Vrolijk) - 12:59
Bonus Tracks 6,7

Supersister
*Robert Jan Stips - Lead Vocals, Keyboards, Vibes, Harmonica
*Sacha Van Geest - Flutes, Tenor Sax, Vocals
*Ron Van Eck - 4 & 6-String Basses, Guitar, Harmonica
*Marco Vrolijk - Drums, Congas, Percussion, Vocals

Tuesday, April 30, 2024

Beggar's Opera - Beggars Can't Be Choosers (1975 uk, pleasant glam rock with prog shades, 2007 digipak remaster)



Jupiter Records Germany / British Lion Music asked Ricky Gardiner to produce to 2 Beggars Opera albums. Ricky Gardiner asked Pete Scott/ Vocals and Virginia Scott/ Keys and drummers Mike Travis (ex Gilgamesh) and the legendary Clem Cattini respectively for the Sagittary and Beggars Can’t be Choosers sessions. 

These two albums were recorded at TW Studios Fulham Palace Rd, London and engineered by Alan Winstanley/produced by Ricky Gardiner. The songs for Sagittary were written by the Virginia Scott/ Colin McFarlane collaboration (Diana Demon Show project) and Ricky Gardiner wrote the songs for Beggars Can’t be Choosers. 

The final track Death on Beggars Can’t be Choosers is very expressive of the feeling at the time. I think we really sensed we were at the end of one phase in our musical lives and at the beginning of another. This was very quickly to prove to be true as Ricky Gardiner was soon to be playing and recording David Bowie and Iggy Pop!
Tracks
1. I'm A Roadie - 4:41
2. Beggars Can't Be Choosers - 2:56
3. Hungry Man - 3:43
4. You're Not Welcome - 3:30
5. Young Blood Man - 2:52
6. Union Card - 2:34
7. We Must Love - 3:45
8. Keep Climbing - 2:54
9. Bar Room Pearl - 3:51
10.Death - 9:39
All titles by Ricky Gardiner

Beggar's Opera
*Ricky Gardiner - Bass, Guitar, Harmony Vocals
*Clem Cattini - Drums
*Pete Scott - Harmony Vocals, Lead Vocals
*Virginia Gardiner - Harmony Vocals, Hammond Organ, Piano, Synthesizer

Monday, April 29, 2024

Odin - Odin (1972 / germany / holland / uk, tough prog rock, 2007 bonus track remaster)



An international affair from the get-go, Honest Truth, boasting a British rhythm section and a Dutch guitarist, lit up German stages in the late '60s before calling it a day. Drummer Stuart Fordham and bassist Ray Brown promptly returned to their island home, but were coaxed back across the North Sea in 1971 by guitarist Rob Terstall and his new musical companion, German keyboardist Jeff Beer. Dubbing themselves Odin, the group's ferocious shows quickly caught the attention of the Vertigo label, which released the band's sole album, this 1972 self-titled set. 

From the opening track, the quartet's breathtaking musical skills are on display, with Terstall and the teenaged Beer trying to one-up each other's consummate solos. As diverse musically as they were nationally, the quartet incorporated an eclectic blend of styles into its set. The exhilarating "Life Is Only," for example, swings from storming organ-led prog to guitar-driven, Hendrix-riven funk-rock. In contrast, "Be the Man You Are" shimmers in effervescent folky fashion, while the lush "Eucalyptus" mixes surfy R&B-flavored guitar with lavish orchestral organ. Intriguingly, their cover of Quatermass' "Gemini" sticks close to the original, but still features some of Beer's best work, as does the album closer, "Clown." Both must have been absolutely lethal live, but it's the driving "Turnpike Lane" that probably brought the house down. 

With the album split between lengthy epic pieces and short sharp numbers, Odin offered a roller coaster ride across all that prog rock had to offer, and did it with amazing prowess and finesse. The band may have folded in frustration in 1975, but fans continued to search out this superb set. This reissue not only features the original sleeve's artwork, but also includes a poster to boot. 
by Jo-Ann Greene
Tracks
1. Life Is Only (Jeff Beer, Ray Brown) - 10:48
2. Tribute To Frank (Jeff Beer) - 1:54
3. Turnpike Lane (Rob Terstall) - 3:42
4. Be The Man You Are (Ray Brown, Rob Terstall) - 2:43
5. Gemini (Steve Hammond) - 8:52
6. Eucalyptus (Jeff Beer) - 2:49
7. Clown (Jeff Beer, Ray Brown, Stuart Fordham) - 8:38
8. Oh No (Frank Zappa) - 13:51
Bonus Track 8

Odin 
*Jeff Beer - Keyboards, Vibraphone, Percussion, Vocals
*Rob Terstall - Guitar, Vocals
*Ray Brown - Bass, Vocals
*Stuart Fordham - Drums, Percussion

 

Saturday, April 27, 2024

Conqueroo - From The Vulcan Gas Company (1967-68 us, tough blues psych rock)



The past few years has seen some really good late 60s/early 70s music released for the first time ever – Crystal Syphon, Uther Pendragon, Bleu Forest, The Troyes and finally, Texas’ Bob Brown with the Conqueroo. The Conqueroo were a well known psych rock blues band who released one sought after 45 on the Sonobeat label. Bob Brown had been floating around the Texas scene since the mid 60s folk/folk-rock revival before joining the Conqueroo in 1966/1967. His earliest music is available on the CD version of this album – both CD and LP are sold together as one package by Shagrat Records.

The bulk of this material comes from sessions cut between 1972 and 1973. The two most “produced” tracks, “Sycamore Street” and “Martha” bookend the album and would have made a fine single had they been released at the time. Both tracks are lost classics. In fact, all of the music featured on The Shoe Box Tapes is excellent roots rock with strong echoes of early Little Feat, the Grateful Dead circa 1970, the Band and early 70’s Bobby Charles.  The influences mentioned are just a reference point – Bob Brown with the Conqueroo made fresh, original music. Brown’s tremendous vocals (vocals which sound like a wild man from the backwoods) are his strongest asset but the lyrics are well written and the Conqueroo’s backing is attractively loose but still hangs in the pocket quite nicely.

Key tracks are as follows: Our Great King, a whimsical backwoods rocker with a soaring bridge and bizarre lyrics. Take Me to the Country, pure country-rock a la American Beauty with a cool, extended guitar break. The hard hitting roots rocker I See Red and the sensitive folk-rock tune Pioneer’s Wedding (which really reminds me of 69 era Moby Grape) are well worth a spin too. Also of note is the lone solo track (just Bob Brown and guitar) Don’t Ask Me. This track, clearly one of the record’s highlights, is a fine showcase for Brown’s underrated vocal talent.

If you are into unknown roots rock bands or classic country-rock, this album is a revelation. The Shoe Box Tapes isn’t just an archival release, it’s far more than that. Bob Brown’s talent is undeniable and its a true gift that this music has been made available after all these years – Thank You Shagrat Records. On about half the album, the rawest and most ramshackle of songs, (Our Great King, Take Me to the Country, I See Red, Fifteen Girls, Pioneer’s Wedding and On A Summer’s Evening) the group hit on something that’s truly magical.  An absolute must own.
by Jason Nardelli, July 22nd, 2016 
Tracks
1. Passenger (Ed Guinn) - 5:10
2. Banana And The Cat (Ed Guinn) - 4:04
3. Words Are Not As Strange (Ed Guinn) - 6:09
4. 1 To 3 (Bob Brown) - 6:48
5. Walking Blues (Robert Johnson) - 2:47
6. Midnight Hour (Stephen Cropper, Wilson Pickett) - 3:01
7. I've Got Time (Ed Guinn) - 8:20
8. Get Out Of My Life Woman (Alan Toussaint) - 4:25
9. I Think About You (Bob Brown) - 3:09
Tracks 1,2,3 all recorded at Pacific High San Francisco 1968
Everything else recorded live from the Vulcan Gas Co 1967-1968

Conqueroo
*Ed Guinn - Bass, Keyboards, Woodwind, Vocals
*Bob Brown - Vocals, Rhythm Guitar
*Charlie Pritchard - Lead Guitar
*Alvin Sykes - Drums (Tracks 1-3), 
*Daryl Rutherford - Drums (Tracks 6,8)
*Gerry Storm - Drums (Tracks 1,5,7,9)

Friday, April 26, 2024

Katch 22 - Major Catastrophe. The Katch 22 Story (1966-69 uk, beautiful sunny folk psych freak beat, 2011 remaster)



Mike Eastman and Paul Bonner were pupils at the same school, in Wallington, Surrey, England, and formed a band together in 1964. They were joined by brothers Martin and Robert Godbold to complete the band's first line-up. Whilst playing at the 100 Club in Oxford Street, London in 1966, they were spotted by record producer and songwriter, Tokenam Aw, who was born in Hawaii and later became their manager. They were signed to the Fontana Records label, and released their first single, "Major Catastrophe" / " Hold Me " . Both songs were written by Aw and produced by Harry Roberts, and recorded at Olympic Studios London in September 1966, and released in October the same year.

In June 1967 Robert Godbold left the band and was replaced by Paul Clifton. With this new line-up, the band recorded their second single on the Fontana Records Label, "Makin' My Mind Up" / "While We're Friends", released in October 1967. During this period they were regular support artists to many bands of the era, including The Small Faces, the Alan Price Set, The Animals, and more.

In November 1967 they turned full time professional, and went on their first Continental Tour with the Psychedelic 'La Fenétre Rose' package show supporting bands, Keith West and Tomorrow, Cat Stevens, Zoot Money and Dantalions Chariot, Spencer Davis Group, and The Soft Machine.

On return from this tour they made their first B.B.C Radio One recording at Maida Vale Studios for the ''David Symonds Show '' in December 1967. The first record release of 1968 was "'The Worlds Getting Smaller" / "Don't Bother", released in April 1968. Once again the songs were written by Tokenam Aw, the 'A' side arranged by Rex Morris, and the 'B' side by Arthur Greenslade, from the BBC Band, 'Arthur Greenslade and the G Men'.They became regular performers on sessions for BBC Radio One including, The ''Jimmy Young Show'' ''Joe Loss Pop Show'', “Dave Cash Show”, “Terry Wogan Show” etc.

Their next recording was their first Long Playing record on the Budget Label Saga Records, entitled ''Its Soft Rock and Allsorts, It's Katch 22'', it was recorded at Regent Sound Studios, and for the first time featured some songs written by the band themselves, particularly Martin Godbold, who wrote under the name of Martin Wayne, Paul Bonner and Mike Eastman. Released in May 1968, went on to sell somewhere in the region of 75000 copies, and became the BBC Radio One ' LP of the Week', on the ''David Symonds Show'', leading to the band becoming one of the most regular 'session bands' on many programmes from the time.

During 1968, 'Katch 22' continued to play as support band to many 'chart' bands of the time including, 'The Kinks', 'Bay City Rollers', 'Wayne Fontana and the Mindbenders', etc., but were gradually gaining main band status in their own right, where they would have a support band. They also became session singers for other artistes in the Fontana stable, the first of which was backing vocals for 'Wayne Fontana', on his record "Never An Everyday Thing" / "Waiting For a Break In The Clouds", with musical arrangement by Mike Vickers of 'Manfred Mann'.May 1968. First ever Television Recording. ''Late Night Line-Up / Colour Me Pop'' BBC 2 TV. recorded at BBC Studio B White City, Shepherds Bush, London. One of the first ever television shows recorded in colour. The show was screened on Saturday May 18th. 

Due to the Radio popularity of the LP, 'Katch 22' were approached to play themselves in a discotheque scene in the Michael Klinger, film 'Baby Love', starring 'Diana Dors', 'Anne Lynn', 'Linda Hayden', 'Keith Barron', 'Dick Emery'. To coincide with the film and featured in it, were two Tokenam Aw penned songs "Baby Love"/ "Out Of My Life" with musical arrangement by the band themselves.

They continued to record many BBC Radio One Sessions for the many shows that featured 'live' music, mostly at the B.B.C's Maida Vale Studio, London W9, but also at the London 'Paris Studio', and 'Aeolian Hall'. They were also further in demand as session players, for many artistes, including the '''Hughie Greens, Christmas LP'''. 

Their own next single was entitled "Pumpkin Mini" / "100,000 Years", released in November 1968 with musical arrangement by Richard Hartley originally from the group Fire. Richard went on to write and arrange many film scores.

January - February 1969, 'Katch 22' were resident at the famous Star Club in Hamburg, following in the footsteps of the 'Beatles' and many other bands before them.

At the end of March 1969 Paul Clifton ( Bass Guitar ), left to join 'Cliff Bennet and the Rebel Rousers', and later that year in April 1969, Martin Godbold, (now calling himself Martin Wayne) left also to form a progressive rock band calling themselves 'Nimbus'. Paul was replaced by ex Portsmouth based band 'Cherry Smash' Bass Guitarist, John Curtis. 'Cherry Smash' were in the same management stable as 'Katch 22'. Martin was replaced by Keith Wilford, ex Newcastle-Upon-Tyne band, 'Sefton Wall'.

The influence of Keith's guitar playing and Johns driving bass style bought a new more contemporary sound to the band, and the new line-up played their first BBC Radio session in April 1969 for the "Dave Cash Live Show.''. 

In November 1969, they changed record labels to CBS Records and released a new single entitled "It's The Sunshine", written by Paul Bonner and Mike Eastman, and a 'B' side written by Lally Stott called "Mrs. Jones". John Curtis left in December 1969, to join 'Gary Moore', and was immediately replaced by Bryan Jackson.

The group also continued to tour extensively, playing on the University, and RAF and Naval base circuits. In January 1970, the band released a record under the pseudonym 'Westland Steamboat', entitled "Born Under A Bad Sign" / "Missouri Train". The two songs were written by Mike Eastman / Paul Bonner / and Stephen Shane, and the record was produced by Stephen  Shane.

In December 1970 Brian Jackson left the band, and Mike Eastman changed over from Guitar to Bass Guitar, and 'Katch 22' continued as a three piece with the line-up:- Mike Eastman Bass Guitar / Piano / Vocals, Paul Bonner Drums / Vocals, and Keith Wilford, Lead Guitar / Vocals. By this time Tokenam Aw had gone back to Hawaii and management and agency were taken over by ex Radio London DJ /Agent John Edward. In May 1971, they recorded their first BBC Radio One Session with the new three piece line-up, playing for ''The Jimmy Young Show'''. They played their last show as 'Katch 22' on February 5th 1972. The three remaining members went on to work with Harry Vanda and George Young, (ex 'The Easybeats' ), and later formed a new band called 'Paintbox'

After the success of the Cherry Red Album released in 2011, during 2014, original members Paul Bonner and Mike Eastman, got together again, writing new music and songs together. An album entitled "Classical Soft Rock" was the result, with eleven new songs released in January 2015..

They continue to compose together to this day, and in July 2015, the 1970 single "It's The Sunshine", was re-launched by Radio Mi-Amigo on the "Tony Currie Show", during the Pirate Radio Week in Harwich, and a new song was also written specially for the occasion called "Sing Me An Old Song ( Pirate Radio Memories )".

February 2016. A new album was released on their own label Rookwood Records, entitled "Drifting". The title track of the same name, was originally written in 1970 as the next single for CBS Records, but was never released. A further 10 new songs completed the album, including "Sing Me An Old Song". In August 2016. 'Katch 22' were recorded live in an interview on the 'Tony Currie Show' Radio Mi Amigo, in Harwich, during which they played four songs.

In November 2016. A live interview and performance was recorded for the 'Keith Skues Show' at the BBC Radio Norfolk studio in Norwich. The programme was broadcast on Keith's show in December 2016. The interview lasted an hour and a quarter and featured archive BBC Radio Club Live recordings plus music from their newer albums.

Many of the singles, are regularly featured on compilation CD Box - Sets, from the RPM label, and others, and are very collectable. 
JimDo
Tracks
1. Major Catastrophe (Tokenam Aw) - 2:28
2. Hold Me (Tokenam Aw) - 2:04
3. Makin' My Mind Up (Jack Dalton, Gary Montgomery) - 2:33
4. While We're Friends (Tokenam Aw) - 3:03
5. The World's Getting Smaller (Tokenam Aw) - 2:15
6. Don't Bother (Tokenam Aw) - 1:58
7. Pumpkin Mini (Tokenam Aw) - 2:31
8. 100,000 Years (Tokenam Aw) - 2:40
9. Out Of My Life (Tokenam Aw) - 2:28
10.Baby Love (Tokenam Aw) - 2:08
11.You Ain't Goin' Nowhere (Bob Dylan) - 3:16
12.Fakin' It (Paul Simon) - 2:58
13.Pumpkin Mini (Tokenam Aw) - 2:38
14.Too Young To Be One (Eric Eismer) - 1:56
15.Walk Away Renee (Mike Brown, Rob Calilli, Tony Sansome) - 2:52
16.There Ain't No Use In Hangin' In (Thomas McAleese, William Campbell) - 2:09
17.Seldom (Tokenam Aw) - 2:42
18.Groovy Summertime (Keith Colley, Tom Bahler) - 2:37
19.Don't Listen (Martin Wayne, Paul Bonner) - 1:50
20.59th Street Bridge Song (Feelin' Groovy) (Paul Simon) - 1:59
21.Windy (Ruthann Friedman) - 2:31
22.Open Up Your Eyes (Martin Wayne, Paul Bonner) - 2:22
23.Thoughts On A Rainy Day (Martin Wayne, Paul Bonner) - 1:54
24.Go And Say Goodbye (Stephen Stills) - 2:21
25.You've Got Somethin' (Tokenam Aw) - 2:36
26.Wishin' (Martin Wayne, Mike Eastman) - 3:20
Tracks 15-26 from "It's Soft Rock And All Sorts, It's Katch 22" released 1968

Katch 22
*Mike Eastman - Rhythm Guitar, Bass, Keyboards
*Paul Bonner - Drums 
*Keith Wilford - Lead Guitar, (1969-72)
*John Curtis - Bass, (1969) 
*Martin Wayne (Martyn Godbold) - Lead Guitar, (1964-69) 
*Robert Godbold - Bass, (1964-67) 
*Paul Clifton - Bass, (1967-69)
*Bryan Jackson - Bass, (1969-70)

Thursday, April 25, 2024

James Talley - Blackjack Choir / Ain't It Somethin' (1977 us, gorgeous fusion of folk, country, blues, soft, jazzy overtones, honky tonk with greasy guitars)



Talley was born in Oklahoma, but his family moved to Richland, Washington when he was young. There, his father worked as a chemical operator at the Hanford plutonium factory. Realizing the hazards his father's employment presented, the family packed up and left for Albuquerque, New Mexico. Shortly after, his father passed from cancer that was no doubt acquired at the plutonium factory, which Talley later wrote a song about.

In 1975, an oddball country album called “Got No Bread, No Milk, No Money, But We Sure Got a Lot of Love” appeared in Nashville and made a big stir in music circles far beyond. Everything about it—from its unwieldy title to its eclectic take on traditional country to its cover photo of a scruffy young man and his pregnant wife and their toddler in front of a rural grocery store—set it apart from Music City’s generic product.

Whereas most country songs were set in Anywhere, U.S.A., this ambitious song cycle conveyed a keen sense of place. Written, produced and performed by a second-generation Okie named James Talley, the record took listeners to Mehan, a hamlet near Stillwater, Okla., and other spots “as far back in that country as you can stick a butcher-knife,” as Mr. Talley put it in the title song. Here was Og, a tobacco-chewing farmer, and blue-eyed Ruth, and an old railroad man who’s now the town wino—all kith and kin from Mr. Talley’s early years.

The got-no-bread title was barely a stretch. By the mid-1970s, Mr. Talley had gone broke making the self-financed album. By chance, his day job as a carpenter had him remodeling the Nashville home of Frank Jones, the head of Capitol Records’ country-music division; Mr. Talley gave Jones a copy, one of 1,000 he had custom-printed and -pressed featuring his young family on the cover. It led to a record deal, though his major-label album debut barely made a ripple in Music City. But rock critics, drawn to the songs’ progressive Woody Guthrie vibe, compared it to the elegiac, back-to-the-land imagery of The Band and hailed the album as a classic. Despite the hype, it was a commercial dud.

Three later Capitol albums earned more praise and expanded Mr. Talley’s cult following. Among his ardent fans were President Jimmy Carter and wife Rosalynn, who invited him to perform at the White House. But a hit record never happened. Country music in the 1970s was going mainstream, so a backwater outlaw from the boonies—unless he was named Waylon or Willie—was a tough sell. By the end of the decade, Mr. Talley had disappeared from the record industry, his albums out of print.

His bracing songs tapped into a Woody Guthrie-like vision of America. The music industry turned its back. 
by Eddie Dean
Tracks
1. Bluesman - 2:55
2. Alabama Summertime - 2:53
3. Everybody Loves A Lovesong - 3:20
4. Magnolia Boy - 3:16
5. Mississippi River Whistle Town - 4:30
6. Daddy Just Called It The Blues - 4:30
7. Up From Georgia - 2:44
8. Migrant Jesse Sawyer - 5:40
9. You Know I've Got To Love Her - 3:41
10.When The Fiddler Packs His Case - 3:20
11.Ain't It Something - 2:55
12.Only The Best (Jim Rooney) - 3:03
13.We Keep Tryin' - 3:17
14.Dixie Blue - 3:16
15.Not Even When It's Over - 2:35
16.Nine Pounds Of Hashbrowns - 3:00
17.Richland, Washington - 2:19
18.Middle "C" Mama - 2:04
19.Woman Trouble - 2:53
20.Old Time Religion (Traditional) - 2:42
21.Poets Of The West Virginia Mines - 5:34
22.What Will There Be For The Children - 2:52
Music and Lyrics by James Talley except where stated

Personnel
Tracks 1-10 
*James Talley - Vocals, Acoustic Guitar
*Byron Bach - Cello 
*Ralph Childs - Tuba 
*Rick Durrett - Piano, Tac-Piano 
*Dave Gillon - Electric Slide Guitar (Track 6) 
*Johnny Gimble - Fiddle, Mandolin 
*Josh Graves - Dobro 
*Doyle Grisham - Steel Guitar 
*Steve Hostak - Acoustic, Electric Guitar 
*Irv Kane - Trombone 
*B.B. King - Electric Lead Guitar (Track 1) 
*Mike Leech - Electric Bass 
*Andy Mcmahon - Piano, Electric Piano, Organ 
*Clark Pierson - Drums, Percussion 
*Billy Puett - Saxophone, Clarinet 
*John Sayles - Fiddle (Track 8) 
*Don Sheffield - Trumpet 
*Jerry Shook - Acoustic Guitar, Banjo, Harmonica 
*Tommy Smith - Trumpet/Horn - 
*Kyle Tullis - Upright Bass 
*Reggie Young - Electric Lead Guitar Chord Fills (Track 1) 
*Clark Pierson - Harmony Vocal (Track 10) 
*Pebble Daniel, Marsha Routh, Mary Jo Talley - Background Vocals

Tracks 11-22 
*James Talley – Vocals, Acoustic Guitar 
*Ralph Childs - Electric Bass (Track 18) 
*Tommy Cogbill - Electric Bass 
*Rick Durrett - Piano, Electric Piano, Organ, Clavinette 
*Johnny Gimble - Fiddle Josh Graves - Dobro 
*Marty Grebb - Tenor, Alto Saxophones 
*Doyle Grisham - Steel Guitar 
*Steve Hostak - Acoustic, Electric Guitar 
*Mike Leech - Electric Bass (Track 11) 
*Charlie Mccoy - Harmonica 
*Billy Puett - Tenor, Baritone Saxophones, Clarinet 
*John Sayles - Miscellaneous 
*Randy Scruggs - Banjo 
*Jerry Shook - Electric, Acoustic Guitar 
*Greg Thomas - Drums, Percussion 
*Dave Gillon - Harmony Vocal  

Wednesday, April 24, 2024

Various Artists - Swinging London A Trunk Full of 60's Pop Exotica The Accidental Genius Of Saga Records (1968-70 uk / italy / germany, fascinating beat psych, 2007 remastered sounds)



In the late 1960s and early '70s, the British budget label Saga recorded numerous albums designed to cash in on U.K. pop/rock-psychedelic trends. The LPs were quickie exploitation jobs, but as is often the case with such productions, some reasonably genuine stuff couldn't help sneaking through and finding status among serious '60s collectors decades later. This quite unusual compilation gathers 25 tracks that were scattered across numerous Saga releases, the common denominator being that all of them were plugged into British mod rock and psychedelia to some degree. It almost goes without saying that none of these songs were hits, and that very few of them are known even to veteran British '60s collectors, though some might be familiar with the Five Day Week Straw People, the Magic Mixture, and the Blackbirds (the last actually a German group whose material Saga managed to issue for the U.K. market). 

A few recognizable musicians do pop up here and there, even if the culprits most likely wouldn't mind having these relics buried deep within their résumés, including Mungo Jerry's Ray Dorset (here part of Good Earth), future Fairport Convention bassist Dave Pegg (as part of the Dave Peace Quartet), and original Fleetwood Mac bassist Bob Brunning (as part of Five's Company). As you also might expect, the actual music's not nearly as interesting as it is rare, since much of it's either heavily derivative and/or obviously trying to latch on to fashionable Swinging London-type grooves and the lighter side of psychedelia. Approached with the right level of expectations, however, that doesn't mean there aren't some fun or at least amusing moments along the way, if you're a fan of those genres and have at least a little irreverent humor about the styles' excesses and naïveté. 

A good number of the tracks are fairly groovy in different and sometimes off-the-wall ways. Those cuts would include the Blackbirds' downright creepy "She," with its horror movie organ and Dracula-like vocals; the Dave Moses Group's cool, Latin-tinged, organ-based go-go lounge instrumental, "Quite Fast"; Linda & Noel's quite accomplished slice of toy town psych pop, "Mr. Bantam's Fair"; New World's strange heavy psych adaptation of "Scheherezade"; Shake 26's hard-charging instrumental "Underground Set," which bisects mod rock and heavy psychedelia; Five Day Week Straw People's ridiculously echo-smothered "Sunday Morning" (not the Velvet Underground song!); and Magical Mixture's dreamy "Moon Beams," perhaps the one cut on the CD that can hold its own as a legitimate first-rate piece of U.K. psychedelic buried treasure. Others are just OK, or generic or even subpar, though sometimes in a manner that lovers of kitsch might appreciate. Stefan Granados' lengthy liner notes dig up more information about these obscure budget releases than anyone would have thought possible. 
by Richie Unterberger
Artist - Track - Composer
1. First Impression - Swingin' London Scene (John Britten) - 2:06
2. Five Day Week Straw People - Five Day Week Straw People (David Montague, Guy Mascolo) - 3:27
3. The Magical Mixture - I'm So Sad (Terry Thomas) - 4:13
4. Katch 22 - There Ain't No Use In Hanging On (Junior Campbell, Thomas McAleese) - 2:10
5. Good Earth - That's The Life (Colin Earl, Dave Hutchins, Ray Bowerman, Ray Dorset) - 2:40
6. Blackbirds - Girl I'm Wondering (Werner Breinig, Hubert Koop) - 3:00
7. Dave Moses Group - Quite Fast (David Moses) - 2:58
8. The Graham Walker Sound - Young Scene (From The Big Match) (Keith Mansfield) - 2:30
9. Katch 22 - Thoughts On A Rainy Day (Martin Wayne, Paul Bonner) - 1:54
10.The Magical Mixture - New Man (Terry Thomas) - 3:00
11.Underground Sound - Arcipelago (Gianfranco Reverberi) - 3:20
12.Dave Peace Quartet - Couldn't Bear The Sight (Dave Peace) - 2:20
13.Blackbirds - She (Werner Breinig, Hubert Koop) - 4:28
14.Five's Company - If This Is Love (Eddie Broadbridge) - 4:44
15.Family Affair - Someone Is Calling Your Name (Noel Cream, Viktor Fernando, Patrick Herbert) - 2:38
16.First Impression - All Lead Back To You (John Britten) - 2:20
17.Herbie And The Royalists - Lost Voyage (Brian Cooper, Denis Lascelles, Herbie Hunte, Ian Miller, Steve Field) - 4:42
18.Katch 22 - Don't Listen (Martin Wayne, Paul Bonner) - 1:49
19.Linda And Noel - Mr. Bantam's Fair (Noel Cream) - 3:31
20.The Graham Walker Sound - Crossroads (James Horner) - 3:23
21.New World - Scheherazade (Rimsky Korsakoff) - 3:15
22.Herbie And The Royalists - My Life Has Just Blown A Fuse (Brian Cooper, Denis Lascelles, Herbie Hunte, Ian Miller, Steve Field) - 3:05
23.Underground Set - Shake 26 (Gianfranco Reverberi) - 2:44
24.Five Day Week Straw People - Sunday Morning (David Montague, Guy Mascolo) - 4:21
25.The Magical Mixture - Moon Beams (Terry Thomas) - 4:06


Monday, April 22, 2024

Ted Neeley - A.D. 1974 (1974 us, marvelous soft rock)



Ted Neeley came to the public's attention when he played and sang the title role in Tim Rice and Andrew Lloyd Webber's Jesus Christ Superstar, both on-stage and onscreen, and then followed it up with a role in the original theatrical production of the Who's Tommy. A singer, drummer, actor, composer, vocal arranger, and record producer, Neeley was born September 20, 1943 in Ranger, Texas. He signed his first record deal in 1965, at age 22, with Capitol Records, releasing an album, the self-titled Teddy Neeley, on the imprint with his group the Teddy Neeley Five. 

Possessing a baritone singing voice that could rise octaves into a controlled, on-pitch rock-era scream when necessary, Neeley began taking musical theater roles in Los Angeles, which in turn led him to audition for the Broadway staging of Jesus Christ Superstar, and he was selected as the understudy for the title role, which he claimed for the L.A. stage version that had a run at the Universal Amphitheatre, then reprised for the 1973 movie. Neeley released a solo album, 1974 A.D., in, when else, 1974, then took the role of Billy Shears in Sgt. Pepper's Lonely Hearts Club Band on the Road. 

He continued doing musical theater, acting as well in various television dramas during the 1970s and 1980s, including Starsky and Hutch, and appeared as Curly in the NBC television movie production of John Steinbeck's Of Mice and Men. Meanwhile, he performed live shows with his band Pacific Coast Highway. Neeley reprised his most famous role in the updated touring company of Jesus Christ Superstar in the 1990s, and did it again for a stripped-down version of the musical that toured from 2006 to 2010. 

He released a five-track EP, Rock Opera, in 2013, which included a version of the Who's "See Me, Feel Me," a duet with fellow Jesus Christ Superstar alum Yvonne Elliman on "Up Where We Belong," a take on the Bryan Adams hit "Do I Have to Say the Words?," a rendition of the Christmas classic "O Holy Night," and, thanks to some modern engineering tricks, a duet with the late Carl Anderson on "God's Gift to the World." 
by Steve Leggett
Tracks
1. Rock And Roll Spirit (Bob Strauss) - 3:20
2. Another’s Lifetime (Wayne Berry) - 3:43
3. Spin Away (Alan O’Day) - 3:12
4. The Adventures Of A Boy Child Wonder (Phil Cody; Neil Sedaka) - 2:44
5. Rainbow (John C Allen) - 3:52
6. You Put Something Better Inside Of Me (Gerry Rafferty; Joe Egan) - 2:55
7. Look At You, Look At Me (Dave Mason; Jim Capaldi) - 3:47
8. It’s Not The Spotlight (Barry Goldberg; Gerry Goffin) - 3:36
9. You Are The Singer (Mike D’Abo) - 2:43
10.Mother (John Lennon) - 4:51

Musicians
*Ted Neeley - Vocals
*Michael Omartian - Arranger, Conductor, Gong, Keyboards, Marimba, Synthesizer
*Ben Bonay - Guitars
*Barbara Carlson - French Horn
*Barry Fasman - Piano
*Chuck Findley - Trumpet
*David Duke - French Horn
*Dean Parks - Electric Guitar
*Fred Selden - Alto Sax 
*Jackie Kelso - Tenor Sax 
*Jim Gordon - Drums, Percussion
*King Errisson - Congas
*Lew McCreary - Bass Trombone 
*Mark Tulin - Bass
*Paul Hubinon - Trumpet

Sunday, April 21, 2024

Sweet Lightnin' - Sweet Lightnin' (1972 us, bright delicate slight rock)



Sweet Lighting was a supergroup of very talented musicians who went on noteworthy careers.  The members of Sweet Lightning were singer/guitarist Pete Hewlett, guitarist Sid MGinnis, drummer Ron Foster, bassist Harry Turner and keyboard wiz Fred Delu.  Formed in 1969 they performed at Mancini's in the Rocks and the Staircase in downtown Pittsburgh.  In 1972 they signed with RCA to release the self titled album 'Sweet Ligntin'". Their cover of the classic tune “Dancing In the Streets was a hit single of Pittsburgh radio. The group disbanded in 1975.

Before forming in 1969 several members of Sweet Ligthning had already released singles on two major labels..Pete Hewlett at age 16 was the lead singer and guitarist of "Peter's Pipers" who released three Brit Pop singles on the Philips label in 1968.  Ron Foster and Fred Delu as members of  the Igniters / Jimmy Mack and the Music Factory released the single "Baby I Love You" on Atlantic Records in 1968.  Ron, Fred, and Harry Turner worked together in the psychedelic band the Marshmallow Steam Shovel before joining Sweet Lightning.

Sweet Lighting recorded the album “Sweet Lightnin' ” at Fox Studios in East Liberty. The music ranged from the jazz rock tune “Reo Deo” written by Harry Tuner, to the spirited rocker “Sometimes All Do”, to the Bryds/Buffalo Springfield influenced tunes “In the Morning” and “Remember Me” penned by Pete Hewlett. Pete shines on vocals, McGinnis shows his skill in solos, and Fred Delu lays down cool Fender Rhodes and Hammon B3 jams.  Their cover of the classic tune “Dancing In the Streets”, was arranged by Norman Nardini and backed with the hot horns of the Rhythm Kings. Sweet Lightning broke up in 1975.

Guitarist Sid McGinnis moved to New York City in 1974 where he began a career as a session player and touring sideman. In the late 1970's and early 80's he recorded and toured with Dire Straits, Carly Simon, Peter Gabriel, Robert Fripp, Cher, Clarence Clemons, Melissa Manchester, John Mayhall, Ashford and Simson, and Barry Manilow. In 1984 Sid was invited for a one night stand as guest guitarist on the David Letterman Show. He's been on the show ever since.

Byrd Foster became known on the national blues scene in the 1970’s touring and recording with legendary blues guitar master Roy Buchanan.  He recorded five albums with Roy Buchanan as a vocalist, drummer, and song writer:    Leaving Buchanan's band Foster formed the Silencers who released two albums on (CBS/Precision).  In 1980 their single "Shiver and Shake" reached number 81 on the Billboard Hot 100 chart.  Early pioneers in music videos they were featured on the very first broadcast of MTV in 1981.  Foster recorded an album with the Iron City Houserockers  in 1983.  During the 1990’s and into the 2000’s Foster recorded with bluesmen Billy C, Wirtz, Sonny Rhodes, Ace Moreland, Eric Culberson, Smokehouse, and many others working at Kingsnake Studio.  Foster recorded on over 36 releases.  He was a much in demand session player and live performer who energized every band with his strong steady beat.

Pete Hewlett released a solo album "Sky High”on RCA in in 1975. He then recorded with Eric Carmen and the Euclid Beach Band of Cleveland International records. Sid McGinnis recommended Pete to Carly Simon.   Pete moved to New York City in 1979 to join Carly Simon’s band.  After touring with Simon he band a sought after vocalist touring and/or recording with with Billy Joel, Elton John, Joe Jackson, Amy Grant, Julian Lennon, Andrew Lloyd Weber, the Psyhedelic Furs, Beeb Birtles of the Little River Band, and more.  As a recording artist his discography includes over forty recordings.  Hewlett was a founding member of the CBS Recording act Novo Combo.  Hewlett won an Emmy Award for his work as host of the WQED TV show “Live From Studio A”.  

Fred with the help of Ron Foster went on tour with Roy Buchanon for two years.  Returning to Pittsburgh he has performed with the popular bands the Rhythm Kings, Pure Gold, Gary Belloma and the Blues Bombers, Chizmo Charles, the Billy Price Band, No Bad JuJu, and Jill West and the Blues Attack.

Harry Turner, who had been the leader and founder of the Marshmallow Steam Shovel band, owned two music stores. He ran "Sunshine Music" in downtown Pittsburgh and "Turner Music" on Oakland Avenue in Oakland.
Pittsburgh Music History  
Tracks
1. New Life (Peter Hewlett) - 3:20
2. In The Morning (Peter Hewlett) - 3:48
3. Paths (Peter Hewlett) - 3:28
4. I've Got Friends Here (Ron Foster) - 3:03
5. Humming Bird (Leon Russell) - 4:38
6. Sometimes All Do (Peter Hewlett) - 3:10
7. I'm Not Sure (Peter Hewlett) - 2:40
8. Though You're Not With Me (Peter Hewlett) - 2:55
9. Reo Deo (Harry Turner) - 3:56
10.Remember Me (Ron Foster) - 3:19

Sweet Lightnin'
*Fred Delu - Keyboards 
*Ron "Byrd" Foster - Drums, Vocals 
*Peter Hewlett - Vocals, Guitar 
*Harry Turner - Bass 
*Sid McGinnis - Guitar

Friday, April 19, 2024

Lobby Loyde - Obsecration (1976 australia, astonishing hard guitar feast, 2006 digipak remaster)



Lobby Loyde was born John Baslington Lyde on 18 May 1941 in Longreach, Central Queensland, Australia. He passes away from lung cancer with his favourite black Gibson guitar by his side on 21 April 2007 at Box Hill Hospital in Melbourne, Victoria, Australia.

Her mother was a classically trained pianist, and his father was a jazz trumpeter as a teenager he joined them in country town performances in outback Queensland. He attended Moorooka State School with young Billy Thorpe and both were, bullied in the Queensland state school system. Down the path, they would meet again through music and friendship.

Mick Hadley and Bob Dames both originally came from England and both decided to migrate to Australia in 1963. They both formed a rhythm and blues band The Impacts in Brisbane, Queensland with Scottish-born Fred Pickard including local musicians Barry Lyde from Stilettos and Adrian Redmond in 1964.

Lobby Loyde’s second solo album, Obsecration was released in May 1976 with Rainbird. One thing is certain his beautiful, at times heavy yet always unique psych-rock guitar work is the main feature throughout. With a solo single, Do You Believe in Magic? / Love Lost on Dream Tides in December 1975. Digitally remastered Obsecration is packaged in a 6-panel digipak and has 6-bonus tracks and many rare photos with liner notes. Re-issued on 28 August 2006 with Aztec Records.

Featuring an incredibly eclectic and diverse assortment of music, all up a magnificent album of guitar explorations and textures, a thematic collection of riffs, runs, rhythms and timing shifts taking the listener through a wide range of moods and styles. If anything, it lacked a commercial focus but as we’ve seen Loyde was well and truly beyond working within commercial considerations at the time. One thing is certain: his beautiful, at times heavy yet always unique psych-rock guitar work is the main feature throughout. 
Tracks
1. Obsecration Parts A to D - 17:30
.a.Play My Guitar
.b.Obligato
.c.Continuation
.d.Legato
2. A Rumble With Seven Parts And Lap Dissolve - 5:12
3. Rock And Roll Sunset - 1:58
4. Lobby Loyde Dreamtide - 14:42
.a.Statement
.b.Refrain
5. Goin’ To Louisianna - 7:46
6. Congratulateonies - 0:47
7. Do You Believe In Magic - 3:58
8. Love Lost On Dream-Tides - 4:25
9. Gypsy In My Soul - 5:47
10.Too Poor To Die - 4:30
11.Desperate For A Quid - 2:21
12.Fist Of Is - 9:55
.a.At The Colosseum
.b.The Fist Falls
All compositions by Lobby Loyde
Tracks 1-6 from "Obsecration" LP 1976
Tracks 7-8 from 45' Single, 1975
Tracks 9-12 from Previously Unreleased from " Too Poor To Die" EP

Musicians
*Lobby Loyde - Electric, Acoustic Guitars, Vocals, Bass 
*James D. Thompson - Drums 
*Graham Morgan - Drums 
*Janis Miglans - Bass
*John (Deysey) Dey - Keyboards
*Paul Dixon - Sax, Clarinet
*Andrew Fordham - Acoustic, Electric Rhythm Guitars, Vocals
*Mandu - Vocals 
*Art Redbourne - Guitar, Vocals 
*Cypra Helmer - Manic Voice Of Despair


Thursday, April 18, 2024

Milton Carroll - Milton Chesley Carroll (1972 us, great country swamp blues folk rock, 2018 korean remaster)



Great influence from Fred Neil, Milton Chesley Carroll is a minor folk/swamp rock singer-songwriter from Waxahachie, Texas. This debut work was recorded in New York after the single "Hippie From Mississippi" under the Name Chesley Carroll became a big hit on local radio stations. 

His funky, bluesy songs include covers of Elton John's "Country Comfort," Jesse Winchester's "Yankee Lady," and  "Love Of The Common People," written by John Hurley and Ronnie Wilkinsas well as originals that are as good as these. 

A soulful country blues masterpiece sung with husky vocals. ``Sweet Country Music'' written by Tony Lordi, who was a staff writer at RCA at the time, is also interesting. Eric Weissberg on dobro and steel guitar, which determined the swamp flavor of this album, guitarist Jerry Friedman who also wrote "Don't Cry My Lady", Pat Rebiliot on keyboards, Tony Levin on bass, Steve Gadd on drums, etc. A lot of people are participating in the session.
Tracks
1. It'll All Come Down In Time (Cowboy Toni Lordi, Milton Carroll) - 3:55
2. Love Of The Common People (John Hurley, Ronnie Wilkins) - 3:46
3. Highway Song (Jorma Kaukonen) - 3:59
4. A Thousand Shades Of Grey (Milton Chesley Carroll) - 3:27
5. Country Comfort (Elton John, Bernie Taupin) - 3:20
6. Yankee Lady (Jesse Winchester) - 3:54
7. Don't Cry My Lady (Jerry Friedman) - 3:18
8. Sweet Country Music (Cowboy Toni Lordi) - 3:46
9. Potters Field (Milton Chesley Carroll) - 2:47
10.Seventh Son (Willie Dixon) - 6:12

Personnel
*Milton Carroll - Lead Vocals, Acoustic Guitar
*Jerry Friedman - Acoustic, Electric Guitars
*Eric Weissberg - Dobro, 12-String Acoustic Guitar, Pedal Steel Guitar
*Pat Rebillot - Piano, Electric Piano, Organ 
*Tony Levin - Bass (Tracks 1,4,7,10)
*Steve Gadd - Drums (Tracks 1,4,7,10)
*Bob Daugherty - Drums, Bass (Tracks 2,3,5,6)